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阅读下面的文字，完成文后五题。 记得有人说过，一个人须从古今中外的作家里去寻找和自己性情相近的人。一旦找到思想相近之作家，心中必万分痛快，灵魂亦发生剧烈震撼，如春雷一鸣，蚕卵孵出，得一新生命，入一新世界，于是流连忘返，乐此不疲，如受春风化雨之赐，终获学业大进之益。 这个主张阐发了读书活动中一条基本规律。心理学和接受美学都认为，阅读活动可看成是作者与读者双向交流的心灵对话，是阅读主体为了寻找“自我”和发现“自我”的一次精神探险。因而当阅读主体面对一个陌生的又是高于“自我”的“自我”，其潜在的精神气质和智慧，就如“电击”一般被唤醒，被激活了。当然，一个人面对一本书，仿佛看到了另一个“自我”走来而产生灵魂上全方位的震动和惊喜，或者说一个新的“自我”从“旧我”的躯壳里诞生的情形，一生中难得一遇。这种情形多半发生在某些文学艺术家或人文科学家身上。在其他人那里，则偏重于智慧的激活和治学方法的重铸。 “得一新生命，入一新世界”的情形因人而异，多数是部分得到更新，别开生面。至于气质和心灵完全吻合的情形，是绝不会有的。如果完全认同，则无异于泯灭自我的心智。俄国诗人帕斯捷尔纳克说，当他发现自己身上的英雄主义气质与当时名声在他之上的马雅可夫斯基相近时，他就抑制自己的英雄主义气质。帕斯捷尔纳克的例子，值得深思，值得曾受惠或脱胎于某些外国作家且已声名远播的当代中国青年作家们反省。 第三段中说“如果完全认同，则无异于泯灭自我的心智”，其主要理由是______。
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Questions 1～5 According to the old Jewish stories, the world was in a sad state. The hand of man was lifted against his neighbor. People murdered and stole from each other. It was not safe for a girl to leave her home, lest she be kidnapped by the boys in the neighboring villages. Jehovah, the God of the Israelites, wanted to begin civilization again, hoping that a new generation would prove to be more obedient to his will. In those days there lived a man called Noah. He was descendant of Seth, a younger brother of Cain and Abel, who was born after the family tragedy had taken place. Noah was a good man who tried to be at peace with his conscience and with his fellowmen. If the human race had to began once more, Noah would make a very good ancestor. Jehovah therefore decided to kill all other people, but spare Noah. He came to Noah and told him to build a ship. The vessel was to be four hundred and fifty feet long and thirty feet wide and it was to have a depth of forty-three feet. So Noah and his faithful workmen cut down large cypress trees and laid the kneel and built the sides and covered them with pitch, that the hold might be dry. When the third deck had been finished, a roof was built. It was made of heavy timber, to withstand the violence of the rain that was to pour down upon this wicked earth. Then Noah and his household, his three sons and their wives, made ready for the voyage. They went into the fields and into the mountains and gathered all the animals they could find that they might have beasts for food and for sacrifices when they should return to dry land. A whole week they hunted successfully. And then the "Ark" (for so was the ship called) was full of the noises of the various creatures who did not like their cramped quarters. On the evening of the seventh day, Noah and his family went on board. Later that night, it began to rain. It rained for forty nights and forty days. At the end of this time, the whole world was covered with water, Noah and his fellow travelers in the Ark were the only living things to survive this terrible deluge. Finally, a new wind swept the clouds away. Once more the rays of the sun rested upon the turbulent waves as they had done when the world was first created. Noah opened a window on the Ark and peered out. His ship floated peacefully in the midst of an endless ocean, and no land was in sight. To see if there was dry land, Noah sent out a raven, but the bird came back. Next he sent a pigeon. Pigeons can fly longer than almost any other bird, but the poor thing could not find a single branch upon which to rest, and it also came back to Ark. He waited a week, and once more he set the pigeon free. It was gone all day, but in the evening it returned with a freshly plucked olive leaf in its beak. The waters were receding. Another week went by before Noah released the pigeon for the third time. It did not return and this was a good sign. So afterward the Ark landed on the top of Mount Ararat, in the country which is now called Armenia. The next day Noah went ashore. At once he took some stones and built an altar, and then killed a number of his animals to make a sacrifice for Jehovah. And behold, the sky was bright with the colors of a mighty rainbow. It was a sign from Jehovah to his faithful servant, promising never again would he destroy the entire earth. After Noah was ashore, he killed some animals because ______.
Questions 16～20 The fox really exasperated them both. As soon as they had let the fowls out, in the early summer mornings, they had to take their guns and keep guard; and then again as soon as evening began to mellow, they must go once more. And he was so sly. He slid along in the deep grass; he was difficult as a serpent to see. And he seemed to circumvent the girls deliberately. Once or twice March had caught sight of the white tip of his brush, or the ruddy shadow of him in the deep grass, and she had let fire at him. But he made no account of this. The trees on the wood edge were a darkish, brownish green in the full light—for it was the end of August. Beyond, the naked, copper-like shafts and limbs of the pine trees shone in the air. Nearer, the rough grass, with its long, brownish stalks all agleam, was full of light. The fowls were round about—the ducks were still swimming on the pond under the pine trees. March looked at it all, saw it all, and did not see it. She heard Banford speaking to the fowls in the distance—and she did not hear. What was she thinking about Heaven knows. Her consciousness was, as it were, held back. She lowered her eyes, and suddenly saw the fox. He was looking up at her. His chin was pressed down, and his eyes were looking up. They met her eyes. And he knew her. She was spell- bound—she knew he knew her. So he looked into her eyes, and her soul failed her. He knew her, he has not daunted. She struggled, confusedly she came to herself, and saw him making off, with slow leaps over some fallen boughs, slow, impudent jumps. Then he glanced over his shoulder, and ran smoothly away. She saw his brush held smooth like a feather, she saw his white buttocks twinkle. And he was gone, softly, soft as the wind. She put her gun to her shoulder, but even then pursed her mouth, knowing it was nonsense to pretend to fire. So she began to walk slowly after him, in the direction he had gone, slowly, pertinaciously. She expected to find him. In her heart she was determined to find him. What she would do when she saw him again she did not consider. But she was determined to find him. So she walked abstractedly about on the edge of the wood, with wide, vivid dark eyes, and a faint flush in her cheeks. She did not think. In strange mindlessness she walked hither and thither. As soon as supper was over, she rose again to go out, without saying why. She took her gun again and went to look for the fox. For he had lifted his eyes upon her, and his knowing look seemed to have entered her brain. She did not so much think of him. she was possessed by him. She saw his dark, shrewd, unabashed eye looking into her, knowing her. She felt him invisibly master her spirit. She knew the way he lowered his chin as he looked up, she knew his muzzle, the golden brown, and the greyish white. And again she saw him glance over his shoulder at her, half inviting, half contemptuous and cunning. So she went, with her great startled eyes glowing, her gun under her arm, along the wood edge. Meanwhile the night fell, and a great moon rose above the pine trees. At the end of the story, there seems to be a sense of ______ between March and the fox.
Questions 16 to 20 are based on the following talk.
Questions 11～15 "Museum" is a slippery word. It first meant in Greek anything consecrated to the Muses: a hill, a shrine, a garden, a festival or even a textbook. Both Plato’s Academy and Aristotle’s Lyceum had a mouseion, a muses’ shrine. Although the Greeks already collected detached works of art, many temples—notably that of Hera at Olympia (before which the Olympic flame is still lit)—had collections of objects, some of which were works of art by well-known masters, while paintings and sculptures in the Alexandrian Museum were incidental to its main purpose. The Romans also collected and exhibited art from disbanded temples, as well as mineral specimens, exotic plants, animals; and they plundered sculptures and paintings (mostly Greek) for exhibition. Meanwhile, the Greek word had slipped into Latin by transliteration (though not to signify picture galleries, which were called pinacothecae) and museum still more or less meant "Muses’ shrine". The inspirational collections of precious and semi-precious objects were kept in larger churches and monasteries—which focused on the gold-enshrined, bejeweled relics of saints and martyrs. Princes, and later merchants, had similar collections, which became the deposits of natural curiosities: large lumps of amber or coral, irregular pearls, unicorn horns, ostrich eggs, fossil bones and so on. They also included coins and gems—often antique engraved ones—as well as, increasingly, paintings and sculptures. As they multiplied and expanded, to supplement them, the skill of the fakers grew increasingly refined. At the same time, visitors could admire the very grandest paintings and sculptures in the churches, palaces and castles; they were not "collected" either, but "site-specific", and were considered an integral part both of the fabric of the buildings and of the way of life which went on inside them—and most of the buildings were public ones. However, during the revival of antiquity in the fifteenth century, fragments of antique sculpture were given higher status than the work of any contemporary, so that displays of antiquities would inspire artists to imitation, or even better, to emulation; and so could be considered Muses’ shrines in the former sense. The Medici garden near San Marco in Florence, the Belvedere and the Capitol in Rome were the most famous of such early "inspirational" collections. Soon they multiplied, and, gradually, exemplary "modern" works were also added to such galleries. In the seventeenth century, scientific and prestige collecting became so widespread that three or four collectors independently published directories to museums all over the known world. But it was the age of revolutions and industry which produced the next sharp shift in the way the institution was perceived: the fury against royal and church monuments prompted antiquarians to shelter them in asylum-galleries, of which the Musée des Monuments Francais was the most famous. Then, in the first half of the nineteenth century, museum funding took off, allied to the rise of new wealth. London acquired the National Gallery and the British Museum, the Louvre was organized, the Museum-Insel was begun in Berlin, and the Munich galleries were built. In Vienna, the huge Kunsthistorisches and Naturhistorisches Museum took over much of the imperial treasure. Meanwhile, the decline of craftsmanship (and of public taste with it) inspired the creation of "improving" collections. The Victoria and Albert Museum in London was the most famous, as well as perhaps the largest of them. "... the skill of the fakers grew increasingly refined" in the third paragraph means that ______.
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