(单词翻译:单击)
Plot summary
The events of the novel are mediated1 through two narrators:Lockwood opens and concludes, and we rely on Nelly Dean for the rest. The novel spans a period of forty years or so, charting the histories of three generations of the Earnshaws and Lintons. The central characters are Catherine Earnshaw and Heathcliff. Their frustrated2 and passionate3 relationship affects all around them, being the force driving the story forward, and continuing to dominate the lives of others beyond the grave.
Lockwood introduces himself at the beginning as Mr. Heathcliff's new tenant4, and we see his relationship with his landlord explored in the first three chapters. Lockwood is unsettled and disturbed during his stay, being at a loss as to how to deal with its inhabitants and experiencing a number of strange and visionary dreams. Attempting to leave, he gets lost in snow and is forced to rest until better. Here the narrative5 then passes to Nelly, who tells Lockwood of how Heathcliff came to Wuthering Heights. Heathcliff enters the Earnshaw family as a foundling, Mr. Earnshaw taking pity on the boy while on a visit to Liverpool. He is given the name of a dead son and treated as such by the father. Cathy and Heathcliff grow up as brother and sister. Their bond swiftly deepens after Cathy's initial resentment6, but Hindley Earnshaw, the son of Mr. Earnshaw and Cathy's real brother, never becomes reconciled to the intrusion. He sees Heathcliff's entrance into the family as a usurpation7 and leaves after being humiliated8 in a confrontation9. The death of Mr. Earnshaw brings the newly married Hindley back to reclaim10 the Heights. Seeking to degrade Heathcliff now, his desire to weaken their tie is given opportunity when Catherine is forced to spend five weeks at Thrushcross Grange, the house of the Lintons, after being bitten by their guard dog. Hindley is able now to avenge11 himself upon Heathcliff, insisting that he works as a labourer on his land after refusing him education. The boy's shame is compounded when Catherine returns to the Heights transformed into a lady, her friendship with Edgar and Isabella Linton making him intensely jealous. Her decision to marry Edgar, despite professing13 to Nelly her deeper love for Heathcliff, causes him to disappear from the Heights for three years. At the same time, Hindley's wife Frances gives birth to a son, Hareton, her death soon after pushing Hindley into a decline of self-destruction. Cathy's marriage to Edgar is markedly more subdued14 in comparison to her relationship with Heathcliff. Nelly Dean, the housekeeper15, moves with her to the Grange, able to chronicle the profound effect of Heathcliff's return later. He has become a man commanding respect and admiration16, captivating not only Catherine once more, but also Isabella. Edgar remains17 unwavering in his hatred18 of him.
Heathcliff stays at Wuthering Heights, gambling19 with his former enemy, Hindley. Isabella has now fallen in love with Heathcliff despite being warned of his violent nature by both Cathy and Nelly, and we become aware that Heathcliff sees in her his chance to seek revenge upon Edgar for denying him Cathy. This comes to a head in a violent argument between the two men, making Cathy ill. While she recuperates20 from this illness, Heathcliff courts and marries Isabella. Edgar disowns her. Nothing is heard of the couple for two months after their elopement until a letter from Isabella to Nelly informs us that they are back at the Heights. Bitterly unhappy, she begs Nelly to visit. The marriage was a regrettable sham12.
The second volume opens with a fierce and moving union between Heathcliff and Cathy, the obvious signs of her imminent21 death fuelling the desperate expression of their love. She dies that evening, giving birth to a daughter:Catherine. Taking advantage of Heathcliff's weakened and distracted state of mind, Isabella runs away to the South of England where she gives birth a few months later to a son, Linton Heathcliff. At this time, Hindley dies, leaving his son Hareton alone with Heathcliff. Heathcliff exploits this chance to take revenge upon Hindley for the abuses of his childhood, treating the boy as Hindley did him. Isabella's death brings Linton to Thrushcross Grange, briefly22 meeting his cousin and uncle before being summoned by his father. The younger Catherine's life at the Grange is closely protected, Linton's proximity23 kept hidden from her. However, on her sixteenth birthday she accidentally meets Heathcliff and Hareton on the moors24 and returns with them to Wuthering Heights. There, she is amazed to see Linton. Heathcliff sees in Catherine the chance to gain possession of both houses, through the marriage of her and his son. Though sick and irritable25, Catherine is fond of her cousin, and feels responsible for his happiness. This is unashamedly exploited by Heathcliff to serve his own ends. However, when Edgar finds out about Catherine's visit to the Heights he forbids her to go back. She transgresses27 by writing to her cousin instead, eventually sneaking28 out to see him undetected once again. Heathcliff's plans to marry the two are still in place, but they are pressurised by the decline of his son. Unable to
Chapter Summaries
VOLUME ONE
Chapter One
Lockwood informs us that he is about to visit his new landlord, Mr. Heathcliff. He is met with suspicion by the other characters and given a hostile reception not only by Heathcliff but also Heathcliff's servant, Joseph, and a female servant. However, this unwelcome reception does not deter29 our rather pompous30 narrator:he closes the chapter with an assertion that he will return the next day.
Chapter Two
Lockwood arrives at Wuthering Heights for a second time just as snow begins to fall. At first he cannot get in, and receives no help from Joseph. Hareton takes him round the back where he meets Cathy Heathcliff. Heathcliff explains that his wife and son are dead. Cathy is his daughter-in-law. Having been snowed in, Lockwood is forced to stay the night.
Chapter Three
Lockwood is shown to a forbidden room in which he finds the diary of Catherine. He experiences two disturbing dreams and meets the ghost of Catherine. His cries bring an agitated31 Heathcliff to the door. Lockwood returns to the Grange exhausted32.
Chapter Four
Resting in bed, Lockwood asks his housekeeper Nelly Dean to recount the history of the inhabitants of the Heights. She begins with Heathcliff's arrival as a boy, and the impact this had upon the Earnshaw family.
Chapter Five
Nelly charts the development of these relationships as the health of Mr. Earnshaw declines. Hindley, his son, leaves for college. The intense bond between Heathcliff and Cathy is referred to with disapproval33 by Nelly, and evinced when they comfort each other on finding their father dead.
Chapter Six
A now married Hindley returns to the Heights as master, taking advantage of his power to seek revenge on Heathcliff. Catherine and Haethcliff grow ever more closer and rebellious34, but are separated when Catherine is hurt in a scrape on the moors. She stays at the adjacent Thrushcross Grange until recovered.
Chapter Seven
Catherine returns to Wuthering Heights after five weeks. While she has been away, Hindley has further degraded Heathcliff, and coupled with Catherine's transformation35 into a lady, the boy feels depressed36 and isolated37. H e proclaims his intention to get back at Hindley for his treatment by him. The chapter closes with a short conversation between Nelly and Lockwood which reminds us this story is not being told to us first-hand.
Chapter Eight
Hindley's son Hareton is born, but the death of Frances, his wife, propels him towards violence and self- destruction. Edgar Linton's relationship with Cathy is introduced. Heathcliff is resentful and the tension escalates38 between the two young men.
Chapter Nine
Themes
Love
In the popular imagination, the relationship of Heathcliff and Cathy is seen as one of the greatest love stories in English literature. It is important to consider why. They never consummate39 their love, and so could the intensity40 of their feeling owe as much to frustration41 as deep feeling?If so, does this matter and is it proof of a deeper bond than those of marriage and sex?It is often overlooked that Heathcliff and Cathy are brought up as siblings42. Thus their relationship contravenes43 nearly all the social and moral boundaries imposed by familial roles. In The English Novel, Form and Function(1953), Dorothy Van Ghent drew attention to the significance of doors and windows throughout the novel, suggesting that they are representative of these boundaries. The symbolism is used to particular effect when Cathy is confined to her room in Volume 1, Chapter 12(the importance of this motif44 is explored in greater detail under the theme of'Nature').
Romantic allusions45 attached to the idea of'union'with another are pushed to the extreme. Heathcliff and Cathy attempt to conquer the separation enforced by death, but in doing so transgress26 many taboos46. Any sentimentalism invoked47 by Heathcliff's plans to be buried with Cathy is eroded48 by his morbid49 attempts to dig up her corpse50 for one last embrace. Similarly, Cathy's rejection51 of heaven and the implications of her ghost, as well as the legend of the lovers'ghosts wandering the moors, stress how the conventional barriers set up between dreams and reality, life and death, are always under threat.
The violence that colours relationships in the novel also characterizes Heathcliff and Cathy's expression of love. Bronte depicts53 the positive and negative attributes of violent natures, and is not afraid to depict52 raw emotion. However, paradoxically, the cruelty Heathcliff shows towards others does not diminish our belief in his capacity for love, nor the profundity54 of their relationship. In fact, it makes him more realistically human and therefore more attractive and sympathetic than the conventional romantic hero(see the charismatic Darcy in Pride and Prejudice).
However, considering the fact that Heathcliff loses all momentum55 for revenge towards the end of the book(and as he comes nearer to union with Cathy in death), it could be argued that Bronte is showing us that it is necessary for violence– whether channelled through hate or love– to be tempered if you are to achieve lasting56 happiness in the world. Forgiveness is first brought into the novel through Lockwood's dream at the beginning. The inability of characters to forgive others is shown to be the cause of deep unhappiness. Thus, Heathcliff's inability to forgive Cathy for marrying Edgar indirectly57 leads to her death;his failure to forgive Hindley for abusing him ricochets misery58 through subsequent generations. The marriage of Hareton and Catherine, then, can be seen as the resolution of the earlier tempestuous59 love of Heathcliff and Cathy, the younger lovers being tempered refined versions of the first.
Faith
Conventional religious faith is represented by Joseph, who imposes constraint60 on the inhabitants of Wuthering Heights, particularly Heathcliff and Cathy. The fact that he is unsympathetic and cruel has been taken as indication of Bronte's views concerning Christian61 teachings. Heathcliff's rebellion is marked by allusions to the devil, and the scene depicting62 him and Cathy looking in on Thrushcross Grange has been interpreted as the devil looking in on Adam and Eve in the Garden of Eden.
In line with Bronte's implied criticism of organized religion is the constancy of Heathcliff's love for Cathy. His marriage to Isabella and his efforts towards revenge do not lessen63 its impact;rather, they emphasize his fallibility and humanity, and this in turn serves only to elevate his love and faithfulness to Cathy's memory. Bronte depicts superior, transcendent emotions in flawed characters. Arguably she is presenting a freer alternative faith more focused on the individual. This idea is particularly intriguing64 in light of the prominence65 of nature in the novel.
Nature
Sample Questions
1)Discuss the role of Nelly Dean in Wuthering Heights.
In a novel the effect of a narrator gives the reader an intimate but subjective66 account of events. It removes the omniscience67 of the author and the possibility of objectivity. We can take nothing for granted and must be wary68 of forming judgements on the basis of what we are told and how we are told it.
Why should Bronte choose Nelly Dean as the narrator of Wuthering Heights?As a respected, educated servant, she is socially mobile. This enables her access to events and conversations. She is both a part of and removed from the action.
However, more importantly, she provides a contrast to the extreme emotions exhibited by Heathcliff and Cathy, making them believable. Remark upon the episode depicting Heathcliff's grief after Cathy's death.“Her life closed in a gentle dream - may she wake as kindly69 in the other world”is Nelly's word on the death while Heathcliff responds in a“sudden paroxysm of ungovernable passion”,“May she wake in torment…Catherine Earnshaw…do not leave me in this abyss, where I cannot find you”. The force of Heathcliff's emotion affects the reader more because of Nelly's sober, startled reaction that is juxtaposed with it. Similar is the role of Nelly when Cathy's declares her love for Edgar and Heathcliff. Catherine speaks in metaphors70 and with the false certainty originating in passion:“Nelly, I am Heathcliff…so don't speak of our separation again– it is impracticable;and…”. Nelly responds,“If I can make any sense of your nonsense, Miss…you are ignorant of the duties you undertake in marrying”and so on, in sober guidance. Close attention to the text shows how the pitch of Heathcliff and Cathy's language in relation to Nelly's is more taut71 and intense. Without her scepticism and baffled reactions, the reader would find it difficult to maintain empathy for and belief in these characters.
By making an'ordinary'woman relate extraordinary scenes, Bronte is also able to comment on conventional expectations of behaviour. Bronte gives herself license72 to make observations about social behaviour and their often rotten core with an ingenious vagueness and ambiguity73. See also Mary Shelley's Frankenstein(1818)for a similar technique of multiple narrative layers used partly to protect the unconventional views of a woman writing novels when women could not openly challenge society and male dominance in writing.
2)What is the significance of location for Wuthering Heights?
What is the effect of the title of the novel?It elevates the importance of location and intimates that this significantly affects the characters and events. Also gives greater significance to Wuthering Heights and its inhabitants.
Consider the depiction74 of Wuthering Heights and Thrushcross Grange. The former is representative of nature, the latter of culture and sophistication. Show how this is achieved in the imagery with the use of quotation75.
Then detail the implications of location for the characters of the novel:
a)The nature that surrounds each place is echoed in the inhabitants'natures.
b)Location is also a dynamic force, serving to affect and turn characters too:Isabella becomes bolder and less refined when at the Heights;Heathcliff becomes a'gentleman'when away from the raw uncivilized Heights.
Just as the erection of any boundary is undermined, so Bronte stresses the interplay between location and character, and how places serve to affect and feed emotions and behaviour. But this interaction is always under stress, and is epitomized in the title, with the openness and vagueness of the word Wuthering opposing the remoteness implied by Heights.
3)Wuthering Heights has been described as irreligious. Do you agree?
Joseph is the voice of conventional, organized religion, but he is portrayed76 as a pious77 and cruel man. Therefore this may suggests that Bronte is critical of Christian teaching or at least the men who represent it.
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mediated
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调停,调解,斡旋( mediate的过去式和过去分词 ); 居间促成; 影响…的发生; 使…可能发生 | |
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frustrated
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adj.挫败的,失意的,泄气的v.使不成功( frustrate的过去式和过去分词 );挫败;使受挫折;令人沮丧 | |
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passionate
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adj.热情的,热烈的,激昂的,易动情的,易怒的,性情暴躁的 | |
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tenant
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n.承租人;房客;佃户;v.租借,租用 | |
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narrative
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n.叙述,故事;adj.叙事的,故事体的 | |
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resentment
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n.怨愤,忿恨 | |
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usurpation
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n.篡位;霸占 | |
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humiliated
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感到羞愧的 | |
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confrontation
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n.对抗,对峙,冲突 | |
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reclaim
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v.要求归还,收回;开垦 | |
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avenge
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v.为...复仇,为...报仇 | |
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sham
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n./adj.假冒(的),虚伪(的) | |
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professing
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声称( profess的现在分词 ); 宣称; 公开表明; 信奉 | |
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subdued
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adj. 屈服的,柔和的,减弱的 动词subdue的过去式和过去分词 | |
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housekeeper
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n.管理家务的主妇,女管家 | |
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admiration
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n.钦佩,赞美,羡慕 | |
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remains
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n.剩余物,残留物;遗体,遗迹 | |
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hatred
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n.憎恶,憎恨,仇恨 | |
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gambling
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n.赌博;投机 | |
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recuperates
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v.恢复(健康、体力等),复原( recuperate的第三人称单数 ) | |
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imminent
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adj.即将发生的,临近的,逼近的 | |
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briefly
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adv.简单地,简短地 | |
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proximity
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n.接近,邻近 | |
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moors
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v.停泊,系泊(船只)( moor的第三人称单数 ) | |
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irritable
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adj.急躁的;过敏的;易怒的 | |
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transgress
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vt.违反,逾越 | |
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transgresses
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n.超越( transgress的名词复数 );越过;违反;违背v.超越( transgress的第三人称单数 );越过;违反;违背 | |
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sneaking
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a.秘密的,不公开的 | |
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deter
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vt.阻止,使不敢,吓住 | |
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pompous
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adj.傲慢的,自大的;夸大的;豪华的 | |
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agitated
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adj.被鼓动的,不安的 | |
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exhausted
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adj.极其疲惫的,精疲力尽的 | |
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disapproval
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n.反对,不赞成 | |
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rebellious
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adj.造反的,反抗的,难控制的 | |
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transformation
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n.变化;改造;转变 | |
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depressed
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adj.沮丧的,抑郁的,不景气的,萧条的 | |
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isolated
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adj.与世隔绝的 | |
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escalates
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v.(使)逐步升级( escalate的第三人称单数 );(使)逐步扩大;(使)更高;(使)更大 | |
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consummate
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adj.完美的;v.成婚;使完美 [反]baffle | |
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intensity
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n.强烈,剧烈;强度;烈度 | |
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frustration
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n.挫折,失败,失效,落空 | |
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siblings
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n.兄弟,姐妹( sibling的名词复数 ) | |
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contravenes
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v.取消,违反( contravene的第三人称单数 ) | |
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motif
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n.(图案的)基本花纹,(衣服的)花边;主题 | |
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allusions
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暗指,间接提到( allusion的名词复数 ) | |
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taboos
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禁忌( taboo的名词复数 ); 忌讳; 戒律; 禁忌的事物(或行为) | |
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invoked
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v.援引( invoke的过去式和过去分词 );行使(权利等);祈求救助;恳求 | |
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eroded
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adj. 被侵蚀的,有蚀痕的 动词erode的过去式和过去分词形式 | |
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morbid
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adj.病的;致病的;病态的;可怕的 | |
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corpse
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n.尸体,死尸 | |
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rejection
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n.拒绝,被拒,抛弃,被弃 | |
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depict
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vt.描画,描绘;描写,描述 | |
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depicts
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描绘,描画( depict的第三人称单数 ); 描述 | |
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profundity
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n.渊博;深奥,深刻 | |
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momentum
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n.动力,冲力,势头;动量 | |
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lasting
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adj.永久的,永恒的;vbl.持续,维持 | |
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indirectly
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adv.间接地,不直接了当地 | |
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misery
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n.痛苦,苦恼,苦难;悲惨的境遇,贫苦 | |
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tempestuous
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adj.狂暴的 | |
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constraint
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n.(on)约束,限制;限制(或约束)性的事物 | |
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Christian
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adj.基督教徒的;n.基督教徒 | |
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depicting
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描绘,描画( depict的现在分词 ); 描述 | |
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lessen
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vt.减少,减轻;缩小 | |
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intriguing
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adj.有趣的;迷人的v.搞阴谋诡计(intrigue的现在分词);激起…的好奇心 | |
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prominence
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n.突出;显著;杰出;重要 | |
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subjective
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a.主观(上)的,个人的 | |
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omniscience
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n.全知,全知者,上帝 | |
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wary
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adj.谨慎的,机警的,小心的 | |
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kindly
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adj.和蔼的,温和的,爽快的;adv.温和地,亲切地 | |
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metaphors
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隐喻( metaphor的名词复数 ) | |
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taut
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adj.拉紧的,绷紧的,紧张的 | |
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license
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n.执照,许可证,特许;v.许可,特许 | |
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ambiguity
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n.模棱两可;意义不明确 | |
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depiction
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n.描述 | |
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quotation
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n.引文,引语,语录;报价,牌价,行情 | |
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portrayed
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v.画像( portray的过去式和过去分词 );描述;描绘;描画 | |
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pious
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adj.虔诚的;道貌岸然的 | |
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