完形填空。

　　It was about two o'clock in the morning when I was woken by a loud noise. It was so  1 that I didn't want to get up, so I sat in bed and  2 . Since I heard nothing more I concluded (得出結論) that the sound must have come from the street. I was just  3 the bedclothes over my head to go back to sleep  4 there was another loud bang (砰). It was so terrible that I jumped out of bed  5 .

　　I put on my clothes and tipped (踮著腳尖)  6 , feeling my way carefully. I found the sitting-room door  7 and I could not remember  8 I had left it like that. I quickly turned on the lights but could see nothing  9 , so I began climbing the stairs when I heard the same noise again. It came obviously from  10 . I dashed upstairs and went into all bedrooms one  11 the other but nothing could possibly have made such a sound. I went  12 to one of the windows and looked down on the garden below. Lamps from the street  13 enough light to see by. It was snowing  14 and a thick white blanket  15 everything. There was certainly no sign that  16 had been walking in the garden, for it was  17 to make out footprints. Feeling cold, I went to my room, sat on my bed and waited to see if the noise would come again. It  18 from directly above me.  19 then did I understand: the water in the pipes  20 to the tank (水箱) on the roof was beginning to freeze and the pipes were protesting (抗議) loudly!

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完形填空。

　　It was about two o'clock in the morning when I was woken by a loud noise. It was so  1 that I didn't want to get up, so I sat in bed and  2 . Since I heard nothing more I concluded (得出結論) that the sound must have come from the street. I was just  3 the bedclothes over my head to go back to sleep  4 there was another loud bang (砰). It was so terrible that I jumped out of bed  5 .

　　I put on my clothes and tipped (踮著腳尖)  6 , feeling my way carefully. I found the sitting-room door  7 and I could not remember  8 I had left it like that. I quickly turned on the lights but could see nothing  9 , so I began climbing the stairs when I heard the same noise again. It came obviously from  10 . I dashed upstairs and went into all bedrooms one  11 the other but nothing could possibly have made such a sound. I went  12 to one of the windows and looked down on the garden below. Lamps from the street  13 enough light to see by. It was snowing  14 and a thick white blanket  15 everything. There was certainly no sign that  16 had been walking in the garden, for it was  17 to make out footprints. Feeling cold, I went to my room, sat on my bed and waited to see if the noise would come again. It  18 from directly above me.  19 then did I understand: the water in the pipes  20 to the tank (水箱) on the roof was beginning to freeze and the pipes were protesting (抗議) loudly!

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Every artist knows in his heart that he is saying something to the public. Not only does he want to say it well, but he wants it to be something which has not been said before. He hopes the public will listen and understand what he wants to teach them, and what he wants them to learn from him.
What visual artists like painters want to teach is easy to make out but difficult to explain, because painters translate their experience into shapes and colors, not words. They seem to feel that a certain selection of shapes and colors, out of countless billions possible, is exceptionally interesting for them and worth showing to us. Without their work we should never have noticed these particular shapes and colors, or have felt the delight which they brought to the artist.
Most artists take their shapes and colors from the world of nature and from human bodies in motion (運動) and at rest; their choices show that these aspects (方面) of the world are worth looking at, and that they contain beautiful sights. Modern artists might say that they only choose subjects that provide an interesting pattern, and that there is nothing more in it. Yet they do not choose entirely without reference to the character of their subjects.
If one painter chooses to paint a decaying (腐爛) leg and another a lake in moonlight, each of them is directing out attention to a certain aspect of the world. Each painter is telling us something, showing us something, explaining something – all of which means that he is trying to teach us.
50．According to the passage, all of the following is true except_________.
A．An artist wants to show something meaningful
B．An artist hopes that the public will understand and learn from him
C．An artist asks the public to believe what he says in his work
D．An artist intends to present something that has not been said before
51．It is hard to explain what a painter is saying, because           .
A．a painter uses unusual words and phrases
B．a painter uses shapes and colors instead of words
C．most painters do not express themselves well
D．many painters do not say anything
52．Modern artists might say their choice of subject         .
A．only provides interesting patterns
B．carries a message to the public
C．has no pattern or form
D．teaches the public important truths
53．The underlined word “exceptionally” in the 2^nd paragraph probably means        .
A．entirely               B．generally             C．especially            D．usually

Every artist knows in his heart that he is saying something to the public. Not only does he want to say it well, but he wants it to be something which has not been said before. He hopes the public will listen and understand what he wants to teach them, and what he wants them to learn from him.

What visual artists like painters want to teach is easy to make out but difficult to explain, because painters translate their experience into shapes and colors, not words. They seem to feel that a certain selection of shapes and colors, out of countless billions possible, is exceptionally interesting for them and worth showing to us. Without their work we should never have noticed these particular shapes and colors, or have felt the delight which they brought to the artist.

Most artists take their shapes and colors from the world of nature and from human bodies in motion (運動) and at rest; their choices show that these aspects (方面) of the world are worth looking at, and that they contain beautiful sights. Modern artists might say that they only choose subjects that provide an interesting pattern, and that there is nothing more in it. Yet they do not choose entirely without reference to the character of their subjects.

If one painter chooses to paint a decaying (腐爛) leg and another a lake in moonlight, each of them is directing out attention to a certain aspect of the world. Each painter is telling us something, showing us something, explaining something – all of which means that he is trying to teach us.

50．According to the passage, all of the following is true except_________.

       A．An artist wants to show something meaningful

       B．An artist hopes that the public will understand and learn from him

       C．An artist asks the public to believe what he says in his work

       D．An artist intends to present something that has not been said before

51．It is hard to explain what a painter is saying, because           .

       A．a painter uses unusual words and phrases

       B．a painter uses shapes and colors instead of words

       C．most painters do not express themselves well

       D．many painters do not say anything

52．Modern artists might say their choice of subject         .

       A．only provides interesting patterns

       B．carries a message to the public

       C．has no pattern or form

       D．teaches the public important truths

53．The underlined word “exceptionally” in the 2^nd paragraph probably means        .

       A．entirely    B．generally  C．especially  D．usually

Every artist knows in his heart that he is saying something to the public. Not only does he want to say it well, but also he wants it to be something which has not been said before. He hopes the public will listen and understand－he wants to teach them, and he wants them to learn from him.

What visual artists like painters want to teach is easy to make out but difficult to explain, because painters translate their experiences into shapes and colors, not words. They seem to feel that a certain selection of shapes and colors, out of the countless billions possible, is exceptionally interesting for them and worth showing to us. Without their work we should never have noticed these particular shapes and colors, or have felt the delight which they brought to the artist.

Most artists take their shapes and colors from the world of nature and from human bodies in movement and rest; their choices indicate that these aspects of the world are worth looking at, and that they contain beautiful sights. Contemporary artists might say that they merely choose subjects that provide an interesting pattern, and that there is nothing more in it. Yet they do not choose them without reference to the character of their subjects.

If one painter chooses to paint a gangrenous(生瘡的) leg and another a lake in moonlight, each of them is directing our attention to a certain aspect of the world. Each painter is telling us something－all of which means that, consciously or unconsciously, he is trying to teach us.

1．It is hard to explain what a painter is saying, because ___________.

A．painters do not express themselves well

B．painters use shapes and colors instead of words

C．painters use unusual words and phrases

D．painters do not say anything actually

2．The contemporary art contains ____________.

A．totally imaginary subjects

B．merely the subjects from nature

C．uninteresting aspects of the world

D．subjects chosen partly for their meaning

3．Compared with a painter of unpleasant subjects, a painter who draws a lake in moonlight is

_______________.

A．better to communicate with

B．more skilled at expressing himself

C．pointing at different things

D．showing more meaning

4．From the passage we can get the information that _____________.

A．paintings are not difficult to understand

B．painters intend to make the paintings hard to understand

C．artists don’t care about the public

D．one must look beyond shapes and colors to find what the artist is saying