新GRE考试阅读练习题及答案(十一)-智课教育旗下智课教育.pdf
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新GRE考试阅读练习题及答案(十一)-智课教育旗下智
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The making of classifications by literary historians 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
caution is particularly relevant in an assessment of the
differences between Black poets at the turn of the century
(1900-1909) and those of the generation of the 1920’s. 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 1910’s and 1920’s 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 classifications for White poets of these decades.
Certainly differences can be noted between “conservative”
Black poets such as Counter Cullen and Claude 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 1920’s Black poets did debate whether
they should deal 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 these poets wrote their best
poems when they spoke out of racial feeling, race being, as
James Weldon Johnson rightly put it, “perforce the thing the
Negro poet knows best.”
At the turn of th
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