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发布时间：2006-06-22 13:27     点击：

    (B) abstruse: recondite

    (C) prosaic: subtle

    (D) sober: informed

    (E) agitated: frenetic

    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 (5)  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 (10) the century (1900-1909) and those of the gener- ation 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 (15) 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 (20) "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 differ- ences can be noted between "conservative" (25) Black poets such as Countee Cullen and Claude McKay and "experimental" one such as Jean Loomer and Langston Hughes. But Black poets were not battling over old or new styles; rather, one accomplished Black poet was ready to (30) welcome another, whatever his her style, for what mattered was racial pride.

    they refused to look into their hearts and write." These are important insights, but one must stress that this refusal to look within was also typical of most White poets of the United States (60) at the time. They, too often turned from their own experience and consequently produced not very memorable poems about vague topics, such as the peace of nature.

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