黄皮EX5 长阅读问题

hotcoderUID: 2938607

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 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 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 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. 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 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 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.

question:
Whichof the following words could best be substituted for “relaxed” (line 37)without substantially changing the author’s meaning?
(A) informal
(B) confined
(C) risky
(D) wordy（D）
(E) metaphoric

相关的词汇我标注加粗了
答案是B，可能是根据energetic取反，选择了confined，但好像牵强了一些。
我选的是D,直接取verbose同义词。
不知道答案是不是错了？

anglelanceUID: 2946821

这个题我也错了，这篇阅读基本上错的差不多了，呵呵。
我后来研究了一下，题目上写的是Line 19的relaxed，你那个verbose已经到了下一句话了，也就是和19行的relaxed不是一句话，是已经转折了，有But on other occasions，所以我想不能定位那一句吧。
自己也错了，希望大家给正解，哈哈。

hotcoderUID: 2938607

2# anglelance 我觉得on other occasions 是和上面对比。上面说its indulgence 不会result in relaxed style,下面对比就说会变得verbose,就是和relaxed对应..

anglelanceUID: 2946821

那如果按你的说法的话，是否应该是把verbose取反呢？而不是直接选wordy？因为他是没有导致relaxed吧。……其实我也不清楚…… 3# hotcoder