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12000年4月MULTIPLECHOICE(40POINTS,1POINTFOREACH)1THESENTENCE“SHALLICOMPARETHEETOASUMMERSDAY“ISTHEBEGINNINGLINEOFONEOFSHAKESPEARES_ACOMEDIESBTRAGEDIESCSONNETSDHISTORIES2“SOMUCHTHEWORSEFORME,THATIANSTRONGDOIWANTTOLIVEWHATKINDOFLIVINGWILLITBEWHENYOUOH,GODWOULDYOULIKETOLIVEWITHYOURSOULINTHEGRAVE“INTHEABOVEPASSAGEQUOTEDFROMEMILYBRONTESWUTHERINGHEIGHTS,THEWORD“SOUL“APPARENTLYREFERSTO_AHEATHCLIFFBCATHERINECGHOSTDONESSPIRITUALLIFT3“ANDWHEREARETHEYANDWHEREARTTHOU,“MYCOUNTRYONTHYVOICELESSSHORETHEHEROICLAYISTUNELESSNOWTHEHEROICBOSOMBEATSNOMORE“(GEORGEGORDONBYRON,DONJUAN)INTHEABOVESTANZA,“ARTTHOU“LITERALLYMEANS_A“AREYOU“B“ARTTHOUGH“C“ARETHOUGH“D“ARTYOU“4THEMAJORCONCERNOF_FICTIONLIESINTHETRACINGOFTHEPSYCHOLOGICALDEVELOPMENTOFHISCHARACTERSANDINHISENERGETICCRITICISMOFTHEDEHUMANIZINGEFFECTOFTHECAPITALISTINDUSTRIALIZATIONONHUMANNATUREACHARLESDICKENSSBDHLAWRENCESCTHOMASHARDYSDJOHNGALSWORTHYS5DANIELDEFOEDESCRIBES_ASATYPICALENGLISHMIDDLECLASSMANOFTHEEIGHTEENTHCENTURY,THEVERYPROTOTYPEOFTHEEMPIREBUILDERORTHEPIONEERCOLONISTATOMJONESBGULLIVERCMOLLFLANDERSDROBINSONCRUSOE6“TOBESODISTINGUISHEDISANHONOR,WHICH,BEINGVERYLITTLEACCUSTOMEDTOFAVORSFROMTHEGREAT,IKNOWNOTWELLHOWTORECEIVE,ORINWHATTERMSTOACKNOWLEDGE“THEABOVEQUOTEDSENTENCEISPRESENTEDBYSAMUELJOHNSONWITHA(N)_TONEADELIGHTFULBJEALOUSCIRONICDHUMOROUS7“SHELIVEDUNKNOWN,ANDFEWCOULDKNOWWHENLUCYCEASEDTOBEBUTSHEISINHERGRAVE,AND,OH,THEDIFFERENCETOME“THEWORD“ME“INTHELASTLINEOFTHEABOVESTANZAQUOTEDFROMWORDSWORTHSPOEM“SHEDWELTAMONGTHEUNTRODDENWAYS“MAYPOSSIBLYREFERTO_ATHEPOETBTHEREADERCHERLOVERDEVERYBODY8_ISATYPICALFEATUREOFSWIFTSWRITINGSABITTERSATIREBELEGANTSTYLECCASUALNARRATIONDCOMPLICATEDSENTENCESTRUCTURE9THESTATEMENT“ITREVEALSTHEDEHUMANIZINGWORKHOUSESYSTEMANDTHEDARK,CRIMINALUNDERWORLDLIFE“MAYWELLSUMUPTHEMAINTHEMEIFDICKENSS_ADAVIDCOPPERFIELDBBLEAKHOUSECGREATEXPECTATIONSDOLIVERTWIST210“DOYOUTHINK,BECAUSEIAMPOOR,OBSCURE,PLAIN,ANDLITTLE,IAMSOULLESSANDHEARTLESSANDIFGODHADGIFTEDMEWITHSOMEBEAUTY,ANDMUCHWEALTH,ISHOULDHAVEMADEITASHARDFORYOUTOLEAVEME,ASITISNOWFORMETOLEAVEYOU“THEABOVEQUOTEDPASSAGEISMOSTPROBABLYTAKENFROM_APRIDEANDPREJUDICEBJANEEYRECWUTHERINGHEIGHTSDGREATEXPECTATIONS11ITISGENERALLYREGARDEDTHATKEATSSMOSTIMPORTANTANDMATUREPOEMSAREINTHEFORMOF_AODEBELEGYCEPICDSONNET12GBSHAWSPLAYMRSWARRENSPROFESSIONISAREALISTICEXPOSUREOFTHE_INTHEENGLISHSOCIETYASLUMLANDLORDISMBINEQUALITYBETWEENMENANDWOMENCPOLITICALCORRUPTIONDECONOMICEXPLOITATIONOFWOMEN13INWILLIAMBLAKESPOETRY,THEFATHER(ANDANYOTHERINWHOMHESAWTHEIMAGEOFTHEFATHERSUCHASGOD,PRIEST,ANDKING)WASUSUALLYAFIGUREOF_ABENEVOLENCEBADMIRATIONCLOVEDTYRANNY14“IBELIEVEYOUAREMADEOFSTONE,HESAID,CLENCHINGHISFINGERSSOHARDTHATHEBROKETHEFRAGILECUPYOUSEEMTOFORGET,SHESAID,THATCUPISNOT“FROMTHEABOVEQUOTEDPASSAGE,WECANFINDTHEWOMANSTONEISVERY_ASARCASTICBAMUSINGCSENTIMENTALDFACETIOUS15THEPILGRIMSPROGRESSBYJOHNBUNYANISOFTENSAIDTOBECONCERNEDWITHTHESEARCHFOR_AMATERIALWEALTHBSPIRITUALSALVATIONCUNIVERSALTRUTHDSELFFULFILLMENT16ALEXANDERPOPESTRONGLYADVOCATED_,EMPHASIZINGTHATLITERARYWORKSSHOULDBEJUDGEDBYRULESOFORDER,REASON,LOGIC,RESTRAINEDEMOTION,GOODTASTEANDDECORUMASENTIMENTALISMBROMANTICISMCIDEALISMDNEOCLASSICISM17AFTERREADINGTHEFIRSTCHAPTEROFPRIDEANDPREJUDICE,WEMAYCOMETOKNOWTHATMRSBENNETISAWOMANOF_ASIMPLECHARACTERANDQUICKWITBSIMPLECHARACTERANDPOORUNDERSTANDINGCINTRICATECHARACTERANDQUICKWITDINTRICATECHARACTERANDPOORUNDERSTANDING18OFALLTHEEIGHTEENTHCENTURYNOVELISTS,_WASTHEFIRSTTOSETOUT,BOTHINTHEORYANDPRACTICE,TOWRITESPECIFICALLYA“COMICEPICINPROSE,“ANDTHEFIRSTTOGIVETHEMODERNNOVELITSSTRUCTUREANDSTYLEADANIELDEFOEBSAMUELRICHARDSONCHENRYFIELDINGDOLIVERGOLDSMITH19“NOTONTHYSOLEBUTONTHYSOUL,HARSHJEW,/THOUMAKSTTHYKNIFEKEEN“INTHEABOVEQUOTATIONTAKENFORMTHEMERCHANTOFVENICE,SHAKESPEAREEMPLOYSA(N)_AOXYMORONBPUNCSIMILEDSYNECDOCHE20INHARDYSWESSEXNOVELS,THEREISANAPPARENT_TOUCHINHISDESCRIPTIONOFTHESIMPLEANDBEAUTIFULTHOUGHPRIMITIVERURALLIFEAHUMOROUSBROMANTICCNOSTALGICDSARCASTIC21“OPRINCE,OCHIEFOFMANYTHRONEDPOWERS,“THATLEDTHEMBATTLEDSERAPHIMTOWARUNDERTHYCONDUCT,ANDINDREADFULDEEDSFEARLESS,ENDANGEREDHEAVENSPERPETUALKING“INTHETHIRDLINEOFTHEABOVEPASSAGEQUOTEDFROMMILTONSPARADISELOST,THEPHRASE“THYCONDUCT“REFERSTO_CONDUCTASATANSBGODSCADAMSDEVES322WECANPERHAPSDESCRIBETHEWESTWINDINSHELLEYSPOEM“ODETOTHEWESTWIND“WITHALLTHEFOLLOWINGTERMSEXCEPT_ATAMEDBSWIFTCPROUDDWILD23IN1837,RALPHWALDOEMERSONMADEASPEECHENTITLED_ATHARVARD,WHICHWASHAILEDBYOLIVERWENDELLHOLMESAS“OURINTELLECTUALDECLARATIONOFINDEPENDENCE“A“NATURE“B“SELFRELIANCE“C“DIVINITYSCHOOLADDRESS“D“THEAMERICANSCHOLAR“24INHAWTHORNES“YOUNGGOODMANBROWN,“ASATANICFIGURELEADSTHECREDULOUSPROTAGONISTTOAWITCHESSABBATHINTHEWOODSTHEREHERECOGNIZESMANYPILLARSOFSALEMSPURITANSOCIETYASWELLASHISWIFE,FAITHTHESTORYILLUSTRATESHAWTHORNESALLEGORICALTHEMEOFHUMANEVILORWHATMELVILLECALLEDTHE“POWEROF_“ABLACKNESSBWHITENESSCTERRORDHYPOCRISY25FORMELVILLE,ASWELLASFORTHEREADERAND_,THENARRATOR,MOBYDICKISSTILLAMYSTERY,ANULTIMATEMYSTERYOFTHEUNIVERSEAAHABBISHMAELCSTUBBDSTARBUCK26MOSTOFTHEPOEMSINWHITMANSLEAVESOFGRASSSINGOFTHE“ENMASS“ANDTHE_ASWELLANATUREBSELFRELIANCECSELFDLIFE27EMILYDICKINSONSPOEM(441)“TH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HOUGHARARITY,WHICHCLAUSOFINNSBRUCKCASTINBRONZEFORMEWHATISTHETITLEOFTHEPOEMWHOISTHESPEAKERWHATISTHEIMPORTANCEOFTHEALLUSION“NEPTUNE/TAMINGASEAHORSE“INTHEWHOLEPOEM46NOVUMORGANUM(“NEWINSTRUMENT“),ALONGWITHOTHERWORKS,WONTHEAUTHORTHEHONOUR“FATHEROFMODERNSCIENCE“WHOISTHEAUTHORWHATISTHEMAINCONCERNOFTHEWORKWHYTHEWORKISSOIMPORTANTFORTHEDEVELOPMENTOFMODERNSCIENCE47EZRAPOUNDISONEOFTHEPIONEERSINMODERNPOETRYWHATISTHEPOETICSCHOOLOFWHICHHEISACHIEFMEMBERWHATISPOUNDSREPRESENTATIVEWORKOFMANYYEARSOFPOETICCREATIONWHATISTHETITLEOFHISFREQUENTLYQUOTEDONEIMAGEPOEMPOUNDHASTRANSLATEDSOMELITERARYWORKSFROMTWOGREATANCIENTCIVILIZATIONSONEISGREECEWHATISTHEOTHERHOWDOYOUUNDERSTANDHISFAMOUSCOMMENT“THEIMAGEITSELFISTHESPEECH“648WILLIAMFAULKNER,ANOBELPRIZAWINNER,HASANIMPORTANTPOSITIONINAMERICANLITERATURENAMETWOOFHISMAJORNOVELSDOYOUKNOWANYTHINGABOUT“YOKNAPATAWPHACOUNTY“WHATISUNIQUEOFFAULKNERSFICTION,HISTORICALLYANDGEOGRAPHICALLYTOPICDISCUSSION(20POINTS,10POINTSFOREACH)WRITENOLESSTHAN150WORDSONEACHOFTHEFOLLOWINGTOPICSINENGLISHINTHECORRESPONDINGSPACEONTHEANSWERSHEET49APOSSIBLETHEMEOFJAMESJOYCESSHORTSTORY“ARABY“ISDISILLUSIONMENTBRIEFLYDISCUSSTHESYMBOLISMJOYCEEMPLOYSINPRESENTINGTHISTHEME50WHATMAKESMARKTWAINSTHEADVENTURESOFHUCKLEBERRYFINNMORETHANACHILDSADVENTURESTORYBRIEFLYDISCUSSTHEQUESTIONFROMTHREEOFTHEFOLLOWINGASPECTSTHESETTING,THELANGUAGE,THECHARACTER(S),THETHEMEANDTHESTYLEMULTIPLECHOICE(40POINTS,1POINTFOREACH)1C2B3A4B5D6C7C8A9D10B11A12D13D14A15B16D17B18C19B20C21A22A23D24A25B26C27C28C29D30A31C32C33D34D35A36C37D38B39C40DREADINGCOMPREHENSION(16POINTS,4POINTSFOREACH)41參考答案AIAMBICPENTAMETERWITHTHERHYMINGSCHEMEOFABABBTHETHIRDFOOTCONTAINSTWOACCENTEDSYLLABLESCTWOACCENTEDSYLLABLESSLOWDOWNTHEPACEINKEEPINGWITHTHELITERARYMEANINGOFTHEPHRASE“WINDSLOWLY“42參考答案ADRFAUSTUS,APLAYBYCHRISTOPHERMARLOWEBDRFAUSTUSCMANSASPIRATION,BOUNDINGACHIEVEMENTS,ANDTHEINEVITABLEFAILURE43參考答案ASCOTTFITZGERALD,THEGREATGATSBYBITISADESCRIPTIONOFTHEENDOFABIGPARTYCTHEPASSAGEHINTSATTHEMEANINGLESSNESS,SPIRITUALEMPTINESSANDVANITYOFSUCHALIFTOFPLEASURESEEKINGTHEREISATRAGICSENSETHATTHE“PARTY“WILLBEOVER44參考答案AWALTWHITMAN,“SONGOFMYSELF“(早期幾版詩(shī)人曾用過“POEMOFWALTWHITMAN,ANAMERICAN“和“WALTWHITMAN“,也應(yīng)算對(duì))BAMERICA,HISCOUNTRY,HISNATIVELANDCIWASBORNANDNURTUREDBYTHISLANDANDSHALLFROMNOWONDEVOTEMYWHOLELIFETOTHECOUNTRYQUESTIONSANDANSWERS(24POINTS,6POINTSFOREACH)45參考答案A“MYLASTDUCHESS“BTHEDUKE,ORTHEHUSBANDOFTHEDUCHESS7CPLACEDATTHEENDOFTHEPOEM,THEALLUSIONSERVESASTHECONCLUSIONTHATTELLSTHEREADERLISTENERTHATTHESPEAKERISATYRANT46參考答案AFRANCISBACONBTHEWORKISANARGUMENTFORTHEINDUCTIVEREASONINGINPLACEOFTHEARISTOTELIANDEDUCTIVEREASONINGCTHEARISTOTELIANREASONINGONLYSTATESTHEFACT,NOTCAPABLEOFDISCOVERYWHILETHEINDUCTIVEREASONING,ALTHOUGHSTARTINGWITHAHYPOTHESISANDDEVELOPINGWITHEXPERIMENTS,MAYLEADTOTHEDISCOVERYOFTRUEKNOWLEDGE47參考答案AIMAGISMBTHECANTOSC“INASTATIONOFTHEMETRO“DCHIANEPOUNDMEANSTHATIMAGESHOULDNOTBEORNAMENTSONLY,BUTSHOULDBETHEFOCUSOFPOETICEXPRESSIONBYEMPHASIZINGTHEEXTERIOROBJECT,POUNDHOPESTOAVOIDMORALIZINGANDACHIEVECLARITYANDEXACTNESS48參考答案A下列作品中任何兩本SOLDIERSPAY,SARTORIS,THESOUNDANDTHEFURY,ASILAYDYING,LIGHTINAUGUST,ABSALOM,ABSALOM,THEHAMLET,THETOWN,THEMANSION,ANDINTRUDERINTHEDUSTBYOKNAPATAWPHACOUNTYISANIMAGINEDPLACEBASEDONFAULKNERSOWNHOMETOWN,APLACETHATHETOOKFORTHESETTINGOF15OFHIS19NOVELSANDMANYSHORTSTORIESTHISSMALLREGIONINTHEAMERICANSOUTHBECOMESINFAULKNERSFICTIONANALLEGORYORAPARABLEOFTHEOLDSOUTHCHISLITERARYREPRESENTATIONOFTHEOLDSOUTHANDHISTHEMEOFTHEDETERIORATION,LOSSANDMORALDECAYOFTHEOLDSOUTHWHENITWASFALLINGAPARTTOPICDISCUSSION(20POINTS,10POINTSFOREACH)49參考答案A“SHORTDAYSOFWINTER,“SILENT“THESTREETOF“BLINDEND,“DARKMUDDYLANES“WITH“FEEBLELANTERNS,“DARKDRIPPINGGARDENS,“ANDMANYOTHERSFORETELLTHEINEVITABLEFAILUREOFTHEBOYSATTEMPTTOREACHHISDESIREBMANGANSSISTER,FORWHOMTHEBOYHADTENDERFEELINGS,SYMBOLIZESHOPE/ASPIRATION,BUTSHEWASSYMBOLICALLYCONFINED(“HAVEARETREATINHERCONVENT“)CTHEJOURNEYTOTHEBAZAARISAQUESTFORTHEFULFILLMENTOFTHEASPIRATION,BUTTHEJOURNEYWAS“INTOLERABLY“DELAYED,ANDWHENTHEBOYGOTTOTHEBAZAAR,HALFOFITWASALREADYDARKWHATSMORE,THEYOUNGLADYATTHEDOOROFASTALLWAS“NOTENCOURAGING,“ANDSPOKETOTHEBOY“OUTOFSENSEOFDUTY“WHENTHEUPPERPARTOFTHEHALLWASCOMPLETELYDARK,THEBOYSDISILLUSIONMENTWASANNOUNCEDANDTHUS,“GAZINGUPINTOTHEDARKNESSISAWMYSELFASACREATUREDRIVENANDDERIDEDBYVANITYANDMYEYESBURNEDWITHANGUISHANDANGER“50參考答案ASETTINGINTHENOVELMARKTWAINRECREATESASMALLTOWNWORLDOFAMERICAANDPRESENTSTHELOCALCOLORBLANGUAGEHEUSESSIMPLE,DIRECTLANGUAGEFAITHFULTOTHECOLLOQUIALSPEECH,THEVERNACULARLANGUAGEOFTHELOCALPEOPLECCHARACTER(S)THEAUTHORRECREATESTWOREBELSANDFUGITIVESRUNNINGAWAYFROMCIVILIZATION,ESPECIALLYHUCKLEBERRYFINN,ANINNOCENTBOYWHOREFUSESTOACCEPTTHECONVENTIONALVILLAGEMORALITYDTHEMETHENOVELISACRITICISMOFSOCIALINJUSTICE,HYPOCRISY,CONSERVATIVENESSANDNARROWMINDEDNESSOFTHEAMERICANSMALLTOWNSOCIETYESTYLETHENOVELEMPLOYSAHUMOROUSSTYLEOFNARRATIONANDISALSOHIGHLYSYMBOLICWITHTHECENTRALSYMBOL2001年4月IMULTIPLECHOICE1THEWORKTHATPRESENTED,FORTHEFIRSTTIMEINENGLISHLITERATURE,ACOMPREHENSIVEREALISTICPICTUREOFTHE8139MEDIEVALENGLISHSOCIETYANDCREATEDAWHOLEGALLERYOFVIVI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