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【题目】【课外拓展】

阅读下面的文字,完成下列各小题。

绿

朱自清

我第二次到仙岩的时候,我惊诧于梅雨潭的绿了。

梅雨潭是一个瀑布潭。仙岩有三个瀑布,梅雨瀑最低。走到山边,便听见哗哗哗哗的声音;抬起头,镶在两条湿湿的黑边儿里的,一带白而发亮的水便呈现于眼前了。我们先到梅雨亭。梅雨亭正对着那条瀑布;坐在亭边,不必仰头,便可见它的全体了。亭下深深的便是梅雨潭。这个亭踞在突出的一角的岩石上,上下都空空儿的;仿佛一只苍鹰展着翼翅浮在天宇中一般。三面都是山,像半个环儿拥着;人如在井底了。这是一个秋季的薄阴的天气。微微的云在我们顶上流着;岩面与草丛都从润湿中透出几分油油的绿意。而瀑布也似乎分外的响了。那瀑布从上面冲下,仿佛已被扯成大小的几绺;不复是一幅整齐而平滑的布。岩上有许多棱角;瀑流经过时,作急剧的撞击,便飞花碎玉般乱溅着了。那溅着的水花,晶莹而多芒;远望去,像一朵朵小小的白梅,微雨似的纷纷落着。据说,这就是梅雨潭之所以得名了。但我觉得像杨花,格外确切些。轻风起来时,点点随风飘散,那更是杨花了。——这时偶然有几点送入我们温暖的怀里,便倏地钻了进去,再也寻它不着。

梅雨潭闪闪的绿色招引着我们;我们开始追逐她那离合的神光了。揪着草,攀着乱石,小心探身下去,又鞠躬过了一个石穹门,便到了汪汪一碧的潭边了。瀑布在襟袖之间;但我的心中已没有瀑布了。我的心随潭水的绿而摇荡。那醉人的绿呀!仿佛一张极大的荷叶铺着,满是奇异的绿呀。我想张开两臂抱住她,但这是怎样一个妄想呀。——站在水边,望到那面,居然觉着有些远呢!这平铺着、厚积着的绿,着实可爱。她松松地皱缬着,像少妇拖着的裙幅;她滑滑的明亮着,像涂了明油一般,有鸡蛋清那样软,那样嫩;她又不杂些儿尘滓,宛然一块温润的碧玉,只清清的一色——但你却看不透她!我曾见过北京什刹海拂地的绿杨,脱不了鹅黄的底子,似乎太淡了。我又曾见过杭州虎跑寺近旁高峻而深密的绿壁,丛叠着无穷的碧草与绿叶的,那又似乎太浓了。其余呢,西湖的波太明了,秦淮河的也太暗了。可爱的,我将什么来比拟你呢?我怎么比拟得出呢?大约潭是很深的,故能蕴蓄着这样奇异的绿;仿佛蔚蓝的天融了一块在里面似的,这才这般的鲜润呀。——那醉人的绿呀!我若能裁你以为带,我将赠给那轻盈的舞女;她必能临风飘举了。我若能挹你以为眼,我将赠给那善歌的盲妹;她必明眸善睐了。我舍不得你;我怎舍得你呢?我用手拍着你,抚摩着你,如同一个十二三岁的小姑娘。我又掬你入口,便是吻着她了。我送你一个名字,我从此叫你女儿绿,好么?

我第二次到仙岩的时候,我不禁惊诧于梅雨潭的绿了。

【1】下列对这篇散文的赏析不正确的项是

A文章第一段奇异的梅雨潭,可爱的潭水,以及梅雨潭上的梅雨亭 都在为下文着意刻画梅雨潭的绿作铺垫。

B作者详细地描述游览的经过顺着游历的足迹对瀑布、对梅雨亭作了简洁而形象的介绍而对“梅雨潭”进行了详细的介绍。

C全文首尾照应,结尾只加了“不禁”二字却是传神之笔。经过作者的一番描绘连读者也“不禁”要为梅雨潭的绿而惊诧。

D绿”字不仅在文章的结构上起关连作用它更是全文情景交融的焦点。

【2】文中画波浪线的句子运用了什么修辞手法?分别写出了梅雨潭“绿”的什么特点?

答:_____________________________________________________________________

_________________________________________________________________________

【3】本文的文眼是什么? 文中画横线的句子,在内容上起什么作用?

答:_____________________________________________________________________

【答案】

【1】B

【2】波浪线的句子主要采用博喻的修辞手法她松松地皱缬着像少妇拖着的裙幅”是用比喻来说明梅雨潭绿的状态少妇皱缬的裙幅与梅雨潭潭水的涟漪有相似之处。“像涂了‘明油’一般”是以比喻描写潭水的亮度;“有鸡蛋清那样软那样嫩”是用比喻的修辞方法写潭水的纯净。“宛然一块温润的碧玉”是用比喻来写潭水的纯洁却又不是那种一眼见底的透明。

【3】第一问:惊诧于梅雨潭的绿。第二问:用比较法来突出梅雨潭的绿的特点说明只有梅雨潭的绿明暗适度浓淡相宜绿得恰到好处。

【解析】

【1】B项文中没有详细地描述游览的经过。

【2】注意抓住喻体的特点并结合本体展开联想。

【3】第一问:“文眼”就是作者“立片言而居要”的语句或透露主旨或点明题意或交代写作缘由。本文全文是围绕梅雨潭的绿来写的,开头和结尾作者都明确地写出了他惊诧于梅雨潭的绿。结合上述分析答案不难找出。第二问:本文是赞颂梅雨潭的绿,这里却提到了其他许多地方的绿,而且——指出它们的缺点,很显然是与梅雨潭的绿形成对比,来突出梅雨潭的绿恰到好处。

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【题目】阅读下面的文字,完成题。

当知学问都从活人做出,学问之背后则必然有其人之存在。但人不易知,各人有各人的天赋不同,智慧不同,境界不同,性格不同。如欧阳修与司马光两人同是北宋大史学家,因其人之不同,而史学上之造诣与精神亦不同。诸位治史学,不懂得所谓史学家其人,试问如何做得一史学家?

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我们的先一步是从别人之心来启发自己之心,此即上面所讲从前人之功力来启发我之智慧之一项。现在所讲则是要以自己之心来证发前人之心,即是以自己之功力来体会前人之智慧之一步。此一步工夫较难,必须沉潜反复,密意追寻。诸位当知,一本书之背后,有此一个人。一门学问之背后,有此一位专门名家之学者。学问倘至此步,始可谓懂得了做学问。到此已是升堂境界,已能神交古人,恰如与古人周旋揖让于一堂之上,宾主晤对,情意相接,那是何等的欢乐愉快呀!上述第一步是从师治学,现在第二步是升堂了,乃是从学得师。如此,才能说有了师承,才不是跟着前人走,而是与前人同道而行。诸位今日一心只是要创造,却不在想从师受学,从学得师。也不是要与人同道,只是想前无古人,别创一格。如此用心,则决非所谓学问之道。

(摘编自钱穆《关于学问的智慧与功力》)

【1】下列关于原文内容的表述,不正确的一项是( )

A.做学问,既要研究学问,又要研究做学问的人,如果对做学问的人缺乏应有的认识,缺乏心灵上的对接,便不是真学问。

B.把臂人林是说阅读他人学问之书,犹如面对写书人,真切感受其人。唯其如此,方能领略其掌问的真谛。

C.单纯阅读书籍只会获得一堆材料,增加一些见识,难以让自己与他人的学问融汇,因此做学问时阅读的作用并不大。

D.作者认为如果治学者不关注做学问的人,就会对古人的血脉精神了解不足,缺乏内在精神上的传递与交流。

【2】下列理解和分析,不符合原文意思的一项是( )

A.作者以欧阳修与司马光两人的比较为例,证明做学问的人在智慧、境界和性格等方面的不同会造成其所做学问的差异。

B.至少在我自己要感得是如此,作者如此言说的目的是要启示读者重视把臂人林精神的践行,最起码自身要感到心知其人。

C.欧阳修、王安石都学习韩愈,但三家既有相同之处又有不同之处,作者以此例意在证明讲学问既讲源流承接,也应研究做学问人的不同。

D.做学问达到升堂境界,就像与古人周旋揖让于一堂之上,宾主晤对,情意相接,作者以此来阐释古今之人的彼此尊重,注重礼节。

【3】根据原文内容,下列说法不正确的一项是( )

A.学术有血脉,不单指学问的相连相成,也指人与人精神上意气相投,阅读古人治学之著作,要真切感受治学者的面目精神。

B.所谓从前人之功力来启发我之智慧,就是从别人之心来启发自己之心,要想有此工夫,则必须沉潜反复,密意追寻。

C.做学问到达从学得师这一步,便能与古人神交,有了师承,与前人同道而行。这也是做学问需要追求的境界。

D.在学术传统上无知识,就忙着找材料,一心要创造,要出锋头,只想显示个性,不想从师,作者认为这绝非做学问之道。

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