2019年内蒙古专四专八考试证书领取须知

【M6】

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 interested in exploring his characters' psychologies, 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 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 dilemma rationally (and, unfortunately, 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 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 way that novelists such as Flaubert or James cared, and therefore took paths of least resistance. Thus, one impulse often surrendered to a fresher one and, unfortunately, instead of exacting a compromise, simply disappeared. 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 instance, the new impulse 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 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 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 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 psychologist of love —but the slight interlockings of plot are not enough to bind the two completely together. Thus even this book splits into two distinct parts.

The most appropriate title for the passage could be ______.

A．Under the Greenwood Tree: Hardy's Ambiguous Triumph

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

C．Hardy's Novelistic Impulses: the Problem of Control

D．Divergent Impulses: the Issue of Unity in the Novel

Judging from the passage, the author ______.

A．suggests that New Castle is fortunate

B．wonders at Wilmington's prosperity

C．regrets that the two places should have become so different

D．thinks that Wilmington should not tear down old houses

During the first half of the seventeenth century, when the nations of Europe were quarreling over who owned the New World, the Dutch and the Swedes founded competing villages ten miles apart on the Delaware River. Not long afterward, the English took over both places and gave them new names, New Castle and Wilmington.

For a century and a half the two villages grew rapidly, but gradually Wilmington gained all the advantages. It was a little closer to Philadelphia, so when new textile mills opened, they opened in Wilmington, not in New Castle. There was plenty of water power from rivers and creeks at Wilmington, so when young Irenee DuPont chose a place for his gunpowder mill, it was Wilmington he chose, not New Castle. Wilmington became a town and then a city —a rather important city, much the largest in Delaware. And New Castle, bypassed by the highways and waterways that made Wilmington prosperous, slept ten miles south on the Delaware River. No two villages with such similar pasts could have gone such separate ways. Today no two pieces could be more different.

Wilmington, with its expressways and parking lots and all its other concrete ribbons and badges, is a tired old veteran of the industrial wars and wears a vacant stare. Block after city block where people used to live and shop is broken and empty.

New Castle never had to make way for progress and therefore never had any reason to tear down its seventeenth-and eighteenth-century houses. So they are still here, standing in tasteful rows under ancient elms around the original town green. New Castle is still an agreeable place to live. The pretty buildings of its quiet past make a serene setting for the lives of 4,800 people. New Castle may be America's loveliest town, but it is not an important town at all. Progress passed it by.

Poor New Castle.

Lucky Wilmington.

Which is the major factor that made the difference between Wilmington and New Castle?

A．Convenience for traffic.

B．The Delaware River.

C．The investment of Irenee DuPont.

D．The textiles mills.