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看题，确定做题优先级：

For the following question, consider each of the choices separately and select all that apply.

1. The author of the passage suggests that applying the term “confessional” to the work of the poets discussed 可多选+间接细节

For the following question, consider each of the choices separately and select all that apply.

2. The passage implies that the poets discussed did NOT 可多选+否定间接细节信息

两道多选+间接细节。老老实实读文章吧。

文章分析：

①Because the subject matter was so personal, the work of several prominent mid-twentieth century poets has been termed “confessional” poetry. ②But confession is a bad metaphor for what those poets did. ③The motive for confession is penitential or therapeutic - by speaking openly about personal guilt and suffering, the poet hopes to make them easier to bear. ④But these poets always approached their writing as artists, and their motive was aesthetic. ⑤Writing from experiences like madness, despair, and lust, their aim was to make effective art, not to cure themselves. ⑥To treat their poems mainly as documents of personal experience is not to diminish the poets' achievement, but to ignore their unanimous disdain for the idea of confessional poetry.

penitential 悔罪的，忏悔的

① 大众观点，v1=confessional，认为诗人作品是一种忏悔

② But 转折观点（作者），×v1

③ f1∈v1 conf.=motive是therapeutic 

④ But v2 motive是aesthetic （通过伤春悲秋体现美感）

⑤ f2∈v2 art≠cure

⑥ 作者观点∈v2

句间关系图：

① ↔ ② 

          ↓

     ③ ↔ ④

               ↓

               ⑤

               ↓

               ⑥

题型解析：

For the following question, consider each of the choices separately and select all that apply.

1. The author of the passage suggests that applying the term “confessional” to the work of the poets discussed 可多选+间接细节

AB

A. is mistaken in what it seems to imply about the poets’ motivation 对应③④句

B. might seem superficially appropriate given the subject matter of the poems 对应①⑤句

C. is an error arising from the absence of any other convenient term 没有证据

 

For the following question, consider each of the choices separately and select all that apply.

2. The passage implies that the poets discussed did NOT 可多选+否定间接细节信息

C

A. Think that a poet’s motivation for writing was relevant in evaluating that poet’s work 能对应④，因此不选，属于广义同义替换

B. Experience any relief of their personal suffering as a result of writing 对应⑤ 目的≠结果，所以是maybe yes maybe no，不选。原文说不是为了cure，但实际有没有cure 或者像前文说的 easier to bear，我们并不知道。因为目的和结果不一定一致。

C. apply to their own work the label by which it has subsequently been known 最后一句有对confessional普遍的鄙视

文章类比理解：

李白、杜甫的诗歌里尽管会有一些个人经历，比如怀才不遇，比如悲天悯人，但是如果你认为这些大诗人写这些东西只是为了吐槽或者聊以自慰，不会降低这些大诗人的成就，只不过会忽视这些人其实并不希望后人认为他们写诗是为了发牢骚或者凡尔赛，他们自己也很鄙视这样的作品，他们其实是在这些内容中体现语言、文字和韵律的美感。

背景拓展：

Confessional poetry or "Confessionalism" is a style of poetry that emerged in the United States during the 1950s.  It has been described as poetry of the personal or "I", focusing on extreme moments of individual experience, the psyche, and personal trauma, including previously and occasionally still taboo matters such as mental illness, sexuality, and suicide, often set in relation to broader social themes. It is sometimes also classified as Postmodernism.（后现代主义）

The school of "Confessional poetry" was associated with several poets who redefined American poetry in the 1950s and 1960s, including Robert Lowell, Sylvia Plath, John Berryman, Anne sexton, Allen Ginsberg, and W. D. Snodgrass.

Sylvia Plath

西尔维娅·普拉斯（Sylvia Plath，1932—1963）是继艾米莉·狄金森和伊丽莎白·毕肖普之后最重要的美国女诗人。1963年她最后一次自杀成功时，年仅31岁。这位颇受争议的女诗人因其富于激情和创造力的重要诗篇留名于世，又因其与另一位英国诗人休斯情感变故自杀的戏剧化人生而成为英美文学界一个长久的话题。

Ariel①

BY SYLVIA PLATH

Stasis in darkness.

Then the substanceless blue   

Pour of tor and distances.

God’s lioness,   

How one we grow,

Pivot of heels and knees!—The furrow

Splits and passes, sister to   

The brown arc

Of the neck I cannot catch,

Nigger-eye   

Berries cast dark   

Hooks—

Black sweet blood mouthfuls,   

Shadows.

Something else

Hauls me through air—

Thighs, hair;

Flakes from my heels.

White

Godiva②, I unpeel—

Dead hands, dead stringencies.

And now I

Foam to wheat, a glitter of seas.   

The child’s cry

Melts in the wall.   

And I

Am the arrow,

The dew that flies

Suicidal, at one with the drive   

Into the red

Eye, the cauldron of morning.

黑暗中凝止。

然后是无质的蓝

山岗与距离的流驶。

上帝的母狮，

我们变得如此一体，

脚跟和膝盖的支点！──犁沟

分裂丶掠过，与我无法

抓住的脖子

的棕色弧形类似，

黑奴眼

莓果抛出深色的

钩子──

一口口黑色鲜甜的血，

一片片阴影。

另有东西

把我在空中拖过──

双股，毛发；

我脚跟的碎皮。

白色的

戈黛娃，我剥掉外皮──

死去的手，死去的严苛。

而现在我

对着麦子吐泡沫，海浪的闪光。

小孩的哭喊

在墙里融化。

而我

是那支箭，

与那飞溅丶自毁的

露水，有着一致的冲劲

飞进那红色的

眼，黎明的大锅。

①爱丽儿可能指作者常骑的一匹马。莎士比亚《暴风雨》剧中有个精灵也叫爱丽儿，因曾被一位魔法师所救而成了他的奴隶，在完成魔法师布置的一系列任务后最终获得了自由。另外在希伯来语中，爱丽儿的意思是“上帝之狮”，因此有②学者认为这个词可能也像圣经以赛亚书中那样象征耶路撒冷。

②戈黛娃指十一世纪英格兰的一位贵妇。根据传说，为了让考文垂地区的民众得以减免她丈夫麦西亚伯爵施加的重税，她曾赤身裸体骑马穿过当地的街道。

One of Sylvia Plath’s most widely discussed poems, ‘Ariel’ describes an early morning horse-ride towards the sun, using imagery that is loaded with significance and suggestiveness.

As Plath rides Ariel through the dawn light, it is as if she is shedding her past self and become reborn as something else: the experience of riding the horse is almost transcendent. ‘I unpeel’, she tells us, likening herself to Lady Godiva, the eleventh-century Saxon noblewoman who defied her husband’s harsh taxation of the people of Coventry and rode naked through the streets of the town, according to legend.

Written in October 1962 (on her thirtieth birthday), just four months before Plath committed suicide, ‘Ariel’ became the title poem in Plath’s posthumous 1965 volume, publication of which was overseen (controversially) by Plath’s widower, Ted Hughes.