1、专业英语八级（阅读）模拟试卷 93及答案与解析 SECTION A MULTIPLE-CHOICE QUESTIONS In this section there are several passages followed by fourteen multiple-choice questions. For each multiple-choice question, there are four suggested answers marked A , B, C and D. Choose the one that you think is the best answer. 0 (1)Whe
2、n I am in a serious humor, I very often walk by myself in Westminster Abbey, where me gloominess of the place, and me use to which it is applied, with the solemnity of the building, and me condition of the people who he in it, are apt to fill the mind with a kind of melancholy, or rather thoughtfuln
3、ess, that is not disagreeable. I yesterday passed a whole afternoon in the churchyard, the cloisters, and the church, amusing myself with the tombstones and inscriptions that I met with in those several regions of the dead. Most of them recorded nothing else of the buried person, but that he was bor
4、n upon one day, and died upon another: the whole history of his life being comprehended in those two circumstances mat are common to all mankind. I could not but look upon these registers of existence, whether of brass or marble, as a kind of satire upon the departed persons; who had left no other m
5、emorial of them, but that they were born and that they died. They put me in mind of several persons mentioned in the battles of heroic poems, who have sounding names given them, for no other reason but that they may be killed, and are celebrated for nothing but being knocked on the head. The life of
6、 these men is finely described in holy writ by “the path of an arrow,“ which is immediately closed up and lost. (2)Upon my going into the church, I entertained myself with the digging of a grave; and saw in every sho-velful of it that was thrown up, the fragment of a bone or skull intermix with a ki
7、nd of fresh mouldering earth, that some time or other had a place in the composition of a human body. Upon this, I began to consider with myself what innumerable multitudes of people lay confused together under the pavement of that ancient cathedral; how men and women, friends and enemies, priests a
8、nd soldiers, monks and prebendaries, were crumbled amongst one another, and blended together in the same common mass; how beauty, strength, and youth, with old age, weakness and deformity, lay undistinguished in the same promiscuous heap of matter. (3)After having thus surveyed this great magazine o
9、f mortality, as it were, in the lump; I examined it more particularly by the accounts which I found on several of the monuments which are raised in every quarter of that ancient fabric. Some of them were covered with such extravagant epitaphs, that, if it were possible for the dead person to be acqu
10、ainted with them, he would blush at the praises which his friends have bestowed upon him. There are others so excessively modest, that they deliver the character of the person departed in Greek or Hebrew, and by that means are not understood once in a twelve month. In the poetical quarter, I found t
11、here were poets who had no monuments, and monuments which had no poets. I observed indeed that the present war had filled the church with many of these uninhabited monuments, which had been erected to the memory of persons whose bodies were perhaps buried in the plains of Blenheim, or in the bosom o
12、f the ocean. (4)I could not but be very much delighted with several modern epitaphs, which are written with great elegance of expression and justness of thought, and therefore do honor to the living as well as to the dead. As a foreigner is very apt to conceive an idea of the ignorance or politeness
13、 of a nation, from the turn of their public monuments and inscriptions, they should be submitted to the perusal of men of learning and genius, before they are put in execution. Sir Cloudesly Shovels monument has very often given me great offence: instead of the brave rough English Admiral, which was
14、 the distinguishing character of that plain gallant man, he is represented on his tomb by the figure of a beau, dressed in a long periwig, and reposing himself upon velvet cushions under a canopy of state. The inscription is answerable to the monument, for instead of celebrating the many remarkable
15、actions he had performed in the service of his country, it acquaints us only with the manner of his death, in which it was impossible for him to reap any honor. The Dutch, whom we are apt to despise for want of genius, show an infinitely greater taste of antiquity and politeness in their buildings a
16、nd works of this nature, than what we meet with in those of our own country. The monuments of their admirals, which have been erected at the public expense, represent them like themselves; and are adorned with rostral crowns and naval ornaments, with beautiful festoons of seaweed, shells, and coral.
17、 1 The relationship between the second and third paragraphs is that_. （ A） each presents one side of the background information of the dead （ B） the second generalizes and the third gives examples （ C） the third is the further development of the second （ D） both present the authors disagreements on
18、the inscription 2 According to the third paragraph, which of the following statements is INCORRECT? （ A） Every epitaph on the tomb is overstated. （ B） Some epitaphs are modest while others are exaggerated. （ C） There are accounts on the monuments. （ D） The owners of some monuments are not clear. 3 A
19、s for epitaphs, which of the following is NOT true? （ A） It may honor both the living and the dead. （ B） The author was unhappy with modern epitaphs. （ C） There are inscriptions on the monuments. （ D） Epitaphs may reflect ones idea of a nation. 3 (1)Proponents of different jazz styles have always ar
20、gued that their predecessors musical style did not include essential characteristics that define jazz as jazz. Thus, 1940 s swing was belittled by beboppers of the 1950s, who were themselves attacked by free jazzers of the 1960s. The neoboppers of the 1980s and 1990 s attacked almost everybody else.
21、 The titanic figure of Black saxophonist John Coltrane has complicated the arguments made by proponents of styles from bebop through neobop because in his own musical journey he drew from all those styles. His influence on all types of jazz was immeasurable. At the height of his popularity, Coltrane
22、 largely abandoned playing bebop, the style that had brought him fame, to explore the outer reaches of jazz. (2)Coltrane himself probably believed that the only essential characteristic of jazz was improvisation, the one constant in his journey from bebop to open-ended improvisations on modal, India
23、n, and African melodies. On the other hand, this dogged student and prodigious technician who insisted on spending hours each day practicing scales from theory books was never able to jettison completely the influence of bebop, with its fast and elaborate chains of notes and ornaments on melody. (3)
24、Two stylistic characteristics shaped the way Coltrane played the tenor saxophone: he favored playing fast runs of notes built on a melody and depended on heavy, regularly accented beats. The first led Coltrane to “sheets of sound“, where he raced faster and faster, pile-driving notes into each other
25、 to suggest stacked harmonies. The second meant that his sense of rhythm was almost as close to rock as to bebop. (4)Three recordings illustrate Coltranes energizing explorations. Recording Kind of Blue with Miles Davis, Coltrane found himself outside bop, exploring modal melodies. Here he played su
26、rging, lengthy solos built largely around repeated motifs an organizing principle unlike that of free jazz saxophone player Ornette Coleman, who modulated or altered melodies in his solos. On Giant Steps, Coltrane debuted as leader, introducing his own compositions. Here the sheets of sound, downbea
27、t accents, repetitions, and great speed are part of each solo, and the variety of the shapes of his phrases is unique. Coltranes searching explorations produced solid achievement. My Favorite Things was another kind of watershed. Here Coltrane played the soprano saxophone, an instrument seldom used
28、by jazz musicians. Musically, the results were astounding. With the sopranos piping sound, ideas that had sounded dark and brooding acquired a feeling of giddy fantasy. (5)When Coltrane began recording for the Impulsel Label, he was still searching. His music became raucous, physical. His influence
29、on rockers was enormous, including Jimi Hendrix, the rock guitarist, who following Coltrane, raised the extended guitar solo using repeated motifs to a kind of rock art form. 4 According to the passage, the organization of the fourth paragraph is that _. （ A） a topic sentence is mentioned and three
30、examples are presented in certain order （ B） a topic sentence is mentioned and illustrated with three specific examples （ C） a topic sentence is stated and three dissimilar examples are considered （ D） a topic sentence is stated and three seemingly opposing examples are presented 5 John Coltrane did
31、 all of the following during his career EXCEPT _. （ A） eliminated the influence of bebop on his own music （ B） spent time improving his technical and professional skills （ C） performed as leader as well as soloist introducing his music （ D） improvised on melodies from a number of different cultures
32、6 The tone of this passage is _. （ A） speculative （ B） praiseful （ C） negative （ D） lukewarm 6 (1)Peter Benchley, 65, the author and conservationist who wrote Jaws, the shark-attack novel that became a classic movie and provided a nation with thrills, chills and recurring nightmares, died Feb. 11 at
33、 his Princeton, N.J., home. (2)A relative said he died of idiopathic pulmonary fibrosis, a progressive scarring of the lungs. (3)Through the book, which was Mr. Benchleys first novel, and the movie, for which he contributed to the screenplay, Mr. Benchley aroused a nations deepest fears about unders
34、ea dangers, beach hazards and the carnivorous perils of an arching mouthful of menacingly curved, triangular teeth. (4)Jaws told of a silent, monstrous predator that chewed up the lives, limbs and summer vacations of unfortunate swimmers at an Atlantic Ocean coastal resort. (5)More than 20 million c
35、opies of the novel have been printed since it appeared in 1974. The Steven Spielberg movie became a film touchstone. (6)The son and grandson of writers, and a writer himself since age 16, Mr. Benchley drew for his novel on lore he had learned as a boy on Nantucket, south of Cape Cod, Mass., and from
36、 years of musings over a report he had once read about the appearance off Long Island of a 4,550-pound great white shark. (7)He asked himself, he said, not so much what did happen but what could happen if such a predator emerged from the deep. (8)After graduation from Harvard, Mr. Benchley traveled
37、around the world for a year, and then served for six months in a Marine Corps Reserve program. He wrote for The Washington Post, became television editor of Newsweek magazine and worked as a speechwriter in the Lyndon B. Johnson White House. (9)“My idea was to tell my first novel as a sort of long s
38、tory. just to see if I could do it,“ he once said. (10)He told an interviewer that after interesting a publisher in the book and receiving an advance, it was time to put up. (11)Married and the father of two young children, Mr. Benchley rented space on the premises of a furnace supply company. Sugge
39、sting, among other things, that talent, determination and energy can overcome any environment, he described the “clang and clank of hammers of sheet metal“ that formed the background for the creation of Jaws. (12)In his $50 a month quarters in Pennington, N.J., Mr. Benchley produced a cultural landm
40、ark that touched the nations psyche and provided a world of bad dreams. It was there that he put down these opening words, which in vivid brevity hinted at horrors to come: (13)“The great fish moved silently through the night water, propelled by short sweeps of its crescent tail.“ (14)Two paragraphs
41、 later, a man and woman come out of a house. The man is drunk. (15)“First a swim, the woman says. To clear your head.“ (16)For Mr. Benchley, at 33, the book provided the acclaim and success about which most aspiring novelists can only dream. Sales took off, money rolled in, Hollywood clamored and th
42、e fame, he told People magazine, was “awesome.“ (17)In time, he became known as a naturalist and conservationist who produced films and television programs about the ocean environment. (18)“He cared very much about sharks. He spent most of his life trying to explain to people that if you are in the
43、ocean, youre in the sharks territory, so it behooves you to take precautions,“ his wife told the Associated Press. (19)“If we kill everything in the ocean, and if we pollute the ocean to a pointwhere it cant sustain life, were committing suicide,“ Mr. Benchley once said. (20)Mr. Benchley, who was bo
44、rn and grew up in New York, was the son of author Nathaniel Benchley, who wrote The Russians Are Coming! The Russians Are Coming! among other works. He was also the grandson of the celebrated American humor writer and wit Robert Benchley. (21)Peter Benchley once told interviewer Bret Gilliam that hi
45、s father knew the financial straits and shoals of the writing life and tried to discourage him from it. (22)But when the father recognized the depth of his sons teenage interest in writing, he subsidized him for two summers at summer-job wages. The son had one duty: to sit alone for four hours or un
46、til he wrote 1,000 words, “whichever came first.“ (23)Mr. Benchley told Gilliam that he found he could withstand the regimen, and at 21, he sold his first story, to Vogue magazine. (24)In addition to Jaws, Mr. Benchley wrote The Deep, Q Clearance which was inspired by his White House days, and other
47、 books. (25)In addition to his wife, whom he married in 1964, his survivors include children, Tracy, Clayton and Christopher, and five grandchildren. 7 Whats the meaning of “put up“ in the tenth paragraph? （ A） Erect. （ B） Attach. （ C） Raise. （ D） Start. 8 Which of the following statements contains
48、a metaphor? （ A） Sales took off, money rolled in. （ B） Jaws told of a silent, monstrous predator that. （ C） In his $50 a month quarters in Pennington. （ D） . and at 21, he sold his first story, to Vogue magazine. 9 What kind of writing style does this passage belong to? （ A） Editorial. （ B） Essay. （
49、 C） Feature. （ D） News. 9 (1)The senior partner, Oliver Lambert, studied the resume for the hundredth time and again found nothing he disliked about Mitchell Y. McDeere, at least not on paper. He had the brains, the ambition, the good looks. And he was hungry; with his background, he had to be. He was married, and that was mandatory. The firm had never hired an unmarried lawyer, and it frowned heavily on divorce, as well as womanizing and drinking. Drug testing was in the contract. He had a degree in accounting, passed the CPA exam t
