Embroidering (刺繡)
When I was a little boy living in New York, my mother used to embroider a great deal. I would sit at her knee and look up from the 36 and ask what she was doing. She 37 me that she was embroidering. I told her that it looked like a mess from where I was. As from the underside I watched her work within the 38 of the little round hoop(鐵環(huán))that she held in her hand, I complained to her that it sure looked 39 from where I sat.
She would smile at me, look down and 40 say, "My son, you go about your 41 for a while, and when I am finished with my embroidering, I will put you on my 42 and let you see it from my side."
I would wonder why she was using some dark threads along with the 43 ones and why they seemed so jumbled(混亂的)from my 44 . A few minutes would pass and then I would hear Mother's voice say, " Son, come and sit on my knee." This I did only to be surprised and 45 to see a beautiful flower or a sunset. I could not 46 it, because from underneath it looked so messy.
Then mother would 47 to me, "My son, from underneath it did look messy and jumbled, but you did not realize that there was a 48 plan on the top. It was a 49 . I was only following it. Now look at it from my side 50 you will see what I was doing."
Many 51 through the years, I have 52 up to my Heavenly Father and said, “ Father, what are You doing? ” He 53 , “ I am embroidering your 54 . ” I say, " But it looks like a mess to me. It seems so jumbled. The threads seem so dark. Why can't they all be bright ? " The Father seems to tell me, " My child, you go about your business of doing My business, and one day I will bring you to 55 and put you on my knee and you will see the plan from My side. "
1.A. floor B. corner C. ceiling D. step
2.A. demanded B. blamed C. persuaded D. informed
3.A. decorate B. boundaries C. picture D. surface
4.A. messy B. dirty C. shabby D. tight
5.A. smartly B. cautiously C. gently D. precisely
6.A. complaining B. playing C. embroidering D. imagining
7.A. back B. chair C. knee D. table
8.A. white B. black C. bright D. shining
9.A. eyes B. opinion C. heart D .view
10.A. hopeful B. thrilled C. expecting D. enthusiastic
11.A. believe B. consider C. see D. touch
12.A. talk B. mention C. say D. whisper
13.A. pre-drawn B. previewed C. preserved D. produced
14.A. direction B. line C. diagram D. design
15.A. or B. and C. until D. unless
16.A. times B. days C. seasons D. chances
17.A. climbed B. jumped C. shouted D. looked
18.A. required B. answered C. instructed D. concluded
19.A. decision B. fortune C. life D. business
20.A. home B. mother C. America D. Heaven
1.A
2.D
3.B
4.A
5.C
6.B
7.C
8.C
9.D
10.B
11.A
12.C
13.A
14.D
15.B
16.A
17.D
18.B
19.C
20.D
【解析】
試題分析:文中作者講述了自己小時候看母親刺繡的事情,刺繡時繡品的正面涇渭分明,圖案精美,而反面則絲線交錯,雜亂無章。所以在生活中也是這樣,當(dāng)你感到人生迷茫世事紛亂的時候,其實你只是看到事情的反面而已。
1.A名詞辨析。A地板;B 角落;C 天花板;D 臺階。從下文As from the underside I watched her work可以推測得知孩子應(yīng)該是站在低處看母親刺繡,所以看到的是絲線雜亂。A選項正確。
2.D動詞辨析。A 要求;B責(zé)備;C 勸說;D 通知,告知。that she was embroidering.是母親說話的內(nèi)容,所以此處用inform ,句意:母親告訴我她在刺繡。D選項正確。
3.B名詞辨析。A 裝飾;B 邊界,分界線;C圖片;D表面。從常識可知刺繡時候應(yīng)該在鐵箍或者竹子做的繃子以內(nèi)刺繡,所以B選項正確。
4.A形容詞辨析。A 混亂的;B 骯的;C 破舊的;D 緊的。從下文why they seemed so jumbled(混亂的)可知在刺繡的背面線是雜亂的,故A選項正確。
5.C副詞辨析。A機智靈敏地;B小心謹慎地; C溫柔地;D 精確準確地。從情理可知孩子在回答孩子問題時,母親說話應(yīng)該是柔聲細語的。
6.B動詞辨析。A 抱怨;B 玩耍;C 刺繡;D 想象。從下文when I am finished with my embroidering, I will put you on可知母親在刺繡,按情理應(yīng)該是讓孩子去玩一會,回頭再讓孩子來看。所以B選項正確。
7.C名詞辨析。A 后背;B 椅子;C 膝蓋;D 桌子。下文母親喊Son, come and sit on my knee."由此可知母親讓孩子做到膝蓋上,C選項正確。
8.C形容詞辨析。A 白色的;B 黑色的;C 鮮艷的;D 閃光的。從文章最后作者問上帝的話The threads seem so dark. Why can't they all be bright ?可以推測刺繡時候有黑線,當(dāng)然也有鮮艷的絲線。C選項正確。
9.D名詞辨析。A 眼睛;B 觀點;C 心臟;D 視覺,視線。從上下文可知是從小孩子站的角度和視線來看,刺繡背面雜亂的狀態(tài)。所以正確選項為D。
10.B形容詞辨析。A 有希望的;B 激動震顫的;C 令人期望的;D 熱情的。作者此時坐在母親膝蓋上看到得是刺繡的正面,正面和反面截然不同,所以孩子感到驚訝。和surprised同類的詞是 “感到震驚的”,所以B選項正確。
11.A動詞辨析。A 相信;B 考慮;C 看到;D 觸摸。從上文可知孩子從低處看到的和坐在母親膝蓋上看到的完全不同,所以作者驚訝震撼不相信眼前的情景, A選項正確。
12.C動詞辨析。A談話;B 提及;C 說;D 低語。從下文的"My son, from underneath it did look messy and jumble可知此處是母親在和孩子說話,C選項正確。
13.A動詞辨析。A 提前畫的;B 預(yù)演,試映;C 儲藏,保存;D 生產(chǎn)。從常識可知刺繡時要提前把花樣畫到布上,所以A 選項正確。
14.D名詞辨析。A 方向;B 線條;C 圖表;D 花樣。刺繡時按照畫的圖案都稱為花樣,故D選項正確。句意:那就是圖案花樣。
15.B連詞辨析。A 或者;B 并且;C 直到;D 除非。Look at it from my side 和 you will see what
I was doing是兩個并列句,前后表示順承關(guān)系。所以B選項正確。句意:從我這邊看,你就能看到我所做的了。
16.A名詞辨析。A 次數(shù);B 天,日子;C 季節(jié);D 機會。從語境可知每當(dāng)作者迷茫無措時,他都會想起母親的刺繡,所以此處應(yīng)該是多次。A選項正確。句意:這么多年來,很多次我都抬頭仰望上帝。。
17.D動詞辨析。A 爬;B跳;C 喊,嚷;D 看。因為是和上帝對話,所以應(yīng)該是仰視在天堂的Heavenly Father,look up to 仰視,尊敬;D選項正確。
18.B動詞辨析。A 要求;B 回答;C 指示,命令;D 得出結(jié)論。從前句Father, what are You doing? ”可知是作者發(fā)問,所以推測后面上帝回答道。B選項正確。
19.C名詞辨析。A決定;B 機會,財富;C 生活;D 生意。從下文內(nèi)容可知此處是指作者生活中感到混亂,茫然的時候,而且life 詞意更廣,所以C選項正確。
20.D名詞辨析。A 家 ;B 母親;C 美國;D 天堂。因為作者是在尋問上帝,所以應(yīng)該是去天堂,故D選項正確。
考點:考查故事類短文。
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Beyond the Factory: Child Labor in the Cities
At the beginning of the nineteenth century, factory owners faced few restrictions on the way they employed their children workers, who were between the age of 7 and 12. Gradually laws came into being.
The first child-labor laws were passed at the state level in America and usually focused on both required education and a minimum age for employment. And added rules limited the length of the workday for children. Pennsylvania, for example, limited the workday to 10 hours for children under 12. However, government officials cared little whether businesses followed the law. In fact one group of children was left entirely unprotected by labor laws -- the children of immigrant families.
By the beginning of the twentieth century, piecework appeared, for which people were paid by the piece. Significant numbers of women sewed baby dresses or men's neckties and made the artificial flowers used to decorate hats. Piecework turned homes into factories that were free from the law, and countless children worked long hours alongside their mothers and old sisters.
Manufactures exploited the system shamelessly and paid the lowest wages they could. Embroidering (刺繡) a silk dress, which was a 10-day job, might generate a five-dollar payment. In the case of "willowing", workers needed to add more strands to ostrich feathers used on hats to make them longer and more graceful. The first willowers were paid 15 cents per inch, but a few months later, the pay was reduced to 13 cents. Within three years, willowers were earning only three cents per inch.
In order to survive under these circumstances, pieceworkers had even their youngest children help them. In one Italian neighborhood, a three-year-old girl helped her mother sew clothes. In another case, a child of eight who had lived in New York for three years had never been to school at all and could speak almost no English. Slowly child labor laws brought these abuses to an end.
31. The first child-labor laws required ______.
A. workplace safety and conditions
B. minimum payment and age
C. education and working time
D. minimum payment and schooling
32. Manufactures who hired women to do piecework ______.
A. were kind and concerned employers
B. were sometimes called "willowers"
C. usually paid the lowest salary
D. forced children to turn home into factories
33. "Willowing" was a kind of ______.
A. handwork activity B. workplace
C. payment requirement D. workers
34. By raising the example of the three-year-old girl's experience in the last paragraph, the author intended to ______.
A. show how poor the situations were for children workers
B. blame those adult pieceworkers for allowing children to work
C. attract attention to protect young children
D. emphasize the importance of educating young children
35. Which of the following sentences best summarizes the passage?
A. The first child-labor laws were limited due to working at the state level.
B. Early child-labor laws offered no protection to children who worked at home.
C. Some immigrant children did not learn English because of their piecework.
D. Child-labor laws should have come into being before children became workers.
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Grandma Moses is among the most famous twentieth-century painters of the United States, yet she did not start painting until she was in her late seventies. As she once said to herself: " I would never sit back in a rocking chair, waiting for someone to help me." No one could have had a more productive old age.
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A.pretty | B.nervous | C.rich | D.independent |
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Grandma Moses is among the most famous twentieth-century painters of the United States, yet she did not start painting until she was in her late seventies. As she once said to herself: " I would never sit back in a rocking chair, waiting for someone to help me." No one could have had a more productive old age.
She was born Anna Mary Robertson on a farm in New York State, one of five boys and five girls. At twelve she left home and was in domestic service until, at twenty--seven, she married Thomas Moses, the hired hand of one of her employers. They farmed most of their lives, first in Virginia and then in New York State, at Eagle Bridge. She had ten children, of whom five survived; her husband died in 1927.
Grandma Moses painted a little as a child and made embroidery (刺繡) pictures as a hobby, but only changed to oils in old age because her hands had become too stiff to sew and she wanted to keep busy and pass the time. Her pictures were first sold at the local drugstore and at a market and were soon noticed by a businessman who bought everything she painted. Three of the pictures exhibited in the Museum of Modern Art, and in 1940 she had her first exhibition in New York. Between the 1930's and her death, she produced some 2,000 pictures: detailed and lively portrayals of the country life she had known for so long, with a wonderful sense of color and form. "I think really hard till I think of something really pretty, and then I paint it" she said.
1.According to the passage, Grandma Moses began to paint because she wanted to_______.
A.make herself beautiful |
B.become famous |
C.earn more money |
D.keep active |
2.Grandma Moses spent most of her life ________.
A.nursing |
B.painting |
C.farming |
D.embroidering |
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A. expressions B explanations C. descriptions . D. impressions
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A.pretty |
B.nervous |
C.rich |
D.independent |
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A.The Children of Grandma Moses. |
B.Grandma Moses: Her Life and Pictures. |
C.Grandma Moses: Her Best Exhibition. |
D.Grandma Moses and Other Older Artists. |
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Beyond the Factory: Child Labor in the Cities
At the beginning of the nineteenth century, factory owners faced few restrictions on the way they employed their children workers, who were between the age of 7 and 12. Gradually laws came into being.
The first child-labor laws were passed at the state level in America and usually focused on both required education and a minimum age for employment. And added rules limited the length of the workday for children. Pennsylvania, for example, limited the workday to 10 hours for children under 12. However, government officials cared little whether businesses followed the law. In fact one group of children was left entirely unprotected by labor laws -- the children of immigrant families.
By the beginning of the twentieth century, piecework appeared, for which people were paid by the piece. Significant numbers of women sewed baby dresses or men's neckties and made the artificial flowers used to decorate hats. Piecework turned homes into factories that were free from the law, and countless children worked long hours alongside their mothers and old sisters.
Manufactures exploited the system shamelessly and paid the lowest wages they could. Embroidering (刺繡) a silk dress, which was a 10-day job, might generate a five-dollar payment. In the case of "willowing", workers needed to add more strands to ostrich feathers used on hats to make them longer and more graceful. The first willowers were paid 15 cents per inch, but a few months later, the pay was reduced to 13 cents. Within three years, willowers were earning only three cents per inch.
In order to survive under these circumstances, pieceworkers had even their youngest children help them. In one Italian neighborhood, a three-year-old girl helped her mother sew clothes. In another case, a child of eight who had lived in New York for three years had never been to school at all and could speak almost no English. Slowly child labor laws brought these abuses to an end.
31. The first child-labor laws required ______.
A. workplace safety and conditions
B. minimum payment and age
C. education and working time
D. minimum payment and schooling
32. Manufactures who hired women to do piecework ______.
A. were kind and concerned employers
B. were sometimes called "willowers"
C. usually paid the lowest salary
D. forced children to turn home into factories
33. "Willowing" was a kind of ______.
A. handwork activity B. workplace
C. payment requirement D. workers
34. By raising the example of the three-year-old girl's experience in the last paragraph, the author intended to ______.
A. show how poor the situations were for children workers
B. blame those adult pieceworkers for allowing children to work
C. attract attention to protect young children
D. emphasize the importance of educating young children
35. Which of the following sentences best summarizes the passage?
A. The first child-labor laws were limited due to working at the state level.
B. Early child-labor laws offered no protection to children who worked at home.
C. Some immigrant children did not learn English because of their piecework.
D. Child-labor laws should have come into being before children became workers.
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