[考研阅读] 【研英词汇+阅读】做阅读记单词【第二期】

anyway02

TEXT TWO
He emerged, all of a sudden, in 1957: the most explosive new poetic talent of the English post-war era. Poetry specialised, at that moment, in the wry chronicling of the everyday. The poetry of Yorkshire-born Ted Hughes, first published in a book called “The Hawk in the Rain” when he was 27, was unlike anything written by his immediate predecessors. Driven by an almost Jacobean rhetoric, it had a visionary fervour. Its most eye-catching characteristic was Hughes's ability to get beneath the skins of animals: foxes, otters, pigs. These animals were the real thing all right, but they were also armorial devices—symbols of the countryside and lifeblood of the earth in which they were rooted. It gave his work a raw, primal stink.

It was not only England that thought so either. Hughes's book was also published in America, where it won the Galbraith prize, a major literary award. But then, in 1963, Sylvia Plath, a young American poet whom he had first met at Cambridge University in 1956, and who became his wife in the summer of that year, committed suicide. Hughes was vilified for long after that, especially by feminists in America. In 1998, the year he died, Hughes broke his own self-imposed public silence about their relationship in a book of loose-weave poems called “Birthday Letters”. In this new and exhilarating collection of real letters, Hughes returns to the issue of his first wife's death, which he calls his “big and unmanageable event”. He felt his talent muffled by the perpetual eavesdropping upon his every move. Not until he decided to publish his own account of their relationship did the burden begin to lighten.
The analysis is raw, pained and ruthlessly self-aware. For all the moral torment, the writing itself has the same rush and vigour that possessed Hughes's early poetry. Some books of letters serve as a personalised historical chronicle. Poets' letters are seldom like that, and Hughes's are no exception. His are about a life of literary engagement: almost all of them include some musing on the state or the nature of writing, both Hughes's own or other people's. The trajectory of Hughes's literary car** had him moving from obscurity to fame, and then, in the eyes of many, to life-long notoriety. These letters are filled with his wrestling with the consequences of being the part-private, part-public creature that he became, desperate to devote himself to his writing, and yet subject to endless invasions of his privacy. 　
Hughes is an absorbing and intricate commentator upon his own poetry, even when he is standing back from it and good-humouredly condemning himself for “its fantasticalia, its pretticisms and its infinite verballifications”. He also believed, from first to last, that poetry had a special place in the education of children. “What kids need”, he wrote in a 1988 letter to the secretary of state for education in the Conservative government, “is a headfull [sic] of songs that are not songs but blocks of refined and achieved and exemplary language.” When that happens, children have “the guardian angel installed behind the tongue”. Lucky readers, big or small.


1．The poetry of Hughes’s forerunners is characteristic of ______
A its natural, crude flavor.
B its distorted depiction of people’s daily life.
C its penetrating sight.
D its fantastical enthusiasm.
2.The word “vilified” (Line 4, Paragraph 2)most probably means _____
A tortured
B harassed
C scolded
D tormented
3．According to the third paragraph, Hughes’s collection of letters are _____
A the exact reason responsible for both his fame and notoriety.
B personalized description of his double identity as a public and a private figure.
C reflections of his struggle between his literary devotion and the reality.
D his meditation and exploration on the literary world and the essence of literature.
4. From the letters, we may find the cause of Hughes’s internal struggle is _____
A his eager and unsatisfied passion for literature.
B that he is a part-private, part-public creature.
C that he is constrained by the fear of his privacy being exposed to the criticism of the public.
D the moral torment exerted by himself.
5. By “lucky readers” in the last sentence, the author means_____
A children who are imparted with the beauty and wisdom of poetry.
B children who have a headfull of fantastic and verbally perfect songs.
C children who own blocks of refined and achieved and exemplary language.
D children who are believed to have the guardian angel installed behind the tongue.

anyway02

词汇注释：
emerge vi. 浮现,形成,(由某种状态)脱出,(事实)显现出来
era n. 时代,纪元,时期
wry adj. 枯燥乏味的 ;扭歪的,歪曲的,歪斜的 vi. 扭曲,扭歪
chronicl n. 年代记,记录,编年史 vt. 载入编年史

predecessorn.前辈, 前任
rhetoric n. (措词、文体的)浮夸与修饰

visionary a. 幻影的,幻想的,梦想的 n. 空想家,梦想者

fervour n.热情
otter n. 水獭,水獭皮
armorial adj.徽章的

lifeblood n. 生命力或生命之源的力量
stink n. 气息，气味 ,臭味,臭气,张扬 vi. 发臭味,名声臭 vt. 用臭味赶

vilify vt.诽谤, 辱骂, 贬低, 轻视
feminist n. 男女平等主义者,女权扩张论者 a. 男女平等主义的,女权扩张论的
exhilarate vt. 使高兴,使愉快
muffle vt.压抑；阻止
perpetual a. 永久的,不断的,没完没了的,四季开花的

eavesdropping n.偷听
burden n. 负担,重载,担子,责任 vt. 装货于,麻烦,使负担
vigour n. 精力,活力,力量,效力,气势
trajectory n. 道路；轨迹

obscurity n. 阴暗,不分明,朦胧,含糊,晦涩,偏僻,隐匿,身份低微

notoriety n.恶名, 丑名, 声名狼藉
absorbing adj.吸引人的, 非常有趣的

intricate adj. 难以理解的
condemn vt. 判刑,责备,处刑,声讨,谴责
exemplary a. 可仿效的,可做模范的

anyway02

篇章剖析：
本文讲述了英国著名诗人特德·休斯作品的特点和其所反映的诗人的一些情况。第一段讲述休斯诗歌的特色；第二段讲述因其妻子的原因而创作了一部书信集的情况；第三段讲述这本书信集的特点和反映的内容；第四段讲述休斯对诗歌的看法和态度。

难句突破：
（１）But then, in 1963, Sylvia Plath, a young American poet whom he had first met at Cambridge University in 1956, and who became his wife in the summer of that year, committed suicide.
主体句式：But then Sylvia Plath committed suicide.
结构分析：这是一个同位语带有定语从句的复合句。whom和who引导的两个定语从句修饰a young American poet，整体作为Sylvia Plath的同位语。
句子译文：但是在1963年，西尔维亚·普拉斯自杀了，这个美国年轻诗人与他第一次见面是在1956年的剑桥大学，而当年夏天又成为了他妻子。
（2）These letters are filled with his wrestling with the consequences of being the part-private, part-public creature that he became, desperate to devote himself to his writing, and yet subject to endless invasions of his privacy.
主体句式：These letters are filled with his wrestling.
结构分析：这是一个简单句，难点在于最后两个形容词词组的成分（desperate to devote himself to his writing, and yet subject to endless invasions of his privacy）。这两个形容词词组用来修饰前面的名词creature, 而creature后面紧跟着的that 引导的从句也是修饰它的定语从句。
句子译文：这些信中处处都显现出休斯因为自己成为半私人、半公开这样一个人物反复挣扎的心理，他渴望将自己奉献给文字，但又时时受到私人空间受到侵袭的威胁。
题目分析
1. 休斯先前的诗人们创作的诗歌特点是______
A] 自然、原始的风味。
B]对人们日常生活的变形描写。
C] 洞穿一切的视角。
D] 梦幻式的热情。
[答案] B
[难度系数] ☆☆☆
[分析] 细节题。本文第一段讲述了休斯诗歌的特点。第一段第二句说明了当时盛行的诗歌的特色是the wry chronicling of the everyday，紧接着第三句就指出休斯的作品不同于他前辈的诗歌，接下来的几句都是讲述休斯作品具体是什么特色。由此可以推理，第二句所描写的就是其前人作品的特点，是“对日常生活的变形描述”，选项B为正确答案。
2. “vilified”这个词（第二段第四行）最有可能的意思是_____
A] 折磨。
B] 骚扰。
C] 斥责。
D] 折磨。
[答案] C
[难度系数] ☆
[分析] 猜词题。这个词的意思要根据上下文推断。该词出现的前一句讲述休斯妻子，一位美国诗人自杀了。紧接着就说，该事件发生后很长一段时间里美国的女权主义者对休斯采取了一种行动。后面又讲述了休斯在去世之前将他与妻子的关系情况以书信集的方式表达出来，直到这本集子出版他的负担才得以减轻。那么休斯一直背负着的就是一种精神负担，这部分是由那些女权主义者造成的，可能性比较大的就是一种精神上的谴责，答案[C]最为符合。
3．从第三段可以得知，休斯的书信集是_____
A] 给他同时带来声誉和恶名的直接原因。
B] 关于他作为一个公共人物和一个个人双重身份的个性化描述。
C] 他在文学信仰与现实间挣扎的反映。
D] 他对文学世界的思考和探索。
［答案］D
[难度系数] ☆☆☆☆
［分析］推理题。根据文章第三段，休斯的这本书信集和一般书信集不同，不是将自己的经历做一陈述，而是所有书信都包含有对自己或对别人作品的思考，是他文学思想的一个展示。最后一句是说从这些书信中可以看出他为是要完全展示在作品中还是要维护个人隐私而苦苦挣扎过。从这些描述可以看出，该书信集主要是他文学观点的一些表述，从中可以看出他的思想发展历程，因此答案D最符合。A和B选项与第二段关系较为密切，因此与本题无关。C选项看似有理，但要注意休斯的挣扎并不是在文学与现实之间的挣扎，而是一种在文学世界中探索的痛苦挣扎。
4. 由休斯书信的内容可以看出休斯内心挣扎的原因在于_____
A] 他对文学世界那种热切和无法满足的激情。
B] 他是一个半隐密、半公开的人物。
C] 他在文学创作中担心自己的私人世界被暴露在公众批评之中。
D] 他加在自己身上的道德折磨。
[答案]C
[难度系数] ☆☆☆
[分析] 细节题。题干是要求找出休斯内心挣扎的原因，这在第三段最后一句中有提及。文章指出书信中处处都体现了休斯和自己半隐密、半公开这么一个身份进行斗争的印迹：一方面他想在创作中完全投入，但又担心自己的隐私会受到侵害。可以看出，休斯之所以内心挣扎，是由于他自己一面想要在作品中公开自己，而在现实中又想保护自己的隐私，因此答案C最为符合。
5. 文章最后一句话中的“幸运的读者”，作者指的是_____
A] 那些被灌输了诗歌的优美和智慧的孩子。
B] 那些脑子里有许多精彩、优美歌谣的孩子。
C] 那些拥有精致、优雅的语言的孩子。
D] 那些被认为舌头后面有守卫天使的孩子。
[答案]A
[难度系数] ☆☆
[分析] 细节题。理解这句话需要结合上下文来看，文章最后一段主要是讲述休斯认为诗歌在孩子教育方面发挥特殊的作用，他认为孩子需要的是诗歌，是精致、完美的语言，如果真的拥有这些了，那么孩子舌头后面就有了守卫天使，那他们就是幸运的读者了。虽然四个答案都仿佛正确，但从最根本来说，是因为读诗，孩子才会拥有以上所说的一切，才是幸运的，而且本段也着重强调诗歌对于孩子的重要性。因此，最佳答案为A。