问题 阅读理解与欣赏

阅读下文,完成下面问题。

  半野园者,故相国陈公说岩先生之别墅也。相国既没,距今十有余年,园已废为他室。而其中花木之荟萃,足以娱目;栏槛之回曲,足以却暑雨而生清风;楼阁之高迥,足以挹西山之爽气,如相国在时也。

  庚戌之春,余友杭君大宗来京师,寓居其中。余数过从杭君,因以识半野园之概。而是时,杭君之乡人有陈君者,亦寓居于此。已而陈君将之官粤西,顾不能忘情于此园,令工画者为图,而介杭君请余文以为之记。

  夫天下之山水,攒蹙累积于东南,而京师车马尘嚣,客游者往往萦纡郁闷,不能无故土之感。陈君家杭州,西子湖之胜甲于天下。舍之而来京师,宜其有不屑于是园者;而低徊留连之至不忍以去,则陈君于为官,其必有异于俗吏之为之已。虽然,士当贫贱,居陋巷,瓮牖绳枢自足也;间至富贵之家,见楼阁栏槛花木之美,心悦而慕之。一日得志,思以逞其欲,遂至朘(juān,剥削)民之生而不顾,此何异攻摽劫夺之为者乎?然则,陈君其慕为相国之业而无慕乎其为园,可也!

1.本文第一、二段分别叙述了_______和______。

2.下列说法符合文意的一项是(     )

A.半野园自相国逝世后即遭废弃,早已不复昔日胜景。

B.陈君久居京师,日久天长,内心烦闷,想返回故乡。

C.本文是陈君通过杭君的介绍,邀请作者特意撰写的。

D.陈君在粤西做官时和其他平庸官吏的表现并不相同。

3.作者规劝陈君的具体内容是什么?(用自己的话概括)

 _______________________________________________________

4.这是一篇讽喻文章,它在写作上的特点是_______________。

5.你对文中“一日得志,思以逞其欲,遂至朘民之生而不顾,此何异攻摽劫夺之为者乎”这句话的思想意义有何评价?

 _______________________________________________________

答案

1.半野园的概况 文章写作缘由

2.C

3.希望陈君能够像陈相国那样,努力建功立业,而不要一味贪恋富贵生活。

4.(例)委婉含蓄、借题发挥等

5.应有辩证的认识:不要置民生于不顾,这在当时和现在都有积极意义;“得志”的“志”从历史的角度讲,有一定的局限性。

名词解释
问答题

Vilhelm Hammershoi has been a well-kept secret since his death in 1916. All his best- known paintings are of household interiors that are drained of color and tell no stories. 46. His windows cannot be seen through, his doors cannot be opened and the figures produce no element of vitality into the rooms. Hammershoi is defiantly inscrutable; the mood is melancholic and enigmatic, but the paintings are oddly compelling. Quite why, no one seems sure.

Of the 71 paintings in a new exhibition in London, 21 come from his native Copenhagen, 15 from other Scandinavian collections and 20 from private collections, principally Danish. Hammershoi’s focus was not as narrow as this show might suggest, but to see his nudes it is necessary to visit the Statens Museum for Kunst in Denmark. He did some fine, if bleak, landscapes too, but it was the interiors that sold in his lifetime, and he is best remembered for paintings of the sun shining through curtainless window-panes, casting shadows on carpetless floors. 47.Anxious to transform the prosaic into the romantic, his admirers speak of a poet of light and the poetry of silence.

Hammershoi himself was guileless. 48."What makes me choose a motif are the lines, what I like to call the architectural context of an image," he said in 1907. Light was also very important, but it was lines, he insisted, that had the greatest significance for him. His wife, Ida, makes appearances in the empty rooms, but she is usually painted from the back, with the emphasis on the bare nape of her neck. The heroic figures are white doors and windows, and tables, chairs, a piano and a sofa. No painter can have got so much pleasure from painting brown furniture. One work, titled "Interior with a Woman at a Sewing Table", is a symphony of three shades of shiny brown.

Hammershoi was influenced by Vermeer and the 17th-century Dutch genre painters and by Caspar David Friedrich, a German, but there is no one like him. His work shows traces of an unexpected subversive sense of humor. 49.Felix Kramer, the show’s curator, identifies irregularities, for example, that create an almost surreal quality: a piano with two legs, table legs casting shadows in different directions, chests of drawers with no knobs or handles. Even some of Hammershoi’s admirers wonder what it all means.

50.Trying to pin Hammershoi down is as profitless as Waiting for Godot. However, the new exhibition at the Royal Academy of Arts might encourage some excitement in the marketplace. The highest price made by a Hammershoi interior is £ 520,000 ($1 million) in 2006 and the price boom in the auction houses is passing him by. Perhaps the secret of Hammershoi has been kept a bit too well.

46.His windows cannot be seen through, his doors cannot be opened and the figures produce no element of vitality into the rooms.