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新GRE考试阅读练习题及答案(十一)-智课教育旗下智课教育.pdf

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智 课 网 G R E 备 考 资 料 新GRE考试阅读练习题及答案(十一)-智课教育旗下智 课教育 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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