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[Reading Comprehension]
试题详情
文章：
| Line | Critics maintain that the fiction of Herman Melville |
| (1819–1891) has limitations, such as its lack | |
| of inventive plots after Moby-Dick (1851) and its | |
| occasionally inscrutable style. A more serious, yet | |
| (5) | problematic, charge is that Melville is a deficient |
| writer because he is not a practitioner of the “art of | |
| fiction,” as critics have conceived of this art since the | |
| late nineteenth-century essays and novels of Henry | |
| James. Indeed, most twentieth-century commentators | |
| (10) | regard Melville not as a novelist but as a writer of |
| romance, since they believe that Melville’s fiction | |
| lacks the continuity that James viewed as essential | |
| to a novel: the continuity between what characters | |
| feel or think and what they do, and the continuity | |
| (15) | between characters’ fates and their pasts or original |
| social classes. Critics argue that only Pierre (1852), | |
| because of its subject and its characters, is close to | |
| being a novel in the Jamesian sense. | |
| However, although Melville is not a Jamesian | |
| (20) | novelist, he is not therefore a deficient writer. A more |
| reasonable position is that Melville is a different | |
| kind of writer, who held, and should be judged | |
| by, presuppositions about fiction that are quite | |
| different from James’s. It is true that Melville wrote | |
| (25) | “romances”; however, these are not the escapist |
| fictions this word often implies, but fictions that | |
| range freely among very unusual or intense human | |
| experiences. Melville portrayed such experiences | |
| because he believed these best enabled him to | |
| (30) | explore moral questions, an exploration he assumed |
| was the ultimate purpose of fiction. He was content | |
| to sacrifice continuity or even credibility as long | |
| as he could establish a significant moral situation. | |
| Thus Melville’s romances do not give the reader | |
| (35) | a full understanding of the complete feelings and |
| thoughts that motivate actions and events that shape | |
| fate. Rather, the romances leave unexplained the | |
| sequence of events and either simplify or obscure | |
| motives. Again, such simplifications and obscurities | |
| (40) | exist in order to give prominence to the depiction of |
| sharply delineated moral values, values derived from | |
| a character’s purely personal sense of honor, rather | |
| than, as in a Jamesian novel, from the conventions of | |
| society. |
题目：
The primary purpose of the passage is to
选项:
A、make a case for the importance of skillful psychological motivation in well-written novels and romances
B、contrast the romantic and novelistic traditions and assert the aesthetic superiority of the romantic tradition
C、survey some of the responses to Melville’s fiction put forward by James and twentieth-century literary critics
D、argue that the charges made against Melville’s fiction by literary critics are suspect and misleading
E、note several accusations made against Melville’s fiction by literary critics and refute one of these accusations
答案:
E
提问：
请问Tina老师，这道题我排除了ABC，比较DE. 觉得D的范围好像更大。E说one of these accusations感觉很细节，就没选E. 请问老师正确的思路应该是怎么样
解答：
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提问：
请问Tina老师，这道题我排除了ABC，比较DE. 觉得D的范围好像更大。E说one of these accusations感觉很细节，就没选E. 请问老师正确的思路应该是怎么样
解答：
点赞0
阅读1210
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