酷兔英语

in 1847, Sensier, in his "Life" of Millet, says: "It is in crayon, and

life-sized. The head is melancholy, like that of Albert Duerer; the

profound regard is filled with intelligence and goodness."]

MCCLURE'S MAGAZINE.

VOL. VI.

MAY, 1896.

No. 6.

A CENTURY OF PAINTING.

JEAN FRANCOIS MILLET.--PARENTAGE AND EARLY INFLUENCES.--HIS LIFE AT

BARBIZON.--VISITS TO MILLET IN HIS STUDIO.--HIS PERSONAL

APPEARANCE.--HIS OWN COMMENTS ON HIS PICTURES.--PASSAGES FROM HIS

CONVERSATION.

BY WILL H. LOW.

These papers, disclaiming any other authority than that which appertains

to the conclusions of a practising painter who has thought deeply on the

subject of his art, have nevertheless avoided the personal equation as

much as possible. A conscientious endeavor has been made to consider the

work of each painter in the place which has been assigned him by the

concensus of opinion in the time which has elapsed since his work was

done. In the consideration of Jean Francois Millet, however, I desire

for the nonce to become less impersonal, for the reason that it was my

privilege to know him slightly, and in the case of one who as a man and

as a painter occupies a place so entirely his own, the value of recorded

personal impressions is greater, at least for purposes of record, than

the registration of contemporary opinion concerning him.

I must further explain that, as a young student who received at his

hands the kindly reception which the master, stricken in health, and

preoccupied with his work, vouchsafed, I could only know him

superficially. It may have been the spectacle of youthful enthusiasm, or

the modest though dignifiedrecognition of the reverence with which I

approached him, that made this grave man unbend; but it is certain that

the few times when I was permitted to enter the rudely built studio at

Barbizon have remained red-letter days in my life, and on each occasion

I left Millet with an impression so strong and vital that now, after a

lapse of twenty years, the work which he showed me, and the words which

he uttered, are as present as though it all had occurred yesterday. The

reverence which I then felt for this great man was born of his works, a

few of which I had seen in 1873 in Paris; and their constant study, and

the knowledge of his life and character gained since then, have

intensified this feeling.

[Illustration: THE SHEEP-SHEARERS. FROM A PAINTING BY JEAN FRANCOIS

MILLET.

Reproduced by permission of Braun, Clement & Co. A replica of Millet's

picture in the Salon of 1861, which is now owned by Mr. Quincy Shaw,

Boston, Massachusetts. Charles Jacque, who had quarrelled with Millet,

after seeing this picture, went to him and said: "We cannot be friends;

but I have come to say that you have painted a masterpiece."]

Jean Francois Millet was born October 4, 1814, in the hamlet of Gruchy,

a mere handful of houses which lie in a valley descending to the sea, in

the department of the Manche, not far from Cherbourg. He was the

descendant of a class which has no counterpart in England or America,

and which in his native France has all but disappeared. The rude

forefathers of our country may have in a degree resembled the French

peasant of Millet's youth; but their Protestant belief made them more

independent in thought, and the problems of a new country, and the lack

of stabilityinherent to the colonist, robbed them of the fanatical love

of the earth, which is perhaps the strongest trait of the peasant. Every

inch of the ground up to the cliffs above the sea, in Millet's country,

represented the struggle of man with nature; and each parcel of land,

every stone in the walls which kept the earth from being engulfed in the

floods beneath, bore marks of his handiwork. Small wonder, then, that

this rude people should engender the painter who has best expressed the

intimate relation between the man of the fields and his ally and foe,

the land which he subjugates, and which in turn enslaves him. The

inherent, almost savage, independence of the peasant had kept him freer

and of a nobler type than the English yokel even in the time before the

Revolution, and in the little hamlet where Millet was born, the great

upheaval had meant but little. Remote from the capital, cultivating land

which but for their efforts would have been abandoned as worthless,

every man was a land-owner in a small degree, and the patrimony of

Millet sufficed for a numerous family of which he was the eldest son.

Sufficed, that is, for a Spartan subsistence, made up of unrelaxing

toil, with few or no comforts, save those of a spiritual nature which

came in the guise of religion.

[Illustration: PEASANT REPOSING. FROM A PAINTING BY JEAN FRANCOIS

MILLET, EXHIBITED IN THE SALON OF 1863.

Reproduced by permission of Braun, Clement & Co. This picture, popularly

known as "The man with the hoe," was the cause of much discussion at the

time of its exhibition. Millet was accused of socialism; of inciting the

peasants to revolt; and from his quiet retreat in the country, he

defended himself in a letter to his friend Sensier as follows: "I see

very clearly the aureole encircling the head of the daisy, and the sun

which glows beyond, far, far over the country-side, its glory in the

skies; I see, not less clearly, the smoking plough-horses in the plain,

and in a rocky corner a man bent with labor, who groans as he works, or

who for an instant tries to straighten himself to catch his breath. The

drama is enveloped in splendor. This is not of my creation; the

expression, 'the cry of the earth,' was invented long ago."]

Millet was reared by his grandmother, such being the custom of the

country; the younger women being occupied in the service of the

mastering earth, and the elders, no longer able to go afield, bringing

up the children born to their children, who in turn replaced their

parents in the never-ending struggle. This grandmother, Louise Jumelin,

widow of Nicolas Millet, was a woman of great force of character, and

extremely devout. The most ordinary occupation of the day was made the

subject not of uttered prayer, for that would have entailed suspension

of her ceaseless activity, but of spiritual example tersely expressed,

which fell upon the fruitful soil of Millet's young imagination, and

left such a lastingimpression that to the end of his life his natural

expression was almost Biblical in character of language.

Another formative influence of this young life was that of a granduncle,

Charles Millet, a priest who, driven from his church by the Revolution,

had returned to his native village and taken up the simple life of his

people, without, however, abandoning his vocation. He was to be seen

behind his plough, his priest's robe gathered up about his loins, his

breviary in one hand, following the furrow up and down the undulating

fields which ran to the cliffs.

[Illustration: THE MILK-CARRIER. FROM A PAINTING BY JEAN FRANCOIS

MILLET.

Reproduced by permission of Braun, Clement & Co. Probably commenced at

Cherbourg, where Millet took refuge with his family during the

Franco-Prussian War, as Sensier mentions it on Millet's return. This

picture, or a replica of it (Millet was fond of repeating his subjects,

with slight changes in each case), was in his studio in 1873, and called

forth the remark quoted in the text, about the women in his country.]

Gifted with great strength, he piled up great masses of granite, to

reclaim a precious morsel of earth from the hungry maw of the sea;

lifting his voice, as he worked, in resonant chants of the church. He it

was who taught Millet to read; and, later, it was another priest, the

Abbe Jean Lebrisseux, who, in the intervals of the youth's work in the

fields, where he had early become an efficient aid to his father,

continued his instruction. With the avidity of intelligence Millet

profited by this instruction, not only in the more ordinary studies, but

in Latin, with the Bible and Virgil as text-books. His mind was also

nourished by the books belonging to the scanty library of his

granduncle. These were of a purely religious character--the "History of

the Saints," the "Confessions" of St. Augustine, the letters of St.

Jerome, and the works of Bossuet and Fenelon.

[Illustration: THE GLEANERS. FROM A PAINTING IN THE LOUVRE, BY JEAN

FRANCOIS MILLET, EXHIBITED IN THE SALON OF 1857.

"The three fates of pauperism" was the disdainful appreciation of Paul

de Saint-Victor on the first exhibition of this picture, while Edmond

About wrote: "The picture attracts one from afar by its air of grandeur

and serenity. It has the character of a religious painting. It is drawn

without fault, and colored without crudity; and one feels the August sun

which ripens the wheat." Sensier says: "The picture sold with difficulty

for four hundred dollars. What is it worth to-day?"]

In his father, whose strongest characteristic was an intense love of

nature, Millet found an unconscious influence in the direction which his

life was to follow. Millet recalled in after life that he would show him

a blade of grass or a flower, and say: "See how beautiful; how the

petals overlap; and the tree there, how strong and fine it is!" It was

his father who was attentive to the youth's first rude efforts, and who

encouraged him when the decisive step was to be taken, which Millet,

feeling that his labor in the fields was necessary to the common good of

the family, hesitated to take. The boy was in his eighteenth year when

his father said:

"My poor Francois, you are tormented between your desire to be an artist

and your duty to the family. Now that your brothers are growing, they

can take their turn in the fields. I have long wished that you could be

instructed in the craft of the painter, which I am told is so noble, and

we will go to Cherbourg and see what can be done."

[Illustration: THE ANGELES, MILLET'S MOST FAMOUS PICTURE.

Reproduced by permission of Braun, Clement & Co. Despite its fame, this

is distinctly not Millet's masterpiece. During his life it sold for

about ten thousand dollars, and later for one hundred and fifty

thousand.]

Thus encouraged, the boy made two drawings--one of two shepherds in

blouse and _sabots_, one listening while the other played a rustic

flute; and a second where, under a starlit sky, a man came from out a

house, carrying bread for a mendicant at his gate. Armed with these two

designs--typical of the work which in the end, after being led astray by

schools and popular taste, he was to do--the two peasants sought a local

painter named Mouchel at Cherbourg. After a moment of doubt as to the

originality of the youth's work, Mouchel offered to teach him all that

he knew.

Millet stayed with Mouchel some months. Then his father's death recalled

him home, where his honest spirit prompted him to remain as the eldest

son and head of the family, although his heart was less than ever in the

fields. But this the mother, brought up in the spirit of resignation,

would not allow him to do. "God has made you a painter. His will be

done. Your father, my Jean Louis, has said it was to be, and you must

return to Cherbourg."

Millet returned to Cherbourg, this time to the studio of one Langlois, a

pupil of Gros, who was the principalpainter of the little city. But

Langlois, like his first master, Mouchel, kept him at work copying

either his own studies or pictures in the city museum. After a few

months, though, he had the honesty to recognize that his pupil needed

more efficientinstruction than he could give him, and in August, 1836,

he addressed a petition to the mayor and common council of the city of

Cherbourg, who took the matter into consideration, and, with the

authorities of the department, voted a sum of one thousand francs--two

hundred dollars--as a yearlyallowance to Millet, in order that he might

pursue his studies in Paris. Langlois in his petition asks that he be

permitted to "raise without fear the veil of the future, and to assure

the municipal council a place in the memory of the world for having been

the first to endow their country with one more great name."

Grandiloquent promise has often been made without result; but one must

admire the hard-headed Norman councillors who, representing a little

provincial city which in 1884 had but thirty-six thousand inhabitants,

gave even this modest sum to assure a future to one who might reflect

honor on his country.

[Illustration: NESTLINGS. FROM A PAINTING BY JEAN FRANCOIS MILLET, IN

THE MUSEUM AT LILLE.

Reproduced by permission of Braun, Clement & Co. A notableinstance of

the scope of Millet's power, as tender in depicting children as it is

austere in "The Gleaners."]

With a portion, of this allowance, and a small addition from the

"economies" of his mother and grandmother, Millet went to Paris in 1837.

The great city failed to please the country-bred youth, and, indeed,

until the end of his life, Millet disliked Paris. I remember his saying

that, on his visits from Barbizon to the capital, he was happy on his

arrival at the station, but when he arrived at the column of the

Bastille, a few squares within the city, the _mal du pays_ took him

by the throat.

At first he spent all his time in the Louvre, which revealed to him what

the little provincial museum of Cherbourg had but faintly suggested.

Before long, however, he entered the studio of Paul Delaroche, who was

the popular master of the time. There he won the sobriquet of the "man

of the woods," from a savage taciturnity which was his defence in the

midst of the _atelier_ jokes. He had come to work, and to work he

addressed himself, with but little encouragement from master or

comrades. Strong as a young Hercules, with a dignity which never forsook

him, his studies won at least the success of attention. When a favorite

pupil of the master remonstrated that his men and women were hewed from

stone, Millet replied tranquilly, "I came here because there are Greek

statues and living men and women to study from, not to please you or any

one. Do I preoccupy myself with your figures made of honey and butter?"

Delaroche, won by the strength of the man, at length unbent, and showed

him such favor as a commonplace mind could accord to native superiority.

He advised him to compete for the Prix de Rome, warning him, however,

that whatever might be the merit of his work, he could not take it that

year, as it was arranged that another, approaching the limit of age,

must have it. This revolted the simple nature of Millet, who refused to

compete, and left the school.

A return to Cherbourg, where he married his first wife, who died at the

end of two years; another sojourn in Paris, and a visit home of some

duration; a number of portraits and pictures painted in Cherbourg and

Havre, in which his talent was slowly asserting itself, brings us to

1845, when he remarried. Returning to Paris with his wife, he remained

there until 1849, when he went to Barbizon "for a time," which was

prolonged to twenty-seven years.

In all the years preceding his final return to the country, Millet was

apparently undecided as to the definitecharacter of his work. Out of

place in a city, more or less influenced by his comrades in art, and

forced to follow in a degree the dictation of necessity in the choice of

subject, as his brush was his only resource and his family constantly

increasing, his work of this period is always tentative. In painting it

is luscious in color and firmly drawn and modelled, but it lacks the

perception of truth which, when once released from the bondage of the

city, began to manifest itself in his work. The first indication of the

future Millet is in a picture in the Salon of 1848, "The Winnower,"

which has, in subject at least, much the character of the work which

followed his establishment at Barbizon. For the rest, although the world

is richer in beautiful pictures of charmingly painted nymphs, and of

rustic scenes not altogetherdevoid of a certain artificiality, and in

at least one masterly mythological picture of Oedipus rescued from the

tree, through Millet's activity in these years, yet his work, had it

continued on this plane, would have lacked the high significance which

the next twenty-five years were to show.


生词表:
  • intelligence [in´telidʒəns] 移动到这儿单词发声  n.智力;消息   (初中英语单词)
  • painter [´peintə] 移动到这儿单词发声  n.画家;(油)漆工   (初中英语单词)
  • nevertheless [,nevəðə´les] 移动到这儿单词发声  conj.&ad.然而;不过   (初中英语单词)
  • consideration [kən,sidə´reiʃən] 移动到这儿单词发声  n.考虑;原因;体谅   (初中英语单词)
  • slightly [´slaitli] 移动到这儿单词发声  ad.轻微地;细长的   (初中英语单词)
  • spectacle [´spektəkəl] 移动到这儿单词发声  n.展览;表演;景象   (初中英语单词)
  • youthful [´ju:θfəl] 移动到这儿单词发声  a.年轻的;青年的   (初中英语单词)
  • enthusiasm [in´θju:ziæzəm] 移动到这儿单词发声  n.热心;狂热;爱好   (初中英语单词)
  • modest [´mɔdist] 移动到这儿单词发声  a.谦虚的;朴素的   (初中英语单词)
  • recognition [,rekəg´niʃən] 移动到这儿单词发声  n.认出;认识;承认   (初中英语单词)
  • impression [im´preʃən] 移动到这儿单词发声  n.印刷;印象;效果   (初中英语单词)
  • yesterday [´jestədi] 移动到这儿单词发声  n.&ad.昨天;前不久   (初中英语单词)
  • constant [´kɔnstənt] 移动到这儿单词发声  a.坚定的;坚贞的   (初中英语单词)
  • character [´kæriktə] 移动到这儿单词发声  n.特性;性质;人物;字   (初中英语单词)
  • painting [´peintiŋ] 移动到这儿单词发声  n.绘画;(油)画;着色   (初中英语单词)
  • permission [pə´miʃən] 移动到这儿单词发声  n.允许;同意;许可   (初中英语单词)
  • valley [´væli] 移动到这儿单词发声  n.谷;河谷;流域   (初中英语单词)
  • belief [bi´li:f] 移动到这儿单词发声  n.相信;信仰,信条   (初中英语单词)
  • peasant [´pezənt] 移动到这儿单词发声  n.农民;庄稼人   (初中英语单词)
  • parcel [´pɑ:sl] 移动到这儿单词发声  n.包裹;一批 vt.区分   (初中英语单词)
  • savage [´sævidʒ] 移动到这儿单词发声  a.野蛮的 n.蛮人   (初中英语单词)
  • independence [,indi´pendəns] 移动到这儿单词发声  n.独立,自主,自立   (初中英语单词)
  • remote [ri´məut] 移动到这儿单词发声  a.遥远的;偏僻的   (初中英语单词)
  • spiritual [´spiritʃuəl] 移动到这儿单词发声  a.精神(上)的;神圣的   (初中英语单词)
  • discussion [di´skʌʃən] 移动到这儿单词发声  n.讨论;辩论   (初中英语单词)
  • revolt [ri´vəult] 移动到这儿单词发声  v.&n.反抗;起义;反叛   (初中英语单词)
  • retreat [ri´tri:t] 移动到这儿单词发声  v.&n.退却;撤退;放弃   (初中英语单词)
  • instant [´instənt] 移动到这儿单词发声  a.立即的 n.紧迫;瞬间   (初中英语单词)
  • breath [breθ] 移动到这儿单词发声  n.呼吸;气息   (初中英语单词)
  • splendor [´splendə] 移动到这儿单词发声  n.壮丽 =splendour   (初中英语单词)
  • creation [kri´eiʃən] 移动到这儿单词发声  n.创作;作品;创造   (初中英语单词)
  • grandmother [´græn,mʌðə] 移动到这儿单词发声  n.(外)祖母   (初中英语单词)
  • occupation [,ɔkju´peiʃən] 移动到这儿单词发声  a.职业的;军事占领的   (初中英语单词)
  • imagination [i,mædʒi´neiʃən] 移动到这儿单词发声  n.想象(力)   (初中英语单词)
  • priest [pri:st] 移动到这儿单词发声  n.教士;牧师;神父   (初中英语单词)
  • driven [´driv(ə)n] 移动到这儿单词发声  drive 的过去分词   (初中英语单词)
  • refuge [´refju:dʒ] 移动到这儿单词发声  v.&n.避难(所);庇护   (初中英语单词)
  • instruction [in´strʌkʃən] 移动到这儿单词发声  n.教育;训练;指导   (初中英语单词)
  • purely [´pjuəli] 移动到这儿单词发声  ad.仅仅;简单地   (初中英语单词)
  • attentive [ə´tentiv] 移动到这儿单词发声  a.注意的;殷勤的   (初中英语单词)
  • despite [di´spait] 移动到这儿单词发声  prep.尽管   (初中英语单词)
  • distinctly [di´stiŋktli] 移动到这儿单词发声  ad.清楚地,明晰地   (初中英语单词)
  • principal [´prinsəpəl] 移动到这儿单词发声  a.主要的 n.负责人   (初中英语单词)
  • allowance [ə´lauəns] 移动到这儿单词发声  n.津贴;配给量;考虑   (初中英语单词)
  • instance [´instəns] 移动到这儿单词发声  n.例子,实例,例证   (初中英语单词)
  • portion [´pɔ:ʃən] 移动到这儿单词发声  n.嫁妆;命运 vt.分配   (初中英语单词)
  • addition [ə´diʃən] 移动到这儿单词发声  n.加;加法;附加物   (初中英语单词)
  • column [´kɔləm] 移动到这儿单词发声  n.柱;柱状物;纵队   (初中英语单词)
  • dignity [´digniti] 移动到这儿单词发声  n.尊严,尊贵;高官显贵   (初中英语单词)
  • accord [ə´kɔ:d] 移动到这儿单词发声  n.&vi.符合 vt.给与   (初中英语单词)
  • compete [kəm´pi:t] 移动到这儿单词发声  v.比赛,竞争,对抗   (初中英语单词)
  • whatever [wɔt´evə] 移动到这儿单词发声  pron.&a.无论什么   (初中英语单词)
  • talent [´tælənt] 移动到这儿单词发声  n.天才;才干;天资   (初中英语单词)
  • definite [´definit] 移动到这儿单词发声  a.确定的,明确的   (初中英语单词)
  • resource [ri´zɔ:s] 移动到这儿单词发声  n.手段;智谋   (初中英语单词)
  • firmly [´fə:mli] 移动到这儿单词发声  ad.坚固地,稳定地   (初中英语单词)
  • indication [,indi´keiʃən] 移动到这儿单词发声  n.指示;征兆,迹象   (初中英语单词)
  • establishment [i´stæbliʃmənt] 移动到这儿单词发声  n.建(成)立;研究所   (初中英语单词)
  • altogether [,ɔ:ltə´geðə] 移动到这儿单词发声  ad.完全;总而言之   (初中英语单词)
  • melancholy [´melənkəli] 移动到这儿单词发声  n.忧郁 a.忧郁的   (高中英语单词)
  • contemporary [kən´tempərəri] 移动到这儿单词发声  a.&n.同时代的(人)   (高中英语单词)
  • concerning [kən´sə:niŋ] 移动到这儿单词发声  prep.关于   (高中英语单词)
  • reception [ri´sepʃən] 移动到这儿单词发声  n.接待;欢迎;招待会   (高中英语单词)
  • stricken [´strikən] 移动到这儿单词发声  strike的过去分词   (高中英语单词)
  • dignified [´dignifaid] 移动到这儿单词发声  a.尊贵的   (高中英语单词)
  • reverence [´revərəns] 移动到这儿单词发声  n.尊敬;敬畏;尊严   (高中英语单词)
  • studio [´stju:diəu] 移动到这儿单词发声  n.画室;照相室   (高中英语单词)
  • seeing [si:iŋ] 移动到这儿单词发声  see的现在分词 n.视觉   (高中英语单词)
  • hamlet [´hæmlit] 移动到这儿单词发声  n.村庄   (高中英语单词)
  • handful [hændful] 移动到这儿单词发声  n.一把,少数,一小撮   (高中英语单词)
  • protestant [´prɔtistənt] 移动到这儿单词发声  a.新教的 n.新教徒   (高中英语单词)
  • colonist [´kɔlənist] 移动到这儿单词发声  n.移住民   (高中英语单词)
  • eldest [´eldist] 移动到这儿单词发声  a.最年长的   (高中英语单词)
  • exhibition [eksi´biʃ(ə)n] 移动到这儿单词发声  n.展览;显示;表演   (高中英语单词)
  • straighten [´streitn] 移动到这儿单词发声  v.弄直;矫正;整理   (高中英语单词)
  • fruitful [´fru:tfəl] 移动到这儿单词发声  a.成功的;丰富的   (高中英语单词)
  • lasting [´lɑ:stiŋ] 移动到这儿单词发声  a.持久的;永远的   (高中英语单词)
  • plough [plau] 移动到这儿单词发声  n.耕地 v.犁   (高中英语单词)
  • granite [´grænit] 移动到这儿单词发声  n.花岗岩   (高中英语单词)
  • efficient [i´fiʃənt] 移动到这儿单词发声  a.有效的,有能力的   (高中英语单词)
  • scanty [´skænti] 移动到这儿单词发声  a.贫乏的;节省的   (高中英语单词)
  • appreciation [ə,pri:ʃi´eiʃən] 移动到这儿单词发声  n.评价;感激   (高中英语单词)
  • characteristic [,kæriktə´ristik] 移动到这儿单词发声  a.特有的 n.特性   (高中英语单词)
  • intense [in´tens] 移动到这儿单词发声  a.强烈的;紧张的   (高中英语单词)
  • unconscious [ʌn´kɔnʃəs] 移动到这儿单词发声  a.无意识的;不觉察的   (高中英语单词)
  • honesty [´ɔnisti] 移动到这儿单词发声  n.诚实,老实   (高中英语单词)
  • petition [pi´tiʃən] 移动到这儿单词发声  n.请愿 vt.向…请愿   (高中英语单词)
  • municipal [mju:´nisipəl] 移动到这儿单词发声  a.市政的;地方性的   (高中英语单词)
  • hard-headed [´hɑ:dhedid] 移动到这儿单词发声  a.头脑冷静的   (高中英语单词)
  • notable [´nəutəbəl] 移动到这儿单词发声  a.显著的 n.名人   (高中英语单词)
  • faintly [´feintli] 移动到这儿单词发声  ad.微弱地,软弱无力的   (高中英语单词)
  • encouragement [in´kʌridʒmənt] 移动到这儿单词发声  n.鼓励;赞助;引诱   (高中英语单词)
  • hercules [´hə:kjuli:z] 移动到这儿单词发声  n.大力神   (高中英语单词)
  • manifest [´mænifest] 移动到这儿单词发声  a.明显的 v.表明   (高中英语单词)
  • significance [sig´nifikəns] 移动到这儿单词发声  n.意义;重要性   (高中英语单词)
  • conscientious [,kɔnʃi´enʃəs] 移动到这儿单词发声  a.认真的;谨慎的   (英语四级单词)
  • stability [stə´biliti] 移动到这儿单词发声  n.稳定;巩固;坚定   (英语四级单词)
  • furrow [´fʌrəu] 移动到这儿单词发声  n.沟 vt.犁;使起皱纹   (英语四级单词)
  • morsel [´mɔ:səl] 移动到这儿单词发声  n.佳肴 vt.少量地分配   (英语四级单词)
  • decisive [di´saisiv] 移动到这儿单词发声  a.决定性的,确定的   (英语四级单词)
  • masterpiece [´mɑ:stəpi:s] 移动到这儿单词发声  n.杰作;杰出的事   (英语四级单词)
  • astray [ə´strei] 移动到这儿单词发声  ad.&a.在歧途上(的)   (英语四级单词)
  • yearly [´jiəli] 移动到这儿单词发声  a.每年的;一年间的   (英语四级单词)
  • provincial [prə´vinʃəl] 移动到这儿单词发声  a.省的 n.外省人   (英语四级单词)
  • commonplace [´kɔmənpleis] 移动到这儿单词发声  a.平凡的;常见的   (英语四级单词)
  • warning [´wɔ:niŋ] 移动到这儿单词发声  n.警告;前兆 a.预告的   (英语四级单词)
  • sojourn [´sɔdʒə:n] 移动到这儿单词发声  vi.&n.旅居;逗留   (英语四级单词)
  • preceding [pri(:)´si:diŋ] 移动到这儿单词发声  a.在先的;前面的   (英语四级单词)
  • bondage [´bɔndidʒ] 移动到这儿单词发声  n.奴役;束缚   (英语四级单词)
  • equation [i´kweiʃən] 移动到这儿单词发声  n.等式,方程式   (英语六级单词)
  • impersonal [im´pə:sənəl] 移动到这儿单词发声  a.不受个人感情影响的   (英语六级单词)
  • registration [,redʒi´streiʃən] 移动到这儿单词发声  n.登记(证);挂号   (英语六级单词)
  • rudely [´ru:dli] 移动到这儿单词发声  ad.粗鲁地;粗略地   (英语六级单词)
  • inherent [in´hiərənt] 移动到这儿单词发声  a.固有的,天生的   (英语六级单词)
  • abandoned [ə´bændənd] 移动到这儿单词发声  a.被抛弃的;无约束的   (英语六级单词)
  • subsistence [səb´sistəns] 移动到这儿单词发声  n.生存;生计;生活费   (英语六级单词)
  • socialism [´səuʃəlizəm] 移动到这儿单词发声  n.社会主义   (英语六级单词)
  • devout [di´vaut] 移动到这儿单词发声  a.虔诚的;热心的   (英语六级单词)
  • ceaseless [´si:slis] 移动到这儿单词发声  a.不绝的,不停的   (英语六级单词)
  • vocation [vəu´keiʃən] 移动到这儿单词发声  n.职业;使命;天职   (英语六级单词)
  • august [ɔ:´gʌst] 移动到这儿单词发声  a.尊严的;威严的   (英语六级单词)
  • luscious [´lʌʃəs] 移动到这儿单词发声  a.味道甘美的   (英语六级单词)
  • devoid [di´vɔid] 移动到这儿单词发声  a.无…的,缺…的   (英语六级单词)

  • 上传人 欢乐鱼 分享于 2017-06-26 18:17:00
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