题目内容
TEXT A Eliot’s interested in poetry in about 1902 with the discovery of Romantic. He had recalled how he was initiated into poetry by Edward Fitzgerald’s Omar Khayyam at the age of fourteen. "It was like a sudden conversion", he said, an "overwhelming introduction to a new world of feeling." From then on, till about his twentieth year of age (1908), he took intensive courses in Byron, Shelley, Keats, Tennyson, Rossetti and Swinburne. It is, no doubt, a period of keen enjoyment...At this period, the poem, or the poetry of a single poet, invades the youthful consciousness and assume complete possession for a time...The frequent result is an outburst of scribbling which we may call imitation...It is not deliberate choice of a poet to mimic, but writing under a kind of daemonic possession by one poet. Thus, the young Eliot started his career with a mind preoccupied by certain Romantic poets. His imitative scribbling survives in the Harvard Eliot Collection, a part of which is published as Poems Written in Early Youth. "A Lyric" (1905), written at Smith Academy and Eliot’ s first poem ever shown to anther’ s eye, is a straightforward and spontaneous overflow of a simple feeling. Modeled on Ben Johnson, the poem expresses a conventional theme, and can be summarized in a single sentence: since time and space are limited, let us love while we can. The hero is totally self-confident, with no Prufrockian self-consciousness. He never thinks of retreat, never recognizes his own limitations, and never experiences the kind of inner struggle, which will so blight the mind of Prufrock. "Song: When we came home across the hill" (1907), written after Eliot entered Harvard College, achieved about the same degree of success. The poem is a lover’s mourning of the loss of love, the passing of passion, and this is done through a simple contrast. The flowers in the field are blooming and flourishing, but those in his lover’s wreath are fading and withering. The point is that, as flowers become waste then they have been plucked, so love passes when it has been consummated. The poem achieves an effect similar to that of Shelley’s "when the lamp is shattered". The form, the dictation and the images are all borrowed. So is the carpe diem theme. In "Song: The Moon- flower Opens" (1909), Eliot makes the flower—love comparison once more and complains that his love is too Cold-hearted and does not have "tropical flowers/With scarlet life for me". In these poem, Eliot is not writing in his own right, but the poets who possessed him are writing through him. He is imitating in the usual sense of the word, having not yet developed his critical sense. It should not be strange to find him at this stage so interested in flowers: the flowers in the wreath, this morning’s flowers, flowers of yesterday, the moonflower which opens to the moth -- not interested in them as symbols, but interested in them as beautiful objects. In these poems, the Romantics did not just work on his imagination; they compelled his imagination to work their way. Though merely fin-de-siecle routines, some of these early poems already embodied Eliot’s mature thinking, and forecasted his later development. "Before Morning" (1908) shows his awareness of the co-habitation of beauty and decay under the same sun and the same sky. "Circle’s Palace" (1909) shows that he already entertained the view of women as emasculating their male victims or sapping their strength. "On a Portrait" (1909) describes women as mysterious and evanescent, existing "beyond the circle of our thought". Despite all these hints of later development, these poems do not represent the Eliot we know. Their voice is the voice of tradition and their style is that of the Romantic period. It seems to me that the early Eliot’s connection with Tennyson is especially interesting, in that Tennyson seems to have foreshadowed Eliot’s own development. Eliot was wrapped up in ______when he began to write poems.
查看答案
搜索结果不匹配？点我反馈
更多问题
TEXT E The style that Urrea has adopted to tell Teresita’s—and Mexico’s—story in his book "The Hummingbird’ s Daughter" partakes of this politics as well, being simultaneously dreamy, telegraphic and quietly lyrical. Like a vast mural, the book displays a huge cast of workers, whores, cowboys, rich men, bandits and saints while simultaneously making them seem to float on the page. Urrea’s sentences are simple, short and muscular; he mixes low humor with metaphysics, bodily functions with deep and mysterious stirrings of the soul. These 500 pages- though they could have been fewer—slip past effortlessly, with the amber glow of slides in a magic lantern, each one a tableau of the progress of earthy grace: Teresita crouched in the dirt praying over the souls of ants, Teresita having a vision of God’s messenger not as the fabled white dove but as an indigenous hummingbird, Teresita plucking lice from the hair of a battered Indian orphan in a "pus-shellacked jacket." Ferociously female though curiously asexual, Teresita has a particular ability to deliver babies while soothing the pains of laboring mothers. This, Urrea is saying, is what matters. ,Miracles," Teresita realizes as she learns mid- wifely, "are bloody and sometimes come with mud sticking to them." The salty cradle of life is the true church. Urrea’ s love for Teresita, "the Mexican Joan of Arc," and for the world she helps bring into existence is one of the strongest elements of the book. He is unstintingly, unironically and unselfconsciously tender. He is a partisan. With such passion and care in abundant evidence, one wishes to believe. Teresita is a saint we could really use right now, and I fervently hope she can be summoned to save the galaxy. But there is a quality to Urrea’s novel that, for all the salt and blood and childbirth, is somehow a bit distant. "The Hummingbird’s Daughter" has the woodcut feeling of a bedtime story, or of family legends that have been told so many times they’ ye gone smooth, like the lettering on old gravestones. Teresita is the motherland and the mother of us all, an emissary from the Time Before, permanently encircled by butterflies and hummingbirds and the upraised rifles of revolutionaries. She is, according to the precepts of a certain perspective, entirely perfect. Her "flaws"—her love of the lowly and the sick, her unladylike strength, her uncouth habits—are clearly marks of virtue to anyone but the most bloodless capitalist. Even after she’s declared dead, she manages to win. Myths, of course, both defy and rebuke this sort of quibbling: the gods always arise from a time much larger and deeper than the present moment, and we invent them because we need to believe in someone—or something—greater than ourselves. In Vargas Llosa’s scheme of things, isn’t Teresita the invention we need to ignite a better world But it is exactly this aspect of "The Hummingbird’s Daughter" that makes it seem sealed off from the kaleidoscopic, indeterminate, loss-riven borderlands of modernity that Urrea has written about in earlier books with such depth. Toward the end of the novel, as some of the main characters flee to "great, dark North America," they feel as if the country they’ve left is "a strange dream." As beautiful as that dream—that notion of the unbroken whole—may be, at this late date none of us live there. We’re all citizens of a haunted, mongrel terrain where nothing, not even the most appealing saint, is that simple. About Teresita, which of the following statement is NOT true
凡事不逃避，我喝我的清茶。荷花居污泥而不染，若为怕水污而种在旱地上，它早就枯死了。人生也一样避恶。避丑、避邪，只能说明自己心灵脆弱。一个自我安定的人是不怕环境污染自己的，而有力量影响他人。古代孟母三迁是为了怕他受环境影响，要为自己就没必要逃避了，后来孟子长大成人后也没听说孟母再搬家。 自我安定可不是找一个安定的所在，而恰恰是在紊乱的环境中保持安定的心境。“定”是一种境界，是居于多变之中的不动摇。只有待到这一境界才能掌握自己的方向，才能做到“他饮他的花酒，我喝我的清茶”。
TEXT A Eliot’s interested in poetry in about 1902 with the discovery of Romantic. He had recalled how he was initiated into poetry by Edward Fitzgerald’s Omar Khayyam at the age of fourteen. "It was like a sudden conversion", he said, an "overwhelming introduction to a new world of feeling." From then on, till about his twentieth year of age (1908), he took intensive courses in Byron, Shelley, Keats, Tennyson, Rossetti and Swinburne. It is, no doubt, a period of keen enjoyment...At this period, the poem, or the poetry of a single poet, invades the youthful consciousness and assume complete possession for a time...The frequent result is an outburst of scribbling which we may call imitation...It is not deliberate choice of a poet to mimic, but writing under a kind of daemonic possession by one poet. Thus, the young Eliot started his career with a mind preoccupied by certain Romantic poets. His imitative scribbling survives in the Harvard Eliot Collection, a part of which is published as Poems Written in Early Youth. "A Lyric" (1905), written at Smith Academy and Eliot’ s first poem ever shown to anther’ s eye, is a straightforward and spontaneous overflow of a simple feeling. Modeled on Ben Johnson, the poem expresses a conventional theme, and can be summarized in a single sentence: since time and space are limited, let us love while we can. The hero is totally self-confident, with no Prufrockian self-consciousness. He never thinks of retreat, never recognizes his own limitations, and never experiences the kind of inner struggle, which will so blight the mind of Prufrock. "Song: When we came home across the hill" (1907), written after Eliot entered Harvard College, achieved about the same degree of success. The poem is a lover’s mourning of the loss of love, the passing of passion, and this is done through a simple contrast. The flowers in the field are blooming and flourishing, but those in his lover’s wreath are fading and withering. The point is that, as flowers become waste then they have been plucked, so love passes when it has been consummated. The poem achieves an effect similar to that of Shelley’s "when the lamp is shattered". The form, the dictation and the images are all borrowed. So is the carpe diem theme. In "Song: The Moon- flower Opens" (1909), Eliot makes the flower—love comparison once more and complains that his love is too Cold-hearted and does not have "tropical flowers/With scarlet life for me". In these poem, Eliot is not writing in his own right, but the poets who possessed him are writing through him. He is imitating in the usual sense of the word, having not yet developed his critical sense. It should not be strange to find him at this stage so interested in flowers: the flowers in the wreath, this morning’s flowers, flowers of yesterday, the moonflower which opens to the moth -- not interested in them as symbols, but interested in them as beautiful objects. In these poems, the Romantics did not just work on his imagination; they compelled his imagination to work their way. Though merely fin-de-siecle routines, some of these early poems already embodied Eliot’s mature thinking, and forecasted his later development. "Before Morning" (1908) shows his awareness of the co-habitation of beauty and decay under the same sun and the same sky. "Circle’s Palace" (1909) shows that he already entertained the view of women as emasculating their male victims or sapping their strength. "On a Portrait" (1909) describes women as mysterious and evanescent, existing "beyond the circle of our thought". Despite all these hints of later development, these poems do not represent the Eliot we know. Their voice is the voice of tradition and their style is that of the Romantic period. It seems to me that the early Eliot’s connection with Tennyson is especially interesting, in that Tennyson seems to have foreshadowed Eliot’s own development. Who invited Eliot to poem when he was a child
TEXT D A full moon was shining down on the jungle. Accompanied only by an Indian guide, the American explorer and archaeologist Edward Herbert Thompson—thirteen hundred years after the Mayas had left their cities and made a break for the country farther north—was riding through the New Empire that they had built for themselves, which had collapsed after the arrival of the Spaniards. He was searching for Chichen Itza, the largest, most beautiful, mightiest, and most splendid of all Mayan cities. Horses and men had been suffering intense hardships on the trail. Thompson’s head sagged on his breast from fatigue, and each time his horse stumbled be all but fell out of the saddle. Suddenly his guide shouted to him. Thompson woke up with a start. He looked ahead and saw a fairyland. Above the dark treetops rose a mound, height and steep, and on top of the mound was a temple, bathed in cool moonlight. In the hush of the night it towered over the treetops like the Parthenon of some Mayan acropolis. It seemed to grow in size as they approached. The Indian guide dismounted, unsaddled his horse, and roiled out his blanket for the night’s sleep. Thompson could not tear his fascinated gaze from the great structure. While the guide prepared his bed, he sprang from his horse and continued on foot. Steep stairs overgrown with grass and bushes, and in part fallen into ruins, led from the base of the mound up to the temple. Thompson was acquainted with this architectural form, which was obviously some kind of pyramid. He was familiar, too, with the function of pyramids as known in Egypt. But this Mayan version was not a tomb, like the pyramids of Gizeh. Externally it rather brought to mind a ziggurat, but to a much greater degree than the Bablyloinan ziggurats it seemed to consist mostly of a stony hill providing support or the enormous stairs rising higher and higher, towards the gods of the sun and moon. Thompson climbed up the steps. He looked at the ornamentation, the rich reliefs. On top, almost 96 feet above the jungle, he surveyed the scene, lie counted one two-three-a half dozen scattered buildings, half-hidden in shadow, often revealed by nothing more than a gleam of moonlight on stone. This, then, was Chichen-Itza. From its original status as advance outpost at the beginning of the great trek to the north, it had grown into a shining metropolis, the heart of the New Empire. Again and again during the next few days Thompson climbed on to the old ruins." I stood upon the roof of this temple one morning" he writes" just as the first rays of the sun reddened the distant horizon. The morning stillness was profound. The noises of the night had ceased, and those of the day were not yet begun. All the sky above and the earth below seemed to be breathlessly waiting for something. Then the great round sun came up, flaming splendidly, and instantly the whole world sang and hummed. The birds in the trees and the insects on the ground sang a grand Te Deum. Nature herself taught primal man to be a sun worshipper and man in his heart of hearts still follows the ancient teaching." Thompson stood where he was, immobile and enchanted. The jungle melted away before his gaze. Wide spaces opened up, processions crept up to the temple site, music sounded, palaces became filled with reveling, the temples hummed with religious adjuration. He try to recognize his task. For out there in the jungle green he could distinguish a narrow path, barely traced out in the weak light, a path that might lead to Chichen-Itza’s most exciting mystery: the Sacred Well. The territory, Which Thompson was exploring______
微信支付 
支付宝支付