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听力原文： When people succeed, it is because of hard work, but luck has a lot to do with it, too. Success without some luck is almost impossible. The French emperor Napoleon said of one of his generals, "I know he's good. But is he lucky？" Napoleon knew that all the hard work and talent in the world can't make up for bad luck. However, hard work can invite good luck..

When it comes to success, luck can mean being in the right place to meet someone, or having the right skills to get a job done. It might mean turning down an offer and then having a better offer come along. Nothing can replace hard work, but working hard also means you're preparing yourself opportunity. Opportunity very often depends on luck. How many of the great inventions and discoveries came about through a lucky mistake or a lucky chance？ One of the biggest lucky mistakes in history is Columbus' so-called discovery of America. He enriched his sponsors and changed history, but he was really looking for India. However, Columbus' chance discovery wasn't pure luck. It was backed up by years of studying and calculating. He worked hard to prove his theory that the world was round. People who work hard help make their own luck by being ready opportunity knocks. When it comes to success, hard work and luck are always hand in hand. (30) A．Hard work is the most important thing for one's success. B．Hard work may invite good luck. C．Good luck plays an important role in one's success. D．Success has nothing to do with luck.

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Mark Twain once observed that giving up smoking is easy. He knew, because he'd done it hundreds of times himself. Giving up for ever is a trifle more difficult, apparently, and it is well known that it is much more difficult for some people than for others. Why is this so？

Few doctors believe any longer that it is simply a question of will power. And for those people that continue to view addicts as merely "weak", recent genetic research may force a rethink. A study conducted by Jacqueline Vink, of the Free University of Amsterdam, used a database called the Netherlands Twin Register to analyze the smoking habits of twins. Her results, published in the Pharmacogenomics Journal, suggest that an individual's degree of nicotine dependence, and even the number of cigarettes he smokes per day, are strongly genetically influenced. The Netherlands Twin Register is a voluntary database that contains details of some 7,000 pairs of adult twins (aged between 15 and 70) and 28,000 pairs of childhood twins. Such databases are prized by geneticists because they allow the comparison of identical twins (who share all their genes) with fraternal twins (who share half). In this case, however, Dr. Vink did not make use of that fact. For her, the database was merely a convenient repository of information. Instead of comparing identical and fraternal twins, she concentrated on the adult fraternal twins, most of whom had completed questionnaires about their habits, including smoking, and 536 of whom had given DNA samples to the register. The human genome is huge. It consists of billions of DNA "letters", some of which can be strung together to make sense (the genes) but many of which have either no function, or an unknown function, To follow what is going on, geneticists rely on markers they have identified within the genome. These are places where the genetic letters may vary between individuals. If a particular variant is routinely associated with a particular physical feature or a behavior. pattern, it suggests that a particular version of a nearby gene is influencing that feature or behavior. Dr. Vink found four markers which seemed to be associated with smoking. They were on chromosomes 3, 6, 10 and 14, suggesting that at least four genes are involved. Dr. Vink hopes that finding genes responsible for nicotine dependence will make it possible to identify the causes of such dependence. That will help to classify smokers better (some are social smokers while others are physically addicted) and thus enable "quitting" programs to be customized. Results such as Dr. Vink's must be interpreted with care. Association studies, as such projects are known, have a disturbing habit of disappearing, as it were, in a puff of smoke when someone tries to replicate them. But if Dr. Vink really has exposed a genetic link with addiction, then Mark Twain's problem may eventually become a thing of the past. Mark Twain is mentioned in the passage in order to show that A．he is a man with very Strong will power. B．it is easy to give up smoking temporarily. C．famous writers are often heavy smokers. D．only few people have his determination.

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"A writer's job is to tell the truth," said Hemingway in 1942. No other writer of our time had so fiercely asserted, so pugnaciously defended or so consistently exemplified the writer's obligation to speak truly His standard of truth-telling remained, moreover, so high and so rigorous that he was ordinarily unwilling to admit secondary evidence, whether literary evidence or evidence picked up from other sources than his own experience. "I only know what I have seen," was a statement which came often to his lips and pen. What he had personally done, or what he knew unforgettably by having gone through one version of it, was what he was interested in telling about. This is not to say that he refused to invent freely. But he always made it a sacrosanct point to invent in terms of what he actually knew from having been there.

The primary intent of his writing, from first to last, was to seize and project for the reader what he often called "the way it .was." This is a characteristically simple phrase for a concept of extraordinary complexity, and Hemingway's conception of its meaning subtly changed several times in the course of his career--always in the direction of greater complexity. At the core of the concept, however, one can invariably discern the operation of three aesthetic instruments; the sense of place the sense of fact and the sense of scene. The first of these, obviously a strong passion with Hemingway is the sense of place. "Unless you have geography, background," he once told George Anteil, "You have nothing." You have, that is to say, a dramatic vacuum. Few writers have been more place-conscious. Few have s carefully charted out she geographical ground work of their novels while managing to keep background so conspicuously unobtrusive. Few, accordingly, have been able to record more economically and graphically the way it is when you walk through the streets of Paris in search of breakfast at corner café… Or when, at around six o' clock of a Spanish dawn, you watch the bulls running from the corrals at the Puerta Rochapea through the streets of Pamplona towards the bullring. "When I woke it was the sound of the rocket exploding that announced the release of the bulls from the corrals at the edge of town. Down below the narrow street was empty. All the balconies were crowded with people. Suddenly a crowd came down the street. They were all running, packed close together. They passed along and up street toward the bullring and behind them came more men running faster, and then some stragglers who ere really running. Behind them was a little bare space, and then the bulls, galloping, tossing their heads up and down. It all went out of sight around the corner. One man fell, rolled to the gutter, and lay quiet. But the bulls went right on and did not notice him. They were all running together." This landscape is as morning-fresh as a design in India ink on clean white paper. First is the bare white street, seem from above, quiet and empty. Then one sees the first packed clot of runners. Behind these are the thinner ranks of those who move faster because they are closer to bulls. Then the almost comic stragglers, who are "really running." Brilliantly behind these shines the "little bare space," a desperate margin for error. Then the clot of running bulls-closing the design, except of course for the man in the gutter making himself, like the designer's initials, as inconspicuous as possible. According to the author, Hemingway's primary purpose in telling a story was ______. A．to construct a well-told story that the reader would thoroughly enjoy. B．To construct a story that would reflect truths that were not particular to a specific historical period C．To begin from reality but to allow his imagination to roam from "the way it was" to "the way it might have been" D．To report faithfully reality as Hemingway had experienced it.

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回答下列各题： Would you know how to help？ Every year. thousands of drivers andpassengers die in the few minutes after an auto collision. Many of thesevictims would survive if only the first people on the scene knew how to reactin emergencies. How can you help an accident victim, even before treatinginjuries？ Turn off the ignitions (点火装置)of any wrecked (遇难的)cars to reduce therisk of fire. This simple step could keep a bad collision from becoming muchworse. Re- member: check for fire, downed wires or spilled gasoline beforegetting too close to a wreck. And never move an injured driver to get to hiskeys. Learn more emergency warning in the Crash Course Book. free from Shellstation. Pick one up at your nearest Shell station or call 376 -200. Manyof these victims died because the first people on the scene did not know how to 46_________________

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My father was a gruff man. I couldn't remember the last time he had tenderly stroked my cheek, tousled my hair or used a term of endearment when calling my name. His diabetes had given him a short temper and he screamed a lot. I was envious when I saw other fathers plant gentle kisses on their daughters' foreheads or impulsively give them a big bear hug. I knew that he loved me and that his love was deep. He just didn't know how to express it.

It was hard to say "I love you' to someone who didn't say it back. After so many disappointing times when I would flinch from his sharp rebuff I began to withdraw my own warm displays of affection. I stopped reaching out or hugging or kissing him. At first this act of self-restraint was conscious. Later it would become automatic, and finally it was ingrained. The love between us ran strong but silent. One rare evening out, when my mother had successfully coaxed my usually asocial father to join us for a night in the town, we were sitting in an elegant restaurant that boasted a small but lively band. When it struck up a familiar waltz tune, I glanced at my father. He suddenly appeared small and shrunken to me not powerful and intimidating as I had always perceived him. All the old hurts welled up inside but I decided to dare one last time. "Dad, You know I've never ever danced with you. Even when I was a little girl, I begged you, but you never wanted to! How about right now？ " I waited for the usual brusque reply that would once again slice my heart into ribbons. But instead he considered me thoughtfully and then a surprising twinkle appeared in his eye." I have been remiss in my duties as a father then." he uncharacteristically joked. "Let's hit the floor and I'll show you just what kind of moves an old geezer like me still can make!" My father took me in his arms. Since earliest childhood I hadn't been enfolded in his embrace. I felt overcome by emotion. As we danced, I looked up at my father intently but he avoided my gaze. His eyes swept the dance floor, the other diners and the members of the band. His scrutiny took in everyone and everything but me. I felt that he must already be regretting his decision to join me for a dance; he seemed uncomfortable being physically close to me. "Dad," I finally whispered tears in my eyes. "Why is it so hard for you to look at me？" At last his eyes dropped to my face and he studied me intently. "Because I love you so much", he whispered back. "Because I love you. " I was struck dumb by his response. It wasn't what I had anticipated. But it was of course exactly what I needed to hear. His own eyes were misty and he was blinking. I had always known that he loved me, I just hadn't understood that his vast emotion had frightened him and made him mute. His taciturn manner hid the deep emotions flowing inside. "I love you too, Dad" I whispered back softly. He stumbled over the next few words" I ... I'm sorry that I'm not demonstrative." Then he said "I've realized that I don't show what I feel. My parents never hugged or kissed me and I guess I learned how not to from them. It's... it's.., hard for me. I'm probably too old to change my ways now but just know how much I love you." "Okay" I smiled. When the dance ended, I brought Dad back to Mom waiting at the table and excused myself to the ladies' room. I was gone just a few minutes but during my absence everything changed. There were screams and shouts and scrapings of chairs as I made my way back across the room. I wondered what the commotion was all about. As I approached the table I saw it was all about Dad. He was slumped in his chair ashen gray. A doctor in the restaurant rushed over to handle the emergency and an ambulance was called but it was really all too late. He was gone. Instantly they said. What had suddenly made me after so many years of steeling myself against his constant rejection ask hi A．He was a bad-tempered man because of the disease he had suffered. B．He was an asocial man with little idea of using body language. C．He was an affectionate father who seldom joked. D．He was a loving father without much warm demonstration of love.

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If I hdn’t been lucky enough to meet you. I relly _____ wht I would hve done.don’t knowB．hdn’If I hdn’t been lucky enough to meet you. I relly _____ wht I would hve done.don’t know B．hdn’t known C．wsn’t knowing D．wouldn’t know

A．don’t know B．hadn’t known C．wasn’t knowing D．wouldn’t know

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know（knew, known）（）

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