Why do we read poetry? First obvious one: because we enjoy it. The only other reason is for academic purposes, and that's not why this is here.

    Many of us read poetry simply because we often feel depressed and hopelessly lost, and in poetry we see how beautiful and strange everything is. So in that way poetry calms our anxiety.

    There are many different kinds of poems. They are not all calming. Some poems make me anxious, angry, scared, and sad, which is why I value them. As a reader, I want a full meal, not just dessert. I want the sweet and the bitter. Often, I read poetry when I'm already relaxed. In fact, I read more when I'm not stressed out.

    Here are the main reasons I respond to poetry, as far as I can tell. Metrical(格律的) poems are about setting up rules and then bending them. Usually, this is done by setting up a rhythm and then violating it or almost violating it. And then returning to it again. This satisfies my desire for order and also my desire for testing boundaries.

    Poetry plays with language and often slams words together in surprising ways, which is thrilling the way food can be when the chef has paired ingredients you never thought would taste good together but somehow do.

    Many poems are dense. Words mean two or three things at once and lots of suggestions are packed between the lines. This is intellectually inspiring and it allows me to read the same poem over and over always finding new things in it.

    And, of course, there's the subject matter. It interests me just as it would if the same subject was explored in a story or essay. Not all poems interest me in this way, but then not all stories and essays do, either.

根据短文内容，选择最佳答案，并将选定答案的字母标号填在题前括号内。

    It's a popular belief that a fish's memory lasts for only seven seconds. It may seem sad to think that they don't remember what they've eaten or where they've been, and they don't recognize you or any of their friends — every moment in their life would be like seeing the world for the first time.

    But don't be so quick to feel sorry for them. A new study has found that fish have a much better memory than we used to think. In fact, certain species of fish can even remember events from as long as 12 days ago.

    In the study, researchers from MacEwan University in Canada trained a kind of fish called African cichlids to go to a certain area of their tank to get food. They then waited for 12 days before putting them back in the tank again.

    Researchers used computer software to monitor the fish's movements. They found that after such a long break the fish still went to the same place where they first got food. This suggested that they could remember their past experiences.

    In fact, scientists had been thinking for a long time that African cichlids might have a good memory. An earlier study showed that they behaved aggressively（挑衅地） in front of certain fish, perhaps because they remembered their past “fights”. But until the latest findings, there was no clear evidence.

    Just as a good memory can make our lives easier, it also plays an important part when a fish is trying to survive in the wild.

    “If fish are able to remember that a certain area contains safe food, they will be able to go back to that area without putting their lives at risks,” lead researcher Trevor Hamilton told Live Science.

    For a long time, fish were placed far below chimpanzees, dolphins and mice on the list of smart animals. But this study has given scientists a new understanding of their intelligence.

    So long as teachers fail to distinguish between teaching and learning, they will continue to undertake to do for what only children can do for themselves. Teaching children to read is not passing reading on to them. It is certainly not endless hours spent in activities about reading. Douglas insists that "reading cannot be taught directly and schools should stop trying to do the impossible."

    Teaching and learning are two entirely different processes. They differ in kind and function. The function of teaching is to create the conditions and the climate that will make it possible for children to devise the most efficient system for teaching themselves to read. Teaching is also a public activity: It can be seen and observed.

    Learning to read involves all that each individual does not make sense of the world of printed language. Almost all of it is private, for learning is an occupation of the mind, and that process is not open to public scrutiny. If teacher and learner roles are not interchangeable, what then can be done through teaching will aid the child in knowledge. Smith has one principal rule for all teaching instructions. "Make learning to read easy, which means making reading a meaningful, enjoyable and frequent experience for children."

    When the roles of teacher and learner are seen for what they are, and when both teacher and learner fulfill them appropriately, then much of the pressure and feeling of failure for both is eliminated. Learning to read is made easier when teachers create an environment where children are given the opportunity to solve the problem of learning to read by reading.

    National Gallery of Canada

    Position:

    National Gallery (美术馆) of Canada

    380 Sussex Drive (大道)

    P.O. Box 427, Station A

    Ottawa, Ontario Canada K1N 9N4

    Telephone: 613-990-1985 or 1-800-319-ARTS

    Fax: 613-993-4385

    Directions:

    From Highway 417, take the Metcalfe exit (出口). Follow Metcalfe Street around the Museum of Nature and continue to the north until you reach the end of the street at Wellington. You will see Parliament Hill. Turn right onto Wellington Street and continue in the left-hand road until you reach Sussex Drive. As you approach Sussex Drive, you will see the Chateau Laurier hotel on your left-hand side. Make a left turn onto Sus-sex Drive and continue until you see the Gallery on your left-hand side, at the corner of St. Patrick and Sussex. The Gallery is a large glass building with two towers. Just beyond the St. Patrick / Sussex crossroads you will see the entrance to the Gallery's underground parking.

    Opening Hours:

    1 May — 30 September

    Open daily from 10 am to 5 pm, Thursdays to 8 pm.

    1 October — 30 April

    Open Tuesday to Sunday from 10 am to 5 pm; Thursdays until 8 pm. Closed Mondays.

    Closed Christmas Day, New Year's Day and 2 January 2012 (Monday).

    Tickets:

    $9: Adults

    $7: The elderly and full-time students (ID required)

    $4: Youth (12-19)

    $18: Family (2 adults, 3 youths)

    Free admission for children under 12 and members of the Gallery.

    Free admission Thursdays after 5 pm.

    The audiences of the UK will have an opportunity to enjoy a feast of Chinese culture when the China National Peking Opera Company returns to the country for the fourth time for a series of workshops and performances. Events will be held at the British Library, Oxford's Ashmolean Museum and the world-famous dance theater of Sadler's Wells, featuring artists including Lisa Lu, Yu Kuizhi and Li Shengsu.

    On Thursday at the British Library, Lisa Lu, who also played a role in recent cinema hit Crazy Rich Asians, will lead a group of artists from China, the US and the UK to discuss their experiences of working across a variety of artistic fields in different cultures over many decades.

    The series of activities also include interactive workshops, which explain the intricacies（错综复杂）of the attractive art of Peking Opera. The secrets behind a great opera, from music to instruments, from make-up to martial arts, will be revealed at the British Library workshops on Saturday and Sunday.

    Events end on Oct 19 and 20 at Sadler's Wells in North London, with two performances of The Emperor and the Concubine, one of the most celebrated operas, as well as The Crossroads Inn and The Monkey King and The Leopard.

    Li Shengsu, who led the cast of The Emperor and the Concubine, explained that the show is the beautiful love story championed by Peking Opera Master Mei Lanfang, and it is one of the very few works from the Master Mei's that had been handed down since 1920s.

    The productions are being presented in partnership with London-based Sinolink Productions, a company that promotes Chinese art, culture and performance to British audiences.

    Zhang Kewei, producer and director of Sinolink, said, “It is delightful to see that the China National Peking Opera Company returns to London for the fourth time with another two masterpieces this year. The performances so far have received very positive comments from audiences and the United Kingdom's media and we are looking forward to further expanding our program.”

The Mona Lisa is the famous Leonardo da Vinci painting of a woman with a mysterious smile. This week, the painting gave up a secret.

Scientists used X-rays to examine the chemical organization of an extremely small part of the more than 500-year-old painting. The researchers discovered a technique Leonardo used in the work. A team in France and Britain discovered an oil paint used for the Mona Lisa was a special, new chemical mixture. It suggests that the Italian artist may have been in an experimental mood when he set to work on the painting early in the 16th century.

"He was someone who loved to experiment, and each of his paintings is completely different technically," said Victor Gonzalez. He is the study's lead writer. "In this case, it's interesting to see that indeed there is a specific technique for the ground layer of the Mona Lisa," he said in an interview with The Associated Press. Specifically, the researchers found a rare compound, plumbonacrite (水蛭石), in Leonardo's first layer of paint. The discovery, Gonzalez said, proved that da Vinci most likely used lead oxide to thicken and help dry his paint.

The scientists looked into its atomic structure using X-rays in a synchrotron (同步加速器). The machine moves particles at close to the speed of light, permitting researchers to look deeper into the paint structure. "Plumbonacrite is really a fingerprint of his recipe," Gonzalez said. "It's the first time we can actually chemically prove it."

Dutch artist Rembrandt may have used a similar mixture when he was painting in the 17th century. Gonzalez and other researchers have found plumbonacrite in his work, too. "It also tells us that those recipes were passed on for centuries," Gonzalez said. "It was a very good recipe."

But the Mona Lisa and additional works by Leonardo still have other secrets to tell. "There are plenty, plenty more things to discover," Gonzalez said. "What we are saying is just a little brick more in the knowledge."