章节正文
And curst to blest.
"Life! Life! thou sea-fugue, writ from east to west,
Love, Love alone can pore
On thy dissolving score
Of harsh half-phrasings,
Blotted ere writ, [351]
And double erasings
Of chords most fit.
Yea, Love, sole music-master blest,
May read thy weltering palimpsest.
To follow Time's dying melodies through,
And never to lose the old in the new,
And ever to solve the discords true --
Love alone can do.
And ever Love hears the poor-folks' crying,
And ever Love hears the women's sighing, [361]
And ever sweet knighthood's death-defying,
And ever wise childhood's deep implying,
But never a trader's glozing and lying.
"And yet shall Love himself be heard,
Though long deferred, though long deferred:
O'er the modern waste a dove hath whirred:
Music is Love in search of a word."
____
Baltimore, 1875.
Notes: The Symphony
The `Introduction' (pp. xxviii f., xxxiii ff. [Part III], xlvii [Part IV])
gives, besides the plan of `The Symphony', a detailed statement
of its two themes, -- the evils of the trade-spirit
in the commercial and social world and the need in each of the love-spirit.
These questions preyed on the poet's mind and were to be treated at length
in `The Jacquerie' also, which he expected to make his great work,
but which he was unable to complete. This he tells us in a noble passage
to Judge Bleckley, in his letter of November 15, 1874. After deploring
the lack of time for literary labor (see quotation in `Introduction',
p. xlvi [Part IV]), he continues: "I manage to get a little time tho'
to work on what is to be my first `magnum opus', a long poem,
founded on that strange uprising in the middle of the fourteenth century
in France, called `The Jacquerie'. It was the first time
that the big hungers of `the People' appear in our modern civilization;
and it is full of significance. The peasants learned
from the merchant potentates of Flanders that a man who could not be
a lord by birth, might be one by wealth; and so Trade arose,
and overthrew Chivalry. Trade has now had possession of the civilized world
for four hundred years: it controls all things, it interprets the Bible,
it guides our national and almost all our individual life with its maxims;
and its oppressions upon the moral existence of man have come to be
ten thousand times more grievous than the worst tyrannies of the Feudal System
ever were. Thus in the reversals of time, it is NOW the GENTLEMAN
who must rise and overthrow Trade. That chivalry which every man has,
in some degree, in his heart; which does not depend upon birth,
but which is a revelation from God of justice, of fair dealing,
of scorn of mean advantages; which contemns the selling of stock which
one KNOWS is going to fall, to a man who BELIEVES it is going to rise,
as much as it would contemn any other form of rascality or of injustice
or of meanness; -- it is this which must in these latter days
organize its insurrections and burn up every one of the cunning moral castles
from which Trade sends out its forays upon the conscience of modern society.
-- This is about the plan which is to run through my book:
though I conceal it under the form of a pure novel."
Mr. F. F. Browne is doubtless right in saying that `The Symphony' recalls
parts of Tennyson's `Maud', but the closest congeners of `The Symphony'
in English are, I think, Langland's `Piers The Plowman' in poetry
and Ruskin's `Unto This Last' in prose. Widely as these two works
differ from `The Symphony' in form, they are one with it
in purpose and in spirit. All three voice the outcry of the poor
against the hardness of their lot and their longing for a larger life;
all three show that the only hope of relief lies in a broader and deeper
love for humanity. Analogues to individual verses of `The Symphony'
are cited below.
1-2. See `Introduction', p. xxviii [Part III].
31-61. See `Introduction', p. xxix [Part III].
42-43. See St. Matthew 4:4.
55-60. It is precisely this evil that Ruskin has in mind, I take it,
when he condemns the commercial text, "Buy in the cheapest market and sell
in the dearest," and when he declares that "Competition is the law of death"
(`Unto This Last', pp. 40, 59).
117. Compare `Corn', l. 21 ff.
161. For `lotos-sleeps' see Tennyson's `The Lotos-eaters',
which almost lulls one to sleep, and `The Odyssey' ix. 80-104.
178. See St. Matthew 19:19.
182. See St. Luke 10:29, ff.
183-190. Compare `Corn', ll. 4-9, and see `Introduction',
p. xxxii [Part III].
232-248. See `Introduction', p. xxxiv f., and Peacock's
`Lady Clarinda's Song' (Gosse's `English Lyrics').
294-298. See `Tiger-lilies', p. 49, and `Betrayal' in Lanier's
complete `Poems', p. 213. These lines of `The Symphony' show clearly that
Lanier did not believe that God made one law for man and another for woman,
or that one very grievous sin should forever blight a woman's life.
What Christ himself thought is clear from St. Luke 7:36-50,
and St. John 8:1-11.
302. See `Introduction', p. liv [Part VI].
326. For a full account of the `hautboy' and other musical instruments
mentioned in the poem see Lanier's `The Orchestra of To-day',
cited in the `Bibliography'.
359. See `Introduction', p. xxxvi [Part III]. Compare 1 Corinthians 13;
Drummond's `The Greatest Thing in the World'; William Morris's
`Love Is Enough'; `Aurora Leigh', Book ix.:
"Art is much, but Love is more!
O Art, my Art, thou'rt much, but Love is more!
Art symbolizes Heaven, but Love is God
And makes Heaven;"
and Langland's `Piers the Plowman' (ed. by Skeat, i. 202-3):
"Love is leche of lyf and nexte oure Lorde selve,
And also the graith gate that goth into hevene."*
--
* The two lines may be translated: "Love is the physician of life
and next to our Lord himself; moreover, it is the way that goes
straight to Heaven."
--
368. See `Introduction', p. xxxii [Part III].
The Power of Prayer; or, The First Steamboat up the Alabama
By Sidney and Clifford Lanier
You, Dinah! Come and set me whar de ribber-roads does meet. [1]
De Lord, HE made dese black-jack roots to twis' into a seat.
Umph dar! De Lord have mussy on dis blin' old nigger's feet.
It 'pear to me dis mornin' I kin smell de fust o' June.
I 'clar', I b'lieve dat mockin'-bird could play de fiddle soon!
Dem yonder town-bells sounds like dey was ringin' in de moon.
Well, ef dis nigger IS been blind for fo'ty year or mo',
Dese ears, DEY sees de world, like, th'u' de cracks dat's in de do'.
For de Lord has built dis body wid de windows 'hind and 'fo'.
I know my front ones IS stopped up, and things is sort o' dim,
But den, th'u' DEM, temptation's rain won't leak in on ole Jim! [11]
De back ones show me earth enough, aldo' dey's mons'ous slim.
And as for Hebben, -- bless de Lord, and praise His holy name --
DAT shines in all de co'ners of dis cabin jes' de same
As ef dat cabin hadn't nar' a plank upon de frame!
Who CALL me? Listen down de ribber, Dinah! Don't you hyar
Somebody holl'in' "HOO, JIM, HOO?" My Sarah died las' y'ar;
IS dat black angel done come back to call ole Jim f'om hyar?
My stars, dat cain't be Sarah, shuh! Jes' listen, Dinah, NOW!
What KIN be comin' up dat bend, a-makin' sich a row?
Fus' bellerin' like a pawin' bull, den squealin' like a sow? [21]
De Lord 'a' mussy sakes alive, jes' hear, -- ker-woof, ker-woof --
De Debble's comin' round dat bend, he's comin' shuh enuff,
A-splashin' up de water wid his tail and wid his hoof!
I'se pow'ful skeered; but neversomeless I ain't gwine run away:
I'm gwine to stand stiff-legged for de Lord dis blessed day.
YOU screech, and swish de water, Satan! I'se a gwine to pray.
O hebbenly Marster, what thou willest, dat mus' be jes' so,
And ef Thou hast bespoke de word, some nigger's bound to go.
Den, Lord, please take ole Jim, and lef young Dinah hyar below!
'Scuse Dinah, 'scuse her, Marster; for she's sich a little chile, [31]
She hardly jes' begin to scramble up de homeyard stile,
But dis ole traveller's feet been tired dis many a many a mile.
I'se wufless as de rotten pole of las' year's fodder-stack.
De rheumatiz done bit my bones; you hear 'em crack and crack?
I cain'st sit down 'dout gruntin' like 'twas breakin' o' my back.
What use de wheel, when hub and spokes is warped and split, and rotten?
What use dis dried-up cotton-stalk, when Life done picked my cotton?
I'se like a word dat somebody said, and den done been forgotten.
But, Dinah! Shuh dat gal jes' like dis little hick'ry tree,
De sap's jes' risin' in her; she do grow owdaciouslee -- [41]
Lord, ef you's clarin' de underbrush, don't cut her down, cut me!
I would not proud persume -- but I'll boldly make reques';
Sence Jacob had dat wrastlin'-match, I, too, gwine do my bes';
When Jacob got all underholt, de Lord he answered Yes!
And what for waste de vittles, now, and th'ow away de bread,
Jes' for to strength dese idle hands to scratch dis ole bald head?
T'ink of de 'conomy, Marster, ef dis ole Jim was dead!
Stop; -- ef I don't believe de Debble's gone on up de stream!
Jes' now he squealed down dar; -- hush; dat's a mighty weakly scream!
Yas, sir, he's gone, he's gone; -- he snort way off, like in a dream! [51]
O glory hallelujah to de Lord dat reigns on high!
De Debble's fai'ly skeered to def, he done gone flyin' by;
I know'd he couldn't stand dat pra'r, I felt my Marster nigh!
You, Dinah; ain't you 'shamed, now, dat you didn' trust to grace?
I heerd you thrashin' th'u' de bushes when he showed his face!
You fool, you think de Debble couldn't beat YOU in a race?
I tell you, Dinah, jes' as shuh as you is standin' dar,
When folks starts prayin', answer-angels drops down th'u' de a'r.
YAS, DINAH, WHAR 'OULD YOU BE NOW, JES' 'CEPTIN' FUR DAT PRA'R?
____
Baltimore, 1875.
Notes: The Power of Prayer; or, The First Steamboat up the Alabama
As the title-page shows, `The Power of Prayer' is the joint production
of Sidney and Clifford Lanier. The latter gentleman informs me
that once he read a newspaper scrap of about ten lines stating that a Negro
on first seeing a steamboat coming down the river was greatly frightened.
Mr. Lanier then wrote out in metrical form the plot of `The Power of Prayer',
substantially as we now have it, and sent it to his brother Sidney,
who polished it up and published it under their joint names.
Mr. Clifford Lanier had not seen the piece mentioned in the next paragraph,
nor had his brother; but on being shown the piece, the former
was of the opinion that his newspaper clipping must have been based
on the work to which I turn, as it had already appeared and the incidents
were so much alike.
In the third chapter of `The Gilded Age' (Hartford, Conn., 1873)
by Mark Twain and Charles Dudley Warner, there is a piece,
`Uncle Daniel's Apparition and Prayer', so similar to `The Power of Prayer'
that I quote it almost entire. Uncle Dan'l (a Negro), his wife,
his young mistress, and his two young masters were sitting on a log
by the Mississippi River one moonlight night a-talking.
"Suddenly Uncle Dan'l exclaimed: `Chil'en, dah's sumfin a comin'!'
"All crowded close together and every heart beat faster.
Uncle Dan'l pointed down the river with his bony finger.
"A deep coughing sound troubled the stillness, way toward a wooded cape
that jutted into the stream a mile distant. All in an instant
a fierce eye of fire shot out from behind the cape and sent
"Life! Life! thou sea-fugue, writ from east to west,
Love, Love alone can pore
On thy dissolving score
Of harsh half-phrasings,
Blotted ere writ, [351]
And double erasings
Of chords most fit.
Yea, Love, sole music-master blest,
May read thy weltering palimpsest.
To follow Time's dying melodies through,
And never to lose the old in the new,
And ever to solve the discords true --
Love alone can do.
And ever Love hears the poor-folks' crying,
And ever Love hears the women's sighing, [361]
And ever sweet knighthood's death-defying,
And ever wise childhood's deep implying,
But never a trader's glozing and lying.
"And yet shall Love himself be heard,
Though long deferred, though long deferred:
O'er the modern waste a dove hath whirred:
Music is Love in search of a word."
____
Baltimore, 1875.
Notes: The Symphony
The `Introduction' (pp. xxviii f., xxxiii ff. [Part III], xlvii [Part IV])
gives, besides the plan of `The Symphony', a detailed statement
of its two themes, -- the evils of the trade-spirit
in the commercial and social world and the need in each of the love-spirit.
These questions preyed on the poet's mind and were to be treated at length
in `The Jacquerie' also, which he expected to make his great work,
but which he was unable to complete. This he tells us in a noble passage
to Judge Bleckley, in his letter of November 15, 1874. After deploring
the lack of time for literary labor (see quotation in `Introduction',
p. xlvi [Part IV]), he continues: "I manage to get a little time tho'
to work on what is to be my first `magnum opus', a long poem,
founded on that strange uprising in the middle of the fourteenth century
in France, called `The Jacquerie'. It was the first time
that the big hungers of `the People' appear in our modern civilization;
and it is full of significance. The peasants learned
from the merchant potentates of Flanders that a man who could not be
a lord by birth, might be one by wealth; and so Trade arose,
and overthrew Chivalry. Trade has now had possession of the civilized world
for four hundred years: it controls all things, it interprets the Bible,
it guides our national and almost all our individual life with its maxims;
and its oppressions upon the moral existence of man have come to be
ten thousand times more grievous than the worst tyrannies of the Feudal System
ever were. Thus in the reversals of time, it is NOW the GENTLEMAN
who must rise and overthrow Trade. That chivalry which every man has,
in some degree, in his heart; which does not depend upon birth,
but which is a revelation from God of justice, of fair dealing,
of scorn of mean advantages; which contemns the selling of stock which
one KNOWS is going to fall, to a man who BELIEVES it is going to rise,
as much as it would contemn any other form of rascality or of injustice
or of meanness; -- it is this which must in these latter days
organize its insurrections and burn up every one of the cunning moral castles
from which Trade sends out its forays upon the conscience of modern society.
-- This is about the plan which is to run through my book:
though I conceal it under the form of a pure novel."
Mr. F. F. Browne is doubtless right in saying that `The Symphony' recalls
parts of Tennyson's `Maud', but the closest congeners of `The Symphony'
in English are, I think, Langland's `Piers The Plowman' in poetry
and Ruskin's `Unto This Last' in prose. Widely as these two works
differ from `The Symphony' in form, they are one with it
in purpose and in spirit. All three voice the outcry of the poor
against the hardness of their lot and their longing for a larger life;
all three show that the only hope of relief lies in a broader and deeper
love for humanity. Analogues to individual verses of `The Symphony'
are cited below.
1-2. See `Introduction', p. xxviii [Part III].
31-61. See `Introduction', p. xxix [Part III].
42-43. See St. Matthew 4:4.
55-60. It is precisely this evil that Ruskin has in mind, I take it,
when he condemns the commercial text, "Buy in the cheapest market and sell
in the dearest," and when he declares that "Competition is the law of death"
(`Unto This Last', pp. 40, 59).
117. Compare `Corn', l. 21 ff.
161. For `lotos-sleeps' see Tennyson's `The Lotos-eaters',
which almost lulls one to sleep, and `The Odyssey' ix. 80-104.
178. See St. Matthew 19:19.
182. See St. Luke 10:29, ff.
183-190. Compare `Corn', ll. 4-9, and see `Introduction',
p. xxxii [Part III].
232-248. See `Introduction', p. xxxiv f., and Peacock's
`Lady Clarinda's Song' (Gosse's `English Lyrics').
294-298. See `Tiger-lilies', p. 49, and `Betrayal' in Lanier's
complete `Poems', p. 213. These lines of `The Symphony' show clearly that
Lanier did not believe that God made one law for man and another for woman,
or that one very grievous sin should forever blight a woman's life.
What Christ himself thought is clear from St. Luke 7:36-50,
and St. John 8:1-11.
302. See `Introduction', p. liv [Part VI].
326. For a full account of the `hautboy' and other musical instruments
mentioned in the poem see Lanier's `The Orchestra of To-day',
cited in the `Bibliography'.
359. See `Introduction', p. xxxvi [Part III]. Compare 1 Corinthians 13;
Drummond's `The Greatest Thing in the World'; William Morris's
`Love Is Enough'; `Aurora Leigh', Book ix.:
"Art is much, but Love is more!
O Art, my Art, thou'rt much, but Love is more!
Art symbolizes Heaven, but Love is God
And makes Heaven;"
and Langland's `Piers the Plowman' (ed. by Skeat, i. 202-3):
"Love is leche of lyf and nexte oure Lorde selve,
And also the graith gate that goth into hevene."*
--
* The two lines may be translated: "Love is the physician of life
and next to our Lord himself; moreover, it is the way that goes
straight to Heaven."
--
368. See `Introduction', p. xxxii [Part III].
The Power of Prayer; or, The First Steamboat up the Alabama
By Sidney and Clifford Lanier
You, Dinah! Come and set me whar de ribber-roads does meet. [1]
De Lord, HE made dese black-jack roots to twis' into a seat.
Umph dar! De Lord have mussy on dis blin' old nigger's feet.
It 'pear to me dis mornin' I kin smell de fust o' June.
I 'clar', I b'lieve dat mockin'-bird could play de fiddle soon!
Dem yonder town-bells sounds like dey was ringin' in de moon.
Well, ef dis nigger IS been blind for fo'ty year or mo',
Dese ears, DEY sees de world, like, th'u' de cracks dat's in de do'.
For de Lord has built dis body wid de windows 'hind and 'fo'.
I know my front ones IS stopped up, and things is sort o' dim,
But den, th'u' DEM, temptation's rain won't leak in on ole Jim! [11]
De back ones show me earth enough, aldo' dey's mons'ous slim.
And as for Hebben, -- bless de Lord, and praise His holy name --
DAT shines in all de co'ners of dis cabin jes' de same
As ef dat cabin hadn't nar' a plank upon de frame!
Who CALL me? Listen down de ribber, Dinah! Don't you hyar
Somebody holl'in' "HOO, JIM, HOO?" My Sarah died las' y'ar;
IS dat black angel done come back to call ole Jim f'om hyar?
My stars, dat cain't be Sarah, shuh! Jes' listen, Dinah, NOW!
What KIN be comin' up dat bend, a-makin' sich a row?
Fus' bellerin' like a pawin' bull, den squealin' like a sow? [21]
De Lord 'a' mussy sakes alive, jes' hear, -- ker-woof, ker-woof --
De Debble's comin' round dat bend, he's comin' shuh enuff,
A-splashin' up de water wid his tail and wid his hoof!
I'se pow'ful skeered; but neversomeless I ain't gwine run away:
I'm gwine to stand stiff-legged for de Lord dis blessed day.
YOU screech, and swish de water, Satan! I'se a gwine to pray.
O hebbenly Marster, what thou willest, dat mus' be jes' so,
And ef Thou hast bespoke de word, some nigger's bound to go.
Den, Lord, please take ole Jim, and lef young Dinah hyar below!
'Scuse Dinah, 'scuse her, Marster; for she's sich a little chile, [31]
She hardly jes' begin to scramble up de homeyard stile,
But dis ole traveller's feet been tired dis many a many a mile.
I'se wufless as de rotten pole of las' year's fodder-stack.
De rheumatiz done bit my bones; you hear 'em crack and crack?
I cain'st sit down 'dout gruntin' like 'twas breakin' o' my back.
What use de wheel, when hub and spokes is warped and split, and rotten?
What use dis dried-up cotton-stalk, when Life done picked my cotton?
I'se like a word dat somebody said, and den done been forgotten.
But, Dinah! Shuh dat gal jes' like dis little hick'ry tree,
De sap's jes' risin' in her; she do grow owdaciouslee -- [41]
Lord, ef you's clarin' de underbrush, don't cut her down, cut me!
I would not proud persume -- but I'll boldly make reques';
Sence Jacob had dat wrastlin'-match, I, too, gwine do my bes';
When Jacob got all underholt, de Lord he answered Yes!
And what for waste de vittles, now, and th'ow away de bread,
Jes' for to strength dese idle hands to scratch dis ole bald head?
T'ink of de 'conomy, Marster, ef dis ole Jim was dead!
Stop; -- ef I don't believe de Debble's gone on up de stream!
Jes' now he squealed down dar; -- hush; dat's a mighty weakly scream!
Yas, sir, he's gone, he's gone; -- he snort way off, like in a dream! [51]
O glory hallelujah to de Lord dat reigns on high!
De Debble's fai'ly skeered to def, he done gone flyin' by;
I know'd he couldn't stand dat pra'r, I felt my Marster nigh!
You, Dinah; ain't you 'shamed, now, dat you didn' trust to grace?
I heerd you thrashin' th'u' de bushes when he showed his face!
You fool, you think de Debble couldn't beat YOU in a race?
I tell you, Dinah, jes' as shuh as you is standin' dar,
When folks starts prayin', answer-angels drops down th'u' de a'r.
YAS, DINAH, WHAR 'OULD YOU BE NOW, JES' 'CEPTIN' FUR DAT PRA'R?
____
Baltimore, 1875.
Notes: The Power of Prayer; or, The First Steamboat up the Alabama
As the title-page shows, `The Power of Prayer' is the joint production
of Sidney and Clifford Lanier. The latter gentleman informs me
that once he read a newspaper scrap of about ten lines stating that a Negro
on first seeing a steamboat coming down the river was greatly frightened.
Mr. Lanier then wrote out in metrical form the plot of `The Power of Prayer',
substantially as we now have it, and sent it to his brother Sidney,
who polished it up and published it under their joint names.
Mr. Clifford Lanier had not seen the piece mentioned in the next paragraph,
nor had his brother; but on being shown the piece, the former
was of the opinion that his newspaper clipping must have been based
on the work to which I turn, as it had already appeared and the incidents
were so much alike.
In the third chapter of `The Gilded Age' (Hartford, Conn., 1873)
by Mark Twain and Charles Dudley Warner, there is a piece,
`Uncle Daniel's Apparition and Prayer', so similar to `The Power of Prayer'
that I quote it almost entire. Uncle Dan'l (a Negro), his wife,
his young mistress, and his two young masters were sitting on a log
by the Mississippi River one moonlight night a-talking.
"Suddenly Uncle Dan'l exclaimed: `Chil'en, dah's sumfin a comin'!'
"All crowded close together and every heart beat faster.
Uncle Dan'l pointed down the river with his bony finger.
"A deep coughing sound troubled the stillness, way toward a wooded cape
that jutted into the stream a mile distant. All in an instant
a fierce eye of fire shot out from behind the cape and sent
- commercial [kə´mə:ʃəl]
a.商业的 n.广告节目 (初中英语单词) - unable [ʌn´eibəl] a.不能的；无能为力的 (初中英语单词)
- literary [´litərəri] a.文学(上)的 (初中英语单词)
- wealth [welθ] n.财富，财产 (初中英语单词)
- existence [ig´zistəns] n.存在；生存；生活 (初中英语单词)
- cunning [´kʌniŋ] a.&n.狡猾(诡诈)的 (初中英语单词)
- conscience [´kɔnʃəns] n.良心；道德心 (初中英语单词)
- conceal [kən´si:l] vt.藏；隐瞒 (初中英语单词)
- doubtless [´dautlis] ad.无疑地；大概，多半 (初中英语单词)
- relief [ri´li:f] n.救济；援救；减轻 (初中英语单词)
- humanity [hju:´mæniti] n.人类；人性；仁慈 (初中英语单词)
- christ [kraist] n.基督 int.天啊! (初中英语单词)
- account [ə´kaunt] vi.说明 vt.认为 n.帐目 (初中英语单词)
- musical [´mju:zikəl] a.音乐的；悦耳的 (初中英语单词)
- physician [fi´ziʃən] n.(内科)医生 (初中英语单词)
- moreover [mɔ:´rəuvə] ad.再者，此外，而且 (初中英语单词)
- scratch [skrætʃ] v.&n.抓，搔；抓伤 (初中英语单词)
- mistress [´mistris] n.女主人；情妇；女能手 (初中英语单词)
- mississippi [,misi´sipi] n.密西西比(河) (初中英语单词)
- moonlight [´mu:nlait] n.&a.月光(的) (初中英语单词)
- pointed [´pɔintid] a.尖(锐)的；中肯的 (初中英语单词)
- stream [stri:m] n.河 vi.流出；飘扬 (初中英语单词)
- fierce [fiəs] a.残忍的；强烈的 (初中英语单词)
- quotation [kwəu´teiʃən] n.引用；引文；语录 (高中英语单词)
- significance [sig´nifikəns] n.意义；重要性 (高中英语单词)
- chivalry [´ʃivəlri] n.侠义；骑士团 (高中英语单词)
- civilized [´sivilaizd] a.先进的；文明的 (高中英语单词)
- overthrow [´əuvəθrəu] n.推翻；打倒 (高中英语单词)
- revelation [,revə´leiʃən] n.展现；揭露(的事物) (高中英语单词)
- saying [´seiŋ, ´sei-iŋ] n.言语；言论；格言 (高中英语单词)
- longing [´lɔŋiŋ] n.&a.渴望(的) (高中英语单词)
- precisely [pri´saisli] ad.精确地；刻板地 (高中英语单词)
- orchestra [´ɔ:kistrə] n.管弦乐队 (高中英语单词)
- steamboat [´sti:mbəut] n.轮船，汽艇 (高中英语单词)
- scramble [´skræmbəl] v.&n.爬；争夺；炒(蛋) (高中英语单词)
- rotten [´rɔtn] a.腐烂的；腐朽的 (高中英语单词)
- boldly [´bəuldli] ad.大胆地；醒目地 (高中英语单词)
- mighty [´maiti] a.强有力的 ad.很 (高中英语单词)
- seeing [si:iŋ] see的现在分词 n.视觉 (高中英语单词)
- crowded [´kraudid] a.充(拥)满了的 (高中英语单词)
- stillness [´stilnis] n.不动；无声，寂静 (高中英语单词)
- grievous [´gri:vəs] a.痛苦的；严重的 (英语四级单词)
- feudal [´fju:dl] a.封建的，封建制度的 (英语四级单词)
- outcry [´autkrai] n.喊叫；强烈抗议 (英语四级单词)
- hardness [´hɑ:dnis] n.坚硬；严厉；难度 (英语四级单词)
- blight [blait] n.打击 vt.摧残 (英语四级单词)
- fiddle [´fidl] n.小提琴 v.拉提琴 (英语四级单词)
- blessed [´blesid] a.享福的；神圣的 (英语四级单词)
- screech [skri:tʃ] v.&n.尖叫(声) (英语四级单词)
- underbrush [´ʌndəbrʌʃ] n.矮树丛 (英语四级单词)
- wooded [´wudid] a.多树林的 (英语四级单词)
- uprising [ʌp´raiziŋ] n.叛乱；起义，暴动 (英语六级单词)
- overthrew [,əuvə´θru:] voerthrow的过去式 (英语六级单词)
- apparition [,æpə´riʃən] n.(幽灵)出现；鬼；幻影 (英语六级单词)
文章标签:名著
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