The success of Milton’s Paradise Lost owes much to the depiction of the main epicimage of Satan whose attributes enable him to achieve tragic status. Although Satan may be an epic machine, he is best portrayed as the tragic anti-hero of paradise Lost. The critics in the world have been concerning the image of Satan in Paradise Lost, whose complexity makes the poem more controversial.The reason why the image under Milton’s pen is so complex is that the Satan attracts the poet’s inner force, which drives him to change the people’s traditional ideas and cause resonance of all the revolutionaries.
Satan in the Bible is an image of devil. But in Paradise Lost, Satan challenges the authority of God and want to be free, he is a fighter for freedom. The poet portrayed Satan as a brave hero that went to get rid of god’s domination. In Paradise Lost, the Satan was the most successful image the author shaped.The allure of free will is where the attractiveness and power of Satan"s character lies. Stanley Fish in his essay, ‘The Harassed Reader in Paradise Lost, argues that Satan possesses a form of heroism which is easy to admire because it is visible and flamboyant and that, on that basis, Satan’s attractiveness is only initial. Milton was, undoubtedly, conscious that he was in danger of portraying Satan as too much of a heroic figure and made efforts to be little him through the use of unflattering imagery, and by highlighting his less complimentary characteristics.
Nonetheless, our emotions are still fired. Our first encounter with Satan and his rebel hosts occurs in Book I, when they are recovering from the shock of having been expelled from heaven by the Son after three days of fighting the angels of God. Despite the defeat he has suffered, Satan gains our admiration by displaying resilience in quickly coming to terms with the change in his circumstances, in remustering his forces and organizing the building of his palace, Pandemonium. At the same time he demonstrates his determination not to be defeated and shows true qualities of leadership, persuasively arguing that there is still hope for battle and victory. Satan is convincing in his first speech to Beelzebub, his chief partner in crime, as he declares: What though the field be lost? All is not lost; the unconquerable will, And study of revenge, immortal hate, And courage never to submit or yield: And what is else not to be overcome? That glory never shall his wrath or might Extort from me. Although Satan may be an epic machine, he is best portrayed as the tragic anti-hero of Paradise Lost or, at the very least, a main character who possesses the stature and attributes which enable him to achieve tragic status. In the Greek tradition, the essential components of tragedy are admiration, fear and pity for the ‘hero’， who has to display a tragic weakness or flaw in his character, which will lead to his downfall. It might be argued that the flaws in Satan’s character are such that we should feel no admiration, fear or pity for him, yet he can be seen to inspire these emotions. Satan’s tragic flaws are pointed out in Book I. They are envy, pride, and ambition towards self-glorification. Satan’s pride, in particular, is stressed throughout Paradise Lost.
The poet condemned God through Satan’s words. On the surface, God had given human free will; in fact, he had suppressed the true freedom.Obviously, the poet"s criticism and condemnation of God were out from the social reality of United Kingdom. The tyrant was the embodiment of Stuart. Milton laid his own political tendencies in the great Satan. He portrayed Satan"s resistance as the justice resistance to authoritarian rule and a bold challenge to the violent regime.
我为什么写作
Lesson 12： Why I Write
从很小的时候，大概五、六岁，我知道长大以后将成为一个作家。
From a very early age， perhaps the age of five or six， I knew that when I grew up I should be a writer.
从15到24岁的这段时间里，我试图打消这个念头，可总觉得这样做是在戕害我的天性，认为我迟早会坐下来伏案著书。
Between the ages of about seventeen and twenty-four I tried to adandon this idea， but I did so with the consciousness that I was outraging my true nature and that sooner or later I should have to settle down and write books.
三个孩子中，我是老二。老大和老三与我相隔五岁。8岁以前，我很少见到我爸爸。由于这个以及其他一些缘故，我的性格有些孤僻。我的举止言谈逐渐变得很不讨人喜欢，这使我在上学期间几乎没有什么朋友。
I was the middle child of three， but there was a gap of five years on either side， and I barely saw my father before I was eight- For this and other reasons I was somewhat lonely， and I soon developed disagreeable mannerisms which made me unpopular throughout my schooldays.
我像一般孤僻的孩子一样，喜欢凭空编造各种故事，和想像的人谈话。我觉得，从一开始，我的文学志向就与一种孤独寂寞、被人冷落的感觉联系在一起。我知道我有驾驭语言的才能和直面令人不快的现实的能力。这一切似乎造就了一个私人的天地，在此天地中我能挽回我在日常生活中的不得意。
I had the lonely child's habit of making up stories and holding conversations with imaginary persons， and I think from the very start my literary ambitions were mixed up with the feeling of being isolated and undervalued.
我知道我有驾驭语言的才能和直面令人不快的现实的能力。这一切似乎造就了一个私人的天地，在此天地中我能挽回我在日常生活中的不得意。
I knew that I had a facility with words and a power of facing unpleasant facts， and I felt that this created a sort of private world in which I could get my own back for my failure
还是一个小孩子的时候，我就总爱把自己想像成惊险传奇中的主人公，例如罗宾汉。但不久，我的故事不再是粗糙简单的自我欣赏了。它开始趋向描写我的行动和我所见所闻的人和事。
。 . As a very small child I used to imagine that I was， say， Robin Hood， and picture myself as the hero of thrilling adventures， but quite soon my “story” ceased to be narcissistic in a crude way and became more and more a mere description of what I was doing and the things I saw.
一连几分钟，我脑子里常会有类似这样的描述：“他推开门，走进屋，一缕黄昏的阳光，透过薄纱窗帘，斜照在桌上。桌上有一个火柴盒，半开着，在墨水瓶旁边，他右手插在兜里，朝窗户走去。街心处一只龟甲猫正在追逐着一片败叶。”等等，等等。
For minutes at a time this kind of thing would be running through my head： “He pushed the door open and entered the room. A yellow beam of sunlight， filtering through the muslin curtains， slanted on to the table， where a matchbox， half open， lay beside the inkpot. With his right hand in his pocket he moved across to the window. Down in the street a tortoiseshell cat was chasing a dead leaf，” etc.， etc.
我在差不多25岁真正从事文学创作之前，一直保持着这种描述习惯。虽然我必须搜寻，而且也的确在寻觅恰如其分的字眼。可这种描述似乎是不由自主的，是迫于一种外界的压力。
This habit continued till I was about twenty-five， right through my non-literary years. Although I had to search， and did search， for the right words， I seemed to be making this descriptive effort almost against my will， under a kind of compulsion from outside.
我在不同时期崇仰风格各异的作家。我想，从这些“故事”一定能看出这些作家的文笔风格的痕迹。但是我记得，这些描述又总是一样地细致入微，纤毫毕现。
The “story” must， I suppose， have reflected the styles of the various writers I admired at different ages， but so far as I remember it always had the same meticulous descriptive quality.
16岁那年，我突然发现词语本身即词的音响和词的连缀就能给人以愉悦。《失乐园》中有这样一段诗行：
他负载着困难和辛劳
挺进着：负着困难辛劳的他——
When I was about sixteen I suddenly discovered the joy of mere words， i， e. the sounds and associations of words. The lines from Paradise Lost —
“So hee with difficulty and labour hard
Moved on： with difficulty and labour hee，“
现在看来这并没有什么了不得，可当时却使我心灵震颤。而用hee的拼写代替he，更增加了愉悦。
which do not now seem to me so very wonderful， sent shivers down my backbone； and the spelling “hee” for “he” was an added pleasure.
至于写景物的必要，我那时已深有领悟。如果说当时我有志著书的话，我会写什么样的书是显而易见的。
As for the need to describe things， I knew all about it already. So it is clear what kind of books I wanted to write， in so far as I could be said to want to write books at that time.
我想写大部头的自然主义小说，以悲剧结局，充满细致的描写和惊人的比喻，而且不乏文才斐然的段落，字词的使用部分要求其音响效果。
I wanted to write enormous naturalistic novels with unhappy endings， full of detailed descriptions and arresting similes， and also full of purple passages in which words were used partly for the sake of their sound.
事实上，我的第一部小说，《缅甸岁月》就属于这一类书，那是我早已构思但30岁时才写成的作品。
And in fact my first completed novel， Burmese Days， which I wrote when I was thirty but projected much earlier， is rather that kind of book.
我介绍这些背景情况是因为我认为要判定一个作家的写作动机，就得对其早年的经历有所了解。
I give all this background information because I do not think one can assess a writer's motives without knowing something of his early development.
作家的题材总是由他所处的时代决定的，至少在我们这个动荡不安的时代是如此。但他在提笔著文之前，总会养成一种在后来的创作中永远不能彻底磨灭的情感倾向
His subject matter will be determined by the age he lives in —at least this is true in tumultuous， revolutionary ages like our own—but before he ever begins to write he will have acquired an emotional attitude from which he will never completely escape.
毫无疑问，作家有责任控制自己的禀性，使之不至于沉溺于那种幼稚的.阶段，或陷于违反常理的心境中。但如果他从早年的熏染和志趣中脱胎换骨，他就会虐杀自己的写作热情。
It is his job， no doubt， to discipline his temperament and avoid getting stuck at some immature stage， or in some perverse mood： but if he escapes from his early influences altogether， he will have killed his impulse to write.
除去以写作为谋生之计不谈，我认为写作有四种动机，至少小说和散文写作是如此。
Putting aside the need to earn a living， I think there are four great motives for writing， at any rate for writing prose.
这四种动机或多或少地存在于每个作家身上，在某一个作家身上，它们会因时代的不同和生活环境的不同而变化。它们是：
They exist in different degrees in every writer， and in any one writer the proportions will vary from time to time， according to the atmosphere in which he is living. They are：
一、纯粹的自我主义。想显示自己的聪明；想成为人们的议论中心；想身后留名；想报复那些小时候压制、指责过自己的成年人等等。不承认这是动机，是一种强烈的动机，完全是自欺欺人。
（1） Sheer egoism. Desire to seem clever， to be talked about， to be remembered after death， to get your own back on grown-ups who snubbed you in childhood， etc. ， etc. It is humbug to pretend that this is not a motive， and a strong one. . .
二、对美的狂热。能感觉身外世界的美，或者词语及其妙语连珠的美。对一个读音作用于另一个读音的音响效果，对充实缜密的行文或一篇小说的结构，感到乐趣无穷，赏心悦目。有心与人们分享一种认为有价值、不应忽略的经历。
（2） Aesthetic enthusiasm. Perception of beauty in the external world， or， on the other hand， in words and their right arrangement. Pleasure in the impact of one sound on another， in the firmness of good prose or the rhythm of a good story. Desire to share an experience which one feels is valuable and ought not to be missed…
三、历史感。有志按事物的原貌来观察理解事物；有心寻找确凿的事实，收集储存以飨后人。
（3） Historical impulse. Desire to see things， as they are， to find out true facts and store them up for the use of posterity.
四、政治上的目的。这里指的是最广泛意义的政治：有志推动世界向某个方向前进；改造人们的观念，劝勉人们追求某种理想社会。就像美感因素一样，没有一本书能真正消除政治倾向。那种认为艺术与政治不相干的论点本身就是一种政治态度。
（4） Political purpose —using the word “political” in the widest possible sense. Desire to push the world in a certain direction， to ater other people's idea of the kind of society that they should strive after. Once again， no book is genuinely free from political bias. The opinion that art should have nothing to do with politics is itself a political attitude.
可以看出，这些不同的动机会互相抵触，会因人因时发生变化。
It can be seen how these various impulses must war against one another， and how they must fluctuate from person to person and from time to time.
由于我的天性——“天性”这里指刚成年时的状态，在我身上前三种动机远远超过第四种。
By nature —taking your “nature” to be the state you have attained when you are first adult—I am a person in whom the first three motives would outweigh the fourth.
在和平年代，我或许会写些词藻华美或专写事物写景的书，几乎意识不到我政治上的取舍。
In a peaceful age！ might have written ornate or merely descriptive books， and might have remained almost unaware of my political loyalties.
可结果我却不得不成了一个写小册子的作家。
As it is I have been forced into becoming a sort of pamphleteer.
最初，我在一个很不合适的职业中度过了5年，那是在缅甸的印度帝国警察署。随后，我经历了贫困，体会到穷困窘迫是何滋味。这使我对权势的本能的嫉妒变得更强烈，我开始意识到劳动阶级的存在，缅甸的职业使我对帝国主义的本质有所了解，但这一切并不足以赋予我明确的政治倾向。
First I spent five years in an unsuitable profession （the Indian Imperial Police， in Burma）， and then I underwent poverty and the sense of failure. This increased my natural hatred of authority and made me for the firs t time fully aware of the existence of the working classes， and the job in Burma had given me some understanding of the nature of imperialism； but these experiences were not enough to give me an accurate political orientation.
接着希特勒出现了，西班牙战争爆发了，各种事件频频发生。
Then came Hitler， the Spanish Civil War， etc.
到1935年底，我仍没有能决定何去何从。西班牙内战以及1936至1937年之间的其他事件扭转了这种状况，从此我认准了我的立场。
By the end of 1935 I had still failed to reach a firm decision. The Spanish war and other events in 1936 - 1937 turned the scale and thereafter I know where I stood.
1936年以来，我的严肃作品中的每一行都是为间接或直接地反对极权主义，拥护我所理解的民主社会主义而写的。
Every line of serious work that I have written since 1936 has been written， directly or indirectly， against totalitarianism and for democratic socialism， as I understand it.
认为在我们这样的年代，作家可以回避这种题材，在我看来是无稽之谈。
It seems to me nonsense， in a period like our own， to think that one can avoid writing of such subjects.
每个人都以这样那样的方式写这个题材。
Everyone writes of them in one guise or another.
这其实就是站在哪一边，取什么态度的问题。
It is simply a question of which side one takes and what approach one follows.
一个人越是意识到自己的政治态度，他越是有可能按政治行事而又不牺牲自己在美感和心智方面的追求。
And the more one is conscious of one's political bias， the more chance one has of acting politically without sacrificing one's aesthetic and intellectual integrity.
在过去的十年中，我最大的愿望是把政治色彩的写作变成艺术创造。
What I have most wanted to do throughout the past ten years is to make political writing into an art.
我的出发点总是一种党派意识，一种对非正义的敏感。
My starting point is always a feeling of partisanship， a sense of injustice.
我坐下来写书时，不会自语道：“现在我要创造一个艺术作品了。”
When I sit down to write a book I do not say to myself， “I am going to produce a work of art. ”
写作是为了揭发某种谎言，为了让人们重视某些事实。我的初衷总是向读者披露心声，赢得听众。
I write it because there is some lie that I want to expose， some fact to which I want to draw attention， and my initial concern is to get a hearing.
然而，写作必须同时又是一种美感经验。否则，我就无法完成著书的工作，甚至连一篇长篇的报刊文章都写不成。
But I could not do the work of writing a book， or even a long magazine article， if it were not also an aesthetic experience.
任何一位有心细读我的作品的读者都会发现，即使作品是直截了当的宣传鼓励，也包含着许多职业政客视为节外生枝的点缀。
Anyone who cares to examine my work will see that even when it is downright propaganda it contains much that a full-time politician would consider irrelevant.
我不能，也不愿意完全放弃我在童年时养成的世界观。
I am not able， and I do not want， completely to abandon the world-view that I acquired in childhood.
只要我还活着，我仍会继续讲究文笔风格，热爱大地的山川胜景，对琐细的物品和无用的传闻感到欣悦。
So long as I remain alive and well I shall continue to feel strongly about prose style， to love the surface of the earth， and to take a pleasure in solid objects and scraps of useless information.
要抑制我这方面的本能是无济于事的。我的任务是把个人根深蒂固的好恶与时代强加于我们大家的政治活动协调起来。
It is no use trying to suppress that side of myself. The job is to reconcile my ingrained likes and dislikes with the essentially public， non-individual activities that this age forces on all of us.
这并不容易。这会产生构思及语言的问题。而真实性也以新的方式出现了疑问。
It is not easy. It raises problems of construction and of language， and it raises in a new way the problem of truthfulness. . .
这个问题以各种各样的形态出现。
In one form or another this problem comes up again.
语言则是个更微妙的问题，得花费很大的工夫讨论。
The problem of language is subtler and would take too long to discuss.
这里我只能说，近几年来，我竭力减少生动形象的描写，尽量写得更谨严简练。
I will only say that of late years I have tried to write less picturesquely and more exactly.
我发现一位作家一旦使某种文笔风格臻于完善，他也就已经超越了这种风格。
In any case I find that by the time you have perfected any style of writing， you have always outgrown it.
《动物庄园》一书便是我在有意识有计划地把政治目的和艺术追求结合为一体的尝试。
Animal Farm was the first book in which I tried， with full consciousness of what I was doing， to fuse political purpose and artistic purpose into one whole.
我已经7年没写小说了，但我希望不久能写一部。
I have not written a novel for seven years， but I hope to write another fairly soon.
这部小说注定会成败笔，每次完成的作品都觉得处处是败笔，但我清楚地知道我要写什么样的书。
It is bound to be a failure， every book is a failure， but I do know with some clarity what kind of book I want to write.
写作是一场可怕的劳心伤神的斗争，犹如一场恶病长时间发作。
…Writing a book is a horrible， exhausting struggle， like a long bout of some painful illness.
要不是被一种既不可抗拒又不可理喻的鬼怪驱使，没人愿意从事写作。
One would never undertake such a thing if one were not driven on by some demon whom one can neither resist nor understand.
这种魔怪不外乎是婴儿嚎啕以引起人注意的本能。
For all one knows that demon is simply the same instinct that makes a baby squall for attention.
但话又说回来，作家若不能努力隐去自己的个性，他便写不出什么值得一读的东西。
And yet it is also true that one can write nothing readable unless one constantly struggles to efface one's own personality.
好文章是一块透亮的窗玻璃。
Good prose is like a window pane.
我不能肯定地说我的哪一种动机最强，但我知道哪一个目标我必须遵循。
I cannot say with certainty which of my motives are the strongest， but I know which of them deserve to be followed.
回顾我的创作，我发现，什么时候缺乏政治目的，什么时候我就会写出毫无生气的书，就会坠入华而不实的篇章，写出毫无意义的句子，卖弄矫饰的形容词和堆砌一大堆空话废话。
And looking back through my work， I see that it is invariably where I lacked a political purpose that I wrote lifeless books and was betrayed into purple passages， sentences without meaninmeaning， decorative adjectives and humbug generally.
20xx年英美文学试题
20xx年英美文学试题
PART ONE (40 POINTS)
I. Multiple Choice (40 points in all, 1 for each)
Select from the four choices of each item the one that best answers the question or completes the statement. Write your choice on the answer sheet.
1.The most significant idea of the Renaissance is（ ）.
A. humanism B. realism C. naturalism D. skepticism
2.Shakespeare’s tragedies include all the following except（ ）.
A. Hamlet and King Lear B. Antony and Cleopatra and Macbeth
C. Julius Caesar and Othello D. The Merchant of Venice and A Midsummer Night’s Dream
3.The statement “Studies serve for delight, for ornament, and for ability”opens one of well-known essays by
A. Francis Bacon B. Samuel Johnson C. Alexander Pope D. Jonathan Swift
4.In Hardy’s Wessex novels, there is an apparent（ ）touch in his description of the simple though primitive rural life.
A. nostalgic B. humorous C. romantic D. ironic
5.Backbite, Sneerwell, and Lady Teazle are characters in the play The School for Scandal by（ ）.
A. Christopher Marlowe B. Ben Jonson C. Richard Brinsley Sheridan D. George Bernard Shaw
6.Of all the 18th century novelists Henry Fielding was the first to set out, both in theory and practice, to write specifically a“（ ）in prose,”the first to give the modern novel its structure and style.
A. tragic epic B. comic epic C. romance D. lyric epic
7.In his poem “Tyger, Tyger,”William Blake expresses his perception of the“fearful symmetry”of the big cat. The phrase“fearful symmetry”suggests（ ）.
A. the tiger’s two eyes which are dazzlingly bright and symmetrically set B. the poet’s fear of the predator
C. the analogy of the hammer and the anvil D. the harmony of the two opposite aspects of God’s creation
8.“What is his name?”
“Bingley.”
“Is he married or single?”
“Oh! Single, my dear, to be sure! A single man of large fortune; four or five thousand a year. What a fine thing for our girls!”
The above dialogue must be taken from（ ）.
A. Jane Austen’s Pride and Prejudice B. Emily Bronte’s Wuthering Heights
C. John Galsworthy’s The Forsyte Saga D. George Eliot’s Middlemarch
9.The short story“Araby”is one of the stories in James Joyce’s collection（ ）.
A. A Portrait of the Artist as a Young Man B. Ulysses C. Finnegans Wake D. Dubliners
10.William Wordsworth, a romantic poet, advocated all the following except（ ）.
A. the using of everyday language spoken by the common people
B. the expression of the spontaneous overflow of powerful feelings
C. the humble and rustic life as subject matter
D. elegant wording and inflated figures of speech
11.Here are two lines taken from The Merchant of Venice:“Not on thy sole, but on thy soul, harsh Jew/Thou mak’st thy knife keen.”What kind of figurative device is used in the above lines?
（ ） A. Simile. B. Metonymy. C. Pun. D. Synecdoche.
12.“If Winter comes, can Spring be far behind?”is an epigrammatic line by（ ）.
A. J. Keats B. W. Blake C. W. Wordsworth D. P. B. Shelley
13.The poems such as“The Chimney Sweeper”are found in both Songs of Innocence and Songs of Experience by
A. William Wordsworth B. William Blake C. John Keats D. Lord Gordon Byron
14.John Bunyan’s Pilgrim’s Progress is often regarded as a typical example of（ ）.
A. allegory B. romance C. epic in prose D. fable
15.Alexander Pope strongly advocated neoclassicism, emphasizing that literary works should be judged by（ ）rules of order, reason, logic, restrained emotion, good taste and decorum.
A. classical B. romantic C. sentimental D. allegorical
16.In his essay“Of Studies,”Bacon said:“Some books are to be tasted, others to be swallowed, and some few to be chewed and（ ）.”
A. skimmed B. perfected C. imitated D. digested
17.“For I have known them all already, known them all—/Have known the evenings, mornings, afternoons,/I have measured out my life with coffee spoons.”The above lines are taken from（ ）.
A. Wordsworth’s “The Solitary Reaper” B. Eliot’s“The Love Song of J. Alfred Prufrock”
C. Coleridge’s“Kubla Khan” D. Yeats’s“The Lake Isle of Innisfree”
18.(The)（ ）was a progressive intellectual movement throughout Western Europe in the 18th century.
A. Romanticism B. Humanism
C. Enlightenment D. Sentimentalism 19.A typical Forsyte, according to John Galsworthy, is a man with a strong sense of（ ）, who never pays any attention to human feelings.
A. morality B. justice C. property D. humor
20.The typical feature of Robert Browning’s poetry is the （ ）.
A. bitter satire B. larger-than-life caricature C. Latinized diction D. dramatic monologue
21.George Bernard Shaw’s play, Mrs. Warren’s Profession is a grotesquely realistic exposure of the（ ）.
A. slum landlordism B. political corruption in England
C. economic oppression of women D. religious corruption in England
22.The story starting with the marriage of Paul’s parents Walter Morel and Mrs. Morel must be
A. Thomas Hardy’s Tess of the D’Urbervilles B. D. H. Lawrence’s Sons and Lovers
C. George Eliot’s Middlemarch D. Charlotte Bronte’s Jane Eyre
23.In American literature the first important writer who earned an international fame on both sides of the Atlantic Ocean is（ ）. A. Washington Irving B. Ralph Waldo Emerson C. Nathaniel Hawthorne D. Walt Whitman
24.The American novelist Nathaniel Hawthorne is known for his“black vision.”The term“black vision”refers to
A. Hawthorne’s observation that every man faces a black wall
B. Hawthorne’s belief that all men are by nature evil
C. that Hawthorne employed a dream vision to tell his story
D. that Puritans of Hawthorne’s time usually wore black clothes
25.Theodore Dreiser was once criticized for his（ ）in style, but as a true artist his strength just lies in that his style is very serious and well calculated to achieve the thematic ends he sought.
A. crudeness B. elegance C. conciseness D. subtlety
26.“He is the last of the romantic heroes, whose energy and sense of commitment take him in search of his personal Grail; his failure magnifies to a great extent the end of the American Dream.”The character referred to in the passage is most likely the protagonist of（ ）.
A. Fitzgerald’s The Great Gatsby B. Dreiser’s An American Tragedy
C. Hemingway’s For Whom the Bell Tolls D. Twain’s The Adventures of Huckleberry Finn
27.Almost all Faulkner’s heroes turned out to be tragic because（ ）.
A. all enjoyed living in the declining American South B. none of them was conditioned by the civilization and social institutions C. most of them were prisoners of the past D. none were successful in their attempt to explain the inexplicable
28.Yank, the protagonist of Eugene O’Neill’s play The Hairy Ape, talked to the gorilla and set it free because
A. he was mad, mistaking a beast for a human
B. he was told by the white young lady that he was like a beast and he wanted to see how closely he resembled the gorilla C. he was caged with the gorilla after he insulted an aristocratic stroller
D. he could feel the kinship only with the beast
29.In（ ）, Robert Frost compares life to a journey, and he is doubtful whether he will regret his choice or not when he is old, because the choice has made all the difference.
A. “After Apple-Picking” B. “The Road Not Taken” C. “Stopping by Woods on a Snowy Evening”
D. “Fire and Ice”
30.Though Walt Whitman and Emily Dickinson were romantic poets in theme and technique, they differ from each other in a variety of ways. For one thing, whereas Whitman likes to keep his eye on human society at large, Dickinson often addresses such issues as（ ）, immortality, religion, love and nature.
A. progress B. freedom C. beauty D. death
31.The Romantic Writers would focus on all the following issues EXCEPT the（ ）in the American literary history. A. individual feeling B. survival of the fittest C. strong imagination D. return to nature
32.Generally speaking, all those writers with a naturalistic approach to human reality tend to be（ ）.
A. transcendentalists B. optimists C. pessimists D. idealists
33.With Howells, James, and Mark Twain active on the literary scene,（ ）became the major trend in American literature in the seventies and eighties of the 19th century.
A. Sentimentalism B. Romanticism C. Realism D. Naturalism
34.American writers after World War I self-consciously acknowledged that they were(a)“（ ）,”devoid of faith and alienated from the Western civilization.
A. Lost Generation B. Beat Generation C. Sons of Liberty D. Angry Young Men
35.In（ ）, Washington Irving agrees with the protagonist on his preference of the past to the present, and of a dream-like world to the real world.
A. “Young Goodman Brown” B.“Rip Van Winkle” C. “Rappaccini’s Daughter” D.“Bartleby, the Scrivener”
36.Hester Prynne, Dimmesdale, Chillingworth and Pearl are most likely characters in（ ）.
A. The House of the Seven Gables B. The Scarlet Letter C. The Portrait of a Lady D. The Pioneers
37.Like Nathaniel Hawthorne,（ ）also manages to achieve the effect of ambiguity through symbolism and allegory in his narratives.
A. Mark Twain B. Henry James C. R. W. Emerson D. Herman Melville
38.In his realistic fiction, Henry James’s primary concern is to present the（ ）.
A. inner life of human beings B. American Civil War and its effects
C. life on the Mississippi River D. Calvinistic view of original sin
39.Which of the following is NOT a typical feature of Mark Twain’s writing style?（ ）
A. Simple vernacular. B. Local color.
C. Lengthy psychological analyses. D. Richness of irony and humor.
40.Which of the following statements about E. Grierson, the protagonist in Faulkner’s story“A Rose for Emily,”is NOT true?（ ）
A. She has a distorted personality. B. She is physically deformed and paralyzed.
C. She is the symbol of the old values of the South. D. She is the victim of the past glory.
PART TWO (60 POINTS)
Ⅱ. Reading Comprehension (16 points, 4 for each)
Read the quoted parts carefully and answer the questions in English. Write your answer in the corresponding space on the answer sheet.
41.“Words are like leaves; and where they most abound,
Much fruit of sense beneath is rarely found”
Questions:
A. Identify the poem and the poet. B. What idea do the two lines express?
42.“To be so distinguished, is an honor, which, being very little accustomed to favors from the great, I know not well how to receive, or in what terms to acknowledge.”
Questions:
A. Identify the work and the author. B. What is the tone of author?
43.“‘Faith! Faith!’cried the husband. ‘Look up to Heaven, and resist the Wicked One.’”
Questions:
A. Identify the work and the author. B. What idea does the quoted sentence express?
44.“We passed the School, where Children strove
At Recess—in the Ring—
We passed the Fields of Gazing Grain—
We passed the Setting Sun—”
Questions: A. Identify the poem and the poet.
B. What do“the School,” “the Fields”and“the Setting Sun”stand for respectively?
Ⅲ. Questions and Answers (24 points in all, 6 for each)
Give brief answers to each of the following questions in English. Write your answers in the corresponding space on the answer sheet.
45.As a rule, and allegory is a story in verse or prose with a double meaning: a surface meaning, and an implied meaning. List two works as examples of allegory. What is the implied meaning an allegory is usually concerned with?
46.“Let it not be supposed by the enemies of‘the system,’that during the period of his solitary incarceration, Oliver was denied the benefit of exercise, the pleasure of society, or the advantages of religious consolation.”
What do you think Charles Dickens intends to say in the above ironic statement taken from Oliver Twist?
47.Whitman has made radical changes in the form of poetry by choosing free verse as his medium of expression. What are the characteristics of Whitman’s free verse?
48.Some of Hemingway’s heroes are regarded as the Hemingway code heroes. Whatever the differences in experience and age, they all have something in common which Hemingway values. What are the characteristics of the Hemingway code hero?
Ⅳ. Topics for Discussion (20 points in all, 10 for each)
Write no less than 150 words on each of the following topics in English in the corresponding space on the answer sheet.
49.Elizabeth Bennet, the heroine in Pride and Prejudice, is often regarded as the most successful character created by Jane Austen. Make a brief comment on Elizabeth’s character.
50.Take Mark Twain’s The Adventures of Huckleberry Finn as an example to illustrate the statement that Mark Twain was a unique writer in American literature.
温馨小贴士：正确对待考研英语
快考研了，对于英语作文的复习，大家比较常用的方法就是背模板，来听听一些阅卷老师的看法：
一、作文模板要背,但不要背太多。关键是要准!老师是人,当然知道大家都是模板,不会因为这个难为大家。模板不是错,也没有歧视,但你连摸版都背不准,都背错,那就是你的不对了.我发现很多同学上下句不连贯,但都很优美,可见是拼接的,按本人经验,模版一个就可以对付大多数,问题是你要会用,而不是背一堆,又不准,同时还自己拼,那怎么能行?
二、考场上除非万不得已不要抄上面卷面上的句子。本人第一天连续发现4张卷子句子相同。上报组长,雷同卷,差点按0分处理,后来还好又发现类似卷子,原来都是从翻译抄下来的,0分终于避免了,但8分以下是跑不了了,欺骗老师啊~~~~
三、要有发光点,注意你是在考研,你让老师看到的是important,there be,那就等着8分左右吧,好象中国学生最会的句子就是there be,一片there be,更郁闷的是,有人还把时态弄错了,那完了,祈祷吧！用词,要对的起研究生(Q吧) 考试的水平啊,你就不能换点高级的词吗?
四、最重要的是每段开头.我算了一下,每份卷子,快的老师5秒,我差不多要10多秒。而且还要写两个名字,你觉得我能看到什么?首句!我们肯定不会乱改,但你要是在首句被我们看见低级词、低级句子、低级错误,那完了,这就决定你最终分数,就算你后面写的再好,也完了，前面是定性的,后面是定量的记得我的话!!!
五、多用难句,难词。要让我在枯燥的工作中惊艳,而且在5秒内,你就只有让我觉得,你很牛啊,从句子看出来,同时注意,不要写错！
六、一定要检查!特别是普通用法,要是普通用法错误,直接降一等,难的用法错了也就算了。你连there be都错,那能怪老师吗?我给的2个高分被组长打回原形,就是因为有低级错误!不要出错!
七、字体优美!强烈建议练练字,能写斜体的就很好，至少多3分,不能写的,字写明白,否则,损失的不止3分。
八、从07年北京地区改卷来看,分数比较多的是在,7,8左右,要按文章要求写,文章第一段多是描绘,注意上下句衔接,同时要有铺垫,不要上来第一个词就是confidence,太突兀了,看了有点晕。
九、作文不用花太多时间,但不花时间绝对不行,还是我说的,三个方面
1:背熟一个模版并运用好
2:不出错误
3:让老师惊艳的词句,就差不多了。
十、小作文没改,不知道,不过似乎他们看的速度比我们快的多,为你们祈祷~~呵呵。
十一、补充,套话还是要学的。背一点,最后可以筹字数起码,用的好的话也是个闪光点。
十二、好象没什么了,记住相信老师,北京地区分数低,不是老师随意压分,是我们严格执行标准,你们能做的,是提高水平!
十句对你不客气的英语口语
10句对你不客气的英语口语
1. Just wait and see. I won't let you get away with that.
咱们走着瞧。我不会让你得逞的。
2. You'll be sorry.
你会后悔的。
3. You're gonna get what's coming to you.
你会得到报应的。
4. If you're looking for a fight, you don't have to look far.
如果你想找人打架的话，不用找太远。
5. Watch your mouth. Do you know who you're talking to?
说话客气一点。你知道你在跟谁说话吗？
6. I'll get even with you sooner or later.
跟你的这笔账我迟早会要回来的。
7. Listen, you've picked the wrong person to quarrel with.
听着，你找错吵架的对象了。
8. You'd better take that back.
你最好收回那句话。
9. You want to take it outside? Anytime!
你想到外头解决(干架)吗？随時奉陪！
10. Don't mess with me! / Don't get fresh with me!
不要惹我！/ 给我放尊重一点！
英美文学作家作品
■ 英国部分
古英语Old English 450-1066 中世纪英语(文学) Medieval English 1066 - middle 14th century 乔叟Geoffrey Chaucer - the father of English poetry 文艺复兴(含义)The Renaissance - rebirth or revival 人文主义Humanism - the essence of the Renaissance, the dignity of human being & the importance of the present life 1.斯宾塞Edmund Spenser - the poets' poet 2.马洛Christopher Marlowe - University Wits, the pioneer of English drama Blank verse无韵诗体, hyperbole夸张 浮士德博士的悲剧 3.莎士比亚William Shakespeare - above all writers in the past and in the present time 四大悲剧Four tragedies - Hamlet, Othello, King Lear & Macbeth 十四行诗第18首 《威尼斯商人》 《哈姆雷特》 4.培根Francis Bacon - brevity, compactness(简洁) & powerfulness, his essays is an important landmark in the development of English prose Inductive method 归纳法 in place of deductive method 演绎法 《论学习》 5.邓恩John Donne 玄学诗派metaphysical poetry - break away from love poetry, a seemingly unfocused diversity of experiences and attitudes, and a free range of feelings and moods Conceits, syllogism 三段论 《日出》 《致死神》 6.弥尔顿John Milton 《失乐园》 《复乐园》 《力士参孙》 新古典主义Neoclassicism - a revival of interest in the old classical works, order, logic, restrained emotion抑制情感 & accuracy 怯懦 启蒙思想(运动) Enlightenment - a progressive intellectual movement, reason (rationality), equality & science 哥特式小说Gothic novel - mystery, horror & castles 神秘、恐怖 7.班扬John Bunyan (“浮华集市”) 8..蒲伯Alexander Pope 《论批评》 “words are like leaves; and where they most abound. Much fruit of sense beneath is rarely found. ”what idea do the two lines express? On fruit trees, where leaves are plentiful, fruit will be few. Similarly, in a piece of writing, where too many fine words are used, good sense will be reduced. 9. 笛福Daniel Defoe - the first writer study of the lower-class people《罗宾汉》 10.斯威夫待Jonathan Swift - a master satirist讽刺作家. In his opinion, human nature is seriously and permanently永存的 flawed有瑕疵的 Proper words in proper places 《温和的建议》 《格列佛游记》 11.菲尔丁Henry Fielding –英语小说之父 Father of English novel, Prose Homer Comic epic in prose 《汤姆?琼斯》 12.约翰逊Samuel Johnson - first combine an English dictionary, last neoclassicist enlightener 《英文字典》 致切斯特菲尔德勋爵的信 13. 谢里丹Richard Brinsley Sheridan - the only important English dramatist of the 18th century 《?情敌》 14.格雷Thomas Gray The Graveyard(墓地) School《写在教堂墓地的挽歌》 ?浪漫传奇Romantic - emotion over reason, spontaneous emotion, a change from the outer world of social civilization to the inner world of 人文主义精神the human spirit, poetry should be free from all rules, imagination, nature, commonplace The romantic period began with the publication of Wordsworth and Coleridge's 浪漫主义时期 The Romantic Period 15.布莱克William Blake -engraver雕刻家 《扫烟囱的人》 16.华兹华斯William Wordsworth - the leading figure of the English romantic poetry, simple, spontaneous自发的, worshipper of nature' Lake Poets' - William Wordsworth, Samuel Taylor Coleridge & Robert Southey骚赛 He defines the poet as a 'man speaking to men', and poetry as 'the spontaneous overflow洋溢 of powerful feelings, which originates in 'emotion recollected沉思默想的 in tranquillity安静'. “我孤独地游荡，就象一朵云” 《威斯敏斯特桥上,1802年9月3日》 《她居住在人迹罕至的地方》 《孤独的割麦女》 17.柯勒律治Samuel Taylor Coleridge - supernatural, remote Poet can be divided into two groups - the demonic (supernatural) & the conversational(对话的) The demonic group includes 3 masterpieces –《古舟子咏》(又,《老水手之行》) 18.拜伦George Gordon Byron 拜伦式英雄'Byronic hero' is a proud, mysterious rebel figure of noble origin贵族血统, against tyrannical残暴的 rules or moral principles. Such a hero appears first in《恰尔德?哈罗德游记》 19.雪莱Percy Bysshe Shelley Shelley’s masterpiece, Prometheus unbound, Is a verse drama. which borrows the basic story from a Greek play. 英国人民之歌 《西风颂》 20.济慈John Keats 4 great odes – 忧郁颂 21.简奥斯汀Jane Austen 《傲慢与偏见》 维多利亚时期 The Victorian Period 达尔文《物种起源》Darwin's 功利主义Utilitarianism was widely accepted and practiced Critical realists were all concerned about the fate of the common people 22.狄更斯Charles Dickens - one of the greatest critical realist writers批判现实主义作家 of the Victorian Age维多利亚时代 Character-portrayal描写 is the most distinguishing feature特点 of his works A mingling混合 of humor and pathos 悲伤,惆怅 《双城记》 23.勃朗蒂姐妹The Bront? Sisters - Charlotte, Emily & Anne Bront?, a rather reserved and simple girl, was very much a child of nature. 《简?爱》 24.丁尼生Alfred Tennyson - invents dramatic monologue, Poet Laureate 桂冠诗人, a real artist 拍吧, 拍吧, 拍吧 《过沙洲》 ”尤利西斯” 25.布朗宁Robert Browning - the most original poet, who improve and mature the dramatic monologue 《指环与书》 我逝去的公爵夫人 26.乔治?艾略特George Eliot: As a 女性作家woman of exceptional 特有的intelligence and life experience, she shows a particular concern for the destiny of women 《米尔德马契》 27.哈代Thomas Hardy - both a 自然主义naturalistic and a critical realist writer 地方乡土色彩Local-colored, Wessex, 'novels of character and environment' 《德勃家的苔斯》 ?夜里的相会 现代主义 The Modern Period 28.萧伯纳George Bernard Shaw- 1884 join the Fabian Society, strongly against the credo信条 of “art for art’s sake”, vehemently 激烈condemned the “well made” but cheap, hollow plays. He wrote more than 50 plays. Mission of his drama was to reveal the moral, political and economic truth from a radical reformist point of view. 《鳏夫的房产》 29.高尔斯华绥 John Galsworthy- was born into a upper-middle-class上层(富裕的)中产阶级 family. 《银盒》 第一个三步曲Trilogy--《福赛特世家》 第二个三步曲second Forsyte trilogy:《现代喜剧》 第三个三步曲 30.叶芝 William Butler Yeats was born into an Anglo-Irish Protestant family in Dublin. organized the Irish National Dramatic Socirty and opened the Abbey Theatre. a moderate nationalist. build a mystical system of beliefs(history, life followed a circular spiral螺旋 pattern consisting of long cycles which repeatd themselves over and over on different levels). 象征symbol : “winding stairs旋梯”, “spinning tops陀螺”, “gyres旋转”, “spirals” long poetic career, 3 period 《茵尼斯弗利岛》 《丽达及天鹅》 31. T. S.艾略特 T. S. Eliot 《普鲁弗洛克的情歌》 《四个四重奏》 32.劳伦斯 D. H. Lawrence 《儿子和情人》 33.乔伊斯 James Joyce 《都柏林人》 ■ 美国部分 Started with Washington Irving's called 'the American Renaissance'Free expression of emotion, escapes from society, and return to nature New England Transcendentalism 先验主义/超验主义 1.欧文Washington Irving - father of the American short stories, the American Goldsmith Perfected the best classic style that American literature ever produced First novel 2.爱默生Ralph Waldo Emerson - the spokesman of New England Transcendentalism movement 3.霍桑Nathaniel Hawthorne Interior of the heart, there is evil in every human heart, which may remain latent, perhaps, through the whole life, but circumstances may rouse it to activity 4.惠特曼Walt Whitman Openness, freedom, individualism I - me, my nation (society), Free verse, Envelope structure, Catalogue (Listing) A new ideal, a new world, a new life-style 5.麦尔维尔Herman Melville - a master of allegory and symbolism, like Hawthorne Realistic period - the Gilded Age, the poor poorer and the rich richer, people's attention was now directed to the interesting features of everyday existence Local colorism, social Darwinism, bestiality, beyon man's control 6.马克?土温Mark Twain - the true father of American literature Local colorist, vernacular, simple sentence, 'the damned human race' The Gilded Age 3 boyhood books 7.亨利詹姆斯Henry James - international theme, psychological realistStream of consciousness, interior monologue, free association 8.迪金森Emily Dickinson Based on her own experiences, her sorrows and joys 9.西奥多?德莱塞Theodore Dreiser - America's literary naturalists Case history including everything Determinism (heredity biological & environment), survival of the fittest, the jungle law Trilogy of Desire - The modern period - the second American Renaissance, the expatriate movement, the Lost Generation, a transformation from order to disorder Seize the day, enjoy the present, spiritual wasteland, collective unconscious, psychoanalysis Imagist movement, Jazz Age 10.庞德Ezra Pound - a leading spokesman of the 'Imagist Movement' 11.弗洛斯特Robert Lee Frost - four times awarded Pulitzer Prize, pastoral life and scene
