问题 阅读理解与欣赏

越中览古

李白

越王勾践破吴归,战士还家尽锦衣。

宫女如花满春殿,只今惟有鹧鸪飞。

小题1:本诗的一、二两句描绘了一幅怎样的画面?(1分)

答:                                                                                                                                                      

小题2:整首诗主要用了什么写作手法,表达了怎样的主旨?(2分)

答:                                                                                                                                                

答案

小题1:一、二两句描绘了越王及其战士胜利归来的画面,充满了胜利者的喜悦和骄傲。

小题1:诗人运用对比的写法,选取了越王班师回国的两个镜头,将昔时的繁盛和今日的凄凉作了鲜明的对比(1分),深刻地揭示了人事变迁、盛衰无常的主旨(1分)。

小题1:题目分析:根据“破吴归”以及“尽锦衣”来描写一、二两句所描绘的画面。画面内容:越王勾践打败吴国胜利归来,战士们意气风发打算回家。

点评:描绘诗歌的画面 ,最主要的就是要抓住画面中的景、人,然后根据诗歌的意境用自己的语言形象的把诗歌内容描绘出来。比如本首诗歌中的一二两句中的“人---越王勾践、战士”,一二两句的意境是胜利的喜悦,根据这种氛围来描绘画面的内容即可。

小题1:题目分析:“昔日宫女如花满春殿”与“如今惟有鹧鸪飞”形成对比,突出了人事变迁、盛衰无常这一主题,同时表达了作者对历史变迁的感慨,希望当今统治者能够以历史为镜,要居安思危,有忧患意识。

点评:分析诗歌的表现手法,是诗歌鉴赏题中常考的题型,那么怎样来分析呢,一般可以这样来分析:(1)准确指出用了何种手法;(2)结合诗句阐释为什么要用这种手法;(3)分析该手法传达出诗人怎样的情感。

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.

(4)()

A.on

B.at

C.for

D.over