TEXT 2
He emerged, all of a sudden, in 1957: the most explosive new poetic talent of the English post-war era. Poetry specialised, at that moment, in the wry chronicling of the everyday. The poetry of Yorkshire-born Ted Hughes, first published in a book called "The Hawk in the Rain" when he was 27, was unlike anything written by his immediate predecessors. Driven by an almost Jacobean rhetoric, it had a visionary fervour. Its most eye-catching characteristic was Hughes’s ability to get beneath the skins of animals: foxes, otters, pigs. These animals were the real thing all right, but they were also armorial devices-symbols of the countryside and lifeblood of the earth in which they were rooted. It gave his work a raw, primal stink.
It was not only England that thought so either. Hughes’s book was also published in America, where it won the Galbraith prize, a major literary award. But then, in 1963, Sylvia Plath, a young American poet whom he had first met at Cambridge University in 1956, and who became his wife in the summer of that year, committed suicide. Hughes was vilified for long after that, especially by feminists in America. In 1998, the year he died, Hughes broke his own self-imposed public silence about their relationship in a book of loose-weave poems called "Birthday Letters".In this new and exhilarating collection of real letters, Hughes returns to the issue of his first wife’s death, which he calls his "big and unmanageable event". He felt his talent muffled by the perpetual eavesdropping upon his every move. Not until he decided to publish his own account of their relationship did the burden begin to lighten.
The analysis is raw, pained and ruthlessly self-aware. For all the moral torment, the writing itself has the same rush and vigour that possessed Hughes’s early poetry. Some books of letters serve as a personalised historical chronicle. Poets’ letters are seldom like that, and Hughes’s are no exception. His are about a life of literary engagement: almost all of them include some musing on the state or the nature of writing, both Hughes’s own or other people’s. The trajectory of Hughes’s literary career had him moving from obscurity to fame, and then, in the eyes of many, to life-long notoriety. These letters are filled with his wrestling with the consequences of being the part-private, part-public creature that he became, desperate to devote himself to his writing, and yet subject to endless invasions of his privacy.
Hughes is an absorbing and intricate commentator upon his own poetry, even when he is standing back from it and good-humouredly condemning himself for "its fantasticalia, its pretticisms and its infinite verballifications". He also believed, from first to last, that poetry had a special place in the education of children. "What kids need", he wrote in a 1988 letter to the secretary of state for education in the Conservative government, "is a headfull [sic] of songs that are not songs but blocks of refined and achieved and exemplary language." When that happens, children have "the guardian angel installed behind the tongue". Lucky readers, big or small.
1．The poetry of Hughes’s forerunners is characteristic of ______
[A] its natural, crude flavor.
[B] its distorted depiction of people’s daily life.
[C] its penetrating sight.
[D] its fantastical enthusiasm.
2.The word "vilified" (Line 3, Paragraph 2)most probably means _____
[A] tortured
[B] harassed
[C] scolded
[D] tormented
3．According to the third paragraph, Hughes’s collection of letters are _____
[A] personal recollection of his life.
[B] personalised historical chronicle of his literary engagement.
[C] reflections of his struggle with his devotion and the reality.
[D] his meditation on the literary world.
4. From the letters, we may find the cause of Hughes’s internal struggle is _____
[A] his devotion to the literary world.
[B] that he is a part-private, part-public creature.
[C] that he is constrained by the fear of his privacy being invaded.
[D] his fame and notoriety.
5. By "lucky readers" in the last sentence, the author means_____
[A] children who read poetry.
[B] children who have a headfull of songs.
[C] children who own blocks of refined and achieved and exemplary language.
[D] children who have the guardian angel installed behind the tongue
篇章剖析：
本文講述了英國(guó)詩(shī)人特德·休斯作品的特點(diǎn)和其所反映的詩(shī)人的一些情況。第一段講述休斯詩(shī)歌的特色；第二段講述因其妻子的原因而創(chuàng)作了一部書信集的情況。第三段講述這本書信集的特點(diǎn)和反映的內(nèi)容。第四段講述休斯對(duì)詩(shī)歌的看法和態(tài)度。
詞匯注釋：
wry adj. 枯燥乏味的
predecessorn.前輩, 前任
rhetoric n. (措詞, 文體的)浮夸與修飾
fervour n.熱情
armorial adj.徽章的, 家徽的
lifeblood n. 生命力或生命之源的力量
stink n. 氣息，氣味
vilifie vt.誹謗, 辱罵, 貶低, 輕視
muffle vt.壓抑；阻止
eavesdropping n.偷聽
trajectory n. 道路選擇好的或采用的路徑：
notoriety n.惡名, 丑名, 聲名狼藉
absorbing adj.吸引人的, 非常有趣的
難句突破： ?。?）But then, in 1963, Sylvia Plath, a young American poet whom he had first met at Cambridge University in 1956, and who became his wife in the summer of that year, committed suicide.
主體句式：But then Sylvia Plath committed suicide.
結(jié)構(gòu)分析：這是一個(gè)同位語(yǔ)帶有定語(yǔ)從句的復(fù)合句。whom和who引導(dǎo)的兩個(gè)定語(yǔ)從句修飾a young American poet, 整體作為Sylvia Plath的同位語(yǔ)。
句子譯文：但是在1963年，西爾維亞·普拉斯自殺了，這個(gè)美國(guó)年輕詩(shī)人與他第一次見面是在1956年的劍橋大學(xué)，而當(dāng)年夏天又成為了他妻子。
（2）These letters are filled with his wrestling with the consequences of being the part-private, part-public creature that he became, desperate to devote himself to his writing, and yet subject to endless invasions of his privacy.
主體句式：These letters are filled with his wrestling.
結(jié)構(gòu)分析：這是一個(gè)簡(jiǎn)單句，難點(diǎn)在于最后兩個(gè)形容詞詞組的成分（desperate to devote himself to his writing, and yet subject to endless invasions of his privacy）。這兩個(gè)形容詞詞組是用來(lái)修飾前面的名詞creature, 而creature后面緊跟著的that 引導(dǎo)的從句也是修飾它的定語(yǔ)從句。
句子譯文：這些信中處處都顯現(xiàn)出休斯因?yàn)樽约撼蔀榘胨饺?、半公開這么樣一個(gè)人物而心理反復(fù)掙扎，他渴望將自己奉獻(xiàn)給文字，但又時(shí)時(shí)受到私人空間受到侵襲的威脅。
He emerged, all of a sudden, in 1957: the most explosive new poetic talent of the English post-war era. Poetry specialised, at that moment, in the wry chronicling of the everyday. The poetry of Yorkshire-born Ted Hughes, first published in a book called "The Hawk in the Rain" when he was 27, was unlike anything written by his immediate predecessors. Driven by an almost Jacobean rhetoric, it had a visionary fervour. Its most eye-catching characteristic was Hughes’s ability to get beneath the skins of animals: foxes, otters, pigs. These animals were the real thing all right, but they were also armorial devices-symbols of the countryside and lifeblood of the earth in which they were rooted. It gave his work a raw, primal stink.
It was not only England that thought so either. Hughes’s book was also published in America, where it won the Galbraith prize, a major literary award. But then, in 1963, Sylvia Plath, a young American poet whom he had first met at Cambridge University in 1956, and who became his wife in the summer of that year, committed suicide. Hughes was vilified for long after that, especially by feminists in America. In 1998, the year he died, Hughes broke his own self-imposed public silence about their relationship in a book of loose-weave poems called "Birthday Letters".In this new and exhilarating collection of real letters, Hughes returns to the issue of his first wife’s death, which he calls his "big and unmanageable event". He felt his talent muffled by the perpetual eavesdropping upon his every move. Not until he decided to publish his own account of their relationship did the burden begin to lighten.
The analysis is raw, pained and ruthlessly self-aware. For all the moral torment, the writing itself has the same rush and vigour that possessed Hughes’s early poetry. Some books of letters serve as a personalised historical chronicle. Poets’ letters are seldom like that, and Hughes’s are no exception. His are about a life of literary engagement: almost all of them include some musing on the state or the nature of writing, both Hughes’s own or other people’s. The trajectory of Hughes’s literary career had him moving from obscurity to fame, and then, in the eyes of many, to life-long notoriety. These letters are filled with his wrestling with the consequences of being the part-private, part-public creature that he became, desperate to devote himself to his writing, and yet subject to endless invasions of his privacy.
Hughes is an absorbing and intricate commentator upon his own poetry, even when he is standing back from it and good-humouredly condemning himself for "its fantasticalia, its pretticisms and its infinite verballifications". He also believed, from first to last, that poetry had a special place in the education of children. "What kids need", he wrote in a 1988 letter to the secretary of state for education in the Conservative government, "is a headfull [sic] of songs that are not songs but blocks of refined and achieved and exemplary language." When that happens, children have "the guardian angel installed behind the tongue". Lucky readers, big or small.
1．The poetry of Hughes’s forerunners is characteristic of ______
[A] its natural, crude flavor.
[B] its distorted depiction of people’s daily life.
[C] its penetrating sight.
[D] its fantastical enthusiasm.
2.The word "vilified" (Line 3, Paragraph 2)most probably means _____
[A] tortured
[B] harassed
[C] scolded
[D] tormented
3．According to the third paragraph, Hughes’s collection of letters are _____
[A] personal recollection of his life.
[B] personalised historical chronicle of his literary engagement.
[C] reflections of his struggle with his devotion and the reality.
[D] his meditation on the literary world.
4. From the letters, we may find the cause of Hughes’s internal struggle is _____
[A] his devotion to the literary world.
[B] that he is a part-private, part-public creature.
[C] that he is constrained by the fear of his privacy being invaded.
[D] his fame and notoriety.
5. By "lucky readers" in the last sentence, the author means_____
[A] children who read poetry.
[B] children who have a headfull of songs.
[C] children who own blocks of refined and achieved and exemplary language.
[D] children who have the guardian angel installed behind the tongue
篇章剖析：
本文講述了英國(guó)詩(shī)人特德·休斯作品的特點(diǎn)和其所反映的詩(shī)人的一些情況。第一段講述休斯詩(shī)歌的特色；第二段講述因其妻子的原因而創(chuàng)作了一部書信集的情況。第三段講述這本書信集的特點(diǎn)和反映的內(nèi)容。第四段講述休斯對(duì)詩(shī)歌的看法和態(tài)度。
詞匯注釋：
wry adj. 枯燥乏味的
predecessorn.前輩, 前任
rhetoric n. (措詞, 文體的)浮夸與修飾
fervour n.熱情
armorial adj.徽章的, 家徽的
lifeblood n. 生命力或生命之源的力量
stink n. 氣息，氣味
vilifie vt.誹謗, 辱罵, 貶低, 輕視
muffle vt.壓抑；阻止
eavesdropping n.偷聽
trajectory n. 道路選擇好的或采用的路徑：
notoriety n.惡名, 丑名, 聲名狼藉
absorbing adj.吸引人的, 非常有趣的
難句突破： ?。?）But then, in 1963, Sylvia Plath, a young American poet whom he had first met at Cambridge University in 1956, and who became his wife in the summer of that year, committed suicide.
主體句式：But then Sylvia Plath committed suicide.
結(jié)構(gòu)分析：這是一個(gè)同位語(yǔ)帶有定語(yǔ)從句的復(fù)合句。whom和who引導(dǎo)的兩個(gè)定語(yǔ)從句修飾a young American poet, 整體作為Sylvia Plath的同位語(yǔ)。
句子譯文：但是在1963年，西爾維亞·普拉斯自殺了，這個(gè)美國(guó)年輕詩(shī)人與他第一次見面是在1956年的劍橋大學(xué)，而當(dāng)年夏天又成為了他妻子。
（2）These letters are filled with his wrestling with the consequences of being the part-private, part-public creature that he became, desperate to devote himself to his writing, and yet subject to endless invasions of his privacy.
主體句式：These letters are filled with his wrestling.
結(jié)構(gòu)分析：這是一個(gè)簡(jiǎn)單句，難點(diǎn)在于最后兩個(gè)形容詞詞組的成分（desperate to devote himself to his writing, and yet subject to endless invasions of his privacy）。這兩個(gè)形容詞詞組是用來(lái)修飾前面的名詞creature, 而creature后面緊跟著的that 引導(dǎo)的從句也是修飾它的定語(yǔ)從句。
句子譯文：這些信中處處都顯現(xiàn)出休斯因?yàn)樽约撼蔀榘胨饺?、半公開這么樣一個(gè)人物而心理反復(fù)掙扎，他渴望將自己奉獻(xiàn)給文字，但又時(shí)時(shí)受到私人空間受到侵襲的威脅。