[考研类试卷]2007年北京师范大学英语专业（英美文学）真题试卷及答案与解析.doc

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1、2007 年北京师范大学英语专业（英美文学）真题试卷及答案与解析一、匹配题1 To what period does each of the following extracts, poetical or prose, belong? If possible, name the author of each.(8 points)a)To be, or not to bethat is the question; Whether tis nobler in the mind to suffer The slings and arrows of outrageous fortune Or to t

2、ake arms against a sea of troubles. And by opposing end them. To die-to sleep No more: and by a sleep to say we endThe heartache, and the thousand natural shocks That flesh is heir to. Tis a consummation Devoutly to be wish d. To die-to sleep. To sleepperchance to dream: ay, there s the rub!2 b)The

3、apparition of these faces in the crowd; Petals on a wet, black bough.3 c)If you really want to hear about it, the first thing youll probably want to know is where I was born, and what my lousy childhood was like, and how my parents were occupied and all before they had me, and all that David Copperf

4、ield kind of crap, but I don t feel like going into it. In the first place, that stuff bores me, and in the second place, my parents would have about two haemorrhages apiece if I told anything pretty personal about them. They re quite touchy about anything like that, especially my father.They re nic

5、e and allI m not saying thatbut they re also touchy as bell. Besides, I m not going to tell you my whole goddam autobiography or anything. Ill just tell you about this madman stuff that happened to me around last Christmas before I got pretty run-down and had to come out here and take it easy.4 d)It

6、 is a truth universally acknowledged, that a single man in possession of a good fortune must be in want of a wife.5 Mention one poem by three of the following poets and show how far each poem is typical of its author: Alfred Tennyson, William Shakespeare, John Donne, Robert Frost, Lan-gston Hughes,

7、Emily Dickinson.(12 points)6 Explain the following literary phenomena with reference to the period of time, main features and representative writers.(10 points)1)The Theatre of the Absurd(3 points)7 2)Harlem Renaissance(4 points)8 3)The Campus Fiction(3 points)二、问答题8 Read the following poem by John

8、Donne, and do according to the requirements(30 points):Death Be Not ProudDeath be not proud, though some have called theeMighty and dreadful, for, thou art not so.For, those, whom thoa think st thou dost overthrow.Die not, poor death, nor yet canst thou kill me;From rest and sleep, which but thy pic

9、tures be,Much pleasure; then from thee, much more must flow.And soonest our best men with thee do go.Rest of their bones, and soul s delivery.Thou art slave to fate, chance, kings, and desperate men,And dost with poison, war, and sickness dwell.And poppy, or charms can make us sleep as well.And bett

10、er than thy stroke; why swell st thou then?One short sleep past, we wake eternally,And death shall be no more; Death, thou shalt die.9 Paraphrase the first 8 lines of the poem with your own plain words(10 points);10 Please answer the following questions(10 points):1)What is the poet s attitude towar

11、ds death and why do you think he may have such an attitude? Please give the evidence to prove your point.2)What does the line “Thou art slave to fate, chance, kings, and desperate men“ imply?11 Please answer the following questions(10 points):1)What are the artistic features of this poem, including

12、the metrical form, the rhyme-scheme, the rhetorical devices, the use of images, the tone. etc. and how do you think these artistic features establish an effective expression of the poetic meaning?2)In what sense does this poem contribute to the sonnet in the 16th and the 17th century?11 The followin

13、g passage is drawn from Oscar Wilde s The Picture of Dorian Gray, Read the excerpt, and answer the questions.(40 points)Chapter TwentyIt was a lovely night, so warm that he threw his coat over his arm and did not even put his silk scarf round his throat. As he strolled home, smoking his cigarette, t

14、wo young men in evening dress passed him. He heard one of them whisper to the other. “That is Dorian Gray. “ He remembered how pleased he used to be when he was pointed out, or stared at, or talked about. He was tired of bearing his own name now. Half the charm of the little village where he had bee

15、n so often lately was that no one knew who he was. He had often told the girl whom he had lured to love him that he was poor, and she had believed him. He had told her once that he was wicked, and she had laughed at him and answered that wicked people were always very old and very ugly. What a laugh

16、 she had! just like a thrush singing. And how pretty she had been in her cotton dresses and her large hats! She knew nothing, but she had everything that he had lost.When he reached home, he found his servant waiting up for him. He sent him to bed, and threw himself down on the sofa in the library,

17、and began to think over some of the things that Lord Henry had said to him.Was it really true that one could never change? He felt a wild longing for the unstained purity of his boyhoodhis rose-white boyhood, as Lord Henry had once called it. He knew that he had tarnished himself, filled his mind wi

18、th corruption and given horror to his fancy; that he had been an evil influence to others, and had experienced a terrible joy in being so; and that of the lives that had crossed his own, it had been the fairest and the most full of promise that he had brought to shame. But was it all irretrievable?

19、Was there no hope for him? Ah! in what a monstrous moment of pride and passion he had prayed that the portrait should bear the burden of his days, and he keep the unsullied splendor of eternal youth! All his failure bad been due to that. Better for him that each sin of his life had brought its sure

20、swift penalty along with it. There was purification in punishment. Not “ Forgive us our sins“ but “ Smite us for our iniquities“ should be the prayer of man to a most lust God.AThe curiously carved mirror that Lord Henry bad given to him, so many years ago now, was standing on the table, and the whi

21、te-limbed Cupids laughed round it as of old. He took it up, as he had done on that night of horror when he had first noted line change in the fatal picture, and with wild tear-dimmed eyes looked into its polished shield. Once, someone who had terribly loved him had written to him a mad letter, endin

22、g with these idolatrous words: “ The world is changed be-cause you are made of ivory and gold. The curves of sour lips rewrite history. “ The phrases came back to his memory, and he repeated them over and over to himself. Then he loathed his own beauty, and flinging the mirror on the floor, crushed

23、it into sliver splinters beneath his heel. It was his beauty that had ruined him, his beauty and line youth that he had prayed for. But for those two things, his life might have been free from stain. His beauty had been to him but a mask, his youth but a mockery. What was youth at best? A green, an

24、unripe dine, a time of shallow moods, and sickly thoughts. Why had he worn its livery? Youth had spoiled him. . .BHe went in quietly, locking the door behind him, as was his custom, and dragged the purple hanging from the portrait. A cry of pain and indignation broke from him. He could see no change

25、, save that in the eyes there was a look of cunning and in the mouth the curved wrinkle of the hypocrite. The thing was still loathsomemore loathsome, if possible, than before-and the scarlet dew that spotted the hand seemed brighten and more like blood newly spilled. Then he trembled. Had it been m

26、erely vanity that had made him do his one good deed? Or the desire for a new sensation, as Lord Henry had hinted, with his mocking laugh? Or that passion to act a part that sometimes makes us do things finer than we are ourselves? Or, perhaps, all these? And why was the red stain larger than it had

27、been? It seemed to have crept like a horrible disease over the wrinked fingers. There was blood on the painted feet as though the thing had dripped-blood even on the hand that had not held the knife. Confess? Did it mean that he was to confess? To give himself up and be put to death? He laughed. He

28、felt that fine idea was monstrous. Besides, even if he did confess, who would believe him? There was no trace of the murdered man anywhere. Everything belonging to him had been destroyed. He himself had burned what had been below-stairs. The world would simply say that he was mad. They would shut hi

29、m up if be persisted in his story . Yet it was his duty to confess, to suffer public shame, and to make public atonement. There was a God who called upon men to tell their sins to earth as well as to heaven. Nothing that he could do would cleanse him till he had told his own sin. His sin? He shrugge

30、d his shoulders. The death of Basil Hallward seemed very little to him. He was thinking of Hetty Merton. For it was an unjust mirror, this mirror of his soul that he was looking at. Vanity? Curiosity? Hypocrisy? Had there been nothing more in his renunciation than that? There had been something more

31、. At least he thought so. But who could tell? . No. There bad been nothing more. Through vanity he had spared her. In hypocrisy he had worn line mask of goodness. For curiosity s sake he had tried the denial of self. He recognized that now.But this murderwas it to dog him all his life? Was he always

32、 to be burdened by his past? Questions:12 Can you figure out what he has thought of and done to remain his youth and beauty according to the authors narration in this chapter?(10 points)13 Paraphrase the underlined sentence in the ParagraphA.(5 points)14 Why does Dorian Gray now hate his own youth a

33、nd beauty?(10 points)15 Please re-tell the psychological nuances of Dorian Gray in the paragraph.B(15 points)三、分析题16 The following sentences are drawn from the essay “The Intentional Fallacy“ by W. K. Wimsatt, JR and Monroe Beardsley. Write a short passage to explain the major meaning of these words

34、 and your own points about it.(20 points)A poem does not come into existence by accident. The words of a poem come out of a head, not out of a hat. Yet to insist on the designing intellect as a cause of a poem is not to grant the design or intention as a standard by which the critic is to judge the

35、worth of the poet s performance.There is a sense in which an author, by revision, may better achieve his original intention. But it is a very abstract sense. He intended to write a better work and now has done it. But it follows that his former concrete intention was not his intention. “He s the man

36、 we were in search of, that s true,“ says Hardy s rustic constable, “ and yet he s not the man we were in search of. For the man we were in search of was not the man we wanted. “2007 年北京师范大学英语专业（英美文学）真题试卷答案与解析一、匹配题1 【正确答案】 English Renaissance, William Shakespeare【试题解析】 (这段文章选自莎士比亚的哈姆雷特，莎士比亚是英国文艺复兴时期

37、最杰出的艺术大师。参考译文：生存还是毁灭，这是个值得考虑的问题：默然忍受命运暴虐的毒箭，或是挺身反抗人世无涯的苦难，通过斗争把他们扫清，这两种行为，哪一种更高贵?死了，睡着了，什么都完了。倘若在这一种睡眠之中，我们心头的创痛，以及其他无数血肉之躯所不能避免的打击，都可以从此消失，这正是我们求之不得的结局。死了，睡着了，睡着了也许还会做梦。嗯，阻碍就在这!)2 【正确答案】 American Modern Period, Ezra Pound【试题解析】 (题中诗句是庞德的代表诗歌在一个地铁车站(In a Station of the Metro)，庞德是美国现代时期的重要诗人，是意象派运动的主

38、要发起人。参考译文：这几张脸在人群中幻景般闪现；湿漉漉的黑树枝上花瓣数点。(飞白译)3 【正确答案】 American Modern Period, Jerome David Salinger【试题解析】 (题中引文节选自捷罗姆大卫塞林格的成名小说麦田守望者(The Catcher in the Rye)，小说出版于 1951 年，是美国当代文学中的“现代经典小说”之一。参考译文：你要是真想听我讲，你想要知道的第一件事可能是我在什么地方出生，我倒霉的童年是怎样度过，我父母在生我之前干些什么，以及诸如此类的大卫科波菲尔式废话，可我老实告诉你，我无意告诉你这一切。首先，这类事情叫我腻烦；其次，我要

39、是细谈我父母的个人私事，他们俩准会大发脾气。对于这类事情，他们最容易生气，特别是我父亲。他们为人倒是挺不错我并不想说他们的坏话可他们的确很容易生气。再说，我也不是要告诉你他妈的我整个自传。我想告诉你的只是我在去年圣诞节前所过的那段荒唐生活，后来我的身体整个儿垮了，不得不离家到这儿来休养一阵。)4 【正确答案】 English Romanticism Period, Jane Austen【试题解析】 (题中片段选自英国浪漫主义时期的重要小说家简 奥斯汀的代表作傲慢与偏见(Prideand Prejudice)。参考译文：这条真理举世皆知：一个有钱的单身汉总缺少个妻子。)5 【正确答案】 1.

40、Alfred Tennyson: Break, Break, Break This poem is typical in musical style.This poem is Tennyson s typical poem. In this poem, Tennyson contrasts his own feeling of sorrow with the natural pictures of carefree joyful children at play and the young sailor at work, and with the unfeeling movements of

41、the ship and the sea waves. He transformed his grief and his visual pictures into musical expressions. Through repetitive vowel sounds and repetitive beginning of the first and the last stanza, poet forms lyrical beauty and metrical charm. Lines 2 and 4 of each stanza have end rhyme. The meter in th

42、e poem varies, but the anapestic foot creates the musical-ity of the poem. Other rhetorical devices are employed to reinforce the musical effect of this poem , such as alliteration(boat on the bay). Poetic images like sea, playing children, sailor and waves appear in this poem.2. Robert Frost: Stopp

43、ing by Woods on Snowy NightThis poem is typical in style, language, image and theme.In the poem Stopping by Woods on Snowy Night, the rhythm is rigidly regular(iambic tetrameter), and its rhyme scheme is a complex pattern of interlocking stanzas. Each stanza is a complete sentence, and each sentence

44、 follows the structure of colloquial English. Though the picture depicted in this poem is very common in the countryside, the meaning is deep that every one should take his responsibility. This poem is a typical Frost poem. Frost used familiar, conventional forms, plain and a graceful style. His poe

45、ms are very carefully constructed yet he makes them seem effortless by using colloquial language and American vocabulary. Images and metaphors in his poems are drawn from the simple country life and the pastoral landscape that can be easily understood. 3. Emily Dickenson; Because I Could Not Stop fo

46、r DeathThis poem is typical in theme, tone and image. Like Emily Dickenson s other poems, this poem is also about death and immortality. In this poem, she portrays death as a central imagea gentleman caller or as a suitor. Then the whole poem is extended around this image. The school children, the “

47、Gazing Grain“ , the “Setting Sun“ , are all metaphors of life and the “Swelling of the Ground“ symbolizes grave. The basic tone is tragic.【试题解析】 (本题考查对英美文学诗人的主要特点和主要作品的掌握情况，可就诗人的其中一首诗的主题、艺术手法、风格等出发，阐述该诗人的典型特点。)6 【正确答案】 The Theatre of the Absurd; The Theatre of Absurd refers to the dramas of the 1950

48、s which evoke the absurd by abandoning logical form, character, and dialogue together with realistic illusion. The phenomenon was led by Samuel Beckett whose work, Waiting for Godot, revives some of the conventions of clowning and farce to represent the impossibility of purposeful action and the par

49、alysis of human aspiration. Other dramatists associated with the theatre of the absurd include Edward Albee, Harold Pinter, and Vaclav Hovel.7 【正确答案】 Harlem Renaissance; Harlem Renaissance refers to a period of outstanding literary vigor and creativity that occurred in the United States during the 1920s. The Harlem Renaissance changed the images of literature created by many black and white American writers. New black images were no longer obedient and docile; instead they showed a new confidence and racial pride. The center of this m