【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,不正确的一项是( )
A.文章第一段写奇异的梅雨潭,可爱的潭水,以及梅雨潭上的梅雨亭 ,这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】画波浪线的句子主要采用了博喻的修辞手法,“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,完成下题。
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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讲学问则必讲其源流承接,此中有人之与人之精神血脉,务要臻于“意气相投”境,此是学问入门后之事。徒知读书,只如听说话。听人说话,却不知那说话的人。读人所著书,却不知那著书的人,如此则仅成为死学问,死知识,只是一堆材料。如欧阳永叔与王荆公,其文皆学自韩昌黎,但欧、王两家文字精神意趣各不同。我们读韩、欧、王三家文,应能分别出此三家之异在何处、同在何处。欧、王两家之学韩,各由何处入,又各由何处出。应能从此三家文字“想见其为人”o应使韩、欧、王三家之精神笑貌、意兴情趣,历历如在目前。虽在我口里说不出,却要在我心里深深确有此想象。又如读晚明三大儒著作,也须从其著作透过去了解其为人。于此三家之面目精神各不同处,须能活泼如呈现在我目前。当知学术有血脉,人物有个性,一家是一家,一人是一人。若不能明白分辨出,即证对彼无所知。学问到此境界,始能与古人神交于千载之上。否则交臂失之,当面不相识,只听人闲说话,哪里是学问!
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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