GRE经典背诵文选之一.doc

GRE经典背诵文选之一Thomas Hardys impulses as a writer, all of which he indulged in his novels, were numerous and divergent, and they did not always work together in harmony. Hardy was to some degree (5)interested in exploring his characters psycholo-gies, though impelled less by curiosity than bysympathy. Occasionally he felt the impulse to comedy (in all its detached coldness) as well asthe impulse to farce, but he was more often (10) inclined to see tragedy and record it. He was also inclined to literary realism in the severalsenses of that phrase. He wanted to describe ordinary human beings; he wanted to speculateon their dilemmas rationally (and, unfortu- (15) nately, even schematically); and he wanted to record precisely the material universe. Finally, he wanted to be more than a realist. He wanted to transcend what he considered to be the banality of solely recording things exactly and (20) to express as well his awareness of the occultand the strange . In his novels these various impulses were sacrificed to each other inevitably and often.inevitably, because Hardy did not care in the (25) way that novelists such as Flaubert or Jamescared, and therefore took path of least resistance. Thus, one impulse often surrenderedto a fresher one and, unfortunately, instead of exacting a compromise, simply disappeared. (30) A desire to throw over reality a light that neverwas might give way abruptly to the desire on the part of what we might consider a novelist-scientist to record exactly and concretely thestructure and texture of a flower . In this (35) instance, the new impulses was at least anenergetic one, and thus its indulgence did notresult in a relaxed style. But on other occasionsHardy abandoned a perilous, risky, and highly energizing impulse in favor of what was for him (40) the fatally relaxing impulse to classify andschematize abstractly. When a relaxing impulsewas indulged, the style - that sure index of anauthors literary worth - was certain to becomeverbose. Hardys weakness derived from his (45) apparent inability to control the comings andgoings of these divergent impulses and from hisunwillingness to cultivate and sustain the energetic and risky ones. He submitted to first one and then another, and the spirit blew where (50) it listed; hence the unevenness of any one of his novels. His most controlled novel, Under the Greenwood Tree, prominently exhibits two different but reconcilable impulses - a desire to be a realist-historian and a desire to be a (55) psychologist of love - but the slight interlock-ings of plot are not enough to bind the two completely together. Thus even this book splitsinto two distinct parts. (1) 作为一个作家，托马斯哈代(Thomas Hardy)的创作冲动-在其小说中他全都沉缅于其中-显得多种多样，不尽相同，而这些创作冲动并未和谐协调地发挥作用。 (2) 在某些程度上，哈代感兴趣的是探索其笔下人物的诸般心理状态(psychology)，尽管与其说是出于好奇心的驱使，还不如说是受怜悯之心的支配。 (3) 偶然地，他会感觉到喜剧(comedy)的创作冲动(以其全部的超然冷静)以及闹剧(farce)的创作冲动， (4) 但更经常地，他倾向于去观察人世间的悲剧(tragedy)并将其记录下来。 (5) 他亦倾向于文学现实主义(literary realism)-是从该名词短语的若干层含意来理解的。 ( 6) 他意欲描绘普通人； (7) 他意欲理性地对其困境作出思辩(且不幸得很，甚至按先验图式的手法来进行)； (8) 他意欲精确无误地记录物质宇宙。 (9) 最后，他并不希冀成为一个纯粹的现实主义作家。他意欲超越他所认为的那种一味追求毫厘不爽地记录事物的平庸做法，并表达他对超自然之物(the occult)和怪异之物(the strange)的意识。(10) 在其小说中，这些不尽相同的创作冲动不可避免地且经常性地彼此间互为牺牲。 (11) 之所以不可避免，这是因为哈代没能以福楼拜(Flaubert)和詹姆斯(James)一类小说家审慎行事的那种方式来审慎行事，因此他选择了那些最没有阻力的创作道路。 (12) 这样，一种创作冲动经常会屈从于一种较新的创作冲动，而令人遗憾的是，原先的那个创作冲动非但无法与新出现的那个创作冲动达成一种妥善协调，反而会消失得全无踪影。 (13) 一种从不曾得以实现的揭示现实的欲望，很有可能会突如其来地让位于另一种欲望，这就是一个我们可不妨将其视作小说家兼科学家的那种欲望，去精确无误地和具体地记录一朵花的结构和构造特征。 (14) 在此情形中，新的创作冲动至少不失为一充满生机活力的创作冲动，故作家沉缅于其中并不会造成一种松散的作品风格。 (15) 但在其它场合，哈代会抛弃一种充满风险的、冒险的、和极能赋予作品以生机活力的创作冲动，转而偏爱那种对他来说甚为致命的、松散的创作冲动，去抽象地进行分类和按先验图式表述。 (16) 当一种松散的创作冲动被沉缅于其中时，作品的风格-作家文学价值的那种可靠稳妥的标志-注定会变得冗长罗嗦。 (17) 哈代的缺陷一方面缘起于他的某种明显的无能，无法控制好那些不尽相同的创作冲动的穿梭往来；另一方面缘起于他不愿意去培养和维持那些富于生机活力和风险性强的创作冲动。 (18) 他委身于第一种创作冲动，接下来又委身于另一种创作冲动，而创作灵感则随心所欲地飘忽不定；因此，他的任何一部小说均显得参差不齐，高低不一。 (19) 他最有控制的小说绿荫下(Under the Greenwood Tree)显著地展现出两种全然不同但仍可调和的创作冲动-要成为现实主义作家兼史学家的那种欲望以及要成为爱情心理学家的欲望-但小说情节过于微弱的互相衔接不足于将这两种创作冲动全然融为一体。 (20) 因此，即使这部作品也分裂成为两个缺乏有机联系的部分。词汇词组短语 impulse: n.1.推动(作用)，驱使，冲力(作用) 2.冲动 3.建议，怂勇indulge (in): v.1.使(自己)沉溺(于)，肆意从事 2.纵容，迁就divergent: a.1.分叉的 2.有分歧的，不同的 3.偏离的work together in harmony: 与协调一致起作用psychology: n.1.心理学 2.行为科学 3.心理学著作impel: v.1.推动，推进 2.激励，驱策，迫使comedy: n.1.喜剧 2.有喜剧性主题的文学作品 3.喜剧性，喜剧成分detached: a.1.独立的，分离的，不连接的 2.公正的，超然的 3.淡漠的farce: n.1.闹剧，滑稽戏 2.滑稽，幽默 3.可笑的行为(或情景)be inclined to: 倾向于的；赞成的in the sense of: 从意义上来说phrase: n.1.话语，用语，说法 2.语短语，词组 3.简洁的语句，警句speculate (on): v.1.思索；沉思默想；玄想 2.推测，推断dilemma: n.1.(进退两难)窘境 2.逻二难推理rational: a.1.理性的，理智的 2.基于理性的，合理的schema: n.1.图表；略图 2.纲要，计划schematic: a.1.图表的；略图的 2.纲要的，计划的 3.哲先验图式的schematize: v.1.把图式化 2.将列入计划，对作系统性组合transcend: v.1.超出，超越 2.胜过，优于 3.哲宗超然存在之外banality: n.陈腐，平庸，乏味solely: adv.1.单独的；唯一的 2.仅仅，只occult: a.1.难以理解的，奥秘的 2.超自然的，神秘的 3.秘密的sacrifice (to): v.1.献祭 2.作牺牲inevitably: adv.1.不可避免地，必然(发生)地 2.极其令人信服地surrender (to): v.1.报降，自首 2.屈服，让步exact: v.1.索取，强求，坚持要求 2.要求，(迫切)需要compromise: n.1.妥协，和解，互让了结 2.妥协方案，和解契约to throw a light over sth.: 使某事显得非常清楚，阐明某事，使人了解某事be: v. 在，存在，生存to give way to: v.退让，屈服abruptly: adv.突然地concretely: adv.1.实在地 2.具体地，确实地texture: n.1.密度，质地 2.构造，结构 3.本质，实质perilous: a.(充满)危险的；濒临毁灭的abandon: v.1.放弃 2.离弃，丢弃 3.遗弃，抛弃n.1.放纵，无拘无束 2.狂放，狂热classify: v.1.把分类 2.把归入某类 3.归入保密级别abstractly: adv.抽象地index: n.1.索引 2.标志；表示；迹象verbose: a.唠叨的，罗唆的；冗长的derive (from): v.起源；产生于，衍生sustain: v.1.支撑；承担 2.支援，救济 3.支持，给以力量submit (to): v.1.屈服；投降 2.听从，忍受 3.甘心，甘受list: v.1.称的心，中的意 2.愿意，想要even: a.1.平的，水平的，平坦的 2.同一水准的，均匀的，连贯一致的uneven(ness): a.&n.不平(的)，崎岖(的)，参差不齐(的)prominent: a.1.突起的，凸出的 2.突出的，显著的reconcilable: a.1.可和解的，能和好的 2.可调停的 3.可取得一致的interlocking: n.连锁，连结，互相扣住bind: v.1.捆绑；捆扎 2.束，系 3.束缚 4.使连接，使结合split (into): v.被撕裂；破裂distinct: a. 1.有区别的；单独的 2.不同种类的3.明显的；清晰的；线条分明的问题与选项原文 问题与选项译文 17.Which of the following is the most appropriate title for the passage, based on its content? (A)Under the Greenwood Tree: Hardys Ambiguous Triumph (B)The Real and the Strange: The Novelists Shifting Realms (C)Energy Versus Repose: The Role of Ordinary People in Hardys Fiction (D)Hardys Novelistic Impulses: The Problem of Control (E)Divergent Impulses: The Issue of Unity in the Novel 18.The passage suggests that the author would be most likely to agree with which of the following statements about literary criticism? (A)Literary realism is most concerned with the exploration of the internal lives ofordinary human beings. (B)The term literary criticism is susceptible to more than a single definition. (C)Literary realism and an interest in psychology are likely to be at odds in anovelists work. (D)Literary realism is the term most often used by critics in describing the method of Hardys novels. (E) A propensity toward literary realism is a less interesting novelistic impulse than is an interest in the occult and the strange. 19.The author of the passage considers a writers style to be(A) a reliable means by which to measure the writers literary merit (B) most apparent in those parts of the writers work that are not realistic (C) problematic when the writer attempts to follow perilous or risky impulses (D) shaped primarily by the writers desire to classify and schematize (E) the most accurate index of the writers literary reputation 20. Which of the following words could best be substituted for relaxed (line37) without substantially changing the authors meaning? (A) informed(B) confined(C) risky(D) wordy(E) metaphoric21. The passage supplies information to suggest that its author would be most likely to agree with which of the following statements about the novelists Flaubert and James?(A) They indulged more impulses in their novels than did Hardy in his novels.(B) They have elicited a greater degree of favorable response from most literarycritics than has Hardy. (C) In the writing of their novels, they often took great pains to effect a compromise among their various novelistic impulses. (D) Regarding novelistic construction, they cared more about the opinions of othernovelists than about the opinions of ordinary readers. (E) They wrote novels in which the impulse toward realism and the impulse awayfrom realism were evident in equal measure. 22. Which of the following statements best describes the organization of lines 27 to 41 of the passage (Thus abstractly)?(A) The author makes a disapprovingobservation and then presents two cases,one of which leads to a qualification of his disapproval and the other of which does not. (B) The author draws a conclusion from a previous statement, explains his conclusion in detail, and then gives a series of examples that have the effect ofresolving an inconsistency. (C) The author concedes a point and thenmakes a counterargument, using anextended comparison and contrast thatqualifies his original concessions. (D) The author makes a judgment, points out an exception to his judgment, and thencontradicts his original assertion. (E) The author summarizes and explains anargument and the advances a briefhistory of opposing arguments. 23. Which of the following statements about the useof comedy in Hardys novels is best supportedby the passage? (A) Hardys use of comedy in his novels tendedto weaken his literary style. (B) Hardys use of comedy in his novels wasinspired by his natural sympathy. (C) Comedy appeared less frequently inHardys novels than did tragedy. (D) Comedy played an important role in Hardys novels though that comedy wasusually in the form of farce. (E) Comedy played a secondary role in Hardysmore controlled novels only. 24. The author implies which of the following about Under the Greenwood Tree in relation to Hardys other novels? (A) It is Hardys most thorough investigationof the psychology of love. (B) Although it is his most controlled novel, itdoes not exhibit any harsh or risky impulses. (C) It, more than his other novels, revealsHardy as a realist interested in thehistory of ordinary human beings. (D) In it Hardys novelistic impulses aremanaged somewhat better than in hisother novels. (E)Its plot, like the plots of all of Hardys other novels, splits into two distinct parts. 17. 依据文中内容，下列哪项可构成文章最恰当的标题? (A)绿荫下：哈代毁誉参半的胜利 (B) 真实与怪异：小说家不断变换着的两个创作领域 (C) 动感相对于恬静：普通人在哈代小说中的作用 (D) 哈代小说中的各种创作冲动：控制的问题 (E) 大相径庭的创作冲动：小说中的统一性问题 18. 文章暗示，作者最有可能同意关于文学现实主义的下列哪项陈述? (A) 文学现实主义最关注对普通人内心生活的探索。(B) 文学现实主义这一术语可以拥有不止一个定义。 (C) 文学现实主义，以及对心理探索的兴趣，在一个小说家的作品中可能互相悖异。(D) 文学现实主义这一术语常被评论家用来描述哈代小说的创作方法。(E) 对文学现实主义的倾向，相对于对神秘和怪异之物的兴趣，是一个不那么令人感兴趣的文学创作冲动。19. 本文作者将一个作家的创作风格视为-(A) 一个藉以衡量作家文学功绩的可靠手段(B) 最显著地体现在某个作家作品中那些不具有现实主义色彩的部分 (C) 当作家试图追寻危险的或者有风险的创作冲动时就会成问题(D) 主要由作家进行分类和按先验图式进行表述的欲望而铸就 (E) 作家文学声望最精准的标志 20. 在不太过分改变作者原意的情况下，下列哪个词汇可用来最恰当地替换relaxed一词(37行)? (A) 非正规的 (B) 有限的 (C) 有风险的 (D) 罗嗦的 (E) 隐喻的 21 文章所提供的信息暗示，作者最有可能同意关于福娄拜和詹姆斯这两位小说家的下列哪项陈述? (A) 与哈代相比，他们在其小说中沉缅于更多的创作冲动。 (B) 他们从大多数批评家那里博得了比对哈代更大程度上的有利反应。 (C) 在其作品的创作过程中，他们常煞费苦心，力图在其不尽相同的小说创作冲动之间达成某种折衷妥协。 (D) 关于小说架构，他们更在乎其他小说家的观点，而非普通读者的观点。(E) 在其创作的小说中，侧重于现实主义的创作冲动，以及脱离现实主义的创作冲动，两者在相同的程度上凸现。 22. 下列哪项陈述最恰当地描述出文章27至41行的篇章结构(Thus . abstractly)? (A) 作者作出一批判性评述，然后呈示两项个案，其中一项导致对其批判性评述进行修正，而另一项则不然。 (B) 作者从前一个陈述中得出结论，详细地解释他的这一结论，然后列举一系列实例，其作用是解决了某一矛盾。 (C) 作者让步承认某一论点，继而提出一个相反论点，使用了一处漫长的比较和对比，修正了他原先的让步性承认。 (D) 作者作出某一判断，指出针对他的这项判断存在着某种例外情形，继而与其原先的断言相悖异。 (E) 作者归纳并解释某一论点，然后提出对立论点的简短历史。 23. 关于哈代在其小说中对喜剧手法的运用，下列哪项陈述能得到文章最充分的支持? (A) 哈代在其小说中对喜剧手法的运用倾向于削弱他的文学风格。 (B) 哈代在其小说中对喜剧手法的运用是由他与生俱有的怜悯之心激发的。(C) 喜剧手法在哈代小说中出现的频率低于悲剧手法。 (D) 喜剧手法在哈代的小说中起着重要作用，尽管这种喜剧手法常常表现为闹剧形式。 (E) 喜剧手法仅在哈代更有控制的小说中发挥着第二位的作用。 24. 如果将绿荫下与哈代的其他小说联系起来考虑，本文暗示下列哪项信息? (A) 它是哈代对爱情心理活动所作的最彻底的探究。 (B) 尽管它是哈代最有控制的小说，但它并没有展示出任何粗陋的或有风险的创作冲动。 (C) 与他其余的小说相比，它更能揭示出哈代是一个对普通人历史感兴趣的现实主义作家。 (D) 在这部小说中，哈代的小说创作冲动在某种程度上要比在他的其他小说中驾驭得更好。(E) 它的情节，如同哈代所有其他小说的情节那样，分裂成为两个彼此无关的部分。 全文篇章结构的功能性分析 句(1)： 前半部分为第一段的主题句(Topic Sentence),叙述哈代这位作家的创作冲动有numerous and divergent两大特点，第一段余下内客即围绕这两点展开。后半部分为第二段主题句，叙述哈代的种种创作冲动did not work together in harmony这一创作失误。 此两分句综合起来便构成全文主题句(the Thematic Sentence of the Passage),第17题据此回答。句(2)： 从此句起，作者开始对哈代身上numerous and divergent的创作冲动进行逐项列举。numerous指所有创作冲动有5种之多，divergent指各种创作冲动互有差异，突出不同点之对比。第一种为心理学之冲动。句(3)： 第二种为闹剧与喜剧之冲动。 句(4)： 第三种为悲剧之冲动。 注意作者论述喜剧与悲剧时所分别使用的两个形成对比的频率副词occasionally 和frequently,第23题据此回答。句(5)： 第四种为文现实主义之冲动，但several senses of that phrase又对此创作冲动的几层含义作细分(sub-division)。that phrase即是指literary realism。 句(6)： 此为文学现实主义之第一层含义。 句(7)： 此为文学现实主义之第二层含义。此处，rationally(理性地)、schematically(先验地)、以及speculate(思辩)这三个词汇已为第二段中针对哈代在文学创作中进行抽象推理这一缺点作出批判埋下了伏笔，因为艺术创作应着眼于形象思维和具体描述，抽象思辩只是哲学家的所为，而不应出现在文学家身上。注意，schematically一词重现于41行。 句(8)： 此为文学现实主义之第三层含义。 第18题据(7)(8)(9)回答。 句(9)： 返回到对创作冲动的列举：第五种为超现实主义之冲动(the awareness of the occult and the strange), 因为于哈 代而言，纯粹的现实主义手法只能使一个作家毫厘不爽地、机械地复制物质世界，而这又是十分平庸的(mediocre)。句(10)： 这是第二段的主题句，是对句(1)后半部分的复述。所谓各种创作冲动sacrifice to each other即是指这些创作冲动did not work together in harmony这一失误。 句(11)： 此句陈述因果关系，指出哈代的不审慎是不可避免造成失误的原因。 因果关系属命题重点，并且此句中将哈代与另外两位审慎行事的作家对比，尤显此句的重要性，第21题据此回答。句(12)： 此句以thus和unfortunately两个词汇得出一批判性结论。surrender to和disappear均暗示哈代对诸创作冲动进行驾御与协调的能力较差。句(13)： 此句为上一句所得出的批判性结论提供一个佐证性实例。揭示现实的创作冲动会虎头蛇尾地让位于科学式过分精细的描述而后消失。此处，give way to即等于上文中的surrender to 与sacrifice to。 句(14)： In this instance.是对哈代在铸成失误的同时所客观存在的某一相对优点作一让步性承认(concession)。尽管过于精细的科学式描述这一创作冲动扰乱了揭示现实的创作冲动而使之无法善始善终，但科学式的那种精确无误和具体描述仍不失为与艺术创作所强调的细节描绘相一致，故尚不至于造成文学风格relaxed这一严重后果。句(15)：But on other occasions.是对哈代的绝对失误作断然的批判，因为classify and schematize abstractly 严重违背艺术创作中形象思维的原则。 句(14)(15)对哈代的创作得失作一分为二的剖析，第22题依据句(12)-(15)回答。句(16)： 陈述哈代的失误所带来的负面后果。 style为专业术语，它后面的名词短语that sure index of an authors literary worth与其构成同位语，对该术语进行定义(definition)， 此又是命题重点，第19题据此回答，又此句中verbose一词被用来修饰style，且艺术风格verbose这一特点是由relaxing impulses(41行)所致，这样，便可将verbose(冗长的)视作37行中relaxed一词的同义替换词，第20题据此回答。句(17)： 在完成了全文主体之后，作者对上文内容进行归纳与总结，进一步指出哈代不足之处的两大原因。句(18)： 此句中用hence.再次得出与句(12)中类似的负面结论，以示强调并进一步论证第二段主题句所提出的论点。句(19)： 以绿荫下再次提供一个具体实例以证实上一句的负面结论。 most controlled又是在负面的总体背景下对相对优点的让步性承认，第24题据此回答。句(20)： 以Thus.得出又一负面结论，呼应句(18)，全文圆满结束。 6