2015年北京大学英语语言文学考研考试科目、招生人数、参考书目、复试分数线、报录比、历年真题、经验分享
enhance the sublimity of surrounding scenery by its littleness, forit provokes no
comparison; and there must be proportion between objects, orthey cannot be compared. If the Parthenon, or the Pyramid of Cheops, or St.Peter's, were placed in the same situation, the mind would first form a justestimate of the magnificence of the building, and then be trebly impressed withthe size of the masses which overwhelmed it. The architecture would not lose,and the crags would gain, by the juxtaposition; but the cottage, which must befelt to be a thing which the weakest stream of the Alps could toss down beforeit like a
foam-globe, is offensively contemptible: it is like a child's toy letfall accidentally on the hillside; it does not unite with the scene; it is notcontent to sink into a quiet corner, and personify humility and peace; but itdraws attention upon itself by its pretension to
decoration, while itsdecorations themselves cannot bear examination, because they are useless,unmeaning and incongruous.
（选自The Poetry of Architectureby John Ruskin）
二.汉译英
文学的规律是应该推翻的，浪漫派的批评家不是无的放矢。阿迪生是英国近代浪漫运动的一个先驱者。有些人对于文学的规律是十分的熟悉，但在特别情形之下偏与规律相悖。古代悲剧作家中，此种例证，不胜枚举，彼等故意的违犯一个戏剧的规律，以成功一种更高的美，为恪守规律者所不能及。伟大的天才，不知艺术规律为何物，但其所作，往往比恪守规律之小天才为更美。
但是浪漫主义者所推翻的不仅是新古典的规律，连标准，秩序，理性，节制的精神，一齐都打破了。浪漫运动的起因是不可免的，且是有价值的，但其结果是过度的，且是有害的。由过度的严酷的规律，一变而为过度的放纵的混乱。这叫做过犹不及，同是不合于伦理的态度。上面提起的“天才的独创”与“想象的自由”，便是浪漫的混乱之理论的根据。
上文是根据西洋文学史上的事实说明新古典派与浪漫派的势力消长的来由，其实这两种势力永远是存在的，有时在一国的文学里，在一时代的文学里，甚至在一个人的文学里，都可以看出一方面是开扩的感情的主观的力量，一方面是集中的理性的客观的力量，互相激荡。