名師指導(dǎo)的GRE閱讀科學(xué)備考方法
GRE閱讀一向令考生們感到頭痛，但其實(shí)掌握了GRE閱讀的一些技巧和“套路”也會(huì)覺得簡單很多，下面由yjbys小編為大家搜集的名師指導(dǎo)的GRE閱讀科學(xué)備考方法，歡迎閱讀本文!
GMAT/GRE閱讀文章第三篇：
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.
TH作為一個(gè)作家的impulses的特點(diǎn)是什么?
Numerous and divergent
Did not always work together
很多同學(xué)在這里喜歡把impulses翻譯出來，比如說翻譯成沖動(dòng)，刺激之類的。
完全沒有必要，因?yàn)槊~在GRE閱讀中是最不重要的詞匯，尤其這類抽象名詞，明確它的作用和特點(diǎn)即可，下文只需要找出對應(yīng)。不需要明白具體含義。
Hardy was to some degree interested in exploring his characters’ psychologies, though impelled less by curiosity than by sympathy.
那些詞跟上文的impulses有關(guān)系?
Characters’ psychologies, curiosity, 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.
雖然but在句中，但仍然要找到but的轉(zhuǎn)折關(guān)系，哪里轉(zhuǎn)折了?
Occasionally和often
Comedy, farce和tragedy
這句話要讀出的關(guān)系是Hardy更喜歡的是?
Tragedy
He was also inclined to literary realism in the several senses of that phrase.
Also告訴我們這句話和上句話的關(guān)系是?
并列(順承)
劃線部分指代的是?
Literary realism
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.
這里兩個(gè)分號(hào)引導(dǎo)的并列結(jié)構(gòu)，有可能出細(xì)節(jié)題，要注意定位
這里的`wanted后面跟的內(nèi)容是否是全新的概念?
不是
如果不是，和前文的什么有關(guān)系?
Hardy’s impulses
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.
劃線部分和非劃線部分的關(guān)系是?
非劃線部分解釋說明了劃線部分。
Hardy想去做到的是?
To transcend and to express
劃線部分的realist可以用那些詞進(jìn)行解釋?
Not transcend banality of solely recording things exactly and not express his awareness
總結(jié)第一段的大致內(nèi)容：
Hardy這個(gè)人在寫作方面的許多想法很多，且有時(shí)會(huì)不和諧。他比較喜歡非喜劇的東西。他想展現(xiàn)的并非只是呆板的記錄的現(xiàn)實(shí)主義者，而是比現(xiàn)實(shí)主義者更多的展現(xiàn)自己的意識(shí)。
以下開始第二段
In his novels these various impulses were sacrificed to each other inevitably and often.
仍然沒有出現(xiàn)新的概念，承接上文的impulses
上文對于impulses的特點(diǎn)的描述是?
Numerous and divergent, not always work together
Sacrificed和上文的哪些詞對應(yīng)?
Not always work together
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.
兩個(gè)句子的關(guān)系是?
因果關(guān)系
為什么?
有標(biāo)志詞because和thus。前一句是因，后一句是果。
出現(xiàn)了兩個(gè)人名F和J的作用是?
與Hardy進(jìn)行比較(取不同)
那么F和J的特點(diǎn)是?
Took path of resistance
在Hardy的作品中，impulse會(huì)出現(xiàn)什么樣的情況?
一個(gè)impulse會(huì)被新的impulse所取締。因此最終的情況不是所有的impulse會(huì)互相融合(compromise)而是只會(huì)有最新的impulse，之前的impulse都沒有了(disappeared)
A desire to throw over reality a light that never was might give way abruptly to the desire on the part of (on the part of: with regard to the one specified) what we might consider a novelist-scientist to record exactly and concretely the structure and texture of a flower.
本句話中的desire是全新的概念嘛?
不是，和前文的impulse是同一個(gè)概念。
這句話的主干是什么?
That a desire might give way abruptly to the desire was never to throw over reality a light.
劃線部分的that的作用是?
引導(dǎo)主語從句
劃線部分的what的作用是?
引導(dǎo)了一個(gè)賓語從句，做of的賓語。
所以這個(gè)句子的作用是?
描述了a desire的特點(diǎn)，即impulse的特點(diǎn)
一個(gè)desire應(yīng)該是不會(huì)突然讓位給另一個(gè)(desire)的---比如說一個(gè)novelist-scientist需要準(zhǔn)確具體的記錄一個(gè)花的結(jié)構(gòu)和紋理。
這個(gè)句子即使翻譯了之后，還是覺得很抽象，不妨我們來找一下對應(yīng)。
Hardy’s impulses的特點(diǎn)是?
新的取代之前的。不能互相融合
而這里我們認(rèn)為的是什么?
一個(gè)desire如果能夠被取代，那么那就不能反應(yīng)事實(shí)。
和前文的內(nèi)容邏輯一致。
In this instance, the new impulse was at least an energetic one, and thus its indulgence did not result in a relaxed style.
劃線部分的指代是?
The desire on the part of what we might consider novelist-scientist
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.
But閃到眼了，要注意的是?
出現(xiàn)轉(zhuǎn)折了。
轉(zhuǎn)折了什么?
前面說，還好新的impulse還不至于導(dǎo)致relaxed style;但是有時(shí)Hardy還是會(huì)引起relaxing impulse的。
When a relaxing impulse was indulged, the style—that sure index of an author’s literary worth—was certain to become verbose.
劃線部分的詞語和可以用上文的什么詞來代替?
Relaxed
所以如果relaxing impulse很多，那么結(jié)構(gòu)就會(huì)relaxed
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.
Hardy’s weakness指代的是什么?
他的relaxing impulse導(dǎo)致的relaxed style
Hardy’s weakness的原因是?
Inability to control and unwillingness to cultivate
無法掌控divergent impulses以及不愿意去堅(jiān)持那些energetic and risky的impulses
He submitted to first one and then another, and the spirit blew where it listed; hence the unevenness of any one of his novels.
這句話和上文的關(guān)系是?
是上句話的結(jié)果。
因?yàn)樗臒o能和不愿意，致使了他的作品都unevenness
這里的unevenness和上文的什么有關(guān)系?
Divergent impulses
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.
最后一句話是否有轉(zhuǎn)折?
沒有，仍然是在說他的小說結(jié)構(gòu)是divergent
舉例子的目的是?(Under the Greenwood Tree)
支持說明前文的觀點(diǎn)： unevenness of any one of his novel
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