TEXT ONE “WHANG?Boom?Boom?cast delicacy to the winds.” Thus Ezra Pound in a letter to his father, urging the old man to help promote his first published collection. It might have been the poet's manifesto. Pound is as divisive a figure today as he was in his own lifetime. For some he was the leading figure of the Modernist movement who redefined what poetry was and could be; and who, in his role as cultural impresario, gave vital impetus to the literary careers of T.S. Eliot, James Joyce and Wyndham Lewis, among others. But for many Pound remains a freak and an embarrassment, a clinical nutcase and vicious anti-Semite who churned out a lot of impenetrable tosh before losing the plot completely. During the second world war he broadcast pro-Fascist radio programmes from Italy and later avoided trial for treason at home only because he was declared insane. On his release from St Elizabeth's Hospital near Washington, DC, he returned to Italy (“America is a lunatic asylum”), where he died in 1972 aged
  87. David Moody, emeritus professor of English at York University, makes a strong case for Pound's “generous energy” and the “disruptive, regenerative force of his genius”. His approach (unlike Pound's) is uncontroversial. He follows the poet's progress chronologically from his childhood in Idaho?still, at the time of his birth in 1885, part of the wild west?to his conquest of literary London between 1908 and 19
  20. He marshals Pound's staggering output of poetry, prose and correspondence to excellent effect, and offers clear, perceptive commentary on it. He helps us to see poems, such as this famous, peculiarly haunting 19-syllable haiku, in a new light: The apparition of these faces in the crowd: Petals on a wet, black bough. That Mr Moody is constantly being upstaged by the subject of his study is not surprising. Pound was one of the most colourful artistic figures in a period full of them. According to Ford Madox Ford, who became a good friend of Pound's shortly after the bumptious young American arrived in London: “Ezra would approach with the step of a dancer, making passes with a cane at an imaginary opponent. He would wear trousers made of green billiard cloth, a pink coat, a blue shirt, a tie hand-painted by a Japanese friend, an immense sombrero, a flaming beard cut to a point and a single large blue earring.” W.B. Yeats's simple assessment was that: “There is no younger generation of poets. E.P. is a solitary volcano.” A great merit of Mr Moody's approach is the space he gives to Pound's writings. It is love-it-or-hate-it stuff, but, either way, undeniably fascinating. “All good art is realism of one kind or another,” Pound said. Reconciling that tidy statement with practically any of his poems is hard work but, as Mr Moody shows over and over again, hard work that offers huge rewards. His first volume ends in 1920, with Pound quitting London in a huff, finally fed up?after more than a decade of doing everything in his power to rattle the intellectual establishment?with “British insensitivity to, and irritation with, mental agility in any and every form”. His disgraceful radio programmes and the full blooming of his loopiness lie ahead. So, too, do most of his exquisite Cantos.
  1. Pound was a divisive figure because [B] He focuses on Pound’s poetry itself [A] he brought both positive and negative instead of his personality, attempting to keep effect to the development of the Modernist objective movement. [C] He traces the poet’s life in time order to [B] he was both a poet and a person with study Pound’s achievement. mental problem. [D] His study offers a fresh sight of Pound‘s [C] he was politically a racist while he was work also pro-Fascist.
  4.From Keats’s simple assessment, it can be [D] he was a man of complex and inferred that unintelligible personality. [A] Pound was of exploding power in his
  2. When Pound was released from hospital, he literary creation. returned to Italy because [B] Pound’s achievement could hardly be [A] Italy was his hometown. reached by later poets. [B] he was persecuted by Americans. [C] Pound’s excellence was unsurpassable in [C] he disliked America. his time. [D] he was out of his mind. [D] It would take a long time for Pound’s
  3. Which one of the following statements is generation to fully understand him. NOT true of David Moody’s study on Pound?
  5. The word “rattle”(Line 6, Paragraph
  7) [A] His literary approach is unlike that of most probably means Pound’s, being less contradictory. [A] set up. [B] destroy.
[C] struggle.
[D] disturb.
文章剖析: 这篇文章主要介绍了 Pound 的两个不同侧面。第一段用 Pound 的一句诗歌来引出 Pound 的态度;第二段讲述人们对于 Pound 不同的看法;第三段讲述他播放亲法西斯电台节目的事件;第四、五段讲述了 David Moody 对 Pound 的分析;第六段讲述 其他人对 Pound 的评价;第七段讲述 Moody 先生分析的特点。 词汇注释: impresario n. 发起人 , 经理 nutcase n. 疯子 churn out v. 大量地 粗制滥造 tosh n. 胡话 asylum n. 收容所 emeritus adj. 名誉退休的 upstaged adj. 自负的 marshal v. 整理 bumptious adj. 傲慢的 billiard n. 有园边的 sombrero n. 宽边帽 loopiness n. 失去理智 难句突破: For some he was the leading figure of the Modernist movement who redefined what poetry was and could be; and who, in his role as cultural impresario, gave vital impetus to the literary careers of T.S. Eliot, James Joyce and Wyndham Lewis, among others. [主体句式]For some he was the leading figur who…, and who… [结构分析] 这是一个复合句。两个 who 引导的定语从句都是修饰表语 the leading figure 的;后一个定语从句中,in …介词 短语是从句的状语。 [句子译文] 对于一些人来说,他是现代主义运动的领导人,他重新定义了什么是诗歌及诗歌应该如何等问题。而作为文化 发起人,他大力推进了 T.S. Eliot、James Joyce 和 Wyndham Lewis 等人的文学事业。 Reconciling that tidy statement with practically any of his poems is hard work but, as Mr Moody shows over and over again, hard work that offers huge rewards. [主体句式] Reconciling …is hard work but hard work that… [结构分析] 这是一个复合句, 主语由动名词短语构成, as 引导的方式状语是用来修饰后面的 hard work that offers huge rewards. [句子译文] 将他的任何诗歌与整齐的陈述协调起来确实难度较大,但是 Moody 先生一次又一次地证明了,难度越大的工 作,回报就越多。 题目分析:
  1. Pound was a divisive figure in that [A] he brought both positive and negative effect to the development of the Modernist movement. [B] he was both a poet and a person with mental problem. [C] he was politically a racist while he was also pro-Fascist. [D] he was a man of complex and unintelligible personality.
  1. Pound 是一个有争议的人是因为 [A] 他给现代派运动的发展同时带来了积 极和消极的影响。 [B] 他既是一个诗人、又是一个有精神问 题的人。 [C] 他在政治上是一个种族主义者、而且 还是亲法西斯者。 [D] 他是一个性格复杂、让人无法理解的 人。
[答案]D [难度系数] ☆☆☆ [分析] 推理题。文章第二段指出,Pound 过去、现在都是各倍受争议的人,有人视他为文学大师,还有许多人认为他是怪 人,是疯子。从全文来看,他有多面性,在文学上有巨大成就,而现实生活中却有许多奇怪的举动。这可能都是因为他复 杂的性格,令人非常难以理解。答案为 D 选项。选项 B 和 C 都是他古怪性格和行为的一个方面,并没有全面地回答题干的 问题。而 A 选项的表述是错误的,文章第二段指出他是现代派运动的一个领导者,并没有提及他是否带来了积极和消极的 影响。

  2. When Pound was released from hospital, he returned to Italy because [A] Italy was his hometown. [B] he was persecuted by Americans. [C] he disliked America. [D] he was out of his mind.

  2. 当 Pound 从医院被放出来时,他返回了 意大利是因为 [A] 意大利是他的故乡。 [B] 他被美国人所迫害。 [C] 他不喜欢美国。 [D] 他疯了。
[答案]C [难度系数] ☆☆☆☆ [分析] 细节题。文章第三段指出,他返回了意大利,括号中有一句引言“美国是个疯子收容所”这应该是他的话。可以推 断,是他不喜欢美国,才做出此举。而 B,虽然 Pound 播放意大利电台节目,但是他并没有被拘禁,而是送到了精神病 院,也不能算是迫害。因此,C 为正确答案。
  3. Which one of the following statements is NOT true of David Moody’s study on Pound? [A] His literary approach is unlike that of Pound’s being less contradictory. [B] He focuses on Pound’s poetry itself instead of his personality, attempting to keep objective. [C] He traces the poet’s life in time order to study Pound’s achievement. [D] His study offers a fresh sight of Pound‘s work.
  3. 关于 David Moody 对于 Pound 的研究, 以 下那个陈述是不正确的? [A] 他的文学风格和 Pound 的不同,不像后 者引起如此大的争议。 [B] 他重点研究 Pound 的诗歌本身、而不是 Pound 的性格,以试图保持客观态度。 [C] 他以年代为顺序来研究 Pound 的成就。 [D] 他的研究为欣赏 Pound 的作品提供了新 的视角。
[答案]A [难度系数] ☆☆☆ [分析] 细节题。选项 A,第四段指出,他的途径和 Pound 的不同,但是在六段指出他的研究和 Pound 的诗歌风格是相和谐 的,但是该选项的一个最大错误在于比较的不应该是他和 Pound 的文学风格,因为比较的是他的研究风格。B,文章第四 段最后指出“他整理了 Pound 令人惊愕的诗歌集、散文和信件,还加了有条理的、有洞察力的评论”,第八段的开头指出 “Moody 先生研究的最大特点就是他给 Pound 作品留的空间。这是个“爱他或恨他”的故事,但是不管如何,不可质疑的是其 迷人的色彩”,可见他力图保持客观的态度。C,第四段提到,他按时间顺序研究了 Pound 的历程,该陈述正确。D,第四 段也提到了这一点。因此,A 选项为正确答案。
  4.From Keats’s simple assessment, it can be inferred that [A] Pound was of exploding power in his literary creation. [B] Pound’s achievement could hardly be reached by later poets. [C] Pound’s excellence was unsurpassable in his time. 4 . 从 济 慈 的 简 短 评 论 中, 可 以 推 断 出 [A] Pound 的文学创作充满了爆炸性的力 量。 [B] Pound 的成就是后来的诗人们很难达 到的。 [C] Pound 的出色在他那个时代是无人企 及的。
[D] It would take a long time for Pound’s [D] Pound 的同时代人还需要很长时间才 generation to fully understand him. 能彻底理解他。 [答案]C [难度系数] ☆☆☆☆ [分析] 推理题。济慈对他的评论是:“没有更年轻的一代诗人了,Pound 是个孤独的火山。”他的意思是,在当时只有 Pound 可以独树一帜,无人能及。因此,选项中 C 最为符合题意。A 选项有一定的迷惑性,因为原文的“火山”有可能会使考生选 择“爆炸性的力量”,但该句的重点是评价 Pound 的独特性。B 和 D 两个选项其实都与济慈的评论内容无关。
  5. The word “rattle”(Line 6, Paragraph
  7) most probably means [A] set up. [B] destroy. [C] struggle. [D] disturb.
  5. “rattle” (第七段第六行)最有可能的意思 为 [A] 建立。 [B] 摧毁。 [C] 奋斗。 [D] 扰乱。
[答案]D [难度系数] ☆ [分析] 猜词题。根据上下文,他最终对英国对新的精神不感兴趣,可以推断他自己是一个创新者,希望为英国的知识界带 来一些新的气息,结果失败了。那么,他的这种新意对已经存在的知识界应该是一种不同的东西,产生了一种扰乱的效 果,选项中 D 最为符合。 参考译文: “砰砰??隆隆??隆隆??把精致扔到风中。”在 Ezra Pound 在写给父亲的一封信中,他要求这位老人帮助自己宣传第一 本出版诗集。而这可能就是这位诗人的宣言。 Pound 在他的时代里是一个有争议的人物,直至今日仍然如此。对于一些人来说,他是现代主义运动的领导人,他重新定 义了什么是诗歌及诗歌应该如何等问题。而作为文化发起人,他大力推进了 T.S. Eliot、James Joyce 和 Wyndham Lewis 等人 的文学事业。但是,对于许多人来说,Pound 还是一个怪诞的人、一个让人窘迫的人、一个疯子、一个反对闪族人的恶 人,在他的阴谋彻底流产前还说了许多不可理喻的疯话。 二战期间, 他播放了来自意大利的亲法西斯电台节目, 而后因被诊断为为疯子才在家躲了叛国罪的审讯。当他从华盛顿特 区附近的圣伊丽莎白医院被放出来时,他就回到了意大利(“美国是疯子收容所”),在那里他活到了 87 岁,于 1972 年去世。 David Moody 是约克大学的英语文学教授,他找到了强有力的证据证明 Pound “充沛的能量
 

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