Thomas Hardy s novels, particularly the later ones, are marked by a grim determinism shadi

A.A Pair of Blue Eyes

B.Far from the Madding Crowd

C.Tess of the D’urbervilles

D.Jude the Obscure

A.George Bernard Shaw

B.Charles Dickens

C.Thomas Hardy

D.Jane Austen

In his novels these various impulses were sacrificed to each other inevitably and often. Inevitably, because Hardy did not care in the way that novelists such as Flaubert or James cared, and therefore took paths of least resistance. Thus, one impulse often surrendered to a fresher one and, unfortunately, instead of exacting a compromise, simply disappeared. A desire to throw over reality a light that never was might give way abruptly to the desire on the part of what we might consider a novelist-scientist to record exactly and concretely the structure and texture of a flower. In this instance, the new impulse was at least an energetic one, and thus its indulgence did not result in a relaxed style. But on other occasions Hardy abandoned a perilous, risky, and highly energizing impulse in favor of what was for him the fatally relaxing impulse to classify and schematize abstractly. When a relaxing impulse was indulged, the style. —that sure index of an author's literary worth —was certain to become verbose. Hardy's weakness derived from his apparent inability to control the comings and goings of these divergent impulses and from his unwillingness to cultivate and sustain the energetic and risky ones. He submitted to first one and then another, and the spirit blew where it listed; hence the unevenness of any one of his novels. His most controlled novel, Under the Greenwood Tree, prominently exhibits two different but reconcilable impulses —a desire to be a realist-historian and a desire to be a psychologist of love —but the slight interlockings of plot are not enough to bind the two completely together. Thus even this book splits into two distinct parts.

The most appropriate title for the passage could be ______.

A．Under the Greenwood Tree: Hardy's Ambiguous Triumph

B．The Real and the Strange: the Novelist's Shifting Realms

C．Hardy's Novelistic Impulses: the Problem of Control

D．Divergent Impulses: the Issue of Unity in the Novel

A. a crude region in England

B. a fictional primitive region

C. a remote rural area

D. Hardy's hometown

A. The Mill on the Floss

B. Tess of the D’Urbervilles

C. Jude the Obscure

D. The Mayor of Caster Bridge

In his novels these various impulses were sacrificed to each other inevitably and often inevitably, because Hardy did not care in the way that novelists such as Flaubert or James learned, and therefore took paths of least resistance. Thus one impulse often surrendered to a fresher one and, unfortunately, instead of exacting a compromise, simply disappeared. A desire to throw over reality a light that never was might give way abruptly to the desire on the part of what we might consider a novelist scientist to record exactly and concretely the structure and texture of a flower.

In this instance, the new impulse was at least an energetic one. And thus its indulgence did not result in a relaxed style. But on other occasions Hardy abandoned a perilous risky and highly energizing impulse in favor of what was for him the fatally relaxing impulse to classify and schematize abstractly. When a relaxing impulse was indulged, the style—that sure index of an author's literary worth—was certain to become verbose.

Hardy's weakness derived from his apparent inability to control the comings and goings of these divergent impulses and from his unwillingness to cultivate and sustain the energetic and risky ones. He submitted of first one and then another, and the spirit blew where it listed; hence the unevenness of any one of his novels. His most controlled novel, Under the Greenwood Tree, prominently exhibits two different but reconcilable impulses—a desire to be a realist-historian and a desire to be a psychologist of love but the slight interlockings of plot are not enough to bind the two completely together. Thus even this book splits into two distinct parts.

Which of the following is the most appropriate title for the passage, based on its content？

A．Hardy's Novelistic Style. A Literary Light.

B．Hardy's Creative Conflict: Rationalism and Realism.

C．Hardy's Achievements: An Ambiguous Triumph.

D．Hardy's Novelistic Impulses: The Problem of Conflicts.

A.T.S.Eliot

B.Houseman

C.Thomas Hardy

D.William Butler Yeats

A.romantic

B.modernist

C.socialist

D.naturalistic

A.London

B.Yoknapatawpha

C.Wessex

D.Paris