No 4-1-5 求问一道题目 22题

jdef1028

Thomas Hardy's impulses as a
　　writer, all of which he indulged in his
　　novels, were numerous and divergent,
　　and they did not always work together in
(5) harmony. Hardy was to some degree
　　interested in exploring his characters'
　　psychologies, though impelled less by
　　curiosity than by sympathy. Occasionally
　　he felt the impulse to comedy (in all
(10) its detached coldness) as well as the
　　impulse to farce, but he was more often
　　inclined to see tragedy and record it.
　　He was also inclined to literary realism
　　in the several senses of that phrase. He
(15) wanted to describe ordinary human
　　beings; he wanted to speculate on their
　　dilemmas rationally (and, unfortunately,
　　even schematically); and he wanted to
　　record precisely the material universe./
(20) Finally, he wanted to be more than a
　　realist. He wanted to transcend what he
　　considered to be the banality of solely
　　recording things exactly and to express
　　as well his awareness of the occult and
(25) the strange.
　　　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
(30) 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
(35) 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  
(40) 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
(45) 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
(50) 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!
(55) 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
(60) 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
(65) 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
(70) parts.

22 Which of the following statements best
describes the organization of lines 32
to 49 of the passage ("Thus...abstractly")?
A The author makes a disapproving7
observation and then presents two cases,
one of which leads to a qualification of
his disapproval and the other of which
does not.
B The author draws a conclusion from a
previous statement, explains his conclusion
in detail, and then gives a series of
examples that have the effect of resolving
an inconsistency.
C The author concedes a point and then
makes a counterargument, using an
extended comparison and contrast that
qualifies his original concession.
D The author makes a judgment, points out
an exception to his judgment, and then
contradicts his original assertion.
E The author summarizes and explains an
argument and then advances a brief history
of opposing arguments.

jdef1028

答案是A 我选C 求解 PS：C选项中counterargument指的是两个cases对立还是指的是与point对立？

jdef1028

顶起

jdef1028

ding

竹林中人

两个case对立吧，我感觉C中的concede a point 没有体现