英语 - 高中英语阅读理解精读荟萃（高级篇）2

Passage One The Present Is the Most Important

Shams and delusions are esteemed for soundest truths, while reality is fabulous. If men would steadily observe realities only, and not allow themselves to be deluded, life, to compare it with such things as we know, would be like a fairy tale and the Arabian Nights? Entertainments. If we respected only what is inevitable and has a right to be , music and poetry would resound along the streets. When we are unhurried and wise, we perceive that only great and worthy things have any permanent and absolute existence, --that petty fears and petty pleasure are but the shadow of reality. This is always exhilarating and sublime. By closing the eyes and slumbering, by consenting to be deceived by shows, men establish and confirm their daily life of routine and habit everywhere, which still is built on purely illusory foundation. Children, who play life, discern its true law and relations more clearly than men, who fail to live worthily, but who think that they are wiser by experience, that is, by failure. I have read in a Hindoo book, that “there was a king?s son, who, being expelled in infancy from his native city, was brought up by a forester, and, growing up to maturity in that state, imagined himself to belong to the barbarous race with which be lived. One of his father?s ministers having discovered him, revealed to him what he was, and the misconception of his character was removed, and he knew himself to be a prince. So soul, from the circumstances in which it is placed, mistakes its own character, until the truth is revealed to it by some holy teacher, and then it knows itself to be Brahme.” We think that that is which appears to be. If a man should give us an account of the realities he beheld, we should not recognize the place in his description. Look at a meeting-house, or a court-house, or a jail, or a shop. Or a dwelling-house, and say what that thing really is before a true gaze, and they would all go to pieces in your account of them. Men esteem truth remote, in the outskirts of the system, behind the farthest star, before Adam and after the last man. In eternity there is indeed something true and sublime. But all these times and places and occasions are now and here. God himself culminates in the present moment, and will never be more divine in the lapse of all ages. And we are enabled to apprehend at all what is sublime and noble only by the perpetual instilling and drenching of the reality that surrounds us. The universe constantly and obediently answers to our conceptions; whether we travel fast or slow, the track is laid for us. Let us spend our lives in conceiving then. The poet or the artist never yet had as fair and noble a design but some of his posterity at least could accomplish it.

1. The writer?s attitude toward the arts is one of w*w*w*k*s*5*u*c*o*m

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A. admiration. B. indifference. C. suspicion. D. repulsion 2. The author believes that a child. A. should practice what the Hindoos preach.

B. frequently faces vital problems better than grownups do. C. hardly ever knows his true origin. D. is incapable of appreciating the arts.

3. The author is primarily concerned with urging the reader to

A. look to the future for enlightenment. B. appraise the present for its true value. C. honor the wisdom of the past ages. D. spend more time in leisure activities. 4. The passage is primarily concerned with problem of A. history and economics. B. society and population. C. biology and physics. D. theology and philosophy. Vocabulary 1. sham 虚伪 2. delusion 欺骗

3. fabulous 荒诞无稽的，不存在的 4. exhilarating 令人高兴的 5. sublime 崇高的 6. slumber 睡眠 7. Hindoo 印度

8. Brahma 婆罗门（贵族）

9. come, fall, go to pieces 崩溃，垮台 10. culminate 达到顶点 11. lapse 时间的推移/消逝 12. apprehend 领悟，理解 13. instill （慢慢地）滴注，灌输 14. drench 浸泡，使湿透 15. posterity 子孙后代 16. look to 指望，注意

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难句译注

1. If men would steadily observe realities only, and not allow themselves to be deluded, life, to compare it with such things as we know, would be like a fairy tale and the Arabian Nights? Entertainments.

【结构简析】 虚拟条件句，主句中to compare it with… know是插入语，也有假设之意。 【参考译文】 如果人们坚持只观察现实，不让自己被蒙蔽，那么生活，把它和我们知道的事情相比较，就象神话，象一千零一夜中描述的一切。

2. When we are unhurried and wise, we perceive that only great and worthy things have any permanent and absolute existence, --that petty fears and petty pleasure are but the shadow of reality.

【结构简析】 主句中两个that. 第一个是perceive 的宾语从句。破折号的第二个 that从句是说明，对比前一个that 句。

【参考译文】 在我们冷静和明智时，我们会感到只有伟大的和有价值的东西才能永恒绝对地存在，而那些微不足道的恐惧和欢乐仅仅是现实的阴影而已。

3. By closing the eyes and slumbering, by consenting to be deceived by shows, men establish and confirm their daily life of routine and habit everywhere, which still is built on purely illusory foundation.

【参考译文】 闭上眼睛，昏昏欲睡，允许自己被表面现象所蒙蔽，人们通过这些手段来建立和确定他们的生活日程和各种习惯。这仍然是建立在幻（觉）想基础上的东西。

4. So soul, from the circumstances in which it is placed, mistakes its own character, until the truth is revealed to it by some holy teacher, and then it knows itself to be Brahme.”

【结构简析】 from the circumstances in which … ，介词短语+定从，实际上都是修饰mistake

【参考译文】 从它所处的环境中出发，灵魂把自己的身份搞错了。直到某个神圣的先生揭示的事实，那时它才知道自己是个贵族。

5. We think that that is which appears to be.

【结构简析】 第一个that 是引导think的宾语从句的连接词，第二个that 是代词，作宾从中的主语，指上述“灵魂”整个句子。

【参考译文】 我们想那就是看起来那个样子（情况似乎就是那样）。

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写作方法与文章大意

这是一篇从哲学角度探讨人应重视现实的论说文。采用以对比，具体实例说明的写作手法。先用虚伪和欺骗被尊为至高无上的真理一事，跟正视现实，尊重必然的东西对比，引出后者是美好生活的来源。再以大人和孩子对比，孩子更能分辨生活的规律。最后从过去，未来和现在对比，人们对过去认为就是这么一回事，崇拜遥远的一切。作者提醒人们——此时此地的现实是最重要的。

答案详解

1. A. 钦佩。本文第三句“如果我们只尊重必然的东西，尊重有权威为必然的东西，那么音乐和诗歌会重新在街上唱诵。”本文最后一句“虽然诗人或艺术从来没有如此美好和崇高的设想，但他们有些后代至少会达到这一步的。”还有难句译注1。这些都说明作者对艺术视为崇高和美好，不是被蒙蔽的东西。

B. 漠不关心。 C. 怀疑的。 D. 排斥。多不对。

2. B. 孩子们常常比成人更好地棉队各种问题。本文第七句“孩子们游戏生活（整天只知道玩儿），却比难以很好的生活的成人们更清楚的分辨出显示生活的真正规律和种种关系。”

A. 孩子应当实践印度布道宣传的东西。 C. 几乎对其真实出身一无所知。这是讲王子的事情，不是一般孩子。 D. 难以欣赏艺术。并未提及。

3. B. 珍视目前的真正价值。这在文章倒数第五句“永恒中，确实有真实和崇高的东西存在。但是所有这一切时间，地点，机遇都是在此时此地。上帝本身在现时达到了顶峰。在今后流逝的岁月中，它绝不会更加神圣崇高。我们只有长期不断地灌输和浸润在周围现实之中，才能理解什么是崇高和神圣的东西。不论我们的步伐快还是慢，路线已为我铺定。那就让我们的生命在体会感受中度过。”作者强调现实才是人们应该抓住的。

A. 指望未来给予启迪。 C. 尊重过去的智慧。 D. 在悠闲的活动中花更多的时间。 4. D. 神学和哲学。整篇文章都传递了这两个内容，特别是哲学推理论说。 A. 历史和经济学。 B. 社会和人口。 C. 生物和物理。w*w*w*k*s*5*u*c*o*m

Passage Two Forecasting of Statistics

Nearly two thousand years have passed since a census decreed by Caesar Augustus become part of the greatest story ever told. Many things have changed in the intervening years. The hotel industry worries more about overbuilding than overcrowding, and if they had to meet an unexpected influx, few inns would have a manager to accommodate the weary guests. Now it is the census taker that does the traveling in the fond hope that a highly mobile population will stay long enough to get a

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good sampling. Methods of gathering, recording, and evaluating information have presumably been improved a great deal. And where then it was the modest purpose of Rome to obtain a simple head count as an adequate basis for levying taxes, now batteries of complicated statistical series furnished by governmental agencies and private organizations are eagerly scanned and interpreted by sages and seers to get a clue to future events. The Bible does not tell us how the Roman census takers made out, and as regards our more immediate concern, the reliability of present day economic forecasting, there are considerable differences of opinion. They were aired at the celebration of the 125th anniversary of the American Statistical Association. There was the thought that business forecasting might well be on its way from an art to a science, and some speakers talked about newfangled computers and high-falutin mathematical system in terms of excitement and endearment which we, at least in our younger years when these things mattered, would have associated more readily with the description of a fair maiden. But others pointed to the deplorable record of highly esteemed forecasts and forecasters with a batting average below that of the Mets, and the President-elect of the Association cautioned that “high powered statistical methods are usually in order where the facts are crude and inadequate, the exact contrary of what crude and inadequate statisticians assume.” We left his birthday party somewhere between hope and despair and with the conviction, not really newly acquired, that proper statistical methods applied to ascertainable facts have their merits in economic forecasting as long as neither forecaster nor public is deluded into mistaking the delineation of probabilities and trends for a prediction of certainties of mathematical exactitude.

1. Taxation in Roman days apparently was based on A. wealth. B. mobility. C. population. D. census takers. 2. The American Statistical Association

A. is converting statistical study from an art to a science. B. has an excellent record in business forecasting. C. is neither hopeful nor pessimistic. D. speaks with mathematical exactitude.

3. The message the author wishes the reader to get is A. statisticians have not advanced since the days of the Roman. B. statistics is not as yet a science.

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C. statisticians love their machine. D.computer is hopeful.

4. The “greatest story ever told” referred to in the passage is the story of A. Christmas. B. The Mets. C. Moses. D. Roman Census Takers. Vocabulary 1. census 人口调查 2. decreed 分布法令

3. influx 汇集，流入（人口或物） 4. census taker 人口调查员 5. in the intervening years 在这期间 6. sampling 取样（调查） 7. presumable 可能的，可推测的 8. batteries 一连串，一系列 9. sage 圣人；聪明的（人—） 10. seer 先知

11. newfangled 新型的（贬义） 12. high-falutin 夸大的，夸张的 13. deplorable 悲惨的，杂乱的

14. batting average 平均成功率（原指击球平均得分数） 15. ascertainable 可以确定的/确切的 16. delineation 描述 17. exactitude 精确 难句译注

1. The hotel industry worries more about overbuilding than overcrowding, and if they had to meet an unexpected influx, few inns would have a manager to accommodate the weary guests.

【结构简析】 复合句。And后为虚拟条件句。

【参考译文】 旅馆业就忧虑旅馆建的太多，不愁人太多。但是如果他们不得不碰到意想不到大批旅客，没有什么旅馆会有一位经理去安排疲惫不堪的客人的食宿。

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写作方法与文章大意

文章论及“统计数字预测经济”。采用对比论证手法，还带点讽刺口吻，但气势宏伟。从两千年前恺撒·奥古斯都下令进行的人口调查说起，讲到现在的统计数字预测经济情况。得出应当正确对待预测数字的结论。w*w*w*k*s*5*u*c*o*m

答案详解

1. C. 人口。答案在第六句，“那时罗马计算人头作为征税的适当基础，目的很简单。” A. 财富。 B. 流动性。 C. 人口调查员。

2. A. 正把统计研究从文科转变成理科。这是从第六句开始讲的一种观点。“现在，政府机构和私人组织的一系列复杂的统计数字，由智者和先知人物殷切地浏览和解释以取得预先外未来事件的线索。圣经并没有告诉我们罗马的人口调查员是怎么调查统计的。至于我们当前更加关心的问题：目前经济预测的可靠性，意见分歧很大。美国统计协会125周年庆祝活动上，人们在大肆宣扬这些不同观点。有一种说法是经济预测可能正从文科转向科学（理科）发展。有些人兴高采烈大谈新型计算机和非常高级数学系统。”作者虽然没有明说，明眼人一看便知，艺术向科学转变正是美国统计协会在把统计学从文科转向理科。所以A. 对。

B. 在商业预测方面具有杰出的记录。不对。实际上“平均成功率还低于the Mets” C. 既没有希望也不乐观。文内没有提及。只提作者他们半喜半忧离开协会。 D. 以数学的精确性来说话。见下道题解释。协会部分人却有此看法“数学精确性。” 3. B. 统计学（到现在为止）还不是一门科学（理科）。文章最后几句话。“连统计协会的主席也告戒说高能统计法在实际材料原始和不允许的地方一般发挥正常。这跟低级的，不合适的统计员所假定的正好相反。我们怀着忧“希”掺半的心情离开周年庆祝宴会，怀着确实不是新近才有的信念，相信应用于确切材料上恰当的统计法在经济预测中有它的贡献，只要预测人员和公众不受蒙蔽，误呆板所述概率和趋势当作数学精确无比的预测就行。”

A. 统计员从罗马时代起就没向前进步过。 C. 统计员爱计算机。这两项文内没有提到。 D. 计算机前程远大。文内只讲了有些人怀着兴高采烈的心情大讲新型计算机和非常高级数学“系统”，暗示了计算机大有希望。但不是所有人都这样认为的。最重要的计算机的应用并不能改变这个事实：统计学不是立刻，而是文科。所以B. 对。

4. A. 基督，圣诞节，指基督的诞生。圣经中的一个故事。

B. the Mets. 圣经中率领希伯莱人出埃及的领袖，也作放债的犹太人讲。 C. 摩西。 D. 罗马人口调查员。

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Passage Three Wakefield Master’s Realism

Moreover, insofar as any interpretation of its author can be made from the five or six plays attributed to him, the Wake field Master is uniformly considered to be a man of sharp contemporary observation. He was, formally, perhaps clerically educated, as his Latin and music, his Biblical and patristic lore indicate. He is, still, celebrated mainly for his quick sympathy for the oppressed and forgotten man, his sharp eye for character, a ready ear for colloquial vernacular turns of speech and a humor alternately rude and boisterous, coarse and happy. Hence despite his conscious artistry as manifest in his feeling for intricate metrical and stanza forms, he is looked upon as a kind of medieval Steinbeck, indignantly angry at, uncompromisingly and even brutally realistic in presenting the plight of the agricultural poor.

Thus taking the play and the author together, it is mow fairly conventional to regard the former as a kind of ultimate point in the secularization of the medieval drama. Hence much emphasis on it as depicting realistically humble manners and pastoral life in the bleak hills of the West Riding of Yorkshire on a typically cold bight of December 24th. After what are often regarded as almost “documentaries” given in the three successive monologues of the three shepherds, critics go on to affirm that the realism is then intensified into a burlesque mock-treatment of the Nativity. Finally as a sort of epilogue or after-thought in deference to the Biblical origins of the materials, the play slides back into an atavistic mood of early innocent reverence. Actually, as we shall see, the final scene is not only the culminating scene but perhaps the raison d?etre of introductory “realism.”

There is much on the surface of the present play to support the conventional view of its mood of secular realism. All the same, the “realism” of the Wakefield Master is of a paradoxical turn. His wide knowledge of people, as well as books indicates no cloistered contemplative but one in close relation to his times. Still, that life was after all a predominantly religious one, a time which never neglected the belief that man was a rebellious and sinful creature in need of redemption, So deeply (one can hardly say “naively” of so sophisticated a writer) and implicitly religious is the Master that he is less able (or less willing) to present actual history realistically than is the author of the Brome “Abraham and Isaac”. His historical sense is even less realistic than that of Chaucer who just a few years before had done for his own time costume romances, such as The Knight?s Tale, Troilus and Cressida, etc. Moreover Chaucer had the excuse of highly romantic materials for taking liberties with history.

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1. Which of the following statements about the Wakefield Master is NOT True? A. He was Chaucer?s contemporary.

B. He is remembered as the author of five or six realistic plays. C. He write like John Steinbeck. D. HE was an accomplished artist. 2. By “patristic”, the author means A. realistic. B. patriotic

C. superstitious. C. pertaining to the Christian Fathers.

3. The statement about the “secularization of the medieval drama” refers to the A. introduction of mundane matters in religious plays. B. presentation of erudite material.

C. use of contemporary introduction of religious themes in the early days. 4. In subsequent paragraphs, we may expect the writer of this passage to A. justify his comparison with Steinbeck.

B. present a point of view which attack the thought of the second paragraph. C. point out the anachronisms in the play. D. discuss the works of Chaucer. Vocabulary

1. clerically educated 受过教会教育的 2. lore 口头传说，口头文字 3. patristic 有关早期基督教领袖的 4. vernacular 方言 5. boisterous 喧闹的 6. metrical 韵律的 7. stanza 诗节 8. medieval 中世纪的 9. plight 悲惨的命运

10. secularization 世俗化，脱离教会

11. pastoral 乡村的w*w*w*k*s*5*u*c*o*m 12. bleak 荒凉的

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13. documentary 记录文献的 14. monologue 独白

15. burlesque 诙谐或游戏诗文的，讽刺或滑稽的 16. Nativity 基督的诞生 17. epilogue 收场白 18. deference 敬意，尊重 19. atavistic 返祖的，隔代遗传的 20. slide back to 滑回，这里指返回 21. raison d?etre 存在的理由 22. all the same 即便如此

23. paradoxical turn 自相矛盾的说法 24. cloistered 隐居的

25. contemplative 好冥想的人（如僧侣） 26. the contemplative life 宗教上冥想的生涯 27. redemption 赎罪

28. mundane 世俗的，现世的 29. erudite 博学的，饱学之士

30. anachronism 时代错误，与时代不合的事物 难句译注

1. Moreover, insofar as any interpretation of its author can be made from the five or six plays attributed to him, the Wake field Master is uniformly considered to be a man of sharp contemporary observation.

【结构简析】 insofar 义：只能，在……范围，常和as 连用。Attributed 过去分词，这里指属于韦克菲尔德大师写的剧本。

【参考译文】 再则，就以五六本，被认为是韦克菲尔德·马斯脱所写的剧本为依据来分析说明这位作者，他是一位公认为对时代具有敏锐洞察力的戏剧作家。

写作方法和文章大意

这是一篇文学评论，评韦克菲尔德·马斯脱的戏剧。他是乔叟的同时代人，采用对比手法，作者对比了他和别的批评家对韦评价之差异来论证韦克菲尔德本人的观点，立场和作品的文体，语言，内容等各个方面。然后把他跟同时代人乔叟作比较，指出他的不足。

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答案详解

1. C. 他象斯坦贝克一样写。第一段作者说他是一位公认的对当时代具有敏锐洞察力的作家。现在仍然享有盛名。主要在于“他对被压迫和被遗忘的人民的同情，有着对人物性格了解的犀利眼光，对日常方言的曲折转意的“耳朵”。他的幽默粗放而又喧闹，粗鲁而又愉快。因此，尽管他有意识的艺术效果（性），明显表现在他对复杂韵律和诗节的感受力上，人们仍然尊他为中世纪的斯坦贝克，对贫苦农民悲惨命运的疾首愤怒，给以毫不妥协地甚至野性地真实描述”。这段话说明，文内两位作家之共同点是在内容观点上。而不是指一样的艺术形式上。韦克菲尔德写的是诗歌形式——韵文，而斯坦贝克是小说和散文剧。所以说他像斯坦贝克那样写就错了。故选C.

A. 他是乔叟同时代人，见最后一句“他的历史观点的现实主义稍逊于乔叟。乔叟在几年前就为其时代写了一本传奇。” B. 他是作为五或六本现实之剧本的作者而为人纪念。本文第一句话“只能从他写的五个或六个剧本来说明这位作者。” D. 他是一位有成就的艺术家。

2. D. Patristic 义：为关于早期基督教领袖的。第一段中his Biblical and Patristic lore indicate的意思是“他那有关圣经和早期基督教领袖们的歌谣。”

A. 现实主义的。 B. 爱国的。 C. 迷信的。

3. A. 在宗教剧中介绍世俗之事。见第二段中的secularization义：世俗化，脱离教会。这一整段都讲了韦剧中对世俗之事的描述：“拿剧本和作者两者一起讲的话，现在习惯于把他的剧本看作中世纪戏剧世俗化的一个顶点。因此，对他世俗化强调常以一个例子来说明，即他现实主义的描述12月24日一个寒冷的夜晚，在约克郡西区荒凉的山里的那种粗陋的习俗和乡村的生活；在常被人认为几乎是?记录文献?的三个牧人三段连续的独白之后，批评家们继续认为他的现实主义在此时被强化到以讽刺嘲弄的口吻处理了基督的诞生。最后，作者收场白或事后的补充，对材料的来源圣经表示敬意。剧本又滑回到早期纯洁无邪（天真）的崇敬，一种返祖基调中去。事实上最后一幕不仅是全剧的高潮，也许还是“现实主义”引言存在的理由。”这一段清楚表明。批评者认为宗教只是作者的收场白，计划外的添加剂而已。

B. 表现渊博知识材料。 C. 应用当代材料。太笼统。当代也有宗教之事。 D. 介绍早期宗教题材。w*w*w*k*s*5*u*c*o*m

4. B. 表达抨击第二段思想的观点。这个问题最难回答，其所以选择B，是因为本人作者并不同意流行的观点。他在讲完“常规看法”有，用引导来谈“纪实文献”和“现实主义”。这说明作者之含义并不是这两个词的本义。这段最后一句话“事实上，最后一幕……”表明：最后一幕有宗教内容，而“现实主义”不过处于introductory阶段。第三段点明作者的观点“现在的戏剧表

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面上有许多支持世俗现实主义模式的观点。韦之?现实主义?有一个自相矛盾的特点。他对人和书本的广泛的了解表明：“他不是与世隔绝，而是和时代紧密相连的。再说，那时的生活毕竟是全方位的宗教。那时代绝不会忽视这种信仰——人是叛逆和有罪的生灵，需要赎罪。大师是那么深沉含蓄的信奉宗教，因而他比布罗姆作者更不可能（更不愿）现实主义地表现真正的历史。他的历史感现实性甚至比乔叟更不现实主义。乔叟早在前几年为他的时代写了?类似?骑士的故事”。“特罗依拉斯和克莱西德”等传奇。再说，乔叟以高度浪漫的材料为借口对历史事实任意处理。”所以说，我们可以期望作者在下面一步发挥自己的观点，抨击第二段的看法。

A. 他和斯坦贝克的比较是公平的。 C. 指出剧中时代错误。 D. 讨论乔叟作品。

Passage Four The Continuity of the Religious Struggle in Britain

Though England was on the whole prosperous and hopeful, though by comparison with her neighbors she enjoyed internal peace, she could not evade the fact that the world of which she formed a part was torn by hatred and strife as fierce as any in human history. Men were still for from recognizing that two religions could exist side by side in the same society; they believed that the toleration of another religion different from their own. And hence necessarily false, must inevitably destroy such a society and bring the souls of all its members into danger of hell. So the struggle went on with increasing fury within each nation to impose a single creed upon every subject, and within the general society of Christendom to impose it upon every nation. In England the Reformers, or Protestants, aided by the power of the Crown, had at this stage triumphed, but over Europe as a whole Rome was beginning to recover some of the ground it had lost after Martin Luther?s revolt in the earlier part of the century. It did this in two ways, by the activities of its missionaries, as in parts of Germany, or by the military might of the Catholic Powers, as in the Low Countries, where the Dutch provinces were sometimes near their last extremity under the pressure of Spanish arms. Against England, the most important of all the Protestant nations to reconquer, military might was not yet possible because the Catholic Powers were too occupied and divided: and so, in the 1570?s Rome bent her efforts, as she had done a thousand years before in the days of Saint Augustine, to win England back by means of her missionaries.

These were young Englishmen who had either never given up the old faith, or having done so, had returned to it and felt called to become priests. There being, of course, no Catholic seminaries left in England, they went abroad, at first quite easily, later with difficulty and danger, to study in the English colleges at Douai or Rome: the former established for the training of ordinary or secular

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clergy, the other for the member of the Society of Jesus, commonly known as Jesuits, a new Order established by St, Ignatius Loyola same thirty years before. The seculars came first; they achieved a success which even the most eager could hardly have expected. Cool-minded and well-informed men, like Cecil, had long surmised that the conversion of the English people to Protestantism was for from complete; many—Cecil thought even the majority—had conformed out of fear, self-interest or—possibly the commonest reason of all—sheer bewilderment at the rapid changes in doctrine and forms of worship imposed on them in so short a time. Thus it happened that the missionaries found a welcome, not only with the families who had secretly offered them hospitality if they came, but with many others whom their first hosts invited to meet them or passed them on to. They would land at the ports in disguise, as merchants, courtiers or what not, professing some plausible business in the country, and make by devious may for their first house of refuge. There they would administer the Sacraments and preach to the house holds and to such of the neighbors as their hosts trusted and presently go on to some other locality to which they were directed or from which they received a call.

1. The main idea of this passage is

A. The continuity of the religious struggle in Britain in new ways. B. The conversion of religion in Britain. C. The victory of the New religion in Britain. D. England became prosperous. 2. What was Martin Luther?s religions?

A. Buddhism. B. Protestantism. C. Catholicism. D. Orthodox. 3. Through what way did the Rome recover some of the lost land? A. Civil and military ways. B. Propaganda and attack. C. Persuasion and criticism. D. Religious and military ways. 4. What did the second paragraph mainly describe?

A. The activities of missionaries in Britain. w*w*w*k*s*5*u*c*o*m B. The conversion of English people to Protestantism was far from complete. C. The young in Britain began to convert to Catholicism D. Most families offered hospitality to missionaries.

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Vocabulary 1. evade 避开，回避 2. creed 教义，信条，主义

3. the Crown 原义皇冠，在英国代表王权，王室/君主 4. low Countries 低地国，指荷兰，卢森堡，比利时

5. last extremity 最后阶段，绝境，临终。这里指那里人民临近 无可选择只能信奉天主教。 6. bend one?s effort 竭尽全力 7. seminary 高等中学，神学院/校 8. surmise 猜度，臆测 9. doctrine 教义

10. plausible 貌似合理/公平的 11. courtier 朝臣

12. devious 绕来绕去的，迂回曲折的 13. Sacrament 圣礼，圣事/餐 14. secular 修道院外的，世俗的 15. the society of Jesus 天主教的耶酥会 16. Douai 杜埃（法国地名） 17. Jesuit 天主耶酥会会士 难句译注

1. The Douay Bible 杜埃圣经（罗马天主教会核定的英译本圣经，于1582年及

1609——1610你年又罗马天主教学者将新旧约分别从拉丁文译成英语在杜埃出版，可见当时杜埃是天主教势力的集中地之一。

2. St. Ignatius Loyola 圣·罗耀拉 1491——1556 西班牙军人及天主教教士，耶酥会的创始人。

3. Cecil (William Cecil) 西塞尔 1520——1598，英国政治家，女王伊丽莎白的得力大臣。 4. Men were still for from recognizing that two religions could exist side by side in the same society; they believed that the toleration of another religion different from their own. And hence necessarily false, must inevitably destroy such a society and bring the souls of all its members into danger of hell.

【结构简析】 用分号连接的两个分句，分句中都有that 是引导的宾从。

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【参考译文】 人们远远没有意识到两个宗教可以并存于同一个社会中；他们认为容忍不同于他们自己的宗教，因为也必然是错误的教派，不可避免的会破坏这样一个社会，从而把所有的成员的灵魂带进地狱的危险。

5. Against England, the most important of all the Protestant nations to reconquer, military might was not yet possible because the Catholic Powers were too occupied and divided: and so, in the 1570?s Rome bent her efforts, as she had done a thousand years before in the days of Saint Augustine, to win England back by means of her missionaries

【结构简析】 the most important of all the Protestant nations to reconquer, 这句话是同位语，说明England. As she had done a thousand… ，这里的as =just to 义：就像，正如。

【参考译文】 对付英国，需要重新征服的所有基督教国家中最重要的一国，动用军事力量不可能。因为天主教大国们太忙，太分裂；因此罗马于1570年代就像一千年前，在圣·奥古斯都统治时期它曾做过的那样，竭尽权力想通过传教方式把英国赢回来。

写作方法与文章大意

这篇文章论及“罗马教皇采用文武两手政策在欧洲，特别在英国，恢复旧教——天主教。”采用一般到具体的写作手法。可以说由大到小。大的欧洲背景，最后落实在英国的具体做法。重点在英国。

答案详解

1. A. 这篇文章的中心思想是“英国宗教斗争以新的方式继续进行。”

B. 英国宗教的转变。 C. 新教在英国的胜利。 D. 英国变得繁荣。这三项都是文内谈到具体事情，不能作主题思想。

2. B. 新教，基督教。因为罗马教皇推行的是天主教。这在第一段第四句明确点明：“在英国，宗教改革者，或者说基督教，在英国皇权的协助下，此时已取得胜利；而作为整个欧洲来说，罗马教皇已经开始恢复世纪初马丁·路德反叛后所失去的一些地盘。”马丁·路德是改革者，也就是基督教。w*w*w*k*s*5*u*c*o*m

A. 佛教。 C. 天主教。 D. 东正教

3. D. 宗教和武力。第一段第五句说明：“教皇用两种办法进行恢复，一种就像在部分德国地区进行的那样通过传教士的活动，另一种象在低地国里进行的，通过天主教国家的军事力量。那里荷兰的几个省份在西班牙的军事压力下，常常是被逼迫得几乎走投无路了。

A. civil and military ways文武两手，civil范围太广，特别指民事的，非宗教的，文职的。这里不合适。 B. 宣传和抨击。 C. 劝说和批评。都不对。

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4. A. 传教士活动在英国。第二段的开始就讲到，“这些英国青年或者根本没有放弃老的信仰，或者放弃以后又重新归反旧教，应召成为牧师。英国当然没有剩下天主教神学院，他们就出国，开始很容易，后来，有困难甚至有危险，到杜埃或罗马英文学院就读。前者专为培养一般或修道院外的牧师而建。后者是培养耶酥会教士，通称天主耶酥会会士，是约三十年前圣·罗耀拉创建的一种神职。”在杜埃学习的牧师先回来，他们取得了令人意想不到的成功。下面就是他们（这样指第一类修道士在英国活动情况）。“头脑冷静，信息灵通人士，像西塞尔这种政治家，长期以来，一直猜度，英国人归反基督教新教的过程远远没有完成。许多人——因他们被在那么短的时期内强加到他们身上的信仰形式，飞快变更的教义搞糊涂了。”

B. 英国人归反基督教的事情远远没有完成。 C. 在英国青年开始归反天主教。两项选择见上文解释。都是传教活动开始的原因。D. 大多数家庭礼待传教士。这是第二段最后几行谈到这些传教士秘密来到英国后的情况。他们不仅受到老关系家庭欢迎。也受到第一次邀请他们的家庭欢迎。主人还把他们介绍给其它家庭。

Passage Five Photography and Art

The earliest controversies about the relationship between photography and art centered on whether photograph?s fidelity to appearances and dependence on a machine allowed it to be a fine art as distinct from merely a practical art. Throughout the nineteenth century, the defence of photography was identical with the struggle to establish it as a fine art. Against the charge that photography was a soulless, mechanical copying of reality, photographers asserted that it was instead a privileged way of seeing, a revolt against commonplace vision, and no less worthy an art than painting.

Ironically, now that photography is securely established as a fine art, many photographers find it pretentious or irrelevant to label it as such. Serious photographers variously claim to be finding, recording, impartially observing, witnessing events, exploring themselves—anything but making works of art. They are no longer willing to debate whether photography is or is not a fine art, except to proclaim that their own work is not involved with art. It shows the extent to which they simply take for granted the concept of art imposed by the triumph of Modernism: the better the art, the more subversive it is of the traditional aims of art.

Photographers? disclaimers of any interest in making art tell us more about the harried status of the contemporary notion of art than about whether photography is or is not art. For example, those photographers who suppose that, by taking pictures, they are getting away from the pretensions of

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art as exemplified by painting remind us of those Abstract Expressionist painters who imagined they were getting away from the intellectual austerity of classical Modernist painting by concentrating on the physical act of painting. Much of photography?s prestige today derives from the convergence of its aims with those of recent art, particularly with the dismissal of abstract art implicit in the phenomenon of Pop painting during the 1960?s. Appreciating photographs is a relief to sensibilities tired of the mental exertions demanded by abstract art. Classical Modernist painting—that is, abstract art as developed in different ways by Picasso, Kandinsky, and Matisse—presupposes highly developed skills of looking and a familiarity with other paintings and the history of art. Photography, like Pop painting, reassures viewers that art is not hard; photography seems to be more about its subjects than about art.

Photography, however, has developed all the anxieties and self-consciousness of a classic Modernist art. Many professionals privately have begun to worry that the promotion of photography as an activity subversive of the traditional pretensions of art has gone so far that the public will forget that photography is a distinctive and exalted activity—in short, an art.

1. What is the author mainly concerned with? The author is concerned with A. defining the Modernist attitude toward art. B. explaining how photography emerged as a fine art.

C. explaining the attitude of serious contemporary photographers toward photography as art and placing those attitudes in their historical context.

D. defining the various approaches that serious contemporary photographers take toward their art and assessing the value of each of those approaches.

2. Which of the following adjectives best describes “the concept of art imposed by the triumph of Modernism” as the author represents it in lines 12—13?

A. Objective B. Mechanical. C. Superficial. D. Paradoxical. w*w*w*k*s*5*u*c*o*m 3. Why does the author introduce Abstract Expressionist painter?

A. He wants to provide an example of artists who, like serious contemporary photographers, disavowed traditionally accepted aims of modern art.

B. He wants to set forth an analogy between the Abstract Expressionist painters and classical Modernist painters.

C. He wants to provide a contrast to Pop artist and others.

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D. He wants to provide an explanation of why serious photography, like other contemporary visual forms, is not and should not pretend to be an art.

4. How did the nineteenth-century defenders of photography stress the photography? A. They stressed photography was a means of making people happy. B. It was art for recording the world.

C. It was a device for observing the world impartially. D. It was an art comparable to painting. Vocabulary

1. fine arts 美术（指绘画，雕刻，建筑，诗歌，音乐等） 2. assert 主张，声明，维护（权利） 3. privileged 特殊的，享受特权的，特许的 4. pretentious 狂妄的，做作的 5. irrelevant 不相干的，无关的 6. subversive 破坏性的，颠覆性的 7. disclaimer 弃权者 8. harry 掠夺，折磨 9. austerity 严格，简朴 10. convergence 聚合，集合点 11. implicit 含蓄的

12. distinctive 区别的，独特的 13. exalted 高贵的，高尚的 难句译注

1. The earliest controversies about the relationship between photography and art centered on whether photograph?s fidelity to appearances and dependence on a machine allowed it to be a fine art as distinct from merely a practical art.

【结构简析】 此句为主谓语+宾语从句。As distinct from … 句修饰fine art.

【参考译文】 最早有关摄影和艺术关系的争论点集中在摄影对表象的忠实和对机器的依赖能否使它成为艺术，有别于仅仅是实用的美术。

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2. Against the charge that photography was a soulless, mechanical copying of reality, photographers asserted that it was instead a privileged way of seeing, a revolt against commonplace vision, and no less worthy an art than painting.

【结构简析】 结构是主谓宾从。句子长是因为介词短语against the charge 后接同位说明语the photography was …宾语从句中有三组表语：a way of seeing, a revolt, an art.

【参考译文】 正队这种指责：摄影是一种没有灵魂的，对现实机械性复制，摄影工作者声名摄影不是复制品，而是一种特殊的观察方式，是对平庸视觉的叛逆，和绘画一样有艺术价值。

3. It shows the extent to which they simply take for granted the concept of art imposed by the triumph of Modernism: the better the art, the more subversive it is of the traditional aims of art.

【结构简析】 句子结构为主从句，which引导宾从作介词to 的宾语，宾从中imposed by …分词短语修饰concept of art, the better …the more 是说明concept of art.

【参考译文】 这说明他们就是把现代主义胜利所强加的艺术概念视为合理的，其合理程度是：艺术越强，对艺术的传统目的破坏得越大。

4. Photographers? disclaimers of any interest in making art tell us more about the harried status of the contemporary notion of art than about whether photography is or is not art.

【结构简析】 名词disclaimer放弃，否认。上下文翻译中可译成动词含义，否认抛弃创作艺术的兴趣。

【参考译文】 摄影师否认对创作艺术感性趣，他们告诉我们更多的是有关现代艺术概念的令人苦恼的情况，而不是摄影是不是艺术问题。

5. Many professionals privately have begun to worry that the promotion of photography as an activity subversive of the traditional pretensions of art has gone so far that the public will forget that photography is a distinctive and exalted activity—in short, an art.

【结构简析】 复合句。句内三个that clause. 第一个是worry的宾从；第二个是so far that 的句型。第三个是forget 之宾从。w*w*w*k*s*5*u*c*o*m

【参考译文】 许多专业摄影人员私下开始担忧，强调摄影是对传统艺术意图的颠覆活动的做法有些过分了，（活动的宣传走得太远）以致使公众忘记摄影是一种独特的高尚活动——总之，是一种艺术。

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写作方法与文章大意

文章论及“摄影是否是艺术”问题，这样采用对比手法。一开始就讲述了19世纪摄影家为确立摄影是艺术而提出的种种依据，并把美术和摄影作比较，来反驳否定摄影的论点：忠于表象，以来机器，没有灵魂……

确立的艺术后，他们为摆脱油画那种矫饰的艺术意图而努力推崇“艺术越佳，对艺术传统意图破坏越大”的论点。作者把这些摄影家和抽象表现主义画家相提并论，把摄影和流行画等同；和古典现代主义画家和画相对抗。

最后结论是这种破坏传统艺术意图的活动不能走得太远，因为摄影毕竟是艺术，否则……。

答案详解

1. C. 说明当代严肃的摄影家对摄影作为艺术的态度，并把他们这些态度放在历史的进程来观察。见文章大意。他们先为摄影是否是艺术而争辩，后为否定其艺术而努力。重点放在主题上。

A. 界定显得主义者对艺术的态度。 B. 解释摄影是如何作为美术出现的。第一段涉及，见难句译注2。 D. 界定当代严肃摄影家对待他们艺术所具有的各种观点，并评定每种观点的价值。这三项只是文内提到的某些方面，不是主要的。

2. D. 矛盾的。见难句译注3。w*w*w*k*s*5*u*c*o*m A. 客观的。 B. 机械的。 C. 表面的。

3. A. 他要列举这样艺术家的例子，他们象当代严肃的摄影家一样抛弃了传统上被接受的现代艺术目的。见第三段第二句：“举例说，这些认为通过拍照可以摆脱绘画所表现的艺术的矫饰的摄影家，使我们想起了那些抽象表现主义绘画的严肃的思想。”

B. 他想在抽象表现主义画家和古典现代主义画家之间找出相似点。 C. 他要在流行艺术家和其它艺术家之间作一个对比。 D. 他想解释为什么严肃摄影，象其它当代视觉形式一样不是艺术，而且也不应当充作艺术。w*w*w*k*s*5*u*c*o*m

4. D. 摄影是一种艺术，可以和油画相比美。见难句译注2。

A. 他们强调摄影是使人们快乐的手段。 B. 是记录世界的艺术。 C. 摄影是公正观察世界的

工具

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爷要听什么?随便你唱什么。吟霜侧著头,深思了一会几,再掉头看向云鹏

暗中布置著什么,云鹏发现她在装修吟霜那几间卧室了,他怀疑的问: 从此,葛府中失去了吟霜的影子。云鹏魂牵梦萦,实在无法忘怀吟霜。朝朝井上可奈_爽到饥渴妇人流_井上可奈暮暮,这片

似悲似乐的情绪把他给击倒了。他俯视著她,不由自主的揽住了她的头,喃喃的说:

要为他物色人选的念头仍然未消,感于井上可奈_爽到饥渴妇人流_井上可奈她那片好意,他也就无可奈何了。于是,这天,云鹏

吟霜,他低唤井上可奈_爽到饥渴妇人流_井上可奈,点了点头,慨然的说:薄命怜卿甘作妾!薄命吗?吟霜低

啊呀,我的天!云鹏感到一阵头晕目眩,用手拍著额,他一叠连声的叫葛升备井上可奈_爽到饥渴妇人流_井上可奈马,

在哪儿?我让她待在吟霜的那间屋子里呢,你去看看好吗?

怎井上可奈_爽到饥渴妇人流_井上可奈_爽到饥渴妇人流_井上可奈井上可奈么可以让她住吟霜的房间!云鹏十分不乐,却不好发作。看到弄玉一片喜孜孜的样

双眉暗锁,心事谁知我?旧恨而今较可,新愁去后如何?白狐6/井上可奈

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_爽到饥渴妇人流_井上可奈46 呢?

内容,因井上可奈_爽到饥渴妇人流_井上可奈此,垂著眼睑,低俯著头,她不敢仰视云鹏。

祝完,他再看看那密井上可奈_爽到饥渴妇人流_井井上可奈_爽到饥渴妇人流_井上可奈上可奈密深深的荒林,重重的跺了一下脚,带著满怀井上可奈_爽到饥渴妇人流_井上可奈的无可奈何与怆恻之

有些诧异,也有些不耐。但是,屋里已响起一阵叮叮咚咚的琴声,好熟悉!接著,一个圆润 变吧!

霜。怕弄玉寒心,他不敢形于色,而弄玉呢?她已把吟霜的井上可奈_爽到饥井上可奈_爽到饥渴妇人流_井上可奈渴妇人流_井上可奈房间弄得焕然一新,云鹏知道她 她说,等你回来,就不会放她走了!

福的笑容。

弄玉,弄玉,你实在是个好太太!你别给我弄人,我一定从明天起振作起来,如

吟霜凝视著她,泪珠沿颊滚落,但是,她在井上可奈_爽到饥渴妇人流_井上可奈微笑著,在她唇边,浮现著一个好井上可奈_爽到饥渴妇人流_

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井上可奈美丽好井上可奈_爽到饥渴妇人流_井上可奈幸

然的站在房门口,对云鹏深深一福说:夫人叫井上可奈_爽到饥渴妇人流_井上可奈我来,她说爷有话要交代。

是,爷,我的期限已经到了,我必须离去。吟霜温柔而井上可奈_爽到饥渴妇人流_井上可奈哀恳的说:请你井上可奈_爽到饥渴妇人流_井上可奈看在我这几年的

了,就来不及了。井上可奈_爽到饥渴妇人流_井上可奈现在,你愿意出去,让姐姐进来吗?我有话要和姐姐说。云鹏心神皆

是,那琴声叮叮咚咚的持续了一阵之后,却戛然而止了。云鹏低低叹息,一阵落寞的感觉,

知否?知否?多少恨才下心头,却上眉头! 他要赶到那森林里去看个究竟。

子,他又不忍过拂其意,只得走到那门口来。才到门口,弄玉又止住了他。

自己,那么,救救你自己吧!吟霜!为了我,救救你自己吧!吟霜含泪看著云鹏。你真

只怕……吟霜低叹了一声,把头转向里面。我是没有这个福气了,爷。云鹏一

终于,他们来到了那丛林里,葛升勒住马说:就在这儿!云鹏停住马,举目四顾,

还有比这件井上可奈_爽到饥渴妇人流_井上可奈事更大的喜悦吗?知

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县府中,整日整夜鞭炮不断,老百姓们,齐聚在县衙门

的手,担忧的望著她,恳挚的说:吟霜,你一定要快些好起来,看不到你活活泼泼的在屋 来:

能比生活在爷和夫人身边更快乐的呢?

霜,你必须好好的活著!为了我,吟霜,你不是什么都为了我吗?你必须为我好好的活著!

弄玉走了,云鹏坐在那儿,呆呆的看著竹帘子发愣。忽然间,他听到一阵琴声,和著歌

畏羞的直视著他,一层热烈的光彩笼罩在她井上可奈_爽井上可奈_爽到饥渴妇人流_井上可奈到饥渴妇人流_井上可奈那清丽的脸庞上,使她井上可奈_爽到饥渴妇人流_井上可奈看来无比的美丽,无比的 知否?知否?一片心事难出口,谁怜我镇日消瘦? 的,不是吗?

野的跳动著。她又叹息了,轻声的,她像许诺般的说:爷,你放心,我不会死的。

云鹏猛的一震,这可能吗?他再也按捺不住,大踏步的跨上前去,井上可奈_爽到饥渴妇人流_井井上可奈_爽到饥渴妇人流_井上可奈上可奈他

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一掀帘子,直冲进

听说你最近不大舒服,云鹏说,仔细的打量她,是的,那面颊是消瘦了,那腰身也

不知道到底哪一家最好。事情关系你的终身,所以井上可奈_爽到饥渴妇人流_井上可奈,也不能不问问你自己的意见。

住了他。知道吗?爷,我是属于山林和原野的,自来你家,虽然井上可奈_爽到饥渴妇人流_井上可奈我也很幸福,但是,到底

云鹏恍然若梦,轻触著吟霜的头发面颊,她丰泽依旧,比卧病前还好看得多。他喃喃

看的!原来葛升也是同谋。

你知道,我们井上可奈_爽到饥渴妇人流_井上可奈在给你作媒呢井上可奈_爽到饥渴妇人流_井上可奈!云鹏开门见山的说,紧紧的注视著吟霜。吟霜微微的

爷井上可奈_爽到饥渴妇人流_井上可奈,吟霜安慰的拍拍他的手。我不会死,我没有说我要死呀!我只是要告诉你一

云鹏走井上可奈井上可奈_爽到饥渴妇人流_井上可奈_爽到饥渴妇人流_井上可奈进了吟霜房里,房角的小药炉上,在熬著药,一屋子的药

- 25 -

香。桌上,一灯如豆。

弄玉,你不会吃吟霜的醋,井上可奈_爽到饥渴妇人流_井上可奈因为你和我一样喜欢吟霜呢!一句话说得弄玉心酸,她

我不管你是人是狐,云鹏烦恼的说:我只井上可奈_爽到饥渴妇人流_井上可奈要你在我身边,好好的活著。可 爷允许我告退了!

啊呀,云鹏,你可别冤枉人井上可奈_爽到饥井上可奈_爽到饥渴妇人流_井上可奈渴妇人流_井上可奈家吟霜,你要是真关心她啊,你就该看出她现在精井上可奈_爽到饥渴妇人流_井上可奈神大不

匆匆挽个抛家髻,这春愁怎替?那新词且寄!

起身来,茫然四顾,森林绵密,树影重重,暮色惨淡,烟雾迷离,秋风瑟瑟,落木萧井上可奈_爽到饥渴妇人流_井上可奈萧。那

吟霜似乎也一阵惨然,泪珠就如断线珍珠般滚滚而下,握紧了云鹏的手,她凄然说: 走,何苦来这一趟?

望著云鹏,叹口气说:

怎么?这是怎么回事?云鹏更加糊涂了。

井上可奈_爽到饥渴妇人流_井上可奈

到那白影子的旁边,一把抓住,却是吟霜的衣裳和鞋子,衣裳之中,什么

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都没有。吟

是吗?是吗?她真是化为白狐井上可奈_爽到饥渴妇人流_井上可奈,回归山野了吗?云鹏仰首问天,天亦无言,俯首问地,

原来井上可奈_爽到饥渴妇人流_井上可奈如此!云鹏有些不高兴,井上可奈_爽到饥渴妇人流_井上可奈皱著眉问:

云鹏从墙上摘下一把琴来。

晚上,云鹏坐在书房中,正在看著书,喜儿在一边服侍著。忽然,门帘一掀,吟霜盈盈井上可奈_爽到饥渴井上可奈_爽到饥渴妇人流_井上可奈妇人流_井上可奈

这是你的工作井上可奈_爽到饥渴妇人流_井上可井上可奈_爽到饥渴妇人流_井上可奈奈,你该去问问她。或者,她自己心里有数,愿意去怎样的人家。我

白狐,山林辽阔,请好生珍重,一要远离猎人网罟,二要远离猛兽爪牙。你一点灵心,若不

门口舞狮井上可奈_爽到饥渴妇人流_井上可奈舞龙。弄玉吩咐井上可奈_爽到饥渴妇人井上可奈_爽到饥渴妇人流_井上可奈流_井上可奈扎起一个戏台子,唱了好几个通宵的戏。葛府中上上下下,全穿上 哦,这个弄玉!这种关于婚事的话,她们井上可奈_爽到饥渴妇人流_井上可奈女人家彼此谈起来不是简单得多,偏要他来

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谈。但是,也罢,既然来了,不妨问个清楚。他点点头,摒退了喜儿,对吟霜说:

你关好门,过来坐下吧,我们谈谈。

了。云鹏十分焦急,延井上可奈_爽到饥渴妇人流_井上可奈医诊治,都说血气亏损,要好好井上可奈_爽井上可奈_爽到饥渴妇人流_井上可奈到饥渴妇人流_井上可奈调理休养。但,尽管参汤燕窝的调

不出的雅致与飘逸,他不自禁的看呆了。吟霜轻轻的站起身来,垂著头,她幽幽的说:请

爷,如你疼我,好好待那个孩子吧。我在林中,还是会过得快快乐乐的,你尽可以放

我知道,吟霜说:我很清醒,我讲的都是真话。爷,你想想看吧,我来你家的整

吟霜躺在白色井上可奈_爽到饥渴妇人流_井上可奈的纱帐里,面色在昏黄的灯光映照下,更显得井上可奈_爽到饥渴妇人流_井上可奈憔悴而消瘦。但她那对乌黑的井上可奈_爽到饥渴妇人流_井上可奈眼

- 28 -

声,从花园中袅袅传来。他知道,这又是吟霜在抚琴而歌了。下意识的,他用手支住颚,开

珠,却比往日更加清亮,更加有神。云鹏走过去,坐在床沿上,轻轻的握住吟霜放在被外的

的、不解的、困惑的说:

井上可奈_爽到饥渴妇人流_井上可奈

一眼看到在那林中的草地上,有一团白色的影子。云鹏喊了一声,滚鞍下马,连跑带跌的冲

著我,她委婉的说:你何不出去走走。

非常漂亮,眉毛眼睛,都酷似吟霜。他常抱著孩子,低低的说: 宁可废礼,逼著吟霜和她姐妹相呼。她宠她,爱她,怜惜她,更胜过一井上可奈_爽井上可奈_爽到饥渴妇人流_井上可奈到饥渴妇人流_井上可奈个亲姐姐。而吟霜

知否?知否?恨个人心意如铁,我终身休配井上可奈_爽到饥渴妇人流_井上可奈鸾俦!

吟霜请你去,云鹏,她有话要告诉你!

休井上可奈_爽到饥渴妇人流_井上可奈休,似这般不解风情,辜负我一番琴奏!

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如前了! 呢?

了最华丽的衣服,戴上喜花,人人都是笑吟吟的。老家人葛升,更津津乐道于述说白狐报恩

吟霜关上了门,走过来,顺从的在云鹏脚边的一张矮凳上坐下了。她似乎已预知谈话的

叨天之幸,经过一年的调养,我真的好了。

怎么呢?云鹏更加不安的问。她呀,我也不知道怎么,弄玉又悄悄的看看井上可奈_爽到饥渴妇人流_井上可奈云

把琴平井上可奈_爽到饥渴妇人流_井上可奈放在膝上,她轻抚了井上可奈_爽到饥渴妇人流_井上可奈几个音,抬起眼睛,她看著云鹏。

云鹏怔怔的看著吟霜,她神色哀怨,语音凄楚,那眉目之间,一片哀愁和委屈。怎么,

云鹏,你这样想念吟霜,不怕我吃醋吗?

云鹏不相信的看著她,伸手摸摸她的额,她没有发烧,她的井上可奈_爽到饥渴妇人流井上可奈_爽到饥渴妇人流_井上可奈_井上可奈神志是井上可奈井井上可奈_爽到饥渴妇人流_井上可奈上可奈井上可奈_爽

- 30 -

到饥渴妇人流_井上可奈_爽到饥渴妇人流_井上可奈_爽到饥渴妇人流_井上可奈清醒的。你知道你自己

决不许离开我!吟霜,冷汗在他额头沁了出来,他仆向她:再也不许说,你知道吗?吟

哦,爷。她说:我想一个流离失所的卖唱女子,能得到爷这样推心置腹的恩宠, 调子,她又唱:

面对著他。这不是吟霜,更是何人!

乎谈了许多井上可奈_爽到饥渴妇人流_井上可奈知心的话。到晚上,弄玉含泪来到云鹏面前。

朝思暮想之苦。就这样,一年的时间过去了。孩子已牙牙学语,而且能摇摇摆摆的走路了。

嫁,我井上可奈_爽到饥渴妇人流_井上可奈还不如井上可奈_爽到饥渴妇人流_井上可奈一死!井上可奈_爽到饥渴妇人流_井上可奈云鹏心动神驰,狂喜中杂著心酸,怜惜中杂著欢乐,那份乍惊乍喜,

那么……云井上可奈_爽到饥渴妇人流_井上可奈鹏脑子里乱成了一团。

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你真愿意这样?你知道你美好得像一朵含井上可奈_爽到饥渴妇人流_井上可奈苞待放的白梅,你知道我多怕糟蹋了你?你

护过深,我深怕让爷目睹我的死亡,会过份伤心,所以,我和姐姐串通好,想出这个办法 明月夜,短松冈。

房。霎时间,他愣住了。在一张椅子上,井上可奈_爽到饥渴妇人流_井上可奈一个女子白衣白裳白飘带,正抱琴而坐,笑盈盈的 五真的,第二年的夏天,吟霜生了一个男孩子。 泪进了吟霜的房间,整夜,她都逗留在里面,没有出来。

现在吗?吟霜问井上可奈_爽到饥渴妇人流_井上可奈。是的,现在。吟霜顺从的接过了琴,在一张井上可奈_爽到饥渴妇人流_井上可奈凳子上坐下了,

什么救命恩人,我不过帮她葬了父亲,也算不得救命!井上可奈_爽到饥渴妇人流井上可奈_爽到饥渴妇人流_井上可奈_井上可奈

但是,这井上可奈_爽到饥渴妇人流_井上可奈一次生产却严重的损伤了井上可奈_爽到饥渴妇人流_井上可奈吟霜的健康,她显得非常消瘦而苍白。满月的时候, 听到了,爷。她低声说。

又热烈的俯向井上可奈_爽到饥渴妇人流_井上可奈她。吟霜,记得那年你曾救了冬儿一命,你既然能救冬儿,你当然也井上可奈_爽到饥渴妇人流_井上可奈可以救

- 32 -

自己问问她呢?你到底是她的救命恩人,她可能愿意告诉你。

也永不井上可奈_爽到饥渴妇人流_井上可奈会知道这谜底了。如果我竟然好了,那时,我再回到你身边来,把一切真相告诉你。

知道忍痛提婚,我需要多大的定井上可奈_爽到饥渴妇人流_井上可奈力?啊,吟霜,你真愿井上可奈_爽到饥渴妇人流_井上可奈意?你真愿意?

暗,山影幢幢,树影参差,几点寒星,闪烁在高而远的天边。老仆葛升再一次跪井上可奈_爽到饥渴妇人流_井上可奈禀:

是一只狐狸吗?荒谬!岂不荒谬吗?但,她真是只狐狸吗?你说吧,井上可奈_爽到饥渴妇人流_井上可奈吟霜。白井上可奈_爽到饥渴妇人流_井上可奈狐7/46

云鹏开始强颜欢笑,也开始参加应酬宴会,去歌台舞榭,但,在心底,他还是想念著吟

第二天一大早,云鹏就必须出门,因为知府来县中巡视,他要去陪侍。他无暇再去探视

卖身给爷了,爷要怎么安井上可奈_爽到饥渴妇人流_井上可奈井上可奈_爽到饥渴妇井上可奈_爽到饥渴妇人流_井上可奈人流_井上可奈排就怎么安排,奴才不井上可奈_爽到饥渴妇人流_井上可奈敢说话。 用背对著云鹏,不住的用袖子擦著眼泪,她的双肩耸动,喉中哽噎。用手拉著帘子,她颤声

- 33 -

云鹏,请原谅我们。她说。 吗?

人,病重而不愿皇帝亲睹,怕憔悴之状,使皇帝不乐。我当时也有同样的想法,而且,爷爱

地亦无语。云鹏心碎神伤,不禁井上可奈_爽到饥渴妇人流_井上可奈凄然泪下井上可奈_爽到饥渴妇人流_井上可奈。抚摸著那些衣井上可奈_爽到饥渴妇人流_井上可奈衫,衣香依旧,而芳踪已杳。他不 愿意!

语,声井上可奈_爽到饥渴妇人流_井上可井上可奈_爽到饥渴妇人流_井上可奈奈音轻柔如梦。我属于薄命的时期已经过去了。以后该是幸福而欢乐的,还有什么事

音清晰的说:自从踏进葛府的大门,井上可奈_爽到饥渴妇人流_井上可奈我从没有离去井上可奈_爽到饥渴妇人流_井上可奈的打算,如今,既然不堪驱使,必要遣

吟霜仍然仰视著他,井上可奈_爽到饥渴妇人流_井上可奈她那光明如星的眸子坦白的对著他,似乎在狂喊著:愿意!愿意!

吟霜!他沙嗄的喊,不信任的瞪井上可奈_爽到饥渴妇人流_井上可奈视著她。

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鹏,弄玉追了进来,含泪说:吟霜已经井上可奈_爽到饥渴妇人流_井上可奈离去了。 云鹏深深的注视著她。

井上可奈_爽到饥渴妇人流_井上可奈当然不,吟霜,你知道我一向不相信鬼狐之说。

鹏。只是,从春天起,她就神情恹恹井上可奈_爽到饥渴妇人流_井上可奈的。我说,爷,你给人家选婆家,也该征求她本人的

井上可奈_爽到饥渴妇人流_井上可奈爷。吟霜脸上仍然带著那楚楚动人的微笑。我请你来,是必须告诉你一件事情。

小径,那岩石,那原野,都已模糊难辨了。云鹏怆然的想起前人的词:料得年年肠断处,

你在弄些什么?把这几间屋子收拾好,给你再物色一个井上可奈_爽到饥渴妇人流_井上可奈人井上可奈_爽到饥渴妇人流_井上可奈。弄玉井上可奈_爽到饥渴妇人流_井上可奈笑嘻嘻的说。 鹏,我总算给你物色到一个人了! 髻。这春愁怎替?那新词且寄!

她虽然也挣扎著下了床,提起精神,应付一连几天井上可奈_爽到饥渴

- 35 -

妇人流_井上可奈的酒宴。可是,不到半个月,她就又睡倒

依稀听到了一些句子,却正是:香梦回,才褪红鸳被,重点檀唇胭脂腻,匆匆挽个抛家

忍遽去,伫立久之,家人们也都垂手而立,默默无言。山风呼啸,夜枭哀啼,天色逐渐黑

我还有什井上可奈_爽到饥渴妇人流_井上可奈么不满足的呢?我是死而无井上可奈_爽到饥渴妇人流_井上可奈憾了。不许提死字,吟霜!云鹏含著泪喊,忽然

窥探,我会重化为狐,回归山林。如果你不井上可奈_爽到饥渴妇人流_井上可奈依井上可奈_爽到饥渴妇人流_井上可奈我,我会死去的。 您别先进去,云鹏。这女孩也会唱曲子,你先听她唱一曲,看看比吟霜如何?云鹏

可是,你错了,爷。吟霜叹口气,坦率而恳挚的井上可奈_爽到饥渴妇人流_井上可奈看著他。我要告诉你的就是井上可奈_爽到饥渴妇人流_井上可奈这

快马加鞭,直向丛林冲去。 且,再也不走了!

原野起伏绵延,无边无际。吟霜在哪里呢?他紧抱著吟霜的衣物,呆呆的伫立著,山风起

吟霜还是不说话。吟霜,你听到吗?吟霜受惊的抬起眼睛来,对云鹏匆匆一瞥,那

- 36 -

那么,你希望嫁一个怎样的人呢?现在,有张家来求亲,北城张百万家,知道吗?

喜儿鬼鬼祟祟,丫头们闪闪躲躲。井上可奈_爽到饥渴妇人流_井上可奈他奇怪的走进去,弄玉已笑著迎了井上可奈_爽到饥井上可奈_爽到饥渴妇人流_井上可奈渴妇人流_井上可奈出来,满脸井上可奈_爽到饥渴妇人流_井上可奈喜气:云

风瑟瑟,四野一片凄凉景象。想到吟霜被孤零零的丢在这山野里,他就觉得心如刀绞,不禁 情,他说:

候,吟霜更是瘦骨支离了,她已无法下床,也懒于饮食井上可奈_爽到饥渴妇人流_井上可奈了。弄玉完全不顾妻妾的名分,井上可奈_爽到饥渴妇人流_井上可奈整日

弄井上可奈_爽到饥渴妇人流_井上可奈玉从屋外跑进来,带著笑,她也对云鹏跪下了。白狐8/46

云鹏迎视著她的目光,听了这几句,已陡觉心里颊,她目光如酒,双颊如酡,换了一个

个经过,不是太巧了吗?我告诉您,我确实是那只白狐!

五内俱伤,心惊胆战,一把捂住了吟霜的嘴,井上井上可奈_爽到饥渴妇

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人流_井上可奈可奈_爽到饥渴妇人流_井上可奈他嚷著说:

吟霜。黄昏时分,他回到府中,来不及换去官服,就一直冲进吟霜的卧房,才跨进房间,他

也这样想,弄玉抿著嘴角,轻轻井上可奈_爽到饥渴妇人流_井上可奈一笑。井上可奈_爽到饥渴妇人流_井上可奈但是,她一个字也不肯说,我也没办法,你何不

她,而尊重她了!

不管弄玉的劝阻,他终于带著家人,井上可奈_爽到饥渴妇人流_井上可奈扑奔城西的丛林而去。出了城,郊外山路崎岖,秋

愿意唱一曲给我听吗?他问,心里忽然涌上一股恻然的情绪,等她嫁后,再想听她

弄玉不语,她知道他已是曾经沧海难为水,除却巫山不是云了。她嘴里不说,却在

就大吃了一惊,呆呆的井上可奈_爽到饥渴妇人流_井上可奈愣住了。吟霜房中,一切依旧,只是那张床上,已一无所有。云

随爷作主。吟霜仍然是那句话,但,眼泪却溢出了眼井上可奈_爽到饥渴妇人流_井井上井上可奈_爽到饥渴妇人流_井上可奈可奈_爽到饥渴妇

- 38 -

人流_井上可奈上可奈眶,沿著面颊滚落下去了。她 治,吟霜仍然日益憔悴。 在说些什么吗?

子里转,我什么事都做不下去。

不能失去你。他紧攥住井上可奈_爽到饥渴妇人流_井上可奈她。呵,吟霜,我真的不能失去你!井上可奈_爽到饥渴井上可奈_爽到饥渴妇人流_井上可奈妇人流_井上可奈

们,保重你自己呵。我看井上可奈_爽到饥渴妇人流_井上可奈,从明天起,你多出去走走,各处去散散心,好吗? 吟霜又站住了,垂手而立。

真的吗?吟霜?真的。她对他微笑。他看著她,于是,忽然间,他觉得她那许

震动了一下,一句话也不说,头俯得更低了,脸色也更苍白了。你不必害羞,吟霜。云

为了免得弄玉悬井上可奈_爽到饥渴妇人流_井上可奈心,他只井上可奈_爽到井上可奈_爽到饥渴妇人流_井上可奈饥渴妇人流_井上可奈得应著。但是,尽管名山胜水,或花园名胜,都无法排遣那份

那么,或者你会喜欢刘秀才家?

吟霜!云鹏惊喊,猛烈的摇头。不!不!不!你根本神志不清,不行,在那森林

井上可奈_爽到饥渴妇人流_井上可奈爷,你就让她安安静静的去吧!弄

- 39 -

玉劝著:天已经暗了,路又不好走,您何苦

去的?放在什么位置了?有没有留下人来照应?是葛升他们抬去的,我们遵照她的意

云鹏揽过弄玉,注视著她,温柔的说:

的没有一个人,他注意到,吟霜已经摒退了丫头们。

手,那手已枯瘦无力,一对白玉镯子,在手腕上好沉重井上可奈_爽到饥渴妇人流_井上可奈的坠著。云鹏四面望望,屋内静悄悄

始静静的倾听。因为隔得远,歌词听不太清楚。他定定神,用心的去捉住那声浪,于是,他

更加重要了,弄玉命令下人们,谁也不许称吟霜姨娘,而要称二夫人。私下里,她 何?

思,把她放在草地上,就都走开了,不敢留在那儿看她。

爷,你希望我死吗?哦,吟霜,我要怎么办?吟霜?云鹏凄楚的叫:井上可奈_爽到井上可奈_爽到饥渴妇人流_井上可奈饥渴妇人流_井上可奈你既然必定要

- 40 -

吟霜咬了咬嘴唇。怎么不说话呢?云鹏蹙眉问。

对他井上可奈_爽到饥渴妇人流_井上可奈慢慢的包围了过来。 说:奴才告退了!云鹏的心脏猛然的跳动著,他的呼吸急井上可奈_井上可奈_爽到饥渴妇人流_井上可奈爽到饥渴妇人流_井上可奈促,他的头脑昏眩,向前急急

处,落叶纷飞。葛升井上可奈_爽到饥渴妇人流_井上可奈走了过来,含泪跪井上可奈_爽到饥渴妇人流_井上可奈下说:爷,白姑娘是回她的家乡去了,请爷节哀顺

的眉,那亮晶晶的眼睛,那挺挺的鼻子,那小小的嘴,那细腻的皮肤,那玲珑的手脚……这井上可奈_爽到饥渴妇人流_井上可奈

来。只因为大家都传说我是白狐,我就假托为狐,要归诸山野。事实上,姐姐把我抬往另一 里,你会冻死!

别再说了!吟霜,你知道你在我心里的地位!你一定要放宽心思,好好调养自己,我 皱著眉说。

的跨了一井上可奈_爽到饥渴妇人流_井上可奈井上可奈_爽到饥渴妇人流_井上可奈大步,他忘形的把手压在吟霜的肩上,沙嗄的喊了一声:吟霜!吟霜猛的回过 狐。

- 41 -

碎,五内俱伤。他掩泪退出了吟霜的房间,痛心之余,真不知神之所之,魂之所井上可奈_爽到饥渴妇人流_井上可奈在。井上可奈_爽到饥渴妇人流_井上可奈弄玉含

他根本就不允许这预感存在。如今,他被刺痛了,紧张了井上可奈_爽到饥渴妇人流_井上可奈,也心惊肉跳了!

这种忘形的怀念,这种刻骨的相思,使他忧思忡忡,而形容憔井上可奈_爽到饥渴妇人流_井上可奈悴。弄玉看在眼里,急在

你的母亲呢?孩子?你的母亲呢?井上可奈_爽到饥渴妇人流_井上可奈 起了那只白狐,是的,这是那只白狐的眼睛!他有些神思恍惚而额汗涔涔了。吟霜紧紧的抓

于是,云鹏不再挣扎,不再困惑,不再痛苦,不再自欺,他把她拉了井上可奈_爽到饥渴妇人流_井上可奈起来,轻轻的揽在

霜!云鹏惨叫,举起衣裳,衣物都完整如新,只是伊人,已不知归向何处。他昏昏然的站

鹏困难的说:你知道,男大当婚,女大当嫁,这是做人必然的过程。

怀里,他的面颊轻触著她鬓边的发丝,和她那垂在耳际的小珠饰。他低低的叹息了。

等一下,吟霜。云鹏本能的喊井上可奈_爽到饥渴妇人流_井上可奈。 了。

- 42 -

今天下午,我听到你在唱歌。他说,顿了一下,又说:我很多天没听到你唱歌

吟霜。他心痛的喊著。

意思啊,别人到底不是咱们家的人呀!

因为,没有你,我的生活就再也没有意义了!哦,爷。吟霜低呼著,眼里蕴满了泪,

唱曲,就难如登天了。

我们遵照她的意思,把她送到城外西边的森林里去了。弄玉说:她逼著我做的,

清脆的歌喉,就袅袅柔柔的唱了起来:香梦回,才褪红鸳被,重点檀唇胭脂腻,

闺阁女子,失去了我,还有更好的,何况,有姐姐陪著你……这话简直像在诀别了,云鹏

栋住宅,买了丫头老妈子侍候著,同时延医诊治。如果我死了,就井上可奈_爽到饥渴妇人流_井上可奈让姐井上可奈_爽到饥渴妇人流_井上可奈姐把我私下井上可奈_爽到饥渴妇人流_井上可奈埋了,你

你别动吟霜的房间,也井上可奈_爽到饥渴妇人流_井上可奈别白费工

- 43 -

夫,你即使弄了人来,我也不要!云鹏没好气的说。 一个秘密?什么秘密?云鹏困惑的问。

吟霜抛下了手里的琴,对著云鹏跪下了,含著泪,她低低的井上可奈井上可奈_爽到饥渴妇人流_井上可奈_爽到饥渴妇人流_井上可奈叫:爷,我回来了。而

她不满意吗?她不愿嫁张家吗?她也嫌他们不是书香门第吗?

思念之情,丝毫不减。走进吟霜住过的房子,他低呼吟霜。看到吟霜穿过的衣物,他低呼吟

给你物色一个比吟霜更漂亮的,好吗?弄玉祈求的看著云鹏:你不要管,等我找

诺是真会实现的,她不会死!他似乎放下了一重重担,她不会死。可是,到了夏末秋初的时

因为,我的期限到了,我必须走了。

守在吟霜的房里,和云鹏一样,她也求她救救你自己。但,吟霜显然无法救她自己,她 动人。

- 44 -

不全呵!

从外面回到家井上可奈_爽到饥渴妇人流_井上可奈里来,才一进门,井井上可奈_爽到饥渴妇人流_井上可奈上可奈_爽到饥渴妇人流_井上可奈就觉得家里充满了井上可奈_爽到饥渴妇人流_井上可奈一股特殊的气氛,井上可奈_爽到饥渴妇人流_井上可奈老家人葛升笑得怪异, 爷,我是只狐狸呀!吟霜说,那乌黑晶亮的眼睛深深的盯著云鹏,云鹏不自禁的想

云鹏慨然长叹,抚摸著弄玉那窄窄的肩,和鬓边的细发,他心中浮起了一股感动和歉然

霜。抚弄吟霜弹过的琴,他低呼吟霜。抱起吟霜留下的儿子,他更是呼唤著吟霜。孩子长得

- 45 -

知否?知否?身如飘萍难寄,心事尽付东流!

是这样,爷。吟霜接口:那时候我病得很重,自以为不保。当年汉武帝之妃李夫

爷!她热烈的低喊,忽然身子一矮,就跪倒在他的脚前,仰著头,她瞪视著他,语

知否?知否?看它春色年年,我的芳心依旧! 那么怕我死?她幽幽的问。

个,我确实是那只在山中被你救下来的白狐,为报当日之恩,化身为人,设计来到你家。我

大眼睛里,竟闪耀著泪光,满脸的凄惶和无助。 这样才好。弄玉笑著,眼里盈著泪。

吟霜,他喊著:不许这样想!你还那样年轻,你还要跟我共度一大段的岁月,你

呢?丝毫没有恃宠而骄,她更加谦和,更加有礼,更加温柔,难怪井上可奈_爽到饥渴妇人流_井上可奈人人都要称扬她,喜欢 是一只白狐吗?

爷?吟霜询问的看了他一眼。

悄悄的举起袖子,拭了拭泪。云鹏望著她,依然是白衣白裳,腰间井上可奈_爽到饥渴妇人流_井上可奈系著一根白缎的腰带,说

- 46 -

的故事了。这真是天大的喜事,尤其云鹏已经三十几岁了,这才是第一个儿子!吟霜的地位

了一口,无情无绪的站起身来,他走到靠花园的窗边,挑起帘子,他想仔细的听一听。可

曾立誓要帮你生个儿子,这段恩情就算报了,现在,我已经给你生了儿子了!吟霜?

可是……可是……云鹏愣愣的说:在那山野里,我曾经目睹你蜕下的衣衫呢!

她用手轻轻地抚摸云鹏的手,劝慰的说:你不该说这话的,爷。您是个男人,我不过是个

真是你吗?吟霜?真是你吗?你从那山林里又回来了吗?你不会再变井上可奈_爽到饥渴妇人流_井上可奈为狐,一去不回 等你好了,我带著你和你姐姐,一起出去玩玩。

我要去把她带回来,云鹏嚷著:你知道山里有狼有虎吗?她就是井上可奈_爽到饥渴妇人流_井上可奈死,也不该尸骨

我们走吧!执辔回鞍,一片凄凉,再回首相望,夜雾迷离,山影井上可奈_

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爽到饥渴妇人流_井上可奈依稀。那树木,那

心,不要挂念,如果有缘,说不定我以后还会来见你。别了,爷。请照我的话办,一旦我死

的情绪,再叹口气,他低声说:

云鹏,天下佳人不少,与其天天想吟霜,不如再娶一个进来。你别瞎操心了!云鹏

哈,我说的可不是这个。弄玉掀起帘子,准备退出,又回眸一笑说:你心

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