历年GRE考试真题精选系列六十二

会计考友 · 发表于 2012-8-15 12:45:20

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)

会计考友 · 发表于 2012-8-15 12:45:21

　　　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
(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

会计考友 · 发表于 2012-8-15 12:45:22

(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 [an] 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

会计考友 · 发表于 2012-8-15 12:45:23

(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
(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 [an] 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

会计考友 · 发表于 2012-8-15 12:45:24

(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)

		自动登录	找回密码
密码			立即注册

[GRE真题] 历年GRE考试真题精选系列六十二