gre经典背诵

Thomas Hardy's 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 bysympathy. Occasionally he felt the impulse to comedy (in all its detached coldness) as well asthe 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 severalsenses of that phrase. He wanted to describe ordinary human beings; he wanted to speculateon 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 occultand 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 Jamescared, and therefore took path of least resistance. Thus, one impulse often surrenderedto a fresher one and, unfortunately, instead of exacting a compromise, simply disappeared. 

(30) A desire to throw over reality a light that neverwas might give way abruptly to the desire on the part of what we might consider a novelist-scientist to record exactly and concretely thestructure and texture of a flower . In this 

(35) instance, the new impulses was at least anenergetic one, and thus its indulgence did notresult in a relaxed style. But on other occasionsHardy abandoned a perilous, risky, and highly energizing impulse in favor of what was for him 

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(40) the fatally relaxing impulse to classify andschematize abstractly. When a relaxing impulsewas indulged, the style - that sure index of anauthor's literary worth - was certain to becomeverbose. Hardy's weakness derived from his 

(45) apparent inability to control the comings andgoings of these divergent impulses and from hisunwillingness 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 splitsinto 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，因此他选择了那些偏离的 最没有阻力的创作道路。 (12) 这样，一种创work together in harmony: 与…协调一致起作冲动经常会屈从于一种较新的创作冲动，而作用

令人遗憾的是，原先的那个创作冲动非但无法psychology: n.1.心理学 2.行为科学 3.心理学与新出现的那个创作冲动达成一种妥善协调，著作

反而会消失得全无踪影。 (13) 一种从不impel: v.1.推动，推进 2.激励，驱策，迫使 曾得以实现的揭示现实的欲望，很有可能会突comedy: n.1.喜剧 2.有喜剧性主题的文学作品 如其来地让位于另一种欲望，这就是一个我们3.喜剧性，喜剧成分

可不妨将其视作小说家兼科学家的那种欲望，detached: a.1.独立的，分离的，不连接的 2.公去精确无误地和具体地记录一朵花的结构和构正的，超然的 3.淡漠的

造特征。 (14) 在此情形中，新的创作冲动farce: n.1.闹剧，滑稽戏 2.滑稽，幽默 3.可笑至少不失为一充满生机活力的创作冲动，故作的行为(或情景)

家沉缅于其中并不会造成一种松散的作品风be inclined to: 倾向于…的；赞成…的 格。 in the sense of: 从…意义上来说

(15) 但在其它场合，哈代会抛弃一种充满风险phrase: n.1.话语，用语，说法 2.〔语〕短语，的、冒险的、和极能赋予作品以生机活力的创词组 3.简洁的语句，警句

作冲动，转而偏爱那种对他来说甚为致命的、speculate (on): v.1.思索；沉思默想；玄想 2.松散的创作冲动，去抽象地进行分类和按先验推测，推断 图式表述。 (16) 当一种松散的创作冲动被dilemma: n.1.(进退两难)窘境 2.〔逻〕二难推沉缅于其中时，作品的风格--作家文学价值的那理

种可靠稳妥的标志--注定会变得冗长罗嗦。 rational: a.1. 理性的，理智的 2.基于理性的，合(17) 哈代的缺陷一方面缘起于他的某种明显的理的

无能，无法控制好那些不尽相同的创作冲动的schema: n.1.图表；略图 2.纲要，计划 穿梭往来；另一方面缘起于他不愿意去培养和schematic: a.1.图表的；略图的 2.纲要的，计划维持那些富于生机活力和风险性强的创作冲的 3.〔哲〕先验图式的

动。 (18) 他委身于第一种创作冲动，接下schematize: v.1.把…图式化 2.将…列入计划，来又委身于另一种创作冲动，而创作灵感则随对…作系统性组合 心所欲地飘忽不定；因此，他的任何一部小说transcend: v.1.超出，超越 2.胜过，优于 3.〔哲〕均显得参差不齐，高低不一。 (19) 他最有〔宗〕超然存在之外

控制的小说《绿荫下》(Under the Greenwood banality: n.陈腐，平庸，乏味

Tree)显著地展现出两种全然不同但仍可调和solely: adv.1.单独的；唯一的 2.仅仅，只 的创作冲动--要成为现实主义作家兼史学家的occult: a.1.难以理解的，奥秘的 2.超自然的，那种欲望以及要成为爱情心理学家的欲望--但神秘的 3.秘密的

小说情节过于微弱的互相衔接不足于将这两种sacrifice (to): v.1.献祭 2.作牺牲 创作冲动全然融为一体。 inevitably: adv.1.不可避免地，必然(发生)地 2. (20) 因此，即使这部作品也分裂成为两个极其令人信服地 缺乏有机联系的部分。 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.妥词汇·词组·短语 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 impulse: n.1.推动(作用)，驱使，冲力(作用) 2.be: v. 在，存在，生存 冲动 3.建议，怂勇 to give way to: v.退让，屈服 indulge (in): v.1.使(自己)沉溺(于)，肆意从事 2.abruptly: adv.突然地 纵容，迁就 concretely: adv.1.实在地 2.具体地，确实地 divergent: a.1.分叉的 2.有分歧的，不同的 3.texture: n.1.密度，质地 2.构造，结构 3.本质，

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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: Hardy's Ambiguous Triumph

(B)The Real and the Strange: The Novelist's Shifting Realms

(C)Energy Versus Repose: The Role of Ordinary People in Hardy's Fiction

(D)Hardy's 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

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the following statements about literary criticism?

(A)Literary realism is most concerned with the exploration of the internal lives ofordinary 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 anovelist's work.

(D)\"Literary realism\" is the term most often used by critics in describing the method of Hardy's 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 writer's style to be

(A) a reliable means by which to measure the writer's literary merit

(B) most apparent in those parts of the writer's work that are not realistic

(C) problematic when the writer attempts to follow perilous or risky impulses

(D) shaped primarily by the writer's desire to classify and schematize

(E) the most accurate index of the writer's literary reputation

20. Which of the following words could best be substituted for \"relaxed\" (line37) without substantially changing the author's meaning? (A) informed (B) confined (C) risky (D) wordy (E) metaphoric

21. 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 literarycritics 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 othernovelists than about the opinions of ordinary readers.

(E) They wrote novels in which the impulse toward realism and the impulse awayfrom 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 disapproving

observation 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 of resolving an inconsistency.

(C) The author concedes a point and then makes a counterargument, using an extended comparison and contrast that qualifies his original concessions.

(D) The author makes a judgment, points out an exception to his judgment, and then contradicts his original assertion.

(E) The author summarizes and explains an

argument and the advances a brief history of opposing arguments.

23. Which of the following statements about the use

of comedy in Hardy's novels is best supportedby the passage?

(A) Hardy's use of comedy in his novels tendedto weaken his literary style.

(B) Hardy's use of comedy in his novels wasinspired by his natural sympathy.

(C) Comedy appeared less frequently in Hardy's novels than did tragedy.

(D) Comedy played an important role in  Hardy's novels though that comedy was usually in the form of farce.

(E) Comedy played a secondary role in Hardy'smore controlled novels only. 24. The author implies which of the following about Under the Greenwood Tree in relation

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to Hardy's other novels?

(A) It is Hardy's most thorough investigationof the psychology of love.

(B) Although it is his most controlled novel, itdoes not exhibit any harsh or risky impulses.

(C) It, more than his other novels, revealsHardy as a realist interested in thehistory of ordinary human beings.

(D) In it Hardy's novelistic impulses are managed somewhat better than in his other novels.

(E)Its plot, like the plots of all of Hardy's 

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\"relax ed\"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

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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

6

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 author's 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。