初中英语强化训练-第五部分.doc

强化训练复习第一部分词汇辨析176examination/ test/ quiz.examination表示考试的意思时，通常指比较正式的考试，如学期考试、入学考试等。如：We have an examination in English today.我们今天考英语。The students did very well in the terminal examination. 学生们学期考试成绩很好。（这里指多门课程的考试，故examination 用复数形式）Theyve passed the entrance examination for Nanjing Teachers College. 他们通过南京师范学院的入学考试。.test表示考试的意思时，指小考或考查。如：We are going to have a midterm test next week.。我们下周进行期中考试。The teacher gave us a test in grammer. 老师对我们进行了语法考查。.quiz表示小考测验的意思时，指事先无准备，随时进行的短促的测验。如：The teacher gave us a five-minute quiz.老师对我们进行了一次五分钟的测验。How ofter do you have your quiz? 你们多长时间测验一次？177exciting/ excited. exciting 与excited 都含有“激动”的意思，在句中可作定语或表语。 exciting 指某事物“令人兴奋、激动”，主语常是物。如：Skiing is more exditing than skating. 滑雪比滑冰更令人兴奋。It was an exciting match. 那是一场激动人心的比赛。. excited 表示某人对某事物“感到兴奋、激动”，主语常是人。如：The boys were excited when they saw their team was winning 男孩们看到自己的球队要赢了，都十分激动。The excited children were opening their Christmas presents.兴奋的孩子们正在打开各自的圣诞礼物。英语中与它有类似用法的词常见的还有：interested 感兴趣的 interesting 令人感兴趣的worried 感到着急的 worrying 令人着急的tired 感到疲倦 tiring 令人疲倦的bored 觉得厌烦的 boring 令人厌烦的frightened 感到害怕的 frightening 令人害怕的178 excuse for/ excuse from. excuse for “原谅某事”。如：He excused me for being late. 他原谅我迟到了。Please excuse me for using your telephone without asking permission. 请原谅我没经你允许就用了你的电话。. excuse from “使免于，允许不”如：The teacher excused him from the examination. 教师同意他免试。The boy was excused from doing housework. 允许这男孩不做家务事。179expect/ wait .expect 是及物动词，作“期待，预料，指望”解，表“期待某人会来或某事会发生”的意思，后接名词、代词、动词不定式或从句。如：We expected you yesterday. 我们昨天就盼你来。We expect to meet you again next year. 我们期待明年再见到你。expect 可引申为汉语的“等待”，多用于进行时态，主要指“期盼”的心理状态，其后不可接介词for. 如：Mr Brown was anxious. He was expecting you.布朗先生很焦急，他在等着你来呢？. wait 是不及物动词，常常与for连用，主要指“等候”的具体行为。如：Xiao Hu is waiting to have a word with you. 小胡等着和你说几句话。I have a month to wait yet. 我还得等一个月。We are waiting for a bus. 我们在等公共汽车。180family/ home/ house 这三个词都可以作“家”讲。.house指供一家人住的房子，侧重于具体的建筑物。如：There are four rooms in the house. .family指由父母、子女所组成的家庭，是集体名词，既可把它看成单数（指整体概念），以可视为复数名词（指家庭成员）。如：His family is a large one. 他的家是一个大家庭。My family are all watching TV. 我们家的人在看电视。.home指一个人出生或居住的地方，具有抽象的含义。如：Hise is home near the station. 他的家在火车站附近。另外，home还可作副词。如：Lets go home.181faraway/ far away.faraway指时间、距离、程度等，“遥远的”如：the faraway guests 远方的客人它还可表“心不在焉的”。如：a faraway look 恍惚的神色.far away是副词词组，只表距离远，在句中作状语还常作后置定语。如：Hes standing far away.He lived in a small village far away.182farm / field.farm是“农场”，它的范围大，包括田地、树木、家畜、家禽、房屋等，其前常用介词on。.field是“田地”，或生长草木的原野，多用复数形式，但一块稻田可以说：a rice field，其前常用介词in。如：There several kinds of animals on the farm.Theyre working in the rice field.183farmer/ peasant.farmer指经营农庄的人。.peasant包括雇农、小佃农或小耕农。在我国将农民都译为peasant。184farther/ furtherfather, further都可以是far的比较级，意为“较远、更远”，但further除此之外，还有“更进一步，此外的”等意思，既可以作形容词，也可以作副词。如：They made further arrangement. 他们作了进一步的安排。I may be able to give you some further information about it. 关于这件事，我可以提供另外一些信息。She didnt argue further about it. 她对此不再争论了。185fast/ rapid/ swift/ quick. fast “快”一般指物体的运动速度（speed）快，常用来形容交通工具跑得快，钟表走得快，人的动作快等。如：A car goes faster than a truck. 小汽车比卡车跑得快。How fast the horse runs! 这匹马跑得多快呀！. quick 指较短的时间或较近的将来即可发生或完成某事，常用来形容动作敏捷、反应迅速。如：Come quick! 快来呀！Please give me a quick reply. 请迅速给我答复。. rapid 表速度之快，往往可与fast通用，但它多指运动本身。如：The boy is making rapid progress. 这孩子进步很快。Rapid speech is usually indistinct. 急促的语言往往不清晰。The current was rapid. 水流得很急。. swift 表速度很快而又常指运动平稳而不费力。如：Eagles are swift in flight. 鹰飞得很快。The curent was very swift. 水流得很快。186feed/ keep . feed “喂养”，强调具体的动作，意为：“给喂食、给东西吃”常用句型为：feed sb. / sth.(on sth); feed sth. to sb./ sth. 给（人或动物）某物作为食物。如：Mr King has a large family to feed. 金先生要养活一大家人。What do you feedyour dog on?你用什么喂狗？Feed some stewed(炖的)apple to the baby. 给婴儿多喂些炖苹果。. keep “饲养”，指总体情况，不涉及具体动作。如：The old woman kept many dogs. 那位老太太养了许多狗。强化训练复习第二部分Ser Corte primeira Portugueza,”80sings the poet, but the pride of Guimar?es extends far beyond this boast. Seated in the centre of the province of Minho, in the very garden of Portugal, with abundant streams and fertile valleys for miles round, protected by the mountains on each side that enclose the plain from inclement winds, the town is in an ideal situation. Forming, as it did in old times, one of the fiefs of the left-handed royal house of Braganza, that made the dukes richer than the king, one of the legitimate Infantes is said to have exclaimed jealously, as he looked down upon the rich domain, Quem te deu n?o te via; se te vira n?o te dera, “he who gave thee never saw thee; if he had seen thee he would not give thee,” and one of the greatest of Portuguese writers, Manoel de Faria, speaking of Guimar?es said: “If the Elysian fields ever existed on earth it must have been here, and if they did not exist they should have been created in order to place them here.” But another subject of pride, and an article of faith with all good citizens of the town, is that Guimar?es possesses the most beautiful women in Europe. Personally I must confess that they did not strike me as being more comely than their sisters of the rest of North Portugal, especially 81of Braga and Coimbra, but from ancient times the women of Araduca, the modern Guimar?es, were held to be pre-eminent, and it is too late now to gainsay it, confirmed as it is by writers Portuguese and French innumerable.In any case, the city is as beautiful as it is historically interesting. Here on the site of the ruined ancient town of Celts and Romans, a Leonese princess, in the tenth century, founded the great Benedictine house, around which the medi?val town gradually grew. But its principal glory began when Count Henrique of Burgundy and his royal Leonese bride, Teresa, came to govern Portugal as Count, for his father-in-law, Alfonso VI., the friend and foe of the Cid. Here at Guimar?es in the splendid castle, even now sturdy in its dismantlement, the first Count of Portugal held his court, and here his great son, Affonso Henriques, the national hero and first king, was born in 1109 and passed his youth.It is impossible to imagine a ruin more stately than that of the grand medi?val castle which, upon a gentle eminence on the outskirts, dominates the town. Granite built upon a granite base, the walls sharp and clear to-day, look as if cut but nine years ago instead of nine centuries. 82Here is the dignity of age without its feebleness. A vast battlemented outer wall, with corner bastions and pointed crenellations, surrounds the majestic keep, the monolithic battlements of which, huge single stones, stand uninjured still by time or the more destructive hand of man. The cyclopean masses are reddened now by lichen and stained by weather, but nine centuries have failed to crumble them, and they stand a splendid monument of the first of the two outstanding epochs in Portuguese history, when the nation was stirred with vast ambitions and endowed with heroic energy to fulfil them. Affonso Henriques of Guimar?es was the protagonist of the first epoch, that of national independence; Prince Henry the Navigator, the protagonist of the second, that of national expansion.Guimar?es is delightful, and an artist might spend a month in its quaint streets and alleys without exhausting the “bits” that call for delineation. One charming old-world corner is the square in which stands the church that alone remains of the vast monastery founded by the Leonese Princess Muniathe Collegiada the townspeople call it, although I believe it bears officially another name. The early florid 83Gothic tower is a beautiful one, and more beautiful still the detached rood canopy at its west end, with its quaint mixture of early Gothic with Greek and Byzantine ornament. Opposite this is the low-arched sixteenth-century arcade beneath the town-hall, and the houses that surround the irregular little pra?a are in picturesque keeping with the rest. There is in a street called Largo dos Trig?es, one of the finest stretches of crenellated wall that ever I saw. It must be three hundred yards long, and at least five-and-twenty feet high, independent of its pointed battlements, and is in the most perfect preservation though many centuries old. It is said to enclose the grounds of a disestablished monastery, for Guimar?es was in old times monastic or nothing.But curious and interesting as Guimar?es is, I was not drawn thither mainly to see the town, but to examine in the Sarmento museum the objects discovered in the excavation of Citania. The collection is at present in a state of chaos, which may possibly be remedied when the reconstruction of the house is completed by the authorities. The number of objects is immense, though by far the greater part of them came 84from other places in the neighbourhood than Citania, and are mainly attributable to the Roman period, though many of them are very early and ante-Christian. The few purely Roman objects, however, found at Citania are neither peculiar to the place nor of special interest. What is far more attractive to the student are the relics that exist of the real and original Celtiberian makers of the hill town.First of all is the famous Pedra Formosa, to which reference has been made. It stands at present in the open at the back of the Sarmento house, but protected from the weather by a low roof which unfortunately prevents a photograph being secured of it. It is a thick slab of granite, seven feet long by nine feet wide, and notwithstanding the contention of Dr. Hübner, who has not seen it, I am convinced that, whatever may have been its purpose, its position was intended to be horizontal, and that it is not a sepulchral stone to be set on edge. At present it is mounted on four low posts or pillars, like a table, and the elaborate carving upon it can be consequently seen plainly. At the top of its shorter diameter in the centre is a hollow, ending in a point, the outer circumference of 85the hollow being about the size of a human head. From this, extending downwards about six feet to a semicircular gap cut into the stone, at the foot is a raised cord-like pattern cut out of the thickness of the stone, beneath which is bored a tunnel, or channel, leading from the point of the hollow cone at the top down to a hole through the stone at the bottom, a few inches from the semicircular gap. From the base of the hollow at the top, leading obliquely to the sides, are two other raised cord-like ridges similar to that from top to bottom; the main design being roughly that of a human being with the hollow for the head, the straight cord from top to bottom for the body and legs, and the oblique cords for the arms. The whole of the spaces between the cords are filled with a most intricate series of designs, beautifully incised in the stone, concentric whorls, curves, and scrolls being in each case the main motive.Whatever may have been the purpose of the stonereligious, sacrificial, or tribalthe work must have occupied many men for a long period, and the skill, both of design and execution, prove that the artificers must have 86reached a relatively high stage of artistic development. The art is obviously ante-Christian, and the form of the stone suggests that it may have been sacrificial, with the hollow cone to receive the blood from a severed jugular and the tunnel beneath the central cord to convey it to where the priest stood in the gap to catch it as it ran through the hole at the bottom of the stone. The incised design shows no indication of Greek or Roman influence, but the concentric curves are identical with some of the earliest ornamental decoration of the stonework in the museum brought from other Celto-Roman places in the neighbourhood, and also with the decoration upon Celtic pottery found elsewhere in Portugal and at Carmona in Spain.87A stone of great interest found also at Citania may perhaps add more to our knowledge than the mysterious Pedra Formosa. It bears an inscription in the Celtiberian character, of which comparatively few specimens have hitherto been discovered, and no key has been found to decipher them. One of those known and reproduced by Dr. Hübner was found at Pe?alba de Castro in Spain, and appears to be nearly identical in character with that from Citania; whilst another, also in Hübner, brought from Barcelona, presents several important differences. The Citania inscription is here reproduced, and I am indebted to Professor Rhys, the famous Celtic authority, for an interesting suggestion, namely, that the whole inscription, although written in the unknown Celtiberian character, may be intended to be read in Latin; in which case the first line and a half might represent Syatenunius. This point, however, I must leave as being too abstruse for a book of this kind. We are on firmer ground in the case of the very numerous specimens of red pottery found at Citania and stamped with a mark entirely unknown elsewhere. The marks of Roman potters on jars and pitchers were always printed 88in small letters outside the mouth, whereas the marked pieces in question from Citania bear in letters an inch long inside the mouth “Camal” or “Arg,” and sometimes both words, and scores of red tiles have also been found similarly marked ARGCAMAL. Upon a lintel-stone from Citania in the museum I read the words CORONERI CALI DOMUS, and another, apparently from the same house, is mentioned by Dr. Sarmento, but which I did not see, bearing the inscription CRON CAMALI DOMUS, most of the pottery bearing Camals name having been found near this house. Whether Camal was a Celto-Roman potter, or, as seems much more likely, a great personage or chief of Citania, is a point yet to be decided; but from the fact that the name on the clay vessels is not situated where the potters mark is usually inscribed, would tend to the belief that he was the owner rather than the manufacturer. Arg, or Airg, as it may be read, may have represented a Celtiberian title or dignity, and Camal, or Camalus, is undoubtedly a Celtic name. It is unlikely, moreover, that if Camal had simply been a potter his son Coronerus would have considered it necessary to record upon his stone door-lintel the fact of his 89descent, which he probably would have done if his father Camalus was a person of consequence. Another peculiar fact in connection with the incised ornamentation upon stones at Citania is the repetition of the Swastick or wheeled cross and the wheeled whorl, which are of pre-Christian and oriental origin, this design being also quite frequent in the objects found in other places in the neighbourhood, and amongst Celtic remains in other parts of the Peninsula.The death of Dr. Sarmento has, of course, put an end to his self-sacrificing life-task, leaving by far the greater part of the exploration of the outer zones of Citania unattempted. It is almost too much to hope that any other similarly public-spirited Portuguese will provide the funds needed for the purpose, for there is little enthusiasm for such subjects in the country; but if funds could be obtained to excavate extensively the lower slopes of the hill on the south side where numerous hillocks suggest that sepulchral remains may lie beneath, it is probable that discoveries of great importance in Celtiberian civilisation would be made, and perhaps the riddle of the Celtiberian alphabet solved.强化训练复习第三部分TEXT TWOThe haunting paintings of Helene Schjerfbeck, on show in the final leg of a travelling tour that has already attracted thousands of visitors in Hamburg and The Hague, may come as a surprise to many. Few outside the Nordic world would recognise the work of this Finnish artist who died in 1946. More people should. The 120 works have at their core 20 self-portraits, half the number she painted in all. The first, dated 1880, is of a wide-eyed teenager eager to absorb everything. The last is a sighting of the artists ghost-to-be; Schjerfbeck died the year after it was made. Together this series is among the most moving and accomplished autobiographies-in-paint. Precociously gifted, Schjerfbeck was 11 when she entered the Finnish Art Societys drawing school. “The Wounded Warrior in the Snow”, a history painting, was bought by a private collector and won her a state travel grant when she was 17. Schjerfbeck studied in Paris, went on to Pont-Aven, Brittany, where she painted for a year, then to Tuscany, Cornwall and St Petersburg. During her 1887 visit to St Ives, Cornwall, Schjerfbeck painted “The Convalescent”. A child wrapped in a blanket sits propped up in a large wicker chair, toying with a sprig. The picture won a bronze medal at the 1889 Paris World Fair and was bought by the Finnish Art Society. To a modern eye it seems almost sentimental and is redeemed only by the somewhat stunned, melancholy expression on the childs face, which may have been inspired by Schjerfbecks early experiences. At four, she fell down a flight of steps and never fully recovered. In 1890, Schjerfbeck settled in Finland. Teaching exhausted her, she did not like the work of other local painters, and she was further isolated when she took on the care of her mother (who lived until 1923). “If I allow myself the freedom to live a secluded life”, she wrote, “then it is because it has to be that way.” In 1902, Schjerfbeck and her mother settled in the small, industrial town of Hyvinkaa, 50 kilometres north of Helsinki. Isolation had one desired effect for it was there that Schjerfbeck became a modern painter. She produced still lives and landscapes but above all moody yet incisive portraits of her mother, local school girls, women workers in town (profiles of