2020浙江杭州师范大学英语文学基础考研真题.doc

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2020 浙江杭州师范大学英语文学基础考研真题 Part I Each of the statements below is followed by four alternative answers. Choose the one that would best complete the statement. (20x2) 1. About the Renaissance humanists which of the following statements is true? A. They thought money and social status was the measure of all things. B. They emphasized the dignity of human beings and the importance of the worldly life. C. They couldn't see the importance of worldly happiness. D. They thought people were largely subordinated to the ruling class without any freedom and independence. 2. Which of the following is not John Milton’s works? A. Paradise Lost B. Paradise Regained C. Samson Agonistes D. The Pilgrim’s Progress 3. the vices of his age. Jonathan Swift’s Gulliver’s Travels gives an unparalleled_____ depiction of A. religious B. romantic C. satirical D. comic William Blake’s Songs of Experience paints a world of _____ with a melancholy 4. tone. A. misery, poverty, disease, war and repression B. happiness and love and romantic ideals C. misery, poverty mixed with love and happiness D. loss and institutional cruelty with sufferings 5. Through his poems, Byron created the “Byronic hero” who is _____. A. a brave and stubborn rebel figure of noble origin B. a proud, mysterious rebel figure of noble origin C. a proud, mysterious rebel figure of lower origin D. a brilliant, independent and romantic figure of his time Which of the following can’t be included in the critical realists of the 6. Victorian Period? A. Charlotte and Emily Bronte B. Charles Dickens and William M. Thackeray C. Thomas Hardy and George Eliot D. D. H. Laurence and James Joyce 7. “Ode on a Grecian Urn” shows the contrast between the______ of art and the____ of human passion. A. glory，ugliness C. transience，sordidness 8. century writers who wrote under the influence of _____. The term “metaphysical poetry” is commonly used to name the work of the 17th B. permanence, transience D. glory，permanence A. John Milton B. John Donne C. John Keats D. John Bunyan 9. In The Pilgrim’s Progress Christian and Faithful come to the ______where both

are arrested as alien agitators and tried. A. Vanity Fair C. Celestial City 10. Of the following poets, who is not regarded as “lake poet”? D. The Valley of Humiliation B. Doubting Castle A. Samuel Taylor Coleridge B. Robert Southey C. William Wordsworth D. B. Endymion C. Joan of Arc D. Frankenstein B. reason C. individualism John Keats 11. ________, a Gothic novel written by Mary Shelley, is one of the triumphs of the Romantic movement due to its theme of alienation and its warning about the destructive power that can result when human activity is unfettered by moral and social concerns. A. Waverley 12. Which of the following statements about the Romantic period in the history of American literature is NOT true? A. Most heroes and heroines in the writings of this period exhibited extremes of reason and rationality. B. In most of the writings of this period there was a new emphasis upon the imaginative and emotional qualities of literature. C. There were a strong tendency to exalt the individual and the common man. D. The writers of this period placed an increasing emphasis on the free expression of emotions and displayed an increasing attention to the psychic states of their characters. 13. The common thread throughout American literature has been the emphasis on the___. A. revolutionism 14. Although realism and naturalism were products of the 19th century, their final triumph came in the 20th century, with the popular and critical successes of such writers as Edwin Arlington, William Cather, Robert Frost, William Faulkner and_____. A. Edgar Allan Poe C. Washington Irving 15. ____, one of the essays in The Sacred Wood, is the earliest statement of T.S. Eliot’s aesthetics, which provided a useful instrument for modern criticism. A. “Tradition and Individual Talent” C. “A Primer of Modern Heresy” 16. The three poets Ezra Pound, T.S. Eliot and ____ opened the way to modern poetry. A. O. Henry C. E.E. Cummings 17. A. Jonathan Edwards 18. A. Walden 19. Which is regarded as the “Declaration of Intellectual Independence” in the history of American Literature? A. The American Scholar C. The Conduct of Life 20. Imagism was equivalent to ___ in fiction in a sense. Imagist never stated the D. Thomas Hooker Which is generally regarded as the Bible of New England Transcendentalism? Which writer best expressed the Puritan sense of the self? B. Henry David Thoreau D. Robert Frost B. Cotton Mather C. John Smith B. “Sweeny Agonistes” B. Nature C. “On Beauty” D. “Self-Reliance” B. Sherwood Anderson D. Ralph Ellison D. rationalism D. “Gerention” B. English Traits D. Representative Men

emotion in the poem, but just presented an image: concrete, firm and definite in picture. A. modernism B. romanticism C. naturalism D. surrealism Part II Identify the source of each of the following quotation and write out the TITLE of which the passage comes from.(20x1) Whan Zephirus eek with his sweete breeth/Inspired hath in every holt and All is not lost-----the unconquerable will,/ And study of revenge, immoral These people are most excellent mathematicians, and arrived to a great True wit is Nature to advantage dressed,/What oft was thought, but ne’er so As fair art thou, my bonnie lass,/So deep in luve am I;/ And I will luve thee If they be two, they are two so/As stiff twin compasses are two:/Thy soul, the 1. heeth/The tender croppes, and the Yonge sonne/Hath in the Ram his half coursy ronne, 2. The quality of mercy is not strained;/It droppeth as the gentle rain from heaven/ Upon the place beneath. It is twice blest: 3. fixed foot, makes no show/To move, but doth if th’other do; 4. hate,/And courage never to submit or yield: 5. perfection in mechanics by the countenance and encouragement of the Emperor, who is a renowned patron of learning. 6. well expressed; 7. So here have I lived above sixteen years in virtue and reputation; and all at once, when I come to know what is good, and what is evil, I must renounce all the good, all the whole sixteen years’ innocence, which, next to God’s grace, I owed chiefly to my parents and to my lady’s lessons and example. 8. still, my dear,/ Till a’ the seas gang dry. 9. in some shady haunt,/ Among Arabian sands: 10. It is a truth universally acknowledged, that a single man in possession of a good fortune must be in want of a wife. 11. Wild Spirit, which art moving everywhere;/ Destroyer and Preserver; hear, O hear! 12. He listened. The wind, playing upon the edifice, produced a booming tune, like the note of some gigantic harp. 13. What a handsome little Oriental he was, and no doubt his wife and children were beautiful too, for people usually get what they already possess. 14. This train of thought, she perceives, is threatening mere waste of energy, even some collision with reality, for who will ever be able to lift a finger against Whitaker’s Table of Precedency? 15. He hated her bitterly at that moment because he made her suffer. Love her! She knew he loved her. He really belonged to her. This about not loving her, physically, bodily, was a mere perversity on his part. 16. They were all running, all crying out madly. He could hear them crashing in the undergrowth and on the left was the hot, bright thunder of the fire. No Nightingale did ever chaunt/ More welcome notes to weary bands/ Of travelers

17. “I sometimes have a queer feeling with regard to you-----especially when you are near me, as now; it is as if I had a string somewhere under my left ribs, tightly and inextricably knotted to a similar string situated in the corresponding quarter of your little frame.” 18. This grew; I gave commands;/ Then all smiles stopped together. 19. Although schoolmistresses’ letters are to be trusted no more nor less than churchyard epitaphs; yet, as it sometimes happens that a person departs this life, who is really deserving of all praises the stone-cutter carves over his bones; 20. Yet all experience is an arch wherethrough/ Gleams that untraveled world whose margin fades/ Forever and forever when I move. Part III In this part, you are free to choose Any TWO of the following three literary terms, and define them. (20x2) 1. Stream of consciousness 2. Conceit 3.Transcendentalism In 1954, William Golding(1911-1993) published his first novel Lord of the Flies Part IV. Choose ONE of the two topics and elaborate your views. (25x1) 1. after nearly 21 rejections of various publishers. This fiction,since its publication, has been considered as a dystopian allegory indicative of vast aspects of the human condition, in terms of human evil and society.Elaborate your view on this novel. 2. Eugene O’Neill(1888-1953) was the first American dramatist to regard the stage as a literary medium and the only American playwright ever to receive the Nobel Prize for Literature. Through his efforts, the American theatre grew up during the 1920s, developing into a cultural medium that could take its place with the best in American fiction, painting, and music. Elaborate your view on his works. Poetry, as we have since learnt, has other tasks than that of imparting Part V. Read the following two commentaries carefully and choose ONE topic to write out your own ideas in any relationship to the passage. (25x1) 1. psychological values to the visible world. Had Wordsworth turned his attention toward these, his genius might not have atrophied so soon. It remains to indicate briefly, in conclusion, what gave Wordsworth his initial direction towards “Nature” as the inevitable raw material for his creative sensibility. Here we met, I think, with two other groups of beliefs current in his age, which may be said to have conditioned his poetic experience: postulates (‘doctrines-felt-as-facts’) without which his poetry would not have been what it actually is. The first was the product of the deistic tradition of the seventeenth and eighteenth centuries, to which I have already alluded in passing. Ever since the Renaissance the Creation had been steadily gaining in prestige as the ‘art of God,’ the universal divine Scripture which ‘liesexpans’d unto the eyes of all.’ The emotion of the ‘numinous,’ formerly associated with super-nature, had become attached to Nature

itself; and by the end of the eighteenth century the divinity, the sacredness of nature was, to those affected by this tradition, almost a first datum of consciousness. Wordsworth, then, did not have to construct this belief wholly out of his experience; much of it was given to him. Much the same is true of the second of these fundamental beliefs, the belief in the grandeur and dignity of man, and the holiness of the heart’s affections. This, too, was the products of forces originating (for our purposes) in the Renaissance; it had arisen out of the ruins of the theological view of man. As the ‘Fall’ receded further and further into the region of fable, man was increasingly regarded as a creature not only made in, but retaining, God’s image; and Wordsworth could acknowledge, without misgiving, ‘a grandeur in the beatings of the heart,’ and speak in good faith of ‘man and his noble nature.’ In Wordsworth’s lifetime this humanism had taken a colouring from Rousseau, and the special nobility of man was therefore only to be looked for ‘in huts where poor men lie.’ The ‘higher’ grades of society, in which the culture of the Renaissance had been exclusively fostered, were now “A light, a cruel, and vain world, cut off/From the natural inlets of just sentiment,/From lowly sympathy, and chastening truth.” [From “On Wordsworth and the Locke Tradition” by Basil Willey] 2. Poetic influence is a labyrinthine process, and at its deepest is remote from echo and allusion, though it does not exclude them…When Whitman tallies he takes measures of all things, implicitly including the measure of his own poetry. In his very different way, Whitman is as formalist a poet as were our late contemporaries James Merrill and Anthony Hecht, who usefully may be contrasted to the late A. R. Ammons and to John Ashbery, both of them strongly influenced by the poet of Leaves of Grass. Ammons and the versatile Ashbery can be far freer in form than Whitman ever is. The King James Bible is the largest influence upon Whitman’s style, and the Hebrew parallelism breaks through in the strongest of the translators, William Tyndale and Miles Coverdale. There is no single measure to Whitman’s song, just as his huge enlargements transcend all previous notions as to what can constitute materiapoetica. To hold together the vastness of his topics and the fluid dissolves of his tropes Whitman had to discover a master metaphor and found it in the tally, at once his ‘confession sprig’ and his incanted warbles for lilac-time. The Whitmanian tally is the binding agent for “When Lilacs last in the Door-yard Bloom’d,” the sonorous elegy for the martyred Abraham Lincoln. Together with “As I Ebb’d with the Ocean of Life,” “Lilacs” is the most formally measured of Whitman’s peoms. I have a passion for “Lilacs,” though the epic “Song of Myself” is certainly the center of the Whitmanian poetic cosmos. Henry and William James, T. S. Eliot(belatedly), and Wallace Stevens all associated “Out of the Cradle Endlessly Rocking” with “Lilacs” because there is a clear affinity between the mockingbird’s song and the song of death warbled by the hermit thrush. The boy Whitman first beholds the mockingbird “when the lilac-scent was in the air.” The crucial difference between “Out of Cradle” and “Lilacs” seems to me that the sea in the first poem lisps the low and delicious word death, which becomes the burden of hermit thrush’s song in “Lilacs.” In the earlier poems, the male mockingbird

sings of bereavement but not of death, though that is implied. Why did Whitman choose the word tally for what I judge to be his comprehensive vision of poetic voice? The word has a curious history. It derives from the Latin talea, which means a cutting, rod, or stick, on which you record payments and the sum still owed. In English, it transmuted into the idea of a duplicate or other half. It then became associated with illicit love. To live “tally” was to dwell together without marriage. In time the word expanded to become tally-whacking, tally woman, and tally-wags. [From The Anatomy of Influence: Literature as a Way of Life by Harold Bloom]

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2020浙江杭州师范大学英语文学基础考研真题.doc

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