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  3. Both versions of the myth — the West as a place of escape from society and t

Both versions of the myth — the West as a place of escape from society and t

游客2025-04-02  0
问题     Both versions of the myth — the West as a place of escape from society and the West as a stage on which the moral conflicts confronting society could be played out — figured prominently in the histories and essays of young Theodore Roosevelt, the paintings and sculptures of artist Frederic Remington, and the short stories and novels of writer Owen Wister. These three young members of the eastern establishment spent much time in the West in the 1880s, and each was intensely affected by the adventure. All three bed felt thwarted by the constraints and enervating influence of the genteel urban world in which they had grown up, and each went West to experience the physical challenges and moral simplicities extolled in the dime novels. When Roosevelt arrived in 1884 at the ranch he had purchased in the Dakota Badlands, he at once bought a leather scout’s uniform, complete with fringed sleeves and leggings.
    Each man also found in the West precisely what he was looking for. The frontier that Roosevelt glorified in such books as The Winning of the West(four volumes, 1889-1896), mad that the prolific Remington portrayed in his work, was a stark physical and moral environment that stripped away all social artifice and tested an individual’s true ability and character. Drawing on a popular version of English scientist Charles Darwin’s evolutionary theory, which characterized life as a straggle in which only the fittest and hast survived, Roosevelt and Remington exalted the disappearing frontier as the last outpost of an honest and tree social order.
    This version of the frontier myth reached its apogee in Own Wister’s enormously popular novels The Virginian(1902), later reincarnated as a 1929 Gary Cooper movie and a 1960s television series. In Wister’s tale the elemental physical and social environment of the Great Plains produces individuals like his unnamed cowboy hero, " the Virginian," an honest, strong, and compassionate man, quick to help the weak and fight the wicked. The Virginian is one of nature’s aristocrats-its-ill-educated and unsophisticated but uptight steady, and deeply moral. The Virginian sums up his own moral code in describing his view of God’s justice; "He plays a square game with us. " For Wister, as for Roosevelt and Remington, the cowboy was the Christian knight on the Plains, indifferent to material gain as he upheld virtue, pursued justice, and attacked evil.
    Needless to say, the western myth in all its forms was far removed from the actual reality of the West. Critics delighted in pointing out that no one scene in The Virginian actually showed the hard physical labor of the cattle range. The idealized version of the West also glossed over the darker underside of frontier expansion — the brutalities of Indian warfare, the forced removal of the Indians to reservations, the racist discrimination against Mexican-Americans and blacks, the risks and perils of commercial agriculture and cattle growing, and the boom-and-bust mentality rooted in the selfish exploitation of natural resources. [br] Which of the following is probably the main reason for the author to mention Theodore Roosevelt, Frederic Remington and Owen Wister?
选项 A、They glorified the frontier life.
B、They were constrained by the genteel urban world.
C、They spent much time in the West.
D、They were famous members of the eastern establishment.
答案 A
解析 概括题。通过专有名词可定位到第一、二、三段。该段讲到关于西部传奇有两个版本，一种是将西部看做逃避社会的地方，另外一种是将西部看做展现社会道德冲突的舞台。在年轻的西奥多·罗斯福的历史著作和文章中、艺术家弗雷德里克·雷明顿的绘画和雕塑中以及作家欧文·威斯特的短篇故事和小说中，这两种描述都占据了显要地位。在文中第二段又提到罗斯福在诸如《西部的胜利》(四卷，1889—1896)这样的书中对西部边远地区给予了赞美，著述颇丰的雷明顿在他的作品中也对西部进行了描述。文中第三段提到在欧文·威斯特非常受欢迎的小说《弗吉尼亚人》(1902)中，对西部传奇的描述达到了顶点。据此可知，作者提及西奥多·罗斯福、弗雷德里克·雷明顿和欧文·威斯特的主要原因可能是他们美化了西部的生活。故A项正确。
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