One meaning of the Greek word “dran” is to accomplish, and in this meaning lies a further key to the structure of drama. A play concerns a human agent attempting to accomplish some purpose. In tragedy his attempt is, in personal terms at least, unsuccessful; in comedy it is successful; in the problem play final accomplishment is often either ambiguous or doubtful.

　　This action, from the beginning to the end of a movement toward a purposed goal, must also have a middle; it must proceed through a number of steps, the succession of incidents which make up the plot. Because the dramatist is concerned with the meaning and logic of events rather than with their casual relationship in time, he will probably select his material and order it on a basis of the operation, in human affairs, of laws of cause and effect. It is in this causal relationship of incidents that the element of conflict, present in virtually all plays, appears.

　　The central figure of the play―the protagonist―encounters difficulties; his purpose or purposes conflict with events or circumstances, with purposes of other characters in the play, or with cross-purposes which exist within his own thoughts and desires. These difficulties threaten the protagonist’s accomplishment; in other words, they present complications, and his success or failure in dealing with these complications determines the outcome. Normally, complications build through the play in order of increasing difficulty; one complication may be added to another, or one may grow out of the solution of a preceding one. At some point in this chain of complication and solution, achieved or attempted, the protagonist performs an act or makes a decision which irrevocably commits him to a further course, points toward certain general consequences. This point is usually called the crisis; the complications and solutions which follow work out the logical steps from crisis to final resolution, or denouement.

　　1. According to the first paragraph of the text, a dramatist.

　　[A] seldom believes what he writes about

　　[B] portrays what he experiences in the drama

　　[C] concerns himself with the results of human effort

　　[D] tries to convince his audience of what he believes

　　2. A drama is arranged mainly in accordance with.

　　[A] the will of the dramatist [B] the sequence of events

　　[C] the law of dramatic art [D] the need of performance

　　3. A dramatist usually .

　　[A] clarifies the complicated relationship in his drama

　　[B] makes the relationship in his drama more complicated

　　[C] hopes to see his protagonist win an easy victory

　　[D] likes to present his protagonist as threatening fellows

　　4. The word “crisis” (in the last line but one, paragraph 3) most probably implies.

　　[A] a dangerous moment [B] the last decision

　　[C] the crucial point [D] a brave engagement

　　5. In the text, the author mainly deals with.

　　[A] the necessity of drama in a culture

　　[B] some social functions of dramas

　　[C] the responsibility of dramatists

　　[D] some key elements in drama-making

　　參考答案：1.C 2.A 3.B 4.C 5.D

　　試題精解：

　　1. 根據(jù)文章的第一段，一個(gè)劇作家。

　　[A]很少相信他所寫(xiě)的東西

　　[B]描述他在戲劇中的經(jīng)歷

　　[C]對(duì)人類(lèi)的主觀(guān)努力的結(jié)果感興趣

　　[D]試圖說(shuō)服觀(guān)眾相信他所相信的事情

　　本題考查推理引申。第一段第二句提到，一部戲劇和一個(gè)試圖達(dá)到某種目的的人文動(dòng)作者(human agent)有關(guān)。接下來(lái)該段分別講述了在悲劇、喜劇和問(wèn)題劇中動(dòng)作者的目的的實(shí)現(xiàn)情況。由此可知，動(dòng)作者指的是“對(duì)推動(dòng)戲劇情節(jié)起很大作用的人物”，戲劇就是該人物實(shí)現(xiàn)其目的的過(guò)程，不同的結(jié)果決定了戲劇的性質(zhì)。因此，[C]是一部戲劇或劇作家所關(guān)注的，其他項(xiàng)都無(wú)從推知。

　　2. 戲劇主要按照進(jìn)行安排。

　　[A] 劇作家的意愿 [B] 事件的順序

　　[C] 戲劇藝術(shù)的法則 [D] 表演的需要

　　本題考查推理引申。第二段第二句提到，由于劇作家關(guān)注的是(構(gòu)成戲劇情節(jié)的一系列)事件的含義與邏輯性而不是它們?cè)跁r(shí)間上的關(guān)聯(lián)性，因此他可能會(huì)選擇素材并按照人類(lèi)事件因果關(guān)系的一般規(guī)律進(jìn)行排序。由此可見(jiàn)，戲劇情節(jié)的安排由劇作家決定，[A]正確。[B]中“順序”一次太泛，如果指“時(shí)間順序”，則在文中已經(jīng)被否定。[C]和[D]在文中都未提及。

　　3. 劇作家總是。

　　[A] 闡明他的戲劇中的復(fù)雜關(guān)系

　　[B] 使他的戲劇中的關(guān)系更加復(fù)雜

　　[C] 希望看到他的主人公輕而易舉地獲勝

　　[D] 喜歡把他的主人公描述為具有威脅性的人

　　本題考查推理引申。第三段第一、二句提到，戲劇的主人公遭遇困難，因?yàn)樗�的目的與其他各種因素發(fā)生沖突，從而無(wú)法實(shí)現(xiàn)。這樣事件就變得復(fù)雜起來(lái)，主人公能否成功地處理這些復(fù)雜事件決定了戲劇最終的結(jié)局。由此可見(jiàn)，復(fù)雜事件是戲劇不可缺少的部分，劇作家經(jīng)常會(huì)做的事情是[B]而非[A]。[C]和[D]都只是出現(xiàn)了文中protagonist一詞，但其論述無(wú)從推知。

　　4. 第三段倒數(shù)第二行中的單詞“crisis”最可能的含義是。

　　[A] 一個(gè)危險(xiǎn)的時(shí)刻 [B] 最后的決定

　　[C] 關(guān)鍵性的點(diǎn) [D] 一個(gè)勇敢的約定

　　本題考查詞義理解。crisis一詞出現(xiàn)在全文最后一句。該句指出它是一個(gè)點(diǎn)(point)。由其上文即倒數(shù)第二句可知，在這個(gè)點(diǎn)上主人公會(huì)完成一個(gè)行為或者做出一個(gè)決定，這個(gè)決定必然使他進(jìn)入進(jìn)一步發(fā)展軌跡(造成某些一般結(jié)果的點(diǎn))�？梢�(jiàn)，crisis指的是戲劇中決定情節(jié)發(fā)展的關(guān)鍵性的轉(zhuǎn)折點(diǎn)，而不是“時(shí)刻”、“決定”或“約定”。[C]正確。

　　5. 本文中作者主要談?wù)摰氖恰?/P>

　　[A] 文化中戲劇的必要性 [B] 戲劇的一些社會(huì)功能

　　[C] 劇作家的責(zé)任 [D] 戲劇創(chuàng)作中的一些關(guān)鍵要素

　　本題考查文章主旨。本文主要從文學(xué)角度介紹了戲劇所包含的重要因素。其中提到了人文動(dòng)作者、情節(jié)、沖突、危機(jī)、結(jié)局等術(shù)語(yǔ)。因此[D]是主旨。其他項(xiàng)在文中都沒(méi)有涉及。