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题型:阅读理解 题类:常考题 难易度:普通

江苏省南京市高淳区淮海中学、盐城中学、淳辉高中等97校2018届高三上学期英语12月联考试卷

阅读理解

    It was very late and everyone had left the cafe except an old man who sat in the shadow the leaves of the tree made against the electric light. In the day time the street was dusty, but at night the dew settled the dust and the old man liked to sit late because he was deaf and now at night it was quiet and he felt the difference. The two waiters inside the cafe knew that the old man was a little drunk, and while he was a good client they knew that if he became too drunk he would leave without paying, so they kept watch on him.

     “Last week he tried to commit suicide,” one waiter said. “Why?” “He was in despair.” “What about?” “Nothing.” “How do you know it was nothing?” “He has plenty of money.”

    They sat together at a table that was close against the wall near the door of the cafe and looked at the terrace where the tables were all empty except where the old man sat in the shadow of the leaves of the tree that moved slightly in the wind. A girl and a soldier went by in the street. The street light shone on the brass number on his collar. The girl wore no head covering and hurried beside him.

     “The guard will pick him up,” one waiter said. “What does it matter if he gets what he's after?” “He had better get off the street now. The guard will get him. They went by five minutes ago.”

    The old man sitting in the shadow rapped on his saucer with his glass. The younger waiter went over to him.

     “What do you want?” The old man looked at him. “Another brandy,” he said.

     “You'll be drunk,” the waiter said. The old man looked at him. The waiter went away.

     “He'll stay all night,” he said to his colleague. “I'm sleepy now. I never get into bed before three o'clock. He should have killed himself last week.”

    The waiter took the brandy bottle and another saucer from the counter inside the cafe and marched out to the old man's table. He put down the saucer and poured the glass full of brandy.

     “You should have killed yourself last week,” he said to the deaf man. The old man motioned with his finger. “A little more,” he said. The waiter poured on into the glass so that the brandy slopped over and ran down the stem into the top saucer of the pile. “Thank you,” the old man said. The waiter took the bottle back inside the cafe.He sat down at the table with his colleague again.

     “He's drunk now,” he said. “He's drunk every night.” “What did he want to kill himself for?” “How should I know.” “How did he do it?” “He hung himself with a rope.” “Who cut him down?” “His niece.” “Why did they do it?” “Fear for his soul.” “How much money has he got?” “He's got plenty.” “He must be eighty years old.” “Anyway I should say he was eighty.” “I wish he would go home.I never get to bed before three o'clock. What kind of hour is that to go to bed?” “He stays up because he likes it.” “He's lonely. I'm not lonely. I have a wife waiting in bed for me.” “He had a wife once too.” “A wife would be no good to him now.” “You can't tell. He might be better with a wife.” “His niece looks after him.You said she cut him down.” “I know.” “I wouldn't want to be that old.An old man is a nasty thing.” “Not always.This old man is clean.He drinks without spilling.Even now, drunk.Look at him.” “I don't want to look at him.I wish he would go home.He has no regard for those who must work.”

    The old man looked from his glass across the square, then over at the waiters.

     “Another brandy,” he said, pointing to his glass.The waiter who was in a hurry came over.

     “Finished,” he said, speaking with that omission of syntax stupid people employ when talking to drunken people or foreigners. “No more tonight. Close now.”

     “Another,” said the old man.

     “No. Finished.” The waiter wiped the edge of the table with a towel and shook his head.

    The old man stood up, slowly counted the saucers, took a leather coin purse from his pocket and paid for the drinks, leaving half a peseta tip. The waiter watched him go down the street, a very old man walking unsteadily but with dignity.

     “Why didn't you let him stay and drink?” the unhurried waiter asked. They were putting up the shutters. “It is not half past two.” “I want to go home to bed.” “What is an hour?” “More to me than to him.” “An hour is the same.” “You talk like an old man yourself.He can buy a bottle and drink at home.” “It's not the same.” “No, it is not,” agreed the waiter with a wife. He did not wish to be unjust. He was only in a hurry. “And you? You have no fear of going home before your usual hour?” “Are you trying to insult me?” “No, hombre, only to make a joke.”

     “No,” the waiter who was in a hurry said, rising from pulling down the metal shutters.“I have confidence.I am all confidence.” “You have youth, confidence, and a job,” the older waiter said.“You have everything.” “And what do you lack?” “Everything but work.” “You have everything I have.” “No.I have never had confidence and I am not young.” “Come on. Stop talking nonsense and lock up.” “I am of those who like to stay late at the cafe,” the older waiter said.“With all those who do not want to go to bed.With all those who need a light for the night.” “I want to go home and into bed.” “We are of two different kinds,” the older waiter said.He was now dressed to go home.“It is not only a question of youth and confidence although those things are very beautiful. Each night I am reluctant to close up because there may be someone who needs the cafe.” “Hombre, there are bodegas open all night long.” “You do not understand.This is a clean and pleasant cafe.It is well lighted. The light is very good and also, now, there are shadows of the leaves.”

“Good night,” said the younger waiter.

     “Good night,” the other said. Turning off the electric light he continued the conversation with himself. It was the light of course but it is necessary that the place be clean and pleasant. You do not want music.Certainly you do not want music.Nor can you stand before a bar with dignity although that is all that is provided for these hours. What did he fear? It was not a fear or dread. It was a nothing that he knew too well. It was all a nothing and a man was a nothing too. It was only that and light was all it needed and a certain cleanness and order. Some lived in it and never felt it but he knew it all was nada y pues nada y nada y pues nada.

    He smiled and stood before a bar with a shining steam pressure coffee machine.

     “What's yours?” asked the barman.

     “Nada.” “Otro loco mas,” said the barman and turned away.

     “A little cup,” said the waiter.

    The barman poured it for him.

     “The light is very bright and pleasant but the bar is unpolished,” the waiter said.

    The barman looked at him but did not answer.It was too late at night for conversation.

     “You want another copita?” the barman asked.

     “No, thank you,” said the waiter and went out.He disliked bars and bodegas.A clean, well-lighted cafe was a very different thing.Now, without thinking further, he would go home to his room.He would lie in the bed and finally, with daylight, he would go to sleep.After all, he said to himself, it's probably only insomnia. Many must have it.

(1)、The young waiter wants to go home to bed mainly because of ________.
A、his full confidence B、leaving of the old man C、his being needed by his family D、his worry about the night-walk.
(2)、What was the most probable cause for the old man's suicide?
A、He failed in his business. B、He drank too much that night. C、He feared for his soul. D、He felt it was all a nothing.
(3)、What can we infer from the conversation between the two waiters?
A、The elder waiter thought that a man is supposed to be live with dignity. B、The young waiter was impatient with the old man and wanted him to go. C、The young waiter expected the old man to go home steadily with satisfaction. D、The elder waiter refused a clean, well-lighted place to bars and bodegas.
(4)、Why was the old waiter unwilling to leave the café and go home?
A、Because the light was very good and there are shadows of the leaves. B、Because he wanted to have a detailed conversation with the young waiter. C、Because his soul needed a light and a place to get rid of his despair. D、Because there may be someone who needs the café and the night is attractive.
(5)、Which of the following can best serve as the title of this passage?
A、A Magical Café with Dread B、An Old Man with Dignity C、A Silent, Beautiful Night D、A Clean, Well-lighted Place
举一反三
阅读理解

    For many years, scholars have regarded My Mortal Enemy as somewhat of an enigma. Written in only a few months during the early spring of 1925 and published in 1926, Willa Cather's shortest novel was sandwiched in between The Professor's House (1925) and Death Comes for the Archbishop (1927). While the subject matter of these latter two works can be traced to Cather's experience in the desert Southwest, My Mortal Enemy seemingly has nothing to do with these subjects or her Nebraska roots; it appears to have come out of nowhere, puzzling those who have tried to fit this rather irregular work into a logical progression of Cather's artistic development. The question of what caused Cather to write such a novel at this point in her career, for example, has still not been answered definitively. One commonly held hypothesis (假说) was first voiced by Marcus Klein, who in his 1961 introduction to the novel wrote that for Cather, “The story of Myra Henshawe must have been a personal crisis”. Klein, though, acknowledged that he could not prove his theory, “because there is available no record other than the novel”. Emmy Stark Zitter has recently argued that in My Mortal Enemy and Sapphira and the Slave Girl(1940) Cather exercises the autobiographical impulse (冲击) by putting details of her own life into her fiction, but, like Klein, she is unable to name which “details” of her life Cather drew on in writing My Mortal Enemy.

    As hinted (暗示) in the above statements by Klein and Zitter, much of the general uncertainty about the meaning of My Mortal Enemy can be traced to the absence of a persuasive theory as to who the real-life models for the novel's characters were and what Cather's relationship to them was. Cather herself wrote in a 1940 letter that, in James Woodress's paraphrase, “she had known Myra's real-life model very well, and the portrait drawn in the story was much as she remembered her”; Cather also added that the woman had died fifteen years before My Mortal Enemy was published, and that many relatives of this model later wrote to her to say that they recognized the “real” Myra from her description in the novel. Given such hints and Cather's liking for drawing on her experiences in Nebraska for characters, settings, and plots, it is quite understandable that scholars have thus looked to Red Cloud and Lincoln for possible sources of the people and events depicted in My Mortal Enemy.

    In light of the evidence presented in this article, though, I believe that Cather intended her comments about the model for Myra Henshawe to serve as red herrings (转移注意力的言语) that would protect her relationship with the couple who were the prototypes (原型) for the Henshawes, both of whom were still alive in 1925. Mark Madigan has recently confirmed how Cather in 1905 had to hold off publishing “The Profile (传略)” because of fears that the main character might recognize herself and commit suicide, and twenty years later Cather would have been well aware of how her description of the Henshawes might have affected both the real-life wife (who died in 1929) and husband (who died in 1949) if they had recognized themselves. It is my argument that the Henshawes were modeled after people Cather knew not in Nebraska but rather in New York: S. S. and Hattie McClure. Myra's uncle, John Driscoll, was modeled after Hattie's father, Professor Albert Hurd.

    Possibly most important, identifying the Henshawes as the McClures allows us to more conclusively identify Cather herself with Nellie Birdseye. Nellie and Cather, both Midwestern onlookers and recorders, experienced four distinct stages in their relationships with the Henshawes and the McClures (especially with S. S.) My Mortal Enemy, I believe, was an extended attempt by Cather to deal with certain aspects of her own past and to move on in a world stripped of romantic illusion.

阅读理解

    Grey clouds move as low as smoke over the treetops at Lolo Pass. The ground is white. The day is June 10.It has been snowing for the past four days in the Bitterroot Mountains.Wayne Fairchild is getting worried about our trek over the Lolo Trail-95 miles from Lolo Montana to Weippe in Idaho, across the roughest country in the West. Lewis and Clark were nearly defeated 200 years ago by snowstorms on the Lolo. Today Fairchild is nervously checking the weather reports. He has agreed to take me across the toughest, middle section of the trail.

    When Lewis climbed on top of Lemhi Pass,140 miles south of Missoula, on Aug.12,1805,he was astonished by what was in front of him; "high mountain chains still to the West of us with their tops partially covered with snow."Nobody in what was then the US knew the Rocky Mountains existed, with peaks twice as high as anything in the Appalachians back East.

    Today their pathway through those mountains holds more attraction than any other ground over which they traveled, for its raw wilderness is an evidence to the character of two cultures:the explorers who braved its hardships and the Native Americans who prize and conserve the path as a sacred (神圣的)gift. It remains today the same condition as when Lewis and Clark walked it.

    The Lolo is passable only from July to mid-September. Our luck is holding with the weather, although the snow keeps getting deeper. As we climb to Indian Post Office, the highest point on the trail at 7,033 ft, we have covered 13 miles in soft snow, and we hardly have enough energy to make dinner. After a meal of chicken, I sit on a rock on top of the ridge .There is no light visible in any direction, not even another campfire. For four days we do not see another human being. We are occupied with the things that mix fear with joy. In our imagination we have finally caught up with Lewis and Clark.

阅读理解

    Forest Schools originated in Sweden in the 1950s and spread to other countries, particularly Denmark where they have become an important part of the Danish early years program.

    In a typical Danish Forest School, young children from 3 years are taken into the forest for 4 hours each day of the week. They take no toys with them, but instead use only what the forest provides (and their imaginations) to develop their games. There is a primitive hut in the forest, which is used in extreme weather. Activities are child-led and fun, such as finding small animals or stomping in puddles. Because of high adult to child ratios, children can safely try out activities which are often considered too dangerous, such as climbing trees or lighting fires, and by dressing the children in good protective clothing, they are able to play freely. By setting children small manageable tasks at which they are unlikely to fail, and giving genuine praise, children's independence and confidence grow.

    A Swedish scientific study found that children in the Forest School are more balanced and socially capable, have fewer sick days, are more able to concentrate and have better co-ordination than the city nursery children. The primary reason appeared to be the greater opportunities to play in nature, so that children play for longer at a time, tending not to disturb each other as much as children in the city nursery. The study observed that where children were interrupted, they became irritable, their stress level rose, and their ability to concentrate fell.

    The study also showed that the Forest School children had 25 % fewer sick days than the city children. One reason for this is that the air is nearly always better outside than indoors. Outside a child is not so exposed to virus and bacteria and not so likely to be infected by other children. Another reason may be that, since stress has been shown to have a negative effect on the immune system, high stress levels may be weakening the city children. The Forest School children, on the other hand, are in a pleasant, natural, fun and less stressful environment.

阅读理解

    Three-quarters of the world's coffee farms destroy forest habitat to grow coffee in the sun and typically use harmful pesticides (杀虫剂) and chemicals that poison the environment. When forests disappear, migratory (迁徙的) songbirds disappear, too. In order to deal with severe population and habitat loss, Smithsonian scientists created the Bird Friendly certification.

    Bird Friendly coffees are shade-grown, meaning the coffee is planted under trees, rather than on the land that has been cleared of all other plants. Coffee experts say shade-grown coffees taste better, because the beans ripen slower than coffee grown in the full sun, resulting in a richer, more complex flavor. Bird Friendly certified coffees grow under bio-diverse shade that provides habitat for migratory songbirds and other wildlife, stores carbon and fights climate change. Bird Friendly coffees are also certified organic, meaning they are grown without pesticides, which is better for people and for the planet.

    Bird Friendly producers can also earn more for their crops. The wood and fruit trees on shade coffee farms provide farmers with additional income. Every cup of Bird Friendly coffee purchased rewards these farmers with a little more money for being good stewards of the environment and encourages them to continue conserving Bird Friendly habitat.

    Buying Bird Friendly supports the Smithsonian Migratory Bird Center's conservation research aimed at understanding and protecting your feathered friends. You can purchase Bird Friendly certified coffees around the world and protect wildlife and habitat with every cup. Find a store or cafe near you, or better yet, have it shipped to your door when you order online.

阅读理解

    A few years back I worked in a university building that also housed a department full of psychologists, all of whom seemed to see us as perfect guinea pigs(豚鼠) for their latest theories. If an eager graduate student showed up in my office bearing desserts and asked me to pick one, I'd cast a careful glance and ask "Why?" before grabbing the apple pie.

    So one day, when someone from the Psychology Department posted instructions in the bathroom persuading all of us to "Think about five things for which you're grateful every day for a week!" my response was frankly doubtful. I did the math. Five things a day for seven days is a lot of brainpower to expend without so much as the promise of an apple pie.

    I wandered into the office of Heidi Zetzer, the director of our school's Psychological Services Clinic. "What's with the gratitude thing?" I asked. You don't ask an academic question-even a simple one unless you're prepared for a long answer. Heidi came alive, and I sat down. That's when I first heard the term "positive psychology". The gratitude thing, as I had called it, was but one small and simple element of the practice. "Kind of like training the brain to focus on joy," my friend Heidi explained. "It's only a week," she urged. "Try it." I did. And guess what? It worked.

    Every day for a week, I found five distinct things for which I was thankful. They had to be different every day. I couldn't get away with just being grateful for my wonderful husband. But I could, suggested Collie Conoley, another positive psychologist, express my gratitude for specific aspects of a certain person each day. He's a great cook. He always puts our family first.

    Life will never be perfect. I still see new stories that annoy me. The traffic in my city is maddening. I wish I could speed up my recovery. But with just one simple exercise, I'm rediscovering the peace of that old saying: accepting the things I can't change, working without complaint to change what I can, and being wise enough to know the difference.

    And all it took was a little gratitude.

阅读理解

Journey

40 pages

Age Range: 4-8 years

Publisher: Candlewick (6 Aug. 2013)

Language: English

Price: $ 10.72

Introduction

A girl can't get the attention of her busy family. She goes to her room feeling sad but discovers a red crayon and draws a magic door on her bedroom wall and through it escapes into a world where wonder, adventure, and danger abound (大量存在). On her journey, she finds people are trying to catch a bird. She rescues the bird with courage but finds herself caught and placed in a cage. The grateful bird helps her escape and together they fly to safety and back to the city where the girl lives.

About the author

Born in Baltimore, Aaron Becker moved to California to attend Pomona College where he scored his first illustration (插图) job designing T-shirts. Then, he traveled to Kenya, Japan and Sweden backpacking around while looking for interesting things and feeding his imagination. He's now busying at work on his next book project.

Reviews

By Barb Mechalke on November 23, 2019

This is a beautiful book and tells a story only with illustrations.

By Elise Nuttall on August 11, 2017

It's a picture book, and it's so inventive and creative! I "read" it with my niece and she absolutely loved that book. She could understand the story without having to struggle as a new reader

By Colby J Cuppernull on September 11, 2013

I read this book with my three-and-a-half-year-old son last night. Tonight, when we read it again, it is slightly different. New words are used to give voice to the story told through the images. Every time we read this book, it will become new.

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