SAT阅读模拟练习十

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　　It begins the moment you set foot ashore, the moment you step off the boat's gangway. The heart suddenly, yet vaguely, sinks. It is no lurch of fear. Quite the contrary. It is as if the life- urge failed, and the heart dimly sank. You trail past the 5 benevolent policeman and the inoffensive passport officials, through the fussy and somehow foolish customs - we don't really think it matters if somebody smuggles in two pairs of false-silk stockings - and we get into the poky but inoffensive train, with poky but utterly inoffensive people, and we have a cup of 10 inoffensive tea from a nice inoffensive boy, and we run through small, poky but nice and inoffensive country, till we are landed in the big but unexciting station of Victoria, when an inoffensive porter puts us into an inoffensive taxi and we are driven through the crowded yet strangely dull streets of London to the cosy yet 15 strangely poky and dull place where we are going to stay. And the first half-hour in London, after some years abroad, is really a plunge of misery. The strange, the grey and uncanny, almost deathly sense of dullness is overwhelming. Of course, you get over it after a while, and admit that you exaggerated. You get 20 into the rhythm of London again, and you tell yourself that it is not dull. And yet you are haunted, all the time, sleeping or waking, with the uncanny feeling: It is dull! It is all dull! This life here is one vast complex of dullness! I am dull! I am being dulled! My spirit is being dulled! My life is dulling down to 25 London dullness. This is the nightmare that haunts you the first few weeks of London. No doubt if you stay longer you get over it, and find London as thrilling as Paris or Rome or New York. But the climate is against me. I cannot stay long enough. With pinched 30 and wondering gaze, the morning of departure, I look out of the taxi upon the strange dullness of London's arousing; a sort of death; and hope and life only return when I get my seat in the boat-train, and hear all the Good-byes! Good-bye! Good-bye! Thank God to say Good-bye!

　　Passage 2

　　35 On the banks of the Thames it is a tremendous chapter of accidents - the London-lover has to confess to the existence of miles upon miles of the dreariest, stodgiest commonness. Thousands of acres are covered by low black houses, of the cheapest construction, without ornament, without grace, without 40 character or even identity. In fact there are many, even in the best quarters, in all the region of Mayfair and Belgravia, of so paltry and inconvenient and above all of so diminutive a type, that you wonder what peculiarly limited domestic need they were constructed to meet. The great misfortune of London, to the eye 45 (it is true that this remark applies much less to the City), is the want of elevation. There is no architectural impression without a certain degree of height, and the London street-vista has none of that sort of pride. All the same, if there be not the intention, there is at least the 50 accident, of style, which, if one looks at it in a friendly way, appears to proceed from three sources. One of these is simply the general greatness, and the manner in which that makes a difference for the better in any particular spot, so that though you may often perceive yourself to be in a shabby corner it never 55 occurs to you that this is the end of it. Another is the atmosphere, with its magnificent mystifications, which flatters and superfuses, makes everything brown, rich, dim, vague, magnifies distances and minimises details, confirms the inference of vastness by suggesting that, as the great city makes everything, it 60 makes its own system of weather and its own optical laws. The last is the congregation of the parks, which constitute an ornament not elsewhere to be matched and give the place a superiority that none of its uglinesses overcome. They spread themselves with such a luxury of space in the centre of the town 65 that they form a part of the impression of any walk, of almost any view, and, with an audacity altogether their own, make a pastoral landscape under the smoky sky. There is no mood of the rich London climate that is not becoming to them - I have seen them look delightfully romantic, like parks in novels, in the wettest 70 winter - and there is scarcely a mood of the appreciative resident to which they have not something to say. The high things of London, which here and there peep over them, only make the spaces vaster by reminding you that you are after all not in Kent or Yorkshire; and these things, whatever they be, rows of 75 'eligible' dwellings, towers of churches, domes of institutions, take such an effective gray-blue tint that a clever watercolorist would seem to have put them in for pictorial reasons. The view from the bridge over the Serpentine has an extraordinary nobleness, and it has often seemed to me that the 80 Londoner twitted with his low standard may point to it with every confidence. In all the town-scenery of Europe there can be few things so fine; the only reproach it is open to is that it begs the question by seeming - in spite of its being the pride of five millions of people - not to belong to a town at all. The towers of 85 Notre Dame, as they rise, in Paris, from the island that divides the Seine, present themselves no more impressively than those of Westminster as you see them looking doubly far beyond the shining stretch of Hyde Park water. Equally admirable is the large, river-like manner in which the Serpentine opens away 90 between its wooded shores. Just after you have crossed the bridge you enjoy on your left, through the gate of Kensington Gardens, an altogether enchanting vista - a footpath over the grass, which loses itself beneath the scattered oaks and elms exactly as if the place were a 'chase.' There could be nothing less 95 like London in general than this particular morsel, and yet it takes London, of all cities, to give you such an impression of the country.

　　1. ‘It’ in line 1 refers to a feeling of

　　A. foreboding

　　B. fear

　　C. depression

　　D. malaise

　　E. relief

　　2. The author of passage one makes his point mainly by the use of

　　A. metaphor and simile

　　B. repetition and exclamation

　　C. accumulation of details

　　D. irony and satire

　　E. objective observation

　　3. The extensive use of the pronoun ‘you’ in passage one indicates that the author

　　A. is speaking to one particular person

　　B. is describing the experience of someone else

　　C. believes that his feelings will be shared by many others

　　D. wishes to add variety to his style

　　E. is distancing himself from the experience he describes

　　4. Lawrence apparently believes that the ‘nightmare’ (line 26) is

　　A. uniquely caused by city life

　　B. only over when he leaves the country

　　C. made worse by the weather

　　D. dispelled by a longer stay in London

　　E. something that is never entirely conquered

　　5. The word that James uses in Passage 2 that best conveys Lawrence’s ‘poky’ is

　　A. diminutive

　　B. cheapest

　　C. dreariest

　　D. stodgiest

　　E. low

　　6. The second paragraph of Passage 2 in relation to the first does which of the following?

　　A. analyses a problem raised in paragraph one

　　B. continues the delineation of limitations

　　C. counters a negative impression

　　D. enlarges the viewpoint with the aid of wider examples

　　E. describes more specific locations

　　7. The word ‘atmosphere’ (line 55) refers to

　　A. the mood of the place

　　B. the London air

　　C. artistic impression

　　D. the author’s mood

　　E. surroundings

　　8. By the use of the word ‘congregation’ (line 61) the author suggests that the parks are

　　A. numerous

　　B. religious

　　C. too crowded

　　D. unlimited in extent

　　E. superior attractions

　　9. James mentions Notre Dame (line 85) in order to

　　A. provide an example of a monument finer than anything that London has to offer

　　B. highlight the impressive nature of a certain London building and its setting

　　C. give an example of a sight more suited to a town or city

　　D. make the image more realistic to the reader

　　E. prove that London and Paris are both attractive cities

　　10. It can be inferred that James would be less likely than Lawrence to

　　I complain about the weather

　　II rejoice on leaving the city

　　III find the English countryside dull

　　A. I only

　　B. II only

　　C. I and II only

　　D. II and III only

　　E. I, II and III

　　11. The contrast between James and Lawrence revealed by the passages involves all of the following except

　　A. a London lover versus a London hater

　　B. concern with architectural impression versus apparent indifference to architecture

　　C. concern with visual impact versus effect on an individual’s state of mind

　　D. appreciation of quiet places and scenic walks versus need for excitement

　　E. taste for the quaint and limited in scale versus dislike of dreariness and pokiness

　　12. To counter Lawrence’s charge of ‘one vast complex of dullness’, James would most likely point out that London

　　A. is bright and vast

　　B. offers vistas unmatched in the rest of Europe

　　C. is always romantic and pastoral

　　D. juxtaposes the ugly and the visually attractive

　　E. is uniformly attractive

　　13. The tones of the two passages differ in that Passage 2 is

　　A. less strident

　　B. less contemplative

　　C. less mellow

　　D. more subjective

　　E. more emotionally charged

　　1.Correct Answer: C

　　Explanation:

　　The author clearly states that ‘it’ is no ‘lurch of fear’. This eliminates B and A. He states that ‘it is as if the life-urge failed, and the heart dimly sank’. This is certainly not relief; rather it best describes ‘depression’ (Answer C). (Malaise is a vague feeling of illness.)

　　2.Correct Answer: B

　　Explanation:

　　Note the number of times the author uses the words ‘pokey’, ‘inoffensive’, and ‘dull’. Also count the number of exclamation marks and you will see answer B is best.

　　3.Correct Answer: C

　　Explanation:

　　The use of the second person (you) makes the experience seem more general and applicable to most people. Hence, answer C. (‘I’ would seem very specific to the author; ‘he’ would describe the experience of someone else.)

　　4.Correct Answer: D

　　Explanation:

　　In the next sentence, the author states that, ‘no doubt if you stay longer you get over it’, where ‘it’ refers to the ‘nightmare’. This is equivalent to saying it is dispelled by a longer stay, answer D.

　　5.Correct Answer: A

　　Explanation:

　　Poky conveys the idea of ‘small’, which is closest to ‘diminutive’. (Diminutive means very tiny.)

　　6.Correct Answer: C

　　Explanation:

　　Note the words with which paragraph 2 begins - ‘all the same’. This indicates a change of emphasis. Paragraph one has been negative, whereas paragraph 2 is positive. Hence, C.

　　7.Correct Answer: B

　　Explanation:

　　‘Atmosphere’ here is the London air. Answer B. He says that the atmosphere alters the appearance of buildings and makes weather, which statements confirm this answer.

　　8.Correct Answer: A

　　Explanation:

　　A congregation is a gathering. Used here it suggests many gathered together, and hence ‘numerous’.

　　9.Correct Answer: B

　　Explanation:

　　He states that the towers of Notre Dame are no more impressive than those of Westminster. This emphasizes the impressive nature of Westminster. This makes B the best answer.

　　10.Correct Answer: E

　　Explanation:

　　James refers to the rich climate (lines 67-68) and so would not complain about the weather. Overall he finds much to admire in London, and would not be likely to rejoice on leaving. He also believes that London gives an impression of the country (lines 96-97) and does not seem to find that dull. Hence all three points are things that James would be less likely to do. Hence, answer E.

　　11.Correct Answer: E

　　Explanation:

　　James has no taste for the ‘quaint and limited in scale’. In fact he complains about smallness and limited outlook in paragraph one. Hence, E is an incorrect statement and therefore the right answer.

　　12.Correct Answer: D

　　Explanation:

　　Eliminate unsuitable answers. The words ‘uniformly’ in E, and ‘always’ in C are good reasons to eliminate these choices. James does not say that London is ‘bright’ so eliminate A. B is also too strong. D is best since he does mention the bad and the good side by side. (Juxtaposed = put next too)

　　13.Correct Answer: A

　　Explanation:

　　Passage one is very strongly written. Lawrence is very forceful in his complaints. Passage two is more reflective, and so we can say it is less strident. (Strident = harsh)

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