2. 外语
  3. (1)Mark Twain’s instructions were quite clear: his autobiography was to remain unpublished until 100 years after his death. Who

(1)Mark Twain’s instructions were quite clear: his autobiography was to remain unpublished until 100 years after his death. Who

admin2021-08-05  52
问题     (1)Mark Twain’s instructions were quite clear: his autobiography was to remain unpublished until 100 years after his death. Who could resist a pay cheque in the here and now for deferred immortality in the hereafter? More to the point, could any modern writer be certain their lives would still be interesting to anyone so long after their death?
    (2)Pride never came into Twain’s calculations. He was the American writer, the rags-to-riches embodiment of the American dream, and it never seems to have occurred to him that his popularity would fade. Nor has it. He is still the writer before whom everyone from Faulkner to Mailer has knelt. And even though his literary executors might not have followed his instructions to the letter—various chunks of his autobiography have been published over the years—the publication of the first of three planned collections of Twain’s full autobiographical writings to coincide with the centenary of his death has still been one of the literary events of the year.
    (3)Still more remarkable is that Twain’s reputational longevity is based on so few books. As John Sutherland, professor of English at University College London, points out, "Huckleberry Finn has been largely off-limits in American schools and colleges because of Twain’s use of the word ’nigger’, so most readers only know him for his maxims and Tom Sawyer. And even that is overrated. What makes him the ’father’ of American fiction?"
    (4)Sutherland suggests the answer lies in voice, eye and attitude. Twain was a gifted public speaker; he turned literature into something that was heard as well as seen; and cast himself as an innocent, with a decidedly resentful, feisty(好争辩的)gaze on the rest of the world. "Take these three elements," he says, "and, as Hemingway argued, you have the essence of a national literature. After Twain, no one could dismiss it as ’English literature written in America.’ It was itself."
    (5)And it’s the voice that shines through his autobiography. "The general reader gets to see the man beyond the maxims," says Harriet Smith, editor of the Mark Twain Project, "What we get is him speaking to us from beyond the grave; even in the passages that seem quite boring his appeal still resonates for the infelicities—rather than being a flaw—are a window into how he thought and what jogged his memory."
    (6)Above all, there is no linear narrative. He first toyed with the idea of writing his autobiography in the 1870s but abandoned the idea because he couldn’t find a way of telling the truth about himself. Finally, after the death of his wife, Olivia, in 1904, he came up with two solutions. The first—almost certainly borrowed from the Freudian psychoanalytic model of free association—was to dictate his thoughts to a stenographer(速记员); for 15 minutes each day he would start by deliberating on an item of news that had captured his attention and see where it led. The second was to self-impose a 100-year rule, so that by the time any judgment was passed he would be "dead, unaware and indifferent".
    (7)Not that any of this necessarily had the desired effect. "If you’re relying on memory," says novelist Michael Frayn, "how—even with the best of intentions—can you distinguish between what you remember and what you make up? A biographer can seek corroboration elsewhere; a personal memoir does not have that advantage." Twain once admitted that in many instances he didn’t even try to tell the remorseless truth when he wrote that he could think of 1,500 incidents of which he was ashamed and had not put to paper. "Even the two shameful incidents of which he does write—being unable to prevent his young son from falling in the river and not allowing his wife to visit a friend in Scotland—are hardly the stuff of deep shame," says Smith. There’s an obvious danger here of applying 21st-century values to something that was written in the early years of the 20th century. Yet there is something quintessentially modern about Twain. Not least in the blurring of his public and private personas. Twain’s real name was Samuel Clemens: his nom de plume derives from the Mississippi boatmen’s cry for "safe passage". Yet despite a fierce attachment to the idea of telling the truth, it never seems to have occurred to him to call the book The Autobiography of Sam Clemens. Much in the way that Bono and Sting never use their real names today. To his readers, to his friends—and, above all, to himself—Mark Twain was every bit as real as Sam Clemens.
    (8)Twain understood the value of his image and went to some lengths to protect it. Some of the more fascinating passages in the autobiography are those that have been crossed out. These are, more often than not, the ones about which he was particularly sensitive. And they aren’t to do with the personal, such as his feelings of loss over the deaths of his wife and daughter, Susy, or his suspicions about being financially ripped off by his manager, Ralph Ashcroft, and his secretary, Isabel Lyon.
    (9)"There are some extracts, including one in which he confuses the Virgin birth and the Immaculate Conception, in which he declares his religious scepticism robustly, about which Twain was extremely nervous," says Smith. "He was so worried he would be ostracised(排斥)and shunned for this by God-fearing Americans that he actually set a publication date of 2406 for those sections."
    (10)Imagine. A man so protective and nervous of his own reputation that he sought to keep some of the ideas he thought might alienate his public silent for 500 years. Yet equally a man so sure of his reputation that he had no doubts people would still want to read him 500 years after his death. There, in essence, is Twain’s ambivalence between the public and the private, between truth and spin. Needless to say, his executors didn’t adhere to the 500-year demand and the American public continue to adore him regardless. Then Twain being Twain, he’d have hardly expected anything less.
The sentence "and cast himself as an innocent, with a decidedly resentful, feisty gaze on the rest of the world" in the 4th paragraph implies that ______.
选项 A、Twain turned literature into something to be heard as well as seen
B、Twain showed a critical attitude towards the American world
C、Twain’s works embodied the American dream
D、Twain’s works revealed the brightness and darkness of human heart
答案B
解析 第4段中这句话的意思是说“马克·吐温把自己作为一个天真无邪的旁观者，用充满愤恨与不满的、好争辩的眼睛打量着这个世界”。根据关键词innocent，resentful及feisty可知，这里是在要强调马克·吐温的批判现实的精神，因此本题选B。
转载请注明原文地址:https://www.kaotiyun.com/show/6HIK777K
0

专业英语八级

相关试题推荐
随机试题
最新回复(0)