问题 阅读理解与欣赏

阅读下面这首诗,完成1~2题。

初到黄州

苏轼

自笑平生为口忙,老来事业转荒唐。

长江绕郭知鱼美,好竹连山觉笋香。

逐客不妨员外置,诗人例作水曹郎

只惭无补丝毫事,尚费官家压酒囊

  【注】①员外置:指定额以外的官员,苏轼此时授检校水部员外郎。②水曹郎:水部员外郎。梁代的何逊,唐代的张籍,宋代的孟宾子皆以诗名,且都曾任水部郎。③压酒囊:宋代官俸一部分用实物来抵数,叫折支。这里说,检校官的“折支”,多用官府中酿酒用剩的酒袋来抵数。

1.题为《初到黄州》,诗中哪一联紧扣“初到”题意?请简要分析。

___________________________________________

2.这首诗的语言有何特点?表达了作者怎样的思想感情?

___________________________________________

答案

1.颔联“长江绕郭知鱼美,好竹连山觉笋香。”描写初到所见。苏轼于初到之际,风尘仆仆之中,见江波而思鱼美,望修竹而羡笋香。其中“知”和“觉”二字,以想象之辞入实见之景,描写对即将到来的生活的憧憬,紧扣初到题意。

2.全诗语言平实清浅,诙谐幽默,显示了高超的技巧。这首诗深刻地刻画了苏轼初到黄州时的复杂矛盾的心绪。有自嘲自伤,有对权势者的嘲笑,却又以超旷的胸襟对待自己的遭遇,在自然中发现美,在逆境中寻求生活的乐趣,表现了诗人一贯的豁达、乐观。

单项选择题
单项选择题

In order to understand, however imperfectly, what is meant by "face", we must take (1) of the fact that, as a race, the Chinese have a ply (2) instinct. The theatre may almost be said to be the only national amusement, and the Chinese have for theatricals a (3) like that of the Englishman (4) athletics, or the Spaniard for bull-fights. Upon very slight provocation, any Chinese regards himself in the (5) of an actor in a drama. He throws himself into theatrical attitudes, performs the salaam, falls upon his knees, prostrates himself and strikes his head upon the earth, (6) circumstances which to an Occidental seem to make such actions superfluous, (7) to say ridiculous. A Chinese thinks in theatrical terms. When roused in self-defense he addresses two or three persons as if they were a multitude. He exclaims: "I say this in the presence of You, and You, and You, who are all here present. " If his troubles are adjusted he (8) of himself as having "got off the stage" with credit, and if they are not adjusted he finds no way to "retire from the stage". All this, (9) it clearly understood, has nothing to do with realities. The question is never of facts, but always of (10) . If a fine speech has been (11) at the proper time and in the proper way, the requirement of the play is met. We are not to go behind the scenes, for that would (12) all the plays in the world. Properly to execute acts like these in all the complex relations of life, is to have "face". To fail them, to ignore them, to be thwarted in the performance of them, this is to " (13) face". Once rightly apprehended, "face" will be found to be in itself a (14) to the combination lock of many of the most important characteristics of the Chinese.

It should be added that the principles which regulate "face" and its attainment are often wholly (15) the intellectual apprehension of the Occidental, who is constantly forgetting the theatrical element, and wandering (16) into the irrelevant regions of fact. To him it often seems that Chinese "face" is not unlike the South Sea Island taboo, a force of undeniable potency, but capricious, and not reducible to rule, deserving only to be abolished and replaced by common sense. At this point Chinese and Occidentals must agree to (17) , for they can never be brought to view the same things in the same light. In the adjustment of the incessant quarrels which distract every hamlet, it is necessary for the "peace-talkers" to take a careful account of the (18) of "face" as European statesmen once did of the balance of power. The object in such cases is not the execution of even-handed justice, which, even if theoretically desirable, seldom (19) to an Oriental as a possibility, but such an arrangement as will distribute to all concerned "face" in due proportions. The same principle often applies in the settlement of lawsuits, a very large percentage of which end in what may be called a (20) game.

(13)()

A.gain

B.win

C.compete

D.lose