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问题 阅读理解与欣赏

阅读下面这首诗，完成后面 题。（8分）

关山月

徐陵

关山三五月,客子忆秦川。 思妇高楼上,当窗应未眠。

①星旗映②疏勒,③云阵上祁连。 战气今如此,从军复几年?

【注释】①星旗：星名。 ②疏勒：西域国名，也是其王城。 ③云阵：军队。

小题1:诗歌表现了“客子”怎样的思想感情？请简要概括。（4分）

                                                                                           

小题2:诗歌前两联主要运用了什么表现手法？请简要说明。（4分）

                                                                                           

答案

小题1:①思念家乡亲人。（2分）②厌倦战争，渴望回家团聚。（2分）

小题2:虚实结合。关山客子思念家乡是实写，思妇夜间未眠当窗远眺丈夫是虚写。【或答想象，客子身处边塞想象妻子深夜不眠的情景；或从对方写起（衬托），用家中思妇的不眠衬托军中客子的思乡，均可得分。】手法2分，说明2分

小题1:

题目分析：此题可以在整体感知诗歌内容的基础上，结合着诗歌中的关键词句，来体会作者的情感。如“忆秦川”“思妇”，可以体会出作者思念家乡亲人；“从军复几年?”由“复”可感悟出诗人厌倦战争渴望回家团聚的思想感情。

小题2:

题目分析：一些常用的诗歌表现手法，如想象、联想、类比、象征、烘托、对比、渲染、修辞手法、借景抒情、衬托、虚实结合等等。在答题时，要反复品读词，整体感悟词的意境，找到一些关键词来理解表现手法的运用技巧。诗歌前两联，作者通过“忆”表达了思念家乡之情，是实写；思妇夜间未眠当窗远眺丈夫是虚写，或者想象；作者运用了虚实结合的表现手法来衬托自己思念家乡的情感。

填空题

出铁前认真检查撇渣器，确保（）。
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单项选择题

"The language of a composer", Cardus wrote, "his harmonies, rhythms, melodies, colors and texture, cannot be separated except by pedantic analysis from the mind and sensibility of the artist who happens to be expressing himself through them".
But that is precisely the trouble; for as far as I can see, Mozart’s can. Mozart makes me begin to see ghosts, or at the very least ouija-boards. If you read Beethoven’s letters, you feel that you are at the heart of a tempest, a whirlwind, a furnace; and so you should, because you are. If you read Wagner’s, you feel that you have been run over by a tank, and that, too, is an appropriate response.
But if you read Mozart’s—and he was a hugely prolific letter-writer—you have no clue at all to the power that drove him and the music it squeezed out of him in such profusion that death alone could stop it; they reveal nothing—nothing that explains it. Of course it is absurd(though the mistake is frequently made)to seek external causes for particular works of music; but with Mozart it is also absurd, or at any rate useless, to seek for internal ones either. Mozart was an instrument. But who was playing it
That is what I mean by the Mozart Problem and the anxiety it causes me. In all art, in anything, there is nothing like the perfection of Mozart, nothing to compare with the range of feeling he explores, nothing to equal the contrast between the simplicity of the materials and the complexity and effect of his use of them. The piano concertos themselves exhibit these truths at their most intense; he was a greater master of this form than of the symphony itself, and to hear every one of them, in the astounding abundance of genius they provide, played as I have so recently heard them played, is to be brought face to face with a mystery which, if we could solve it, would solve the mystery of life itself.
We can see Mozart, from infant prodigy to unmarked grave. We know what he did, what he wrote, what he felt, whom he loved, where he went, what he died of. We pile up such knowledge as a child does bricks; and then we hear the little tripping rondo tune of the last concerto—and the bricks collapse; all our knowledge is useless to explain a single bar of it. It is almost enough to make me believe in — but I have run out of space, and don’t have to say it. Put K. 595 on the gramophone and say it for me.

The "Mozart problem", as defined by the author, is that ______ .

A．it is difficult to understand Mozart’s letters and his music

B．there is little connection between his personality and his music

C．Mozart gave us nothing of a clue about his music in his letters

D．his music is quite different from that of Beethoven or Wagner
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