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
第1题:
Peter liked music very much when he was at school, but when he went to the university,he decided to study medicine instead. After he passed the examinations and became a doctor, he had to work in a hospital for some time. There he discovered that a lot of patients were happier and less worried about their illnesses if they could hear pleasant music. When Peter became a surgeon and began to work for himself, he decided to keep his patients happy by having a tape recorder in his waiting room, playing beautiful music for them. But soon after the tape recorder was put in the waiting room, Peter’s nurse heard a woman who was sitting in the crowded waiting room one morning complain, "Here we’re all waiting to see the doctor, and he’s just playing the piano in his office instead of doing his work!"
31. Peter liked music when he was at school.
A. T B. F
32. Peter had to pass some examinations after he became a doctor.
A. T B. F
33. Peter decided to play music for his patients because he couldn’t leave music.
A. T B. F
34. Peter put a recorder in his waiting room.
A. T B. F
35. The woman complained because she thought Peter wasn’t working.
A. T B. F
第2题:
第3题:
第4题:
第5题:
第6题:
第7题:
第8题:
第9题:
on account of
in spite of
in addition to
even though
第10题:
第11题:
第12题:
第13题:
第14题:
第15题:
第16题:
第17题:
第18题:
第19题:
第20题:
第21题:
第22题:
第23题:
feels happy, thinking of how nice his friends were to him
feels he may not have “read” his friends true feelings correctly
thinks it was a mistake to have broken up with his girl friend, Helen
is sorry that his friends let him down