问题 阅读理解与欣赏

阅读下面的文字,完成(1)~(4)题。(选做题)

活着的手艺

王往

  他是一个木匠,是木匠里的天才。很小的时候,他便对木工活感兴趣。曾经,他用一把小小的凿子把一段丑陋不堪的木头掏成一个精致的木碗。他就用这木碗吃饭。

  他会对着一棵树说,这棵树能打一只衣柜,一张桌子,桌面多大,腿多高,他都说了尺寸。过了一年,树的主人真的用这棵树了,说要打一张衣柜,一张桌子。他站起来说,那是我去年说的,今年这棵树打了衣柜桌子,还够打两把椅子。结果,这棵树真的打了一张衣柜,一张桌子,还有两把椅子,木料不多不少。他的眼睛就这样厉害。

  长大了,他学了木匠。他的手艺很快超过了师傅。他锯木头,从来不用弹线。木工必用的墨斗,他没有。他加的榫子,就是不用油漆,你也看不出痕迹。他的雕刻最能显出他木匠的天才。他的雕刻能将木料上的瑕疵变为点睛之笔,一道裂纹让他修饰为鲤鱼划出的水波或是蝴蝶的触须,一个节疤让他修饰为蝴蝶翅膀上的斑纹或是鲤鱼的眼睛。

  树,因为木匠死了,木匠又让它以另一种形式活了

  做家具的人家,以请到他为荣。主人看着他背着工具朝着自家走来,就会对着木料说:“他来了,他来了!”是的,他来了,死去的树木就活了。

  我在老家的时候,常爱看他做木工活。他疾速起落的斧子砍掉那些无用的枝杈,直击那厚实坚硬的树皮,他的锯子有力而不屈地穿梭,木屑纷落;他的刻刀细致而委婉地游弋……他给爱好写作的我以启示:我的语言要像他的斧子,越过浮华和滞涩,直击那“木头”的要害。但是,这个木匠在我们村里的人缘并不好。村里人叫他懒木匠。他是懒,人家花钱请他做家具,他二话不说;可要请他做一些小活,他不干。比如打个小凳子,打扇猪圈门,装个铁锹柄什么的,他都回答:没空。村里的木匠很多,别的木匠好说话,一支烟,一杯茶,叫做什么就做什么。

  有一年,我赶回家恰逄大雨,家里的厕所满了,我要把粪水浇到菜地去。找粪舀,粪舀的柄子坏了,我刚好看见了他。递上一支烟:你忙不忙?不忙,他说。我说,帮我安个粪舀柄子。他说,这个……你自己安,我还有事儿。他烟没点上就走了。村里另一个木匠过来了,说:“你请他?请不动的,我来帮你安上。”这个木匠边给我安着粪舀柄子,边告诉我说,他呀,活该受穷,这些年打工没挣到什么钱,现在工地上的支架、模具都是铁的,窗子是铝合金的,动斧头锯子的活少了,他转了几家工地说我又不是铁匠,干不了。他去路边等活干,让人家找他做木匠活,在路边等,有时一两天也没人找的。”

  春节我回去,听人说木匠挣大钱了,两年间就把小瓦房变成了两层小楼。我想他可能改行了。我碰见他时,他正盯着一棵大槐树,目光痴迷。

  我恭敬地递给他一支烟问他:在哪打工?

  他说:在上海,一家仿古家具店,老板对我不错,一个月开5000元工资。

  我说:好啊,这个适合你!

  他笑笑说:别的不想做。(摘编自《百花园》)

(1)下列对小说有关内容的分析和概括,最恰当的两项是(     )

A.小说中的懒木匠从小就对木工活感兴趣,他曾经把一段丑陋不堪的木头掏成一个精致的木碗,他就用这木碗吃饭,表现了他的天赋和自强。

B.“他也的眼睛就这样厉害”,是后文“他的手艺很快超过了师傅”的一个重要条件,更为突出的是他的雕刻技艺,他能将木料上的瑕疵变为点睛之笔。

C.小说详细的叙述了懒木匠之“懒”,这也正是小说耐人寻味的地方,同时也是展现懒木匠人物性格的关键之处。

D.后来懒木匠挣大钱了,足见仿古家具店老板的知人善任,懒木匠也找到了自己施展才华的机会,二者相得益彰。

E.这篇小说表面上讲了一个天才型的木匠始终不肯随波逐流的故事渗透了作者对人生态度的思考,文笔质朴、细腻而诙谐。

(2)小说画线句子“树,因为木匠死了,木匠又让它以另一种形式活了”,这句话有什么作用?请简要分析。

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(3)懒木匠的性格有哪些特点?请简要概括。

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(4)小说的题目是“活着的手艺”,但文中写了很多木匠之“懒”,如果小说以“懒木匠”为题目,你认为是否合适?请谈谈你的观点和具体理由。

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答案

(1)BC

(2)①说明懒木匠技艺高超;②为下文写木匠的懒(不做小活)做铺垫;③呼应题目。(分析与三点作用相应即可,意思对即可。)

(3)①技艺高超;②不惧世俗(坚持不干小活或不随波逐流);③人生追求坚定。(意思对有分析即可)

(4)观点一:以“懒木匠”为题目不合适

 ①小说赞美了木匠坚定的人生追求,以“懒木匠”为题违背这一主旨。②“活着的手艺”用语新颖,揭示主旨,引人深思。

  观点二:以“懒木匠”为题目合适

 ①小说详写了木匠之“懒”,以“懒木匠”为题目与小说内容吻合。②以“懒木匠”为题目通俗易懂,也能收到似贬实褒的表达效果。(言之有理即可)

单项选择题 单选题
单项选择题

Modern Japan, despite its ready adoption of Western manners, is in things theatrical still faithful to the ancient feudal day. It is true that within the last few years, the old school drama has to some extent lost ground, and quite recently performances of Shakespeare’s Othello and Hamlet, and Daudet’s Sappho have been received with favor by Tokyo audiences.

The explanation of this curious survival of the old form of play, at a time when all Japan is eagerly imitating the foreigner, is undoubtedly to be found in the peculiar customs of the country. The progressive Japanese finds it easier to change his mode of dress than to reform habits bred in the bone. The old plays, lasting, as they formerly did, from early morning until nearly midnight, just suited the Japanese play-goer, who, when he does go to the theatre, makes an all-day affair of it. Indeed, theatre-going in Japan is a very serious matter, and not to be entered upon lightly or without due preparation. Recently Sada Yoko and Oto Kawakami, who learned a good deal in their foreign travels, introduced the comparatively short evening performance of three or four hours, an innovation which was at once welcomed by the better class of people. But the new arrangement found little favor with the general public, and particular indignation was aroused in the bosom of the Japanese Matinee Girl who loves to sit in the theatre as long as possible and weep over the play. For, to the young gentlewoman, the theatre is essentially the place for weeping. Japanese girls are extremely sentimental, and a play without tear-provoking situations would not appeal to them in the least.

The Japanese women are passionately devoted to the drama. It is usual for a party to book a box through a tea house connected with the theatre and at the same time make arrangements for what refreshments they wish served. The Japanese maiden makes the most elaborate preparations days beforehand. To be at the theatre on time, playgoers must rise with the sun, and all their meals, including breakfast, are eaten in the tiny box in the playhouse. It is not an easy task to reach one’s seats and once the family has settled down, nothing but a catastrophe would induce it to leave its box. The women chew candy and the men freely drink sake as the play goes on.

The emphasized difference between the Japanese play form and the foreign one is in ().

A. the length

B. the costume

C. the acting

D. the innovation