He emerged, all of a sudden, in 1957: the most explosive new poetic talent of the English post-war era. Poetry
specialised, at that moment, in the wry chronicling of the everyday. The poetry of Yorkshire-born Ted Hughes, first publishedin a book called \"The Hawk in the Rain\" when he was 27, was unlike anything written by his immediate predecessors.
Driven by an almost Jacobean rhetoric, it had a visionary fervour. Its most eye-catching characteristic was Hughes’s ability toget beneath the skins of animals: foxes, otters, pigs. These animals were the real thing all right, but they were also armorialdevices-symbols of the countryside and lifeblood of the earth in which they were rooted. It gave his work a raw, primal stink. It was not only England that thought so either. Hughes’s book was also published in America, where it won the Galbraithprize, a major literary award. But then, in 1963, Sylvia Plath, a young American poet whom he had first met at CambridgeUniversity in 1956, and who became his wife in the summer of that year, committed suicide. Hughes was vilified for long afterthat, especially by feminists in America. In 1998, the year he died, Hughes broke his own self-imposed public silence abouttheir relationship in a book of loose-weave poems called \"Birthday Letters\".In this new and exhilarating collection of realletters, Hughes returns to the issue of his first wife’s death, which he calls his \"big and unmanageable event\". He felt histalent muffled by the perpetual eavesdropping upon his every move. Not until he decided to publish his own account of theirrelationship did the burden begin to lighten.
The analysis is raw, pained and ruthlessly self-aware. For all the moral torment, the writing itself has the same rush andvigour that possessed Hughes’s early poetry. Some books of letters serve as a personalised historical chronicle. Poets’letters are seldom like that, and Hughes’s are no exception. His are about a life of literary engagement: almost all of theminclude some musing on the state or the nature of writing, both Hughes’s own or other people’s. The trajectory of Hughes’sliterary career had him moving from obscurity to fame, and then, in the eyes of many, to life-long notoriety. These letters arefilled with his wrestling with the consequences of being the part-private, part-public creature that he became, desperate todevote himself to his writing, and yet subject to endless invasions of his privacy.
Hughes is an absorbing and intricate commentator upon his own poetry, even when he is standing back from it andgood-humouredly condemning himself for \"its fantasticalia, its pretticisms and its infinite verballifications\". He also believed,from first to last, that poetry had a special place in the education of children. \"What kids need\secretary of state for education in the Conservative government, \"is a headfull [sic] of songs that are not songs but blocks ofrefined and achieved and exemplary language.\" When that happens, children have \"the guardian angel installed behind thetongue\". Lucky readers, big or small.
1．The poetry of Hughes’s forerunners is characteristic of ______ [A] its natural, crude flavor.
[B] its distorted depiction of people’s daily life. [C] its penetrating sight.
[D] its fantastical enthusiasm.
2.The word \"vilified\" (Line 3, Paragraph 2)most probably means _____ [A] tortured [B] harassed [C] scolded [D] tormented
3．According to the third paragraph, Hughes’s collection of letters are _____ [A] personal recollection of his life.
[B] personalised historical chronicle of his literary engagement. [C] reflections of his struggle with his devotion and the reality. [D] his meditation on the literary world.
4. From the letters, we may find the cause of Hughes’s internal struggle is _____ [A] his devotion to the literary world.
[B] that he is a part-private, part-public creature.
[C] that he is constrained by the fear of his privacy being invaded. [D] his fame and notoriety.
5. By \"lucky readers\" in the last sentence, the author means_____ [A] children who read poetry.
[B] children who have a headfull of songs.
[C] children who own blocks of refined and achieved and exemplary language. [D] children who have the guardian angel installed behind the tongue 篇章剖析：
本⽂讲述了英国诗⼈特德·休斯作品的特点和其所反映的诗⼈的⼀些情况。第⼀段讲述休斯诗歌的特⾊；第⼆段讲述因其妻⼦的原因⽽创作了⼀部书信集的情况。第三段讲述这本书信集的特点和反映的内容。第四段讲述休斯对诗歌的看法和态度。 词汇注释：
wry adj. 枯燥乏味的
predecessorn.前辈, 前任
rhetoric n. (措词, ⽂体的)浮夸与修饰 fervour n.热情
armorial adj.徽章的, 家徽的
lifeblood n. ⽣命⼒或⽣命之源的⼒量 stink n. ⽓息，⽓味
vilifie vt.诽谤, 辱骂, 贬低, 轻视 muffle vt.压抑；阻⽌ eavesdropping n.偷听
trajectory n. 道路选择好的或采⽤的路径： notoriety n.恶名, 丑名, 声名狼藉 absorbing adj.吸引⼈的, ⾮常有趣的
难句突破： （1）But then, in 1963, Sylvia Plath, a young American poet whom he had first met at CambridgeUniversity in 1956, and who became his wife in the summer of that year, committed suicide. 主体句式：But then Sylvia Plath committed suicide.
结构分析：这是⼀个同位语带有定语从句的复合句。whom和who引导的两个定语从句修饰a young American poet, 整体作为Sylvia Plath的同位语。
句⼦译⽂：但是在1963年，西尔维亚·普拉斯⾃杀了，这个美国年轻诗⼈与他第⼀次见⾯是在1956年的剑桥⼤学，⽽当年夏天⼜成为了他妻⼦。
（2）These letters are filled with his wrestling with the consequences of being the part-private, part-public creature thathe became, desperate to devote himself to his writing, and yet subject to endless invasions of his privacy. 主体句式：These letters are filled with his wrestling.
结构分析：这是⼀个简单句，难点在于最后两个形容词词组的成分（desperate to devote himself to his writing, and yetsubject to endless invasions of his privacy）。这两个形容词词组是⽤来修饰前⾯的名词creature, ⽽creature后⾯紧跟着的that引导的从句也是修饰它的定语从句。
句⼦译⽂：这些信中处处都显现出休斯因为⾃⼰成为半私⼈、半公开这么样⼀个⼈物⽽⼼理反复挣扎，他渴望将⾃⼰奉献给⽂字，但⼜时时受到私⼈空间受到侵袭的威胁。
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