题目内容
（请给出正确答案）
A、summer solstice
B、Start of Spring
C、Grain Rain
D、Start of Summer
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It has also made the poems easier to engage with: there are no puzzling Ulsterisms, for instance. Complications have been tossed aside. Words are no longer delved into for their etymological significance as they were in the 1970s. Now they are caressed for their mellifluousness. The collection feels personal—as if it had a compelling need to be written.
A decade and a half ago Mr. Heaney told The Economist that once the evil banalities of sectarianism seemed to be receding, his verse was able to admit the "big words" with which poetry had once abounded: soul and spirit, for example. In this collection both are present, at some level. The words describing a simple act—the passing of meal in sacks by aid workers onto a trailer—in the title poem, "Human Chain", transform. this 12-line poem into a kind of parable. There is the collective, shared human burden of the act itself—the "stoop and drag and drain" of the heavy lifting—and then there is the wonderful letting go: "Nothing surpassed/That quick unburdening. " Is the poet talking about the toil of life, and the aftermath of that toil？
The poems snatch precious remembered moments. They linger over the sweetness of particulars—vetch, the feel of an eel on a line. They pay attention to the heightened ritual of everyday things. The lines are short but move at a gentle pace and need to be read slowly, as the verse drifts back and forth over its country setting like a long-legged fly on a stream.
Above all, and this is an odd thing to say of words on a page, the book feels like handcrafted work. Time and again Mr. Heaney returns to the image of the pen. He began his long career writing of such a pen, nestling snug as a gun between finger and thumb. The gun, we hope, is history. The pen still nestles, fruitfully.
What is the distinction between the 12th book of poems and others by Seamus Heaney？
A．Writing style.
B．The change of tepics.
C．An old suit vs. a new one.
D．The degree of importance.
A、the Nineteen old poems
B、the Music Bureau Poetry
C、the prose
D、Rhapsody
A、the nineteen old poems
B、rhapsody
C、the Han Music Bureau Poetry
D、The Great Records of History
(Staying) up all night, Tom (finished not only) the homework (but also read) many poems of his (favorite) poets.
A．staying
B．finished not only
C．but also read
D．favorite
A.for; for
B.as; for
C.for; as
D.by; for
E.by; as
F.by; byG、as; as
A.intimacy, loneliness
B.lovesickness, homesickness
C.homesickness,lovesickness
D.misery, loneliness
A、Three Stories and Ten Poems
B、The Sun Also Rises
C、For Whom the Bell Tolls
D、The Fifth Column
The making of classifications by literary historiabs can be a somewhat risky enterprise.
When Black poets are discussed separately as a group, for instance, the extent to which their work reflects the development of poetry in general should not be forgotten, or a distortion of literary history may result. This reminder is particularly relevant in an assessment of the differences between Black poets at the turn of last century (1900-1909) and those of the generation of the 1920s. These differences include the bolder and more forthright speech of the later generation and its technical inventiveness. It should be remembered, though, that comparable differences also existed for similar generations of White poets.
When poets of the 1910s and 1920s are considered together, however, the distinctions that literary historians might make between "conservative" and "experimental" would be of little significance in a discussion of Black poets, although these remain helpful classification for White poets of these decades. ①Certainly differences can be noted between "conservative" Black poets such as Countee Cullen ,and Cluade McKay and "experimental" ones such as Jean Toomer and Langston Hughes. But Black poets were not battling over old or new styles; rather, one accomplished Black poet was ready to welcome another. whatever his or her style, for what mattered was racial pride.
However, in the 1920s Black poets did debate with specifically racial subjects. They asked whether they should only write about Black experience for a Black audience or whether such demands were restrictive. It may be said, though, that virtually all those poets wrote their best poems when they spoke out of racial feeling, race being, as James Johnson rightly put it "inevitably the thing the Negro poet knows best".
At the turn of the 20th century, by contrast, most Black poets generally wrote in the conventional manner of the age and expressed noble, if vague, emotions in their poetry. These poets were not unusually gifted, though Roscoe Jamision and G. M. McClellen may be mentioned as exceptions. They chose not to write in dialect, which, as Sterling Brown has suggested, "meant a rejection of stereotypes of Nero life." and they refused to write only about racial subjects. This refusal had both a positive and a negative consequence. As Brown observes, "Valuably insisting that Negro poets should not be confined to issues of race, these poets committed (an) error they refused to look into their hearts and write." These are important insights, but one must stress that this refusal to look within was also typical of most White poets of the United States at the time. They, too, often turned from their own experience and consequently produced not very memorable poems about vague topics, such as the peace of nature.
What is the author's attitude toward the classification as a technique in literary history'？
A．Sarcastic.
B．Indifferent.
C．Cautious.
D．Critical.
A、He is also an environment activist
B、He writes both novels and poems
C、He learns from both American and English literature
D、He is very young in age
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