People aren't walking any more—if they can figure out a way to avoid it.

    I felt superior(不为……所动) about this matter until the other day I took my car to mail a small parcel. The journey is a matter of 281 steps. But I used the car. And I wasn't in any hurry, either. I had merely become one more victim of a national sickness: motorosis.

    It is an illness to which I had thought myself immune(免疫的), for I was brought up in the tradition of going to places on my own two legs. At that time, we regarded 25 miles as good day's walk and the ability to cover such a distance in ten hours as sign of strength and skill. It did not occur to us that walking was a hardship. And the effect was lasting. When I was 45 years old I raced -–and beat-—a teenage football player the 168 steps up the Stature of Liberty.

Such enterprises today are regarded by many middle-aged persons as bad for the heart. But a well-known British physician, Sir Adolphe Abrahams, pointed out recently that hearts and bodies need proper exercise. A person who avoids exercise is more likely to have illnesses than one who exercises regularly. And walking is an ideal form of exercise— the most familiar and natural of all.

    It was Henry Thoreau who showed mankind the richness of going on foot. The man walking can learn the trees, flower, insects, birds and animals, the significance of seasons, the very feel of himself as a living creature in a living world. He cannot learn in a car.

    The car is a convenient means of transport, but we have made it our way of life. Many people don't dare to approach nature any more; to them the world they were born to enjoy is all threat. To them security is a steel river thundering on a concrete road. And much of their thinking takes place while waiting for the traffic light to turn green.

    I say that the green of forests is the mind's best light. And none but the man on foot can evaluate what is basic and everlasting.

    He was once referred to as the Picasso of poetry. Beloved by Chileans of all classes, he is one of the most widely read and respected poets in history. And this year is the 100th birthday of Pablo Neruda (1904-1973).

    Born with the name Neftali Ricardo Reyes Basolto, he was a tall, shy and lonely boy. He loved to read and started to write poetry when he was ten. The American poet Walt Whitman, whose framed picture Neruda later kept on his table, became a major influence on his work.

    However, his father did not like the idea of having a poet for a son and tried to discourage him from writing. To cover up the publication of his first poem, he took the pen name Pablo Neruda.

    In 1924 Neruda gained fame with his most widely read work “Twenty Love Poems and a Song of Despair''. Yet his rich experience as a diplomat and exile made him go beyond the theme of love. His work also reflected the political struggle of the left and development of South America. He was awarded the Nobel Prize for Literature in 1971.

    Neruda loved the sea which he saw as creative, destructive and forever moving. He found inspiration in the power and freedom of the waves and the seabirds on the coast. “I need the sea because it teaches me,” he wrote. “I move in the university of the waves.” He loved how the sea forever renewed itself, a renewal echoed in his work.

阅读短文，从每题所给的四个选项（A、B、C和D）中，选出最佳选项。

    My parents were in a huge argument, and I was really upset about it. I didn't know who I should talk with about how I was feeling. So I asked Mom to allow me to stay the night at my best friend's house. Though I knew I wouldn't tell her about my parents' situation, I was looking forward to getting out of the house. I was in the middle of packing up my things when suddenly the power went out in the neighborhood. Mom came to tell me that I should stay with my grandpa until the power came back on.

    I was really disappointed because I felt that we did not have much to talk about. But I knew he would be frightened alone in the dark. I went to his room and told him that I'd stay with him until the power was restored. He was quite happy and said, “Great opportunity.”

    “What is it?” I asked.

    “To talk, you and I” he said. “To hold a private little meeting about what we're going to do with your mom and dad, and what we're going to do with ourselves now that we're in the situation we are in.”

    “But we can't do anything about it. Grandpa,” I said, surprised that here was someone with whom I could share my feelings and someone who was in the same “boat” as I was.

    And that's how the most unbelievable friendship between my grandfather and me started. Sitting in the dark, we talked about our feelings and fears of life — from how fast things change to how they sometimes don't change fast enough. That night, because the power went out, I found a new friend, with whom I could safely talk about all my fears and pains, whatever they may be. Suddenly, the lights all came back on. “Well,” he said, “I guess that means you'll want to go now. I really like our talk. I hope the power will go out every few nights!”

There's a song by the great Jamaican singer Bob Marley called So Much Trouble In The World. Marley understood that part of the reason why there are so many problems in the world is the lack of tolerance between people. The UN understands this too — that's why it made Nov 16th "International Day for Tolerance".

But first of all, what is tolerance? According to French philosopher Voltaire, tolerance "s the consequence of humanity. We are all formed of frailty (脆弱) and error; let us pardon each other's fool — that is the first law of nature."

    Very often, people don't realize that they're intolerant. This is because intolerance has a lot to do with ignorance. For example, the UN's campaign is in part about the treatment of females by males. But often, the behavior of men toward women is intolerant because men don't put themselves in the shoes of women.

    It's worth thinking a little about the words "tolerance" and "intolerance". Are they the best words to describe the evils of which we're speaking here? To agree to be "tolerant" of someone isn't necessarily a very respectful thing. When someone is tolerated, it implies that there's something wrong with them.

    Still, what Voltaire said stands: We humans are not perfect and this weakness is something that we all share. That's the reason we should be tolerant. It's a little like generosity. We can give things to another person, and we can also give our forgiveness.

    Started in 1636, Harvard University is the oldest of all the many colleges and universities in the United States. Yale, Princeton, Columbia and Dartmouth were opened soon after Harvard.

    In the early years, these schools were much alike. Only young men went to colleges. All the students studied the same subjects, and everyone learned Latin, Greek and Hebrew. Little was known about science then, and one kind of school could teach everything that was known about the world. When the students graduated, most of them become ministers or teachers.

    In 1782, Harvard started a medical school for young men who wanted to become doctors. Later, lawyers could receive their training in Harvard's law school. In 1825, besides Latin and Greek, Harvard began teaching modern languages, such as French and German. Soon it began teaching American history.

    As knowledge increased, Harvard and other colleges began to teach many new subjects. Students were allowed to choose the subjects that interested them.

    Today there are many different kinds of colleges and universities. Most of them are made up of smaller schools that deal with special fields of learning. There's so much to learn that one kind of school can' offer it all.

According to a 2018 report, people aged between 16 and 24 make up about 15 percent of the population but only 10 percent of museum-goers. Similarly, people aged over 35 go half as much as you would expect from their population size. We have reached the point of recognising the disconnection between art and the audience but haven't yet determined how to bridge the gap. Two answers to tackling this challenge lie in telling a greater diversity of art histories and communicating these stories in more accessible ways.

In 2018, a radio program called Art Matters was started with the aim of discussing art from a pop-culture viewpoint with topics that would engage younger and more diverse audience. It offers an accessible pathway to art history with conversations on different topics. Art history is about storytelling; art content shines when there is an effort to bring audience along for the discussion.

More traditional institutions are paying attention. Recently the Getty Museum issued a social-media challenge for people to recreate paintings using items they had at home. Users displayed incredible creativity, and the museum was flooded with submissions. This reaction proves that there is a potential desire for the audience to engage with art topics if the format is appealing. Since many people feel intimidated and think that there's a base level of understanding required to join the conversation, the Getty initiative serves as a reminder that there are many pathways to engaging with it.

Another result of the Getty challenge was the exposure given to a diversity of artworks. The famous opera singer Peter Brathwaite, for example, made scores of attractive recreations highlighting centuries of black paintings. His efforts opposed the idea that there were not many historical paintings of black figures. It is extremely important that we do a better job of showing the complex and diverse stories that are represented in art. 

Social media have offered a platform for people who have not traditionally had a seat at the table. Anyone can recognise a gap in the field and address it. Accounts have gathered tens of thousands of followers. They are the proof that there is hunger to hear these art histories, and these themes work brilliantly for museum programming.

But there is only so much that can be done without the museums and galleries changing meaningfully from within. We need to see a better balance of these stories represented in permanent collections. We also need a much wider diversity of people and interests represented on board. Ensuring that art—and writing and talking about art—is able to continue on the rising generation of storytellers, inside and outside of institutions, getting the funding and support they need to paint a brighter picture for the part.