SAT语法模拟练习:战争与诗歌

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　　战争与诗歌

　　War and Poetry: T. S. Eliot’s Fourth Quartet

　　In 1941, two years after Britain declared war on 1 Germany, the American-turned-British poet, T. S. Eliot, began to write the fourth and final piece of the Four Quartets. Entitled “Little Gidding,” this poem required almost a year and a half to reach its final state. The progress of its revision, most notably in section II, 2 a subtle record the struggles both for Eliot personally and for his nation as a whole during World War II.

　　The first draft of “Little Gidding” was completed in the summer of 1941. Although Eliot expressed misgivings about it,his close friend John Hayward encouraged him to persevere, maintaining that—even in its rough condition—this draft had the potential to be a successful conclusion to the cycle of poems. 3 However, the events of that 4 year made it difficult for Eliot to justify committing his time to the ‘intolerable wrestle’ of revision. A valued public intellectual figure, 5 Eliot's skills as a writer, editor, and lecturer were in high demand. Noted scholar Helen 6 Gardner, has also

　　suggested that this quartet required more careful composition, and therefore more time, than did the other three poems.

　　[1] Whatever the rationale, Eliot postponed serious revisions of “Little Gidding” until the following summer.

　　[2] For example, in a section II line that originally read ‘dust on an old man’s sleeve,’ Eliot changed the word ‘dust’ to ‘ash,’ a reflection of his experience during the German Blitz.

　　[3] This section also details a meeting, presumably right after an air-raid, between the narrator and another individual.

　　[4] Although the first draft strongly implied that the identity of the individual was Irish poet W. B. Yeats, Eliot shaved 7 and pared away these elements and aspects in the process of revision.

　　[5] The resulting ambiguity gives a remarkably personal note to this section of the poem. [6] While it is one of the darkest moments in the entire quartet, these revisions—including the removal of a direct quotation from Dante’s Inferno—reflect that Eliot intended not just to depict misery and self-doubt, but to invest such emotions with hope. 8

　　Although Eliot continued to wrestle 9 toward revisions until the last moment, “Little Gidding” was finally published at the end of 1942. It was well-received, perhaps in part because of its 10 chronological theme: the belief that something beautiful will emerge from something torturous. It was Eliot’s peculiar gift to see the simultaneity of suffering and reconciliation—and 11 the depth of his insight is nowhere more apparent than in this quartet.

　　1

　　A. NO CHANGE

　　B. Germany, the American-turned-British poet T. S. Eliot

　　C. Germany, the American-turned-British poet T. S. Eliot,

　　D. Germany the American-turned-British poet T. S. Eliot

　　2

　　A. NO CHANGE

　　B. subtly recording

　　C. is a subtle record of

　　D. which subtly recorded

　　3 At this point, the writer is considering adding the following sentence.

　　Known by some of his closest friends as ‘the Tarantula,’ Hayward was a highly respected and charismatic editor.

　　Should the writer make this addition here?

　　A. Yes, because this sentence helps explain why Eliot had so much difficulty revising the first draft of “Little Gidding.”

　　B. Yes, because a more detailed description of Hayward helps make clear why Eliot revised “Little Gidding.”

　　C. No, because this sentence contains information that is not clearly related to Eliot’s delay in revising “Little Gidding.”

　　D. No, because the passage doesn’t make clear why Eliot trusted Hayward to evaluate “Little Gidding.”

　　4 At this point, the writer wants to provide specific examples to establish the historical context in which Eliot was working. Which choice best accomplishes that goal? A. year, including repeated German bombings of London and the Japanese offensive at Pearl Harbor,

　　B. year, including many important global issues going at that time in history,

　　C. year, including favorable critical and public receptions of his most recently published quartet, “The Dry Salvages,”

　　D. year, including the time required to polish over two hundred lines of poetry,

　　5

　　A. NO CHANGE

　　B. Eliot's writing, editing, and lecturing skills were in high demand.

　　C. Eliot was in high demand as a writer, editor, and lecturer.

　　D. high demand was placed on Eliot's skills as a writer, editor, and lecturer.

　　6

　　A. NO CHANGE

　　B. Gardner, has also suggested that,

　　C. Gardner has also suggested that

　　D. Gardner has also suggested, that

　　7

　　A. NO CHANGE

　　B. away these elements

　　C. away these elements and aspects

　　D. and pared away these elements

　　8 The writer wants to add the following sentence to the previous paragraph.

　　Some of these eventual changes can be interpreted in the context of World War II.

　　The best placement for the sentence is immediately

　　A. after sentence 1.

　　B. after sentence 2. C. after sentence 3.

　　D. after sentence 4.

　　9

　　A. NO CHANGE

　　B. against

　　C. beyond

　　D. with

　　10

　　A. NO CHANGE

　　B. punctual

　　C. timely

　　D. prompt

　　11 The writer wants the conclusion to emphasize the relationship between Eliot’s fourth quartet and his historical context. Which choice best accomplishes this goal?

　　A. NO CHANGE

　　B. no message could have been more appropriate during World War II.

　　C. even his greatest critics were forced to acknowledge his creative brilliance.

　　D. “Little Gidding” was the culmination and the summary of his poetic career.

　　参考答案：BCCAC CBADC B

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