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  3. The making of classifications by literary historians can be a somewhat risky enterprise. When Black poets are discussed separate

The making of classifications by literary historians can be a somewhat risky enterprise. When Black poets are discussed separate

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问题     The making of classifications by literary historians can be a somewhat risky enterprise. When Black poets are discussed separately as a group, for instance, the extent to which their work reflects the development of poetry in general should not be forgotten, or a distortion of literary history may re-suit. This caution is particularly relevant in an assessment of the differences between Black poets at the turn of the century (1900—1909) and those of the generation of the 1920’s. These differences include the bolder and more forthright speech of the layer generation and its technical inventiveness. It should be remembered, though, that comparable differences also existed for similar generations of White poets.
    When poets of the 1910’s and 1920’s are considered together, however, the distinctions that literary historians might make between "conservative" and "experimental" would be of little significance in a discussion of Black poets, although these remain helpful classification for White poets of these decades. Certainly differences can be noted between "conservative" Black poets such as Counter Cullen and Claude McKay and "experimental" ones such as Jean Toomer and Langston Hughes. But Black poets were not battling over old or new styles; rather, one accomplished Black poet was ready to welcome another, whatever his or her style, for what mattered was racial pride.
    However, in the 1920’s Black poets did debate whether they should deal with specifically racial subjects. They asked whether they should only write about Black experience for a Black audience or whether such demands were restrictive. It may be said, though, that virtually all these poets wrote their best poems when they spoke out of racial feeling, race being, as James Weldon Johnson rightly put it, "perforce the thing the Negro poet knows best. "
    At the turn of the century, by contrast, most Black poets generally wrote in the conventional manner of the age and expressed noble, if vague, emotions in their poetry. These poets were not unusually gifted, though Roscoe Jamison and G. M. McClellen may be mentioned as exceptions. They chose not to write in dialect, which, as Sterling Brown has suggested, "meant a rejection of stereotypes of Negro life," and they refused to write only about racial subjects. This refusal had both a positive and a negative consequence. As Brown observes, "valuable insisting that Negro poets should not be confined to issues of race, these poets committed [an] error…they refused to look into their hearts and write. " These are important insights, but one must stress that this refusal to look within was also typical of most White poets of the United States at the time. They, too, often turned from their own experience and consequently produced not very memorable poems about vague topics, such as the peace of nature.
The author quotes "Sterling Brown" in the last paragraph in order to________.
选项 A、disprove James Weldon Johnson’s claim that race is what "the Negro poet knows best"
B、introduce a distinction between Black poets who used dialect and White poets who did not
C、suggest what were the effects of some Black poets’ decision not to write only about racial subjects
D、interprets some Black poets contradicting the author’s assertion about their acceptance of poetic styles
答案C
解析 事实细节题。第四段第三句提到，斯特林.布朗提到有的黑人故意突破定势，不写种族题材的诗歌；接着第四句表示这么做既有积极影响也有消极影响。由此可知，引用斯特林.布朗的话是为了讨论黑人诗人决定不只写种族题材的影响，C项表述与文意相符，故为答案。
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