Section Ⅰ Matching Match each of the following ten passages with its author. There are more authors than passages here, and one author may be matched with more than one passage. Write the passage number (1-10) and the corresponding author letter (A-L) for each answer. For example, suppose the following is Passage 2: Only one same reason is shared by all of us: we wish to create worlds as real as, but other than the world that is. Or was. This is why we cannot plan. We know a world is an organism, not a machine. We also know that a genuinely created world must be independent of its creator; a planned world (a world that fully, reveals its planning) is a dead world. It is only when our characters and events begin to disobey us that they begin to live. And its author is [M] Fowles. Then your answer should be 2M. ●Passage 1● 1. But the Idols of the Marketplace are the most troublesome of all: idols which have crept into the understanding through the alliances of words and names. For men believe that their reason governs words; but it is also true that words react on the understanding; and this it is that has rendered philosophy and the sciences sophistical and inactive. ●Passage 2● 2. I, John Faustus of Wittenberg, Doctor, by these presents do give both body and soul to Lucifer, Prince of the East... ●Passage 3● 3. To go into solitude, a man needs to retire as much from his chamber as from society. I am not solitary whilst I read and write though nobody is with me. But if a man would be alone, let him look at the stars. The rays that come from those heavenly words, will separate between him and vulgar things. ●Passage 4● 4. Most Utopians, however, and among these all the wisest, believe nothing of the sort: the believe in a single power, unknown, eternal, infinite, inexplicable, far beyond the grasp of the human mind, and diffused throughout the universe, not physically, but in influence. ●Passage 5● 5. Nature, in its ministry to man, is not only the material, but is also the process and the result. All the parts incessantly work into each other's hands for the profit of man. The wind sows the seed; the sun evaporates the sea; the wind blows the vapor to the field; the ice, on the other side of the planet, condenses rain on this; the rain feeds the plant; the plant feeds the animal; and thus the endless circulations of the divine charity nourish man. ●Passage 6● 6. The passions that build up our human Soul, Not with the mean and vulgar works of man, But with high objects, with enduring things, With life and nature, purifying thus The elements of feeling and of thought, And sanctifying, by such discipline, Both pain and fear; until we recognize A grandeur in the beating of the heart. ●Passage 7● 7. Success is counted sweetest By those who ne'er succeed. To comprehend a nectar Requires sorest need. ●Passage 8● 8. Of man's first disobedience, and the fruit Of that forbidden tree whose mortal taste Brought death into the world, and all our owe, With loss of Eden, till one greater Man Restore us, and regain the blissful seat ●Passage 9● 9. It the censure of Yahoos could any way affect me, I should have great reason to complain that some of them are so bold as to think my book of travels a mere fiction out of mine own brain. ●Passage 10● 10. I told you in the course of this paper that Shakespeare had a sister; but do not look for her in Sir Sidney Lee's life of the poet. She died young—alas, she never wrote a word. She lies buried where the omnibuses now stop, opposite the Elephant and Castle. Now my belief is that this poet who never wrote a word and was buried at the crossroads still lives. She lives in you and in me, and in many other women who are not here tonight, for they are washing up the dishes and putting the children to bed. ●Authors● A. Christopher Marlowe B. Emily Dickinson C. Flannery O'Connor D. Francis Bacon E. John Milton F. Jonathan Swift G. Ralph Waldo Emerson H. Sir Thomas More I. T.S. Eliot J. Virginia Woolf K. William Shakespeare L. William Wordsworth
[解析] 文章节选自克里斯托弗·马洛(Christopher Marlowe)的《浮士德博士的悲剧》(The Tragical History of Doctor Faustus)。选文开始的John Faustus以及Lucifer便是重要的线索。 克里斯托弗·马洛，1564-1593，英国诗人、莎士比亚之前最重要的剧作家。其代表作为《帖木儿》(Tamburblaine)、《马耳他的犹太人》(The Jew of Malta)、《迦太基的女王狄多》(Dido，Queen of Carthage)、《浮士德博士的悲剧》。马洛的作品对莎士比亚的影响比较大。
3.
G
[解析] 文章节选自拉尔夫·瓦尔多·爱默生(Ralph Waldo Emerson)的《论自然》(Nature)，《论自然》一文包含了爱默生的基本哲学思想和他对大自然的观点和深厚的感情，是超验主义的代表作品。这篇散文和《美国学者》(The American Scholar)、《论自立》(Self-Reliance)是文学考试常考的文章，考生对其内容需有所了解。
4.
H
[解析] 文章节选自托马斯·摩尔的《乌托邦》(Utopia)。文中的Utopians便是提示。托马斯·摩尔(Sir Thomas More)，1478-1535，英国政治家、人文主义学家和作家。
[解析] 文章节选自弗吉尼亚-伍尔芙(Virginia Woolf)的《一间自己的房间》(A Room of One's Own)。本文原为一篇讲演稿，后来伍尔芙重新修改补充而成。 弗吉尼亚·伍尔芙，1882-1941，英国女作家，二十世纪现代派小说家、女性主义作家。其代表作包括《戴洛维夫人》(Mrs. Dalloway)、《灯塔行》(To the Lighthouse)、《雅各的房间》(Jakob's Room)。其作品均不是很长，考生可以分析其小说，以深入了解现代派小说以及意识流小说的风格及特点。
Section Ⅱ Short Story
Story of an Hour
Kate Chopin
Knowing that Mrs. Mallard was afflicted with a heart trouble, great care was taken to break to her as gently as Possible the news of her husband's death. It was her sister Josephine who told her, in broken sentences, veiled hints that revealed in half concealing. Her husband's friend Richards was there, too near her. It was he who had been in the newspaper office when intelligence of the railroad disaster was received, with Brently Mallard's name leading the list of "killed". He had only taken the time to assure himself of its truth by a second telegram, and had hastened to forestall any less careful, less tender friend in bearing the sad message. She did not hear the story as many women have heard the same, with a paralyzed inability to accept its significance. She wept at once, with sudden, wild abandonment, in her sister's arms. When the storm of grief had spent itself she went away to her room alone. She would have no one follow her. There stood, facing the open window, a comfortable, roomy armchair. Into this she sank, pressed down by a physical exhaustion that haunted her body and seemed to reach into her soul. She could see in the open square before her house the tops of trees that were all aquiver with the new spring life. The delicious breath of rain was in the air. In the street below a peddler was crying his wares. The notes of a distant song which someone was singing reached her faintly, and countless sparrows were twittering in the eaves. There were patches of blue sky showing here and there through the clouds that had met and piled above the other in the west facing her window. She sat with her head thrown back upon the cushion of the chair quite motionless, except when a sob came up into her throat and shook her, as a child who has cried itself to sleep continues to sob in its dreams. She was young, with a fair, calm face, whose lines bespoke repression and even a certain strength. But now there was a dull stare in her eyes, whose gaze was fixed away off yonder on one of those patches of blue sky. It was not a glance of reflection, but rather indicated a suspension of intelligent thought. There was something coming to her and she was waiting for it, fearfully. What was it? She did not know; it was too subtle and elusive to name. But she felt it, creeping out of the sky, reaching toward her through the sounds, the scents, the color that filled the air. Now her bosom rose and fell tumultuously. She was beginning to recognize this thing that was approaching to possess her, and she was striving to beat it back with her will—as powerless as her two white slender hands would have been. When she abandoned herself a little whispered word escaped her slightly parted lips. She said it over and over under her breath: "Free, free, free!" The vacant stare and the look of terror that had followed it went from her eyes. They stayed keen and bright. Her pulses beat fast, and the coursing blood warmed and relaxed every inch of her body. She did not stop to ask if it were not a monstrous joy that held her. A clear and exalted perception enabled her to dismiss the suggestion as trivial. She knew that she would weep again when she saw the kind, tender hands folded in death; the face that had never looked save with love upon her, fixed and gray and dead. But she saw beyond that bitter moment a long procession of years to come that would belong to her absolutely. And she opened and spread her arms out to them in welcome. There would be no one to live for during those coming years; she would live for herself. There would be no powerful will bending her in that blind persistence with which men and women believe they have a fight to impose a private will upon a fellow-creature. A kind intention or a cruel intention made the act seem no less a crime as she looked upon it in that brief moment of illumination. And yet she had loved him—sometimes. Often she had not. What did it matter! What could love, the unsolved mystery, count for in face of this possession of self-assertion which she suddenly recognized as the strongest impulse of her being! "Free! Body and soul free!" she kept whispering. Josephine was kneeling before the closed door with her lips to the keyhole, imploring for admission. "Louise, open the door! I beg; open the door—you will make yourself ill. What are you doing, Louise! For heaven's sake open the door." "Go away. I am not making myself ill." No; she was drinking in a very elixir of life through that open window. Her fancy was running riot along those days ahead of her. Spring days, and summer days, and all sorts of days that would be her own. She breathed a quick prayer that life might be long. She arose at length and opened the door to her sister's importunities. There was a feverish triumph in her eyes, and she carried herself unwitting like a goddess of Victory. She clasped her sister's waist, and together they descended the stairs. Richards stood waiting for them at the bottom. Someone was opening the front door with al latchkey. It was Brently Mallard who entered, a little travel-stained, composedly carrying his gripsack and umbrella. He had been far from the scene of accident, and did not even know there had been one. He stood amazed at Josephine's piercing cry; at Richards' quick motion to screen him from the view of his wife. But Richards was too late. When the doctors came they said she had died of heart disease—of joy that kills.
1. Summarize the plot of the following story in your own words (around 200 Words).
The story depicts the last hour of Mrs. Mallard's life to show her changed feelings from sadness to happiness, which in turn discloses the suffocating bondage of marriage and calls for a new woman's identity outside the marriage. When the news about Mrs. Mallard's death in a railway disaster comes to her sister Josephine and her husband's friend Richard, they are worried to tell it to Mrs. Mallard, because she has heart trouble. So Josephine takes great caution in telling the news. Mrs. Mallard first reacts to the news in sorrow and locks herself in her bedroom, where she reflects the change her husband' death brings to her life. However, looking at the new spring life outside, she begins to realize that she is more than joyous for the news. But she is fearful and tries to keep away from the "monstrous" feeling. Then she calms down and thinks about her love of her husband, gradually embracing the new feeling, even though she realizes that her husband has really loved her. She begins to fancy the rest of her life. Louise leaves her room and rejoins her sister who has been worrying. She carries herself "like a goddess of Victory", and returns downstairs, when they see Mrs. Mallard coming, who has never been to the spot of accident. The short story ends with the abrupt death of Mrs. Mallard and her doctor explains that she dies of heart disease— "of joy that kills".
Throughout the novel, the house stands for the physical and mental oppression of marriage on woman. When Mrs. Mallard knows the misfortune of her husband, she locks herself in the bedroom, where she hopes to seek comfort from the cozy room. However, the author artfully gives her a position, where she could see the outside. Thus, the sharp contrast is made between the "springtime" out the window and deathlike sorrow inside. Since spring represents a new life, the house refers to a subordinate life of women in the dominion of man's territory. Opening the widow and breathing the fresh air symbolizes the break of the marriage oppression. However, the return of Mr. Mallard in the house reinstates the man's domination and the death of Mrs. Mallard seems to be a reasonable result of dashed dream.
There are two main themes in The Story of an Hour—identity and selfhood and the negative role of women in the marriage. First, Chopin examines issues of "female self-discovery and identity" through having her main character demonstrate extreme feelings of grief upon learning of her husband's death, only to have those feelings immediately replaced by an indescribable feeling she can only describe as "free, free, free!" or as having "abandoned herself." In essence, she has basically lived through her husband, and now that she thinks he is gone, she realizes with astonishing joys that she is free and her life is her own once again. However, she is so devastated upon his return that the death seems to be the only choice. The other theme is the negative role of women in marriage, and Chopin broaches a subject that was not very popular in her time—the right of the husband to dominate the wife in a marriage. In the story Louise Mallard is elated that she would no longer have to bend to the will of her husband. And she is even unsure whether or not they have been happily married. All these lead to her final breaking-up with the marriage.
Section Ⅲ Critical Thinking Identify errors in logic, if any, in the following arguments. Justify your answers briefly.
1. Think of all the families of the murder victims. Think of their suffering. Think of their pain and agony. Support capital punishment—for their sake.
The logic is not correct because it is only an emotional incitement. The capital punishment for murderers should is directly connected with the victims they kill, but has little or indirect connection with the pain and agonies of the victims' families. The later is not a substantial condition for the execution.
2. Either we raise taxes by 10% or we drown ourselves in a budget deficit.
"Either...or..." gives us an impression that the two clauses attached to them are but an only choice to make. In this case, not raising taxed by 10% might not cause the consequent. So the logic is also problematic.
3. When two people steal the national flag and the pole from the top of a building, a citizen says that this just demonstrates the lack of law and order.
Stealing can not imply the lack of law and order, because law and order is always there and won't change due to an individual wrong-doing. Stealing only shows people are lacking in legal consciousness.
[解析] 个案的发生只能表现个体缺乏法律观念，无法证明群体法律观念的缺失。
4. A doctor can consult books to make a diagnosis. Why can't a medical student consult books when being tested.
A diagnosis concerns the life of a person, so it should be made with caution and the doctor checks books to ensure that everything goes well. On the other hand, medical students are tested on their medical knowledge. The purposes are not the same. So it is a false statement.
[解析] 医生诊断参考书本与医学院学生考试参考书本其目的并不相同，因而不能混作一谈。
5. "Most men who have never been married are obsessed with girls." "Oh? I don't know." "Well, I do, because I know all bachelors are."
The word "bachelor" means more than "a man who has never been married". The logic extension of the last statement changes from the previous small group of people to a wider range of people, including those who have received college education.
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