TEXT B
We recognize visual form only by means of light, we recognize the existence of light only by means of form, and we further recognize that color is an effect of light in relation to form and its inherent texture. In nature, light creates color; in painting, color creates light. In symphonic painting, color is the real building medium. "When color is richest, form is fullest." This declaration of Cézannes is a guide for painters. Swinging and pulsating from and its counterpart, resonating space, originate in color intervals. In a color interval, the finest differentiations of color function as powerful contrasts. A color interval is comparable to the tension created by a form relation. What a tension signifies in regard to form, an interval signifies in regard to color; it is a tension between colors that makes color a plastic means. A painting must have form and light unity. It must light up from the inside through the intrinsic qualities which color relations offer. It must not be illuminated from the outside by superficial effects. When it lights up from the inside, the painted surface breathes, because the interval relations which dominate the whole cause it to oscillate and to vibrate. A painted surface must retain the transparency of a jewel which stands as a prototype of exactly ordered form, on the one hand, and as a prototype of the highest light emanation on the other. The Impressionists led painting back to the two-dimensionality in the picture through the creation of a light unity, whereas their attempt to create atmosphere and spatial effectiveness by means of color, resulted in the impregnation of their works with the quality of translucence which became synonymous with the transparency of the picture plane. Light must not be conceived as illumination —— it forces into the picture through color development. Illumination is superficial. Light must be created. In this matter alone is the balance of light possible. The formation of a light unity becomes identified with the two-dimensionality of the picture. Such a formation is based on comprehension light complexities. Color unity, in the same matter, is identified with the two-dimensionality of the picture. It results from color tensions created by color intervals. Thus the end product of all color intervals is two-dimensionality. Spatial and formal unity and light and color unity create the plastic two-dimensionality of the picture. Since light is best expressed through differences in color quality, color should not be handled as a tonal gradation, to produce the effect of light. The psychological expression of color lies in unexpected relations and associations.
39. What would be an appropriate title for this selection?
A) On Light and Color
B) The Expression of Color and Light by Impressionists
C) Visual Effects in Painting
D) The Formation of a Light Unity and a Color Unity
40. What does the writer mean by form and light unity?
A) A painting is lit up from the outside.
B) A painting lights up through the qualities that color relations offer.
C) The painting's surface breathe and vibrate
D) The interval color relations dominate the painting.
41. What cause the plastic two-dimensionality of a picture?
A) Unexpected relations and associations.
B) Spatial and formal unity.
C) Light and color unity.
D) B and C
TEXT C
Eliots interest in poetry in about 1902 with the discovery of Romantic. He had recalled how he was initiated into poetry by Edward Fitzgeralds Omar Khayyam at the age of fourteen. "It was like a sudden conversion", he said, an "overwhelming introduction to a new world of feeling." From then on, till about his twentieth year of age (1908), he took intensive courses in Byron, Shelley, Keats, Tennyson, Rossetti and Swinburne. It is, no doubt, a period of keen enjoyment……At this period, the poem, or the poetry of a single poet, invades the youthful consciousness and assume complete possession for a time……The frequent result is an outburst of scribbling which we may call imitation……It is not deliberate choice of a poet to mimic, but writing under a kind of daemonic possession by one poet. Thus, the young Eliot started his career with a mind preoccupied by certain Romantic poets. His imitative scribbling survives in the Harvard Eliot Collection, a part of which is published as Poems Written in Early Youth. "A Lyric" (1905), written at Smith Academy and Eliots first poem ever shown to anthers eye, is a straightforward and spontaneous overflow of a simple feeling. Modeled on Ben Johnson, the poem expresses a conventional theme, and can be summarized in a single sentence: since time and space are limited, let us love while we can. The hero is totally self-confident, with no Prufrockian self-consciousness. He never thinks of retreat, never recognizes his own limitations, and never experiences the kind of inner struggle which will so blight the mind of Prufrock. "Song: When we came home across the hill" (1907), written after Eliot entered Harvard College, achieved about the same degree of success. The poem is a lovers mourning of the loss of love, the passing of passion, and this is done through a simple contrast. The flowers in the field are blooming and flourishing, but those in his lovers wreath are fading and withering. The point is that, as flowers become waste then they have been plucked, so love passes when it has been consummated. The poem achieves an effect similar to that of Shelleys "when the lamp is shattered". The from, the dictation and the images are all borrowed. So is the carpe diem theme. In "Song: The Moonflower Opens" (1909), Eliot makes the flower —— love comparison once more and complains that his love is too cold-hearted and does not have "tropical flowers/With scarlet life for me". In these poem, Eliot is not writing in his own right, but the poets who possessed him are writing through him. He is imitating in the usual sense of the word, having not yet developed his critical sense. It should not be strange to find him at this stage so interested in flowers: the flowers in the wreath, this mornings flowers, flowers of yesterday, the moonflower which opens to the moth —— not interested in them as symbols, but interested in them as beautiful objects. In these poems, the Romantics did not just work on his imagination; they compelled his imagination to work their way. Though merely fin-de-siécle routines, some of these early poems already embodied Eliots mature thinking, and forecasted his later development. "Before Morning" (1908) shows his awareness of the co-habitation of beauty and decay under the same sun and the same sky. "Circles Palace" (1909) shows that he already entertained the view of women as emasculating their male victims or sapping their strength. "On a Portrait" (1909) describes women as mysterious and evanescent, existing "beyond the circle of our thought". Despite all these hints of later development, these poems don not represent the Eliot we know. Their voice is the voice of tradition and their style is that of the Romantic period. It seems to me that the early Eliots connection with Tennyson is especially interesting, in that Tennyson seems to have foreshadowed Eliots own development.
42. Eliot was wrapped up in ____when he began to write poems.
A) Edward Fitzgerald's poems
B) Romantic poets
C) Classical literature
D) Romantic literature
43. Which of the following statement is NOT true of Eliot's first poem?
A) It was written at Smith Academy.
B) It was modeled on Ben Johnson.
C) It was included in Poems Written in Early Youth.
D) It expresses the theme that a common person's mind is loaded with inner struggle.
44. Which of the following is NOT Eliot's poem?
A) "Song: When we came home across the hill"
B) "Song: The Moonflower Opens"
C) Fin-de-siécle
D) "before Morning"
45. The article is primary concerned with ____
A) comparing the early poems by Tennyson and Eliot.
B) illustrating Eliot's talent as a young artist.
C) introducing some background knowledge of Eliot.
D) representing Eliot's early style and his connection with Romantic poets. 共10页: 上一页 [1] [2] [3] [4] 5 [6] [7] [8] [9] [10] 下一页