UNIT ELEVEN
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 [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.
  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.
  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
  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. [D] It would take a long time for Pound’s generation to fully understand him.
  5. The word “rattle”(Line 6, Paragraph
  7) most probably means [A] set up. [B] destroy. [C] struggle. [D] disturb.
文章剖析:
这这文章文文文文文Pound的的的的的的的。第第第第Pound的第的的的的的的 Pound的的的;第第第第第第第第第Pound的的的不不;第第第第第第第第第不
西西西西西西的西西;第第、五第第第文David Moody第Pound的的析;第第第第第第第第第Pound的的的;第第第第第Moody 先先的析的先先。
词词词词:
impresario n. 发起第 , 经理 churn out v. 大量地 粗制滥造 asylum n. 收容所 upstaged adj. 自负的 nutcase n. 疯子 tosh n. 胡话
emeritus adj. 名誉退休的
marshal v. 整理
bumptious adj. 傲慢的 sombrero n. 宽边帽
难的难难:
billiard n. 有园边的 loopiness n. 失去理智
(
  1) 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. [文体的式]For some he was the leading figur who…, and who… [结构的析] 这是第的复合的。的的 who 的导的定语从的都是修饰表语 the leading figure 的;后第的定语从的中,in …文词短语是从的的状语。 [的子译文] 第第第一第的一,第是他他文他他他的他导第,第他他定他文他他是的的他的 的歌歌歌歌歌歌歌。而而而文而发起第,第大他他他文T.S. Eliot、James Joyce和Wyndham Lewis歌第的文等西等。 (
  2) 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. [文体的式] Reconciling …is hard work but hard work that… [结构的析] 这是第的复合的, 文语由他名词短语构成, as 的导的方式状语是第 的修饰后的的 hard work that offers huge rewards. [的子译文] 将第的任歌的的与整齐的陈第协调起的确实难的较大,但是 Moody 先先第次
又第次地证明文,难的越大的工而,回报就越多。
歌西的析:

  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. [答案]D [难的系数] ☆☆☆

  1. Pound 是第的有争议的第是因而 [A] 第给他他派他他的发展的时带的 文积极和消极的影响。 [B] 第既是第的的第、又是第的有精 神歌歌的第。 [C] 第在政治上是第的种族文他者、 而且还是第不西西者。 [D] 第是第的性格复杂、让第无不 理解的第。
[的析] 他理歌。文章第第第指的,Pound 过去、他在都是各倍受争议的第,有 第视第而文等大师,还有许多第认而第是怪第,是疯子。从全文的不,第 有多的性,在文等上有巨大成就,而他实先活中却有许多奇怪的举他。这 可能都是因而第复杂的性格,令第非常难以理解。答案而 D 选项。选项 B 和 C 都是第古怪性格和行而的第的方的,并没有全的地回答歌干的歌歌。 而 A 选项的表第是错误的,文章第第第指的第是他他派他他的第的他导 者,并没有提他第是否带的文积极和消极的影响。
  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. [答案]C
[难的系数] ☆☆☆☆

  2. 当 Pound 从医院被第的的时,第返回文
意大利是因而 [A] 意大利是第的故乡。 [B] 第被美国第所迫害。 [C] 第的喜欢美国。 [D] 第疯文。
[的析] 细西歌。文章第第第指的,第返回文意大利,括号中有第的的言“美国是的疯子收
容所”这歌歌是第的话。可以他断,是第的喜欢美国,才做的此举。而 B,虽然 Pound 第第 意大利西西西西,但是第并没有被拘禁,而是送到文精神病院,也的能算是迫害。因此, C 而正确答案。

  3. Which one of the following statements
  3. 关第 David Moody 第第 Pound 的研究, is NOT true of David Moody’s study on 以下那的陈第是的正确的?
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. [答案]A
[难的系数] ☆☆☆
[A] 第的文等风格和 Pound 的的的,的像后 者的起歌此大的争议。 [B] 第他先研究 Pound 的的的本身、而的是 Pound 的性格,以试图保持客观的的。 [C] 第以年他而顺序的研究 Pound 的成就。 [D] 第的研究而欣赏 Pound 的而品提供文他 的视角。
[的析] 细西歌。选项 A,第第第指的,第的途径和 Pound 的的的,但是在第第指的第的研
究和 Pound 的的的风格是相和谐的,但是歌选项的第的最大错误在第比较的的歌歌是第和 Pound 的文等风格,因而比较的是第的研究风格。B,文章第第第最后指的“第整理文 Pound 令第惊愕的的的集、散文和信西,还加文有条理的、有洞察他的的论”,第八第的开头指的 “Moody 先先研究的最大先先就是第给 Pound 而品留的空间。这是的“爱第或恨第”的故西, 但是的管歌歌,的可质疑的是第迷第的色彩”,可见第他图保持客观的的的。C,第第第提 到,第按时间顺序研究文 Pound 的历程,歌陈第正确。D,第第第也提到文这第先。因此, A 选项而正确答案。

  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. [D] It would take a long time for Pound’s generation to fully understand him. [答案]C [难的系数] ☆☆☆☆

  4.从济慈的简短的论中,可以他断 的 [A] Pound 的文等创而充满文爆炸性 的他量。 [B] Pound 的成就是后的的的第第很 难达到的。 [C] Pound 的的色在第那的时他是无 第企他的。 [D] Pound 的的时他第还需文很长时 间才能彻底理解第。
[的析] 他理歌。济慈第第的的论是:“没有更年轻的第他的第文,Pound 是的孤 独的火山。”第的意思是,在当时只有 Pound 可以独树第帜,无第能他。因此, 选项中 C 最而符合歌意。A 选项有第定的迷惑性,因而原文的“火山”有可能会 使考先选择“爆炸性的他量”,但歌的的他先是的的 Pound 的独先性。B 和 D 的的 选项第实都与济慈的的论内容无关。
  5. The word “rattle”(Line 6, Paragraph
  7)
  5. “rattle” (第第第第第行)最有可能的
most probably means [A] set up. [B] destroy. [C] struggle. [D] disturb. [答案]D
[难的系数] ☆
意思而 [A] 建立。 [B] 摧毁。 [C] 奋斗。 [D] 扰乱。
[的析] 猜词歌。根根上下文,第最他第他国第他的精神的他他他,可以他断第自 己是第的创他者,希希而他国的希希希带的第一他的希希,结结失结文。 那他,第的这种他意第他经他在的希希希歌歌是第种的的的他西,产先文 第种扰乱的一结,选项中D最而符合。 参考译文: “砰砰??隆隆??隆隆??把精致扔到风中。”在 Ezra Pound 在写给父第的第封
信中,第文求这位老第帮助自己宣传第第本的版的集。而这可能就是这位的第的宣言。 Pound 在第的时他里是第的有争议的第物,直至今日仍然歌此。第第第一第的一,第是 他他文他他他的他导第,第他他定他文他他是的的他的的歌歌歌歌歌歌歌。而而而文而发 起第,第大他他他文 T.S. Eliot、James Joyce 和 Wyndham Lewis 歌第的文等西等。但是,第 第许多第的一,Pound 还是第的怪诞的第、第的让第窘迫的第、第的疯子、第的反第闪族 第的恶第,在第的阴谋彻底流产前还一文许多的可理喻的疯话。 第战期间, 第第第文的自意大利的第不西西西西西西, 而后因被诊断而而疯子才在家躲 文叛国罪的审讯。当第从华盛顿先区附近的圣伊丽莎白医院被第的的时,第就回到文意大 利(“美国是疯子收容所”),在那里第活到文 87 岁,第 1972 年去世。
David Moody 是约克大等的他语文等教授,第找到文强有他的证根证明 Pound “
 

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