历年GRE考试真题精选系列六十二
MENTOR: GUIDANCE::oracle: prophecy
pundit: diplomacy
sage: criticism
prodigy: youth
scholar: wisdom
————————————————————————
答案：(A)
LIGNEOUS：WOOD::
osseous: bone
igneous: rock
cellular: microbe
fossilized: plant
nautical: water
————————————————————————
答案：(A)
IRREVOCABLE: REPEAL::
uncharted: survey
unwieldy: lift
inscrutable: mention
immutable: anchor
ineluctable: avoid
————————————————————————
答案：(E)
LITERATE: ERUDITE::
garrulous: loquacious
abstruse: recondite
prosaic: subtle
sober: informed
agitated: frenetic
————————————————————————
答案：(E)
历年GRE考试真题精选系列六十二
The making of classifications beliterary historians can be a somewhat
risky enterprise. When Black poets
are discussed separately as a group,
(5) for instance, the extent to which
their work reflects the development
of poetry in general should not be
forgotten, or a distortion of literary
history may result. This caution
(10) is particularly relevant in an
assessment of the differences between
Black poets at the turn of the century
(1900-1909) and those of the
generation of the 1920’s. These
(15) differences include the bolder and
more forthright speech of the later
generation and its technical
inventiveness. It should be
remembered, though, that comparable
(20) differences also existed for similar
generations of White poets.
When poets of the 1910’s and 1920’s
are considered together, however, the
distinctions that literary historians
(25) might make between "conservative"
and "experimental’ would be of little
significance in a discussion of Black
poets, although these remain helpful
classifications for White poets of
(30) these decades. Certainly differences
can be noted between "conservative"
Black poets such as Countee Cullen
and Claude McKay and "experimental"
one such as Jean loomer and Langston
(35) Hughes. But Black poets were not
battling over old or new styles;
rather, one accomplished Black poet
was ready to welcome another,
whatever his her style, for what
(40) mattered was racial pride.
However, in the 1920’s Black poets
did debate whether they should deal
with specifically racial subjects.
They asked whether they should only
(45) write about Black experience for a
Black audience or whether such demands
were restrictive. It may be said,
though, that virtually all these poets
wrote their best poems when they spoke
(50) out of racial feeling, race being, as
James Weldon Johnson rightly put in.
"perforce the thing the Negro poet
knows best"
At the turn of the century, by
历年GRE考试真题精选系列六十二
(55) contrast, most Black poets generallywrote in the conventional manner of
the age and expressed noble, if
vague, emotions in their poetry.
These poets were not unusually
(60) gifted, though Boscoe Jamison
and G, M, McClellen may be mentioned
as exceptions. They chose not to write
in dialect, which, as Sterling Brown
bas suggested, "meant a rejection of
(65) stereotypes of Negro life," and they
refused to write only about racial
subjects. This refusal had both a
positive and a negative consequence.
As Brown observes. "Valuably insisting
(70) that Negro poets should not be
confined to is " sues of race, these
poets committed error… they
refused to look into their hearts and
write." These are important insights,
(75) but one must stress that this refusal
to look within was also typical of
most White poets of the United States
at the time. They, too often turned
from their own experience and
(80) consequently produced not very
memorable poems about vague
topics, such as the peace of nature.
According to the passage, most
turn-of-the-century Black poets
generally did which of the following?
Wrote in ways that did not challenge
accepted literary practice.
Described scenes from their own
lives.
Aroused patriotic feelings by expressing
devotion to the land.
Expressed complex feeling in the words
of ordinary people.
Interpreted the frustrations of Blacks
to an audience of Whites.
————————————————————————
答案：(A)
According to the passage, an issue
facing Black poets in the 1920’s was
whether they should
seek a consensus on new techniques
of poetry
write exclusively about and for
Blacks
withdraw their support from a repressive
society
turn away from social questions to
recollect the tranquillity of nature
identify themselves with an international
movement of Black writers
————————————————————————
答案：(B)
MENTOR: GUIDANCE::
oracle: prophecy
pundit: diplomacy
sage: criticism
prodigy: youth
scholar: wisdom
————————————————————————
答案：(A)
LIGNEOUS：WOOD::
osseous: bone
igneous: rock
cellular: microbe
fossilized: plant
nautical: water
————————————————————————
答案：(A)
IRREVOCABLE: REPEAL::
uncharted: survey
unwieldy: lift
inscrutable: mention
immutable: anchor
ineluctable: avoid
————————————————————————
答案：(E)
LITERATE: ERUDITE::
garrulous: loquacious
abstruse: recondite
prosaic: subtle
sober: informed
agitated: frenetic
————————————————————————
答案：(E)
The making of classifications be
literary historians can be a somewhat
risky enterprise. When Black poets
are discussed separately as a group,
(5) for instance, the extent to which
their work reflects the development
of poetry in general should not be
forgotten, or a distortion of literary
history may result. This caution
(10) is particularly relevant in an
assessment of the differences between
Black poets at the turn of the century
(1900-1909) and those of the
generation of the 1920’s. These
(15) differences include the bolder and
more forthright speech of the later
generation and its technical
inventiveness. It should be
remembered, though, that comparable
历年GRE考试真题精选系列六十二
(20) differences also existed for similargenerations of White poets.
When poets of the 1910’s and 1920’s
are considered together, however, the
distinctions that literary historians
(25) might make between "conservative"
and "experimental’ would be of little
significance in a discussion of Black
poets, although these remain helpful
classifications for White poets of
(30) these decades. Certainly differences
can be noted between "conservative"
Black poets such as Countee Cullen
and Claude McKay and "experimental"
one such as Jean loomer and Langston
(35) Hughes. But Black poets were not
battling over old or new styles;
rather, one accomplished Black poet
was ready to welcome another,
whatever his her style, for what
(40) mattered was racial pride.
However, in the 1920’s Black poets
did debate whether they should deal
with specifically racial subjects.
They asked whether they should only
(45) write about Black experience for a
Black audience or whether such demands
were restrictive. It may be said,
though, that virtually all these poets
wrote their best poems when they spoke
(50) out of racial feeling, race being, as
James Weldon Johnson rightly put in.
"perforce the thing the Negro poet
knows best"
At the turn of the century, by
(55) contrast, most Black poets generally
wrote in the conventional manner of
the age and expressed noble, if
vague, emotions in their poetry.
These poets were not unusually
(60) gifted, though Boscoe Jamison
and G, M, McClellen may be mentioned
as exceptions. They chose not to write
in dialect, which, as Sterling Brown
bas suggested, "meant a rejection of
(65) stereotypes of Negro life," and they
refused to write only about racial
subjects. This refusal had both a
positive and a negative consequence.
As Brown observes. "Valuably insisting
(70) that Negro poets should not be
confined to is " sues of race, these
poets committed error… they
refused to look into their hearts and
write." These are important insights,
(75) but one must stress that this refusal
to look within was also typical of
most White poets of the United States
at the time. They, too often turned
from their own experience and
历年GRE考试真题精选系列六十二
(80) consequently produced not verymemorable poems about vague
topics, such as the peace of nature.
According to the passage, most
turn-of-the-century Black poets
generally did which of the following?
Wrote in ways that did not challenge
accepted literary practice.
Described scenes from their own
lives.
Aroused patriotic feelings by expressing
devotion to the land.
Expressed complex feeling in the words
of ordinary people.
Interpreted the frustrations of Blacks
to an audience of Whites.
————————————————————————
答案：(A)
According to the passage, an issue
facing Black poets in the 1920’s was
whether they should
seek a consensus on new techniques
of poetry
write exclusively about and for
Blacks
withdraw their support from a repressive
society
turn away from social questions to
recollect the tranquillity of nature
identify themselves with an international
movement of Black writers
————————————————————————
答案：(B)
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