来源：考试大
Baudelaire first purchased Poe's works in London in 1851. This was his first encounter with American, and he immediately fell in love with the tone, style and content of these texts. He never wrote anything about the theoretical concepts of literary influence and plagiarism whereas Poe had spent a lot of energy attempting to prove his originality. Baudelaire, inversely, although acknowledging that he felt an intimacy with Poe, always refused to admit that he recreated this intimacy in the works he wrote after his translations of Poe, that is to say, after 1856. He was obviously deeply influenced by Poe's essay Eureka presenting the human coalition as a simultaneous movement of attraction and repulsion. This phenomenon of unconscious reappropriation is another clear manifestation of Harald Bloom's Anxiety of Influence. Instead of fighting against the influence of the first writer, the second writer, moved by passion, prefers to vampirize him, to suck out his creative substance like the painter absorbs his bride's life in Poe's The Oval Portrait. This absorption that Bloom calls a tessera, both completes and betrays at the same time. Like physical possession, it satisfies temporarily the one who possesses, while stealing some independence from the one who is possessed. This symbolic betrayal linked to the linguistic possession of Poe by Baudelaire is quite relevant when one observes the mistakes made by the French poet in his translations. Baudelaire loved the English language and used it in an instinctive way, whereas translation requires technicity and precision, a full understanding of both the source and target language which he certainly lacked. In a letter written to Maria Clemm, Poe's mother-in-law, and published in France in 1854 in the newspaper Le Pays, as a preface to one of his first translations, "Souvenirs de M. Auguste Bedloe," we can read the following lines: "Adieu, madame; parmi les differents saluts et les formules de complimentation qui ne peuvent conchire une missive dune arne a une ame, je n'en connais quune aux sentiments que m'inspire votre personne: goodness, godness". It is not my purpose to translate the whole letter but we will concentrate on the two concluding words "goodness, godness" that Baudelaire adds in English at the end of his friendly message. His desire to play upon words and to show his mastery of the English language results in a Poor lexical association that Mrs Clemm must have had some problems in understanding! Goodness is an exclamation, quite inappropriate in such a context and godliness is a neologism, probably used here instead of godliness which would not have been correct either.
来源：考试大
Question:
48. The word "intimacy" in line 5 probably means
A. friendliness. B. sympathy.
C. love. D. privacy.
来源：考试大
49. " Anxiety of influence " means the
A. the second writer is influenced by the first writer, but he does not acknowledge it.
B. the second writer does not want to be influenced, but he has to.
C. the second writer purposely imitates me first writer, then he feels guilty of it
D. the second writer is not influenced by the first writer, but is accused of it.
50. The nationality of Baudelaire is
A. English B. French C. American D. German
51. This passage mainly discusses
A. translation. B. misunderstanding.
C. plagiarism. D. influence. 来源：考试大
52. According to Poe, attraction and repulsion are .
A. simultaneous B. unconscious
C. contradictory D. both A and C
