| 单词 | 狄更斯 |
| 释义 | 〔Cruikshank〕British caricaturist and illustrator of the works of Charles Dickens and other novelists.克鲁辛格，乔治：(1792-1878) 英国漫画家和插图画家，曾为查尔斯·狄更斯和其他小说家的作品作画〔cadaverous〕"I saw a cadaverous face appear at a small window"(Charles Dickens)“我看到小窗口处出现了一张没有血色的面孔”(查尔斯·狄更斯)〔Pecksniffian〕After Seth Pecksniff , a character in Martin Chuzzlewit , a novel by Charles Dickens 源自 Pecksniff ，小说 马丁·图兹列维特 中的一个人物，由查尔斯·狄更斯著 〔riddance〕"Compeyson took it easy as a good riddance for both sides"(Charles Dickens)“康姆派森轻松地认为，它对双方都是一个很好的解脱”(查尔斯·狄更斯)〔dark〕"the narrow crevice of one good deed in a murky life of guilt" (Charles Dickens). “在罪恶糊涂的一生中，仅有的一件好事” （查尔斯·狄更斯）。〔nimble〕"quick of foot" (Charles Dickens).“脚步灵敏” （查尔斯·狄更斯）。〔behavior〕“[Old Mr. Turveydrop] was not like anything in the world but a model of Deportment" (Charles Dickens). “ 是世界上行为的楷模” （查尔斯·狄更斯）〔abstracted〕"He eyed the coming tide with an absorbed attention" (Charles Dickens). “他全神贯注地凝视着前涌的潮水。” （查尔斯·狄更斯）。〔ecstasy〕"Oliver would sit . . . listening to the sweet music, in a perfect rapture" (Charles Dickens).“奥列佛坐着倾听那甜美的音乐，心情极为欢喜” （查尔斯·狄更斯）。〔ideal〕"Our fellow countryman is a model of a man" (Charles Dickens).Anexample is a model that is likely to be imitated; the term often refers to something that servesrather as a deterrent or warning than as something to be emulated: “我们的同胞是人类的典范” （查尔斯·狄更斯）。example 一词也是指为人们模仿的； 它往往不是供人们学习的，而是作为反面例子起防止或警告作用的： 〔mealy〕"I only know two sorts of boys. Mealy boys, and beef-faced boys"(Charles Dickens)“我只知道两种男孩，脸色苍白的和胖得满脸横肉的”(查尔斯·狄更斯)〔mutual〕Mutual is uncontroversially used to describe a reciprocal relationship between two or more things, in which use it can be paraphrased by expressions involvingbetween or each other. Thustheir mutual animosity means "their animosity for each other" or "the animosity between them,” anda mutual defense treaty is one in which each party agrees to come to the defense of the other. Butmutual is also widely used where one might expect "common,” as inThe bill serves the mutual interests of management and labor and particularly in the expressionour mutual friend, which was widespread even before Charles Dickens used it as the title of a novel.Critics have often objected to this use,but it is well established in reputable writing.However,mutual in this latter sense is reserved to describe relations that hold between two or more specific parties and a third person or thing. It cannot be used as a substitute forcommon in the sense "general": Mutual 毫无争议地被用来描述两者或者更多事物之间的相互关系， 可以用一些包括between 或 each other 的表达来解释。 因此他们相互的敌意 意思为“他们彼此之间产生的敌意”或者“他们之间的敌意”， 相互防御条约 意为一个政党同意帮助另一政党进行防御的条约。 但是Mutual 也广泛地用来表示“共同的”， 就象在这个议案满足劳资双方的需要。 特别是在短语我们共同的朋友， 甚至在查理·狄更斯把它作为一本小说名之前就已经广泛应用。评论家们一直以来常常反对这种用法，但是在规范的写作中它已被完全确定下来了。但是mutual 后来产生的意思被用来描述两个或者更多特定元素及物和第三者之间的关系。 当意为“普遍的”时，它不能代替common 来表述“总体”的含义： 〔weird〕"The person of the house gave a weird little laugh" (Charles Dickens). “房子里的人奇怪地笑了笑” （查尔斯·狄更斯）。 〔comprise〕"The word ‘politics’ . . . comprises, in itself, a difficult study of no inconsiderable magnitude"(Charles Dickens)See Synonyms at include “‘政治学’这个词本身就包含了复杂广大的学问”(查尔斯·狄更斯) 参见 include〔misattribute〕misattributed the quotation to Dickens.将狄更斯的引言张冠李戴了〔stir〕"His wrath so stirred within him, that he could have struck him dead"(Charles Dickens)“愤怒在他的心中澎湃，简直想把他打死”(查尔斯·狄更斯)〔powerful〕In the upper southern United States the wordspowerful and mighty are intensives used frequently like the adverb very : Your boy's grown powerful big.The new baby is mighty purty.Powerfulis used as an adjective in some expressions: The storm did a powerful lot of harm. In the same dialect regionthe nounpower has, in addition to its standard meaning, the sense of "a large number or amount.”This sense appears in theOxford English Dictionary as common in dialectal British English of the 18th and 19th centuries: "It has done a power of work" (Charles Dickens).All these derivative senses ofpower and might take advantage of the notion of strength inherent in these nouns, making them natural intensives. Colloquial English is always on the lookout for ways to make language more vivid with new intensives.We think of the upper southern part of the United States as linguistically conservative,but in fact it has preserved uses ofpower, powerful, and mighty that were innovative in their time. 在美国中南部powerful 及 mighty 这两个词用作强调词并与 very 一样用得很频繁： 你的儿子已长得很大了。新生儿非常干净。Powerful在有些表达中还用作形容词： 这暴风造成巨大灾害。 在同一方言区中，名词power 除了具有标准含义外， 还有“大的数字或数量”之意。该意义出现在牛津英语词典 中， 在18世纪及19世纪的英国英语方言中使用也十分普遍： “它已做了大量工作” （查尔斯·狄更斯）。所有power 及 might 的这些衍生意义都利用两个名词本身力量的含义而使它们成为强调词。 英语口语一直在寻求途径以运用新的强调词，使语言变得更为生动。我们认为美国中南部在语言的使用上是很保守的，但事实上，这部分地区却保留了在当时十分创新的power，powerful 及 mighty 的用法 〔kind〕The use of the plural demonstrativesthese and those with kind and sort, as inthese kind (or sort ) of films, has been a traditional bugbear of American grammarians. By and large,British grammarians have been more tolerant,and the construction can be found in the works of British writers from Pope to Dickens to Churchill.Grammatically, the question boils down towhetherkind and sort should be treated as head nouns (analogous to species or variety, for example) or whether they have become semantically weakened to the status of a sort of phrasal quantifierthat functions like an adjective,analogous in some ways tobunch and number in expressions such asa bunch of friends, a number of reasons. Ifkind and sort are unambiguously nouns, one would expect to see only singular demonstratives and singular verbs accompanying them: 复数形式的指示代词these 和 those 与 kind 和 sort 的用法， 如these kind （或 sort ） of films， 成为美国语法专家长期感到头痛的问题。 总的说来，英国语法专家对此更能容忍，这一句法结构可以在从蒲柏到狄更斯以至丘吉尔这些英国作家的著作中找到。在语法上，问题归结起来是，是否kind 和 sort 应当作中心词名词（例如，与 species 或 variety 类似）， 或者是否他们语义上减弱到一种数量词短语的地位，其功能像一个形容词，某些方面类似于bunch 和 number ， 其表述例如一群朋友，一大堆理由。 如果kind 和 sort 是明确的名词， 人们应该希望只看到单数指示代词和与之相伴的单数动词： 〔Dickens〕British writer known for his tales of Victorian life and times. Immensely popular both then and now, his works includeThe Pickwick Papers (1836-1837), Oliver Twist (1837-1838), and David Copperfield (1849-1850). 狄更斯，查尔斯·约翰·胡法姆：(1812-1870) 英国作家，他以描写维多利亚女王时代的生活和境况而出名，过去和现在都很受欢迎。他的作品有《匹克·威克外传》 （1836-1837年）， 《双城记》 （1837-1838年）以及 《大卫·科波菲尔》 （1849-1850年） 〔alone〕"You must keep up your spirits, mother, and not be lonesome because I'm not at home" (Charles Dickens). “你一定要振作精神，妈妈，不要因为我不在家就感到孤单” （查尔斯·狄更斯）。〔artifice〕“‘It was all false, of course?’ ‘All, sir,’ replied Mr. Weller, ‘ . . . artful dodge’” (Charles Dickens). “‘这全是假的，当然?’‘全是，先生，’韦勒先生答道，‘…狡猾的诡计’” （查尔斯·狄更斯）〔mirth〕"Fan the sinking flame of hilarity with the wing of friendship;and pass the rosy wine" (Charles Dickens). “用友谊将正在熄灭的欢乐火焰重新扇起；并传递着玫瑰色的美酒” （查理斯·狄更斯）。〔vivacity〕"the light and vivacity that laugh in the eyes of a child"(Charles Dickens)“在孩子们眼中欢笑的亮光和活力”(查尔斯·狄更斯)〔moment〕"He was on his stool in a jiffy, driving away with his pen" (Charles Dickens). “眨眼间他坐到了凳子上，用他的钢笔奋力工作” （查尔斯·狄更斯）。 〔Zweig〕Austrian writer of poetry, fiction, and sensitive psychoanalytic biographies, notablyThree Masters (1920), a study of Balzac, Dickens, and Dostoyevsky. 茨韦格，斯忒藩：(1881-1942) 奥地利作家，内容有诗歌、小说、敏感的精神分析传记文学，有名的《三位巨匠》 （1920年），曾研究过巴尔扎克、狄更斯和陀思妥耶夫斯基 〔mercy〕"When you have gone too far to recede, do not sue [appeal] to me for leniency" (Charles Dickens). “当你走得太远而不能回头时，就别再来 我的宽恕了” （查尔斯·狄更斯）。 〔pastiche〕"In . . . a city of splendid Victorian architecture . . . there is a rather pointless pastiche of Dickensian London down on the waterfront"(Economist)“在一座辉煌的维多利亚建筑式样的城市中…有一堆具有狄更斯笔下的伦敦特色的不相称的杂乱建筑物座落在滨水区”(经济学家)〔Scrooge〕After Ebenezer Scrooge , miserly protagonist of A Christmas Carol by Charles Dickens 源自爱博尼 Scrooge ， 圣诞颂歌 中吝啬的主人公，由查尔斯·狄更斯所著 〔haggard〕"I was shocked to see the worn look of his handsome young face" (Charles Dickens).“我看到他那张年轻英俊的脸上显出憔悴的神色，十分地吃惊” （查尔斯·狄更斯）。〔enclose〕"Every one of those darkly clustered houses encloses its own secret"(Charles Dickens)“那些黑压压聚集成群的房子每一幢都藏着它各自的秘密”(查尔斯·狄更斯)〔Browne〕British illustrator chosen by Charles Dickens to supply decorations for hisPickwick Papers (1836) and other serialized tales. 布朗，哈布洛特·奈特：(1815-1882) 英国插图画家，查尔斯·狄更斯选中他为《皮克威克外传》 （1836年）和其它连载故事作插图 〔overset〕"The news is sure to overset him"(Charles Dickens)“这条新闻肯定扰乱他的思想”(查尔斯·狄更斯)〔smattering〕"a smattering of everything, and a knowledge of nothing"(Charles Dickens)“对所有的事都略知一二，而真正的知识却一点也没有”(查尔斯·狄更斯)〔beg〕"Ask me no questions, I entreat you" (Charles Dickens). “不要问我问题，我恳求你” （查尔斯·狄更斯）。〔aggravate〕It is sometimes claimed thataggravate should be used only to mean "to make worse" and not "to irritate.” Based on this view it would be appropriate to sayThe endless wait for luggage aggravates the misery of modern air travel, but not It's the endless wait for luggage that aggravates me the most. But the latter use dates back as far as the 17th century and is accepted by 68 percent of the Usage Panel. As H.W. Fowler wrote, "the extension from aggravating a person's temper to aggravating the person himself is slight and natural,and when we are told that Wackford Squeers [in Dickens'sNicholas Nickleby ] pinched the boys in aggravating places we may reasonably infer that his choice of places aggravated both the pinches and the boys.”有时认为aggravate 应当只被用来表示“加重；使恶化”的意思而不表示“使恼火；激怒”。 根据这种观点，The endless wait for luggage aggravates the misery of modern air travel（无休止地等待行李加重了现代飞机旅行的困难） 这个句子是正确的，而 It's the endless wait for luggage that aggravates me the most（无休止地等待行李最为令我恼火） 这一句则不正确。 但是后一种用法可以追溯到17世纪，并且被百分之六十八的用法使用小组成员所接受。正如H·W·福勒写道，“从使一个人的脾气变得更坏到使一个人恼火的延伸是微小和自然的，当我们看到威克福特·斯贵尔斯［出自狄更斯的小说尼古拉斯·尼克尔贝 ］往令人恼火的地方拧孩子们时， 我们可以合理地推断出他所选择的地方既加剧了拧的疼痛又令孩子们大为恼火。”〔gamp〕After the umbrella of Mrs. Sarah Gamp , a character in the novel Martin Chuzzlewit by Charles Dickens 源自萨拉夫 Gamp 夫人的伞，他是小说 马丁·朱绪尔维特 中的人物，由查尔斯·狄更斯著 〔yield〕"The child . . . soon yielded to the drowsiness" (Charles Dickens).Torelent is to moderate the harshness or severity of an attitude or decision with respect to another over whom one has authority or influence: “这孩子…一会儿就支持不住昏昏欲睡了” （查尔斯·狄更斯）。relent 是指出于对处于自己权威和影响下的人的尊重而缓解某一制度或决定的苛刻或严格： |
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