He spoke so quickly that I didn‘ t __________ what he said.

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• I teach economics at UCLA. Last Monday in class, I【36】asked my students how their weekend had been. One young man said that it had not been so good. Then he proceeded to ask me why I always seemed to be so cheerful. His question【37】me of something I'd read somewhere before: "Every morning when you get up, you have a【38】about how you want to approach life that day," I said. "I choose to be cheerful." Then I told them a story.

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• He worked so hard that.eventually he fell ill.（）

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• The foreign friend spoke so quickly that we didn t ______ what he said.

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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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• The boy, who was crying as if his heart would break, said, when I spoke to him, that

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• The girl spoke so slowly that we could understand her.

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• Mr. Smith is telling two funny stories of his police work. I remember catching a “thief” in a clothes shop once. It was strange. The man was hiding a yellow sweater inside his coat. I thought he had stolen it, so I caught him. We found later that his wife gave him the sweater for his birthday, but he hated it. He just wanted to return it to the shop for money, but he didn’t want his wife to see him! We soon let him go. Another day, a man called Bob went into a bank on Sixth Street. He wrote on the back of an envelope, “Give me the money! Or I’ll kill you. ” and gave it to the bank clerk. She gave him $100,000 and the man ran away. Then we received a phone call from the bank clerk. She told us to go to the man’s house in Candy Town and get him. We caught him as soon as he got out of the elevator. He couldn’t believe that we found him so quickly. We told him that the front of the envelope he used had his name and address on it!

  小题1:What does Mr. Smith do？ A. A bank clerk B. A policeman C. A thief 小题2:Mr. Smith caught the man in the clothes shop ___________. A. by exchange B. by mistake C. by accident 小题3:Why did the man return the sweater to the shop？ A. Because he didn’t want his wife to see it B. Because he liked money more than the sweater C. Because he hated it and wanted to get the money back 小题4:Bob was caught so quickly because ___________. A. his address was found on the envelope he used B. he received a phone call from the bank clerk C. the police waited for him outside the elevator 小题5:What do you think of Bob？ A. He is brave B. He is careful C. He is careless

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