★★★★

看題，確定做題優(yōu)先級：

For the following question, consider each of the choices separately and select all that apply.

1. The author of the passage?suggests?that applying the term “confessional” to the work of the poets discussed?可多選+間接細(xì)節(jié)

For the following question, consider each of the choices?separately and select all that apply.

2. The passage?implies?that the poets discussed did NOT?可多選+否定間接細(xì)節(jié)信息

兩道多選+間接細(xì)節(jié)。老老實實讀文章吧。

文章分析：

①Because the subject matter was so personal, the work of several prominent mid-twentieth century poets has been termed “confessional” poetry. ②But?confession is a bad metaphor for what those poets did. ③The motive for confession is?penitential?or therapeutic - by speaking openly about personal guilt and suffering, the poet hopes to make them easier to bear. ④But?these poets always approached their writing as artists, and their motive was aesthetic. ⑤Writing from experiences like madness, despair, and lust, their aim was to make effective art, not to cure themselves. ⑥To treat their poems mainly as documents of personal experience is not to diminish the poets'?achievement, but to ignore their unanimous disdain for the idea of confessional poetry.

penitential 悔罪的，懺悔的

①?大眾觀點，v1=confessional，認(rèn)為詩人作品是一種懺悔

②?But 轉(zhuǎn)折觀點（作者），×v1

③ f1∈v1?conf.=motive是therapeutic?

④ But v2?motive是aesthetic （通過傷春悲秋體現(xiàn)美感）

⑤?f2∈v2?art≠cure

⑥?作者觀點∈v2

句間關(guān)系圖：

① ? ②?

? ?? ?? ? ↓

? ?? ③ ? ④

? ? ? ? ? ??? ?↓

?? ? ? ? ? ? ? ⑤

? ? ? ? ? ? ? ?↓

?? ? ? ? ? ? ? ⑥

題型解析：

For the following question, consider each of the choices separately and select all that apply.

1. The author of the passage?suggests?that applying the term “confessional” to the work of the poets discussed?可多選+間接細(xì)節(jié)

AB

A. is mistaken in what it seems to imply about the poets’ motivation?對應(yīng)③④句

B. might seem superficially appropriate given the subject matter of the poems 對應(yīng)①⑤句

C. is an error arising from the absence of any?other convenient term?沒有證據(jù)

?

For the following question, consider each of the choices?separately and select all that apply.

2. The passage?implies?that the poets discussed did NOT?可多選+否定間接細(xì)節(jié)信息

C

A. Think that a poet’s motivation for writing was relevant in evaluating that poet’s work 能對應(yīng)④，因此不選，屬于廣義同義替換

B. Experience any relief of their personal suffering as a result of writing 對應(yīng)⑤?目的≠結(jié)果，所以是maybe yes maybe no，不選。原文說不是為了cure，但實際有沒有cure 或者像前文說的 easier to bear，我們并不知道。因為目的和結(jié)果不一定一致。

C. apply to their own work the label by which it has subsequently been known 最后一句有對confessional普遍的鄙視

文章類比理解：

李白、杜甫的詩歌里盡管會有一些個人經(jīng)歷，比如懷才不遇，比如悲天憫人，但是如果你認(rèn)為這些大詩人寫這些東西只是為了吐槽或者聊以自慰，不會降低這些大詩人的成就，只不過會忽視這些人其實并不希望后人認(rèn)為他們寫詩是為了發(fā)牢騷或者凡爾賽，他們自己也很鄙視這樣的作品，他們其實是在這些內(nèi)容中體現(xiàn)語言、文字和韻律的美感。

背景拓展：

Confessional poetry or "Confessionalism" is a style of poetry that emerged in the United States during the 1950s. ?It has been described as poetry of the personal or "I", focusing on extreme moments of individual experience, the psyche, and personal trauma, including previously and occasionally still taboo matters such as mental illness, sexuality, and suicide, often set in relation to broader social themes. It is sometimes also classified as Postmodernism.（后現(xiàn)代主義）

The school of "Confessional poetry" was associated with several poets who redefined American poetry in the 1950s and 1960s, including Robert Lowell, Sylvia Plath, John Berryman, Anne sexton, Allen Ginsberg, and W. D. Snodgrass.

Sylvia Plath

西爾維婭·普拉斯（Sylvia Plath，1932—1963）是繼艾米莉·狄金森和伊麗莎白·畢肖普之后最重要的美國女詩人。1963年她最后一次自殺成功時，年僅31歲。這位頗受爭議的女詩人因其富于激情和創(chuàng)造力的重要詩篇留名于世，又因其與另一位英國詩人休斯情感變故自殺的戲劇化人生而成為英美文學(xué)界一個長久的話題。

Ariel①

BY?SYLVIA PLATH

Stasis in darkness.

Then the substanceless blue???

Pour of tor and distances.

God’s lioness,???

How one we grow,

Pivot of heels and knees!—The furrow

Splits and passes, sister to???

The brown arc

Of the neck I cannot catch,

Nigger-eye???

Berries cast dark???

Hooks—

Black sweet blood mouthfuls,???

Shadows.

Something else

Hauls me through air—

Thighs, hair;

Flakes from my heels.

White

Godiva②, I unpeel—

Dead hands, dead stringencies.

And now I

Foam to wheat, a glitter of seas.???

The child’s cry

Melts in the wall.???

And I

Am the arrow,

The dew that flies

Suicidal, at one with the drive???

Into the red

Eye, the cauldron of morning.

黑暗中凝止。

然后是無質(zhì)的藍(lán)

山崗與距離的流駛。

上帝的母獅，

我們變得如此一體，

腳跟和膝蓋的支點！──犁溝

分裂丶掠過，與我無法

抓住的脖子

的棕色弧形類似，

黑奴眼

莓果拋出深色的

鉤子──

一口口黑色鮮甜的血，

一片片陰影。

另有東西

把我在空中拖過──

雙股，毛發(fā)；

我腳跟的碎皮。

白色的

戈黛娃，我剝掉外皮──

死去的手，死去的嚴(yán)苛。

而現(xiàn)在我

對著麥子吐泡沫，海浪的閃光。

小孩的哭喊

在墻里融化。

而我

是那支箭，

與那飛濺丶自毀的

露水，有著一致的沖勁

飛進那紅色的

眼，黎明的大鍋。

①愛麗兒可能指作者常騎的一匹馬。莎士比亞《暴風(fēng)雨》劇中有個精靈也叫愛麗兒，因曾被一位魔法師所救而成了他的奴隸，在完成魔法師布置的一系列任務(wù)后最終獲得了自由。另外在希伯來語中，愛麗兒的意思是“上帝之獅”，因此有②學(xué)者認(rèn)為這個詞可能也像圣經(jīng)以賽亞書中那樣象征耶路撒冷。

②戈黛娃指十一世紀(jì)英格蘭的一位貴婦。根據(jù)傳說，為了讓考文垂地區(qū)的民眾得以減免她丈夫麥西亞伯爵施加的重稅，她曾赤身裸體騎馬穿過當(dāng)?shù)氐慕值馈?/p>

One of Sylvia Plath’s most widely discussed poems, ‘Ariel’ describes?an early morning horse-ride?towards the sun, using imagery that is loaded with significance and suggestiveness.

As Plath rides Ariel through the dawn light, it is as if she is shedding her past self and become reborn as something else: the experience of riding the horse is almost transcendent. ‘I unpeel’, she tells us, likening herself to Lady Godiva, the eleventh-century Saxon noblewoman who defied her husband’s harsh taxation?of the people of Coventry and rode naked through the streets of the town, according to legend.

Written in October 1962 (on her thirtieth birthday), just four months before Plath committed suicide, ‘Ariel’ became the title poem in Plath’s posthumous 1965 volume, publication of which was overseen (controversially) by Plath’s widower, Ted Hughes.