"You can't have this football back        you promise not to kick it at my cat again," the

     old man said firmly.

     A. because          B. since          C. when          D. until

 

"You can't have this football back ____ you promise not to kick it at my cat again." the old man said firmly.

A.because 　　　　　　　　　 B. since 　　　　　　　　　　　　　 C. when 　　　　　　　　　　　　　 D. until

"You can't have this football back             you promise not to kick it at my cat again," the old man said firmly.

A. because            B. since             C. when           D. until

He came into the room to shut the windows while we were still in bed and I saw he looked ill. He was shivering, his face was white, and he walked slowly as though it ached to move.

"What's the matter, Schatz?"

"I've got a headache."

"You better go back to bed."

"No. I'm all right."

"You go to bed. I'll see you when I'm dressed."

But when I came downstairs he was dressed, sitting by the fire, looking a very sick and miserable boy of nine years. When I put my hand on his forehead I knew he had a fever.

"You go up to bed," I said, "You're sick."

"I'm all right," he said.

When the doctor came he took the boy's temperature.

"What's is it?" I asked him.

"One hundred and two."

Downstairs, the doctor left three different medicines in different colored capsules（胶囊） with instructions for giving them. One was to bring down the fever, another a purgative(泻药), the third to overcome an acid condition. The germs of influenza（流感）can only exist in an acid condition, he explained. He seemed to know all about influenza and said there was nothing to worry about if the fever did not go above one hundred and four degrees. This was a light epidemic(传染病；传染性的) of flu and there was no danger if you avoided pneumonia（肺炎）.

Back in the room I wrote the boy's temperature down and made a note of the time to give the various capsules.

"Do you want me to read to you?"

"All right. If you want to, " said the boy. His face was very white and there were dark areas under his eyes. He lay still in the bed and seemed very detached（超然的；冷漠的）from what was going on.

I read aloud from Howard Pyle's Book of Pirates（海盗）;but I could see he was not following what I was reading.

"How do you feel, Schatz?" I asked him.

"Just the same, so far," he said.

I sat at the foot of the bed and read to myself while I waited for it to be time to give another capsule. It would have been natural for him to go to sleep, but when I looked up he was looking at the foot of the bed, looking very strangely.

"Why don't you try to sleep? I'll wake you up for the medicine."

"I'd rather stay awake."

After a while he said to me, "You don't have to stay in here with me, Papa, if it bothers you."

"It doesn't bother me."

"No, I mean you don't have to stay if it's going to bother you."

I thought perhaps he was a little lightheaded and after giving him the prescribed capsules at eleven o'clock I went out with my gun and the young hunting dog….I killed two quail(鹌鹑), and missed five, and started back pleased to have found a covey of quail close to the house and happy there were so many left to find on another day.

At the house they said the boy had refused to let anyone come into the room.

"You can't come in," he said. "You mustn't get what I have."

I went up to him and found him in exactly the position I had left him, white-faced, but with the tops of his cheeks flushed（发红）by the fever, staring still, as he had stared, at the foot of the bed.

I took his temperature.

"What is it?"

"Something like a hundred," I said. It was one hundred and two and four tenths.

"It was a hundred and two," he said.

"Who said so?"

"The doctor."

"Your temperature is all right," I said. "It's nothing to worry about."

"I don't worry," he said, "but I can't keep from thinking."

"Don't think," I said. "Just take it easy."

"I'm taking it easy," he said and looked straight ahead, He was evidently holding tight onto himself about something.

"Take this with water."

"Do you think it will do any good?"

"Of course it will."

I sat down and opened the Pirate book and began to read, but I could see he was not following, so I stopped.

"About what time do you think I'm going to die?" he asked.

"What?"

"About how long will it be before I die?"

"You aren't going to die. What's the matter with you? "

"Oh, yes, I am, I heard him say a hundred and two."

"People don't die with a fever of one hundred and two. That's a silly way to talk."

"I know they do. At school in France the boys told me you can't live with forty-four degrees. I've got a hundred and two."

He had been waiting to die all day, ever since nine o'clock in the morning.

"You poor Schatz," I said. "Poor old Schatz. It's like miles and kilometers. You aren't going to die. That's different thermometer（温度计）. On that thermometer thirty-seven is normal. On this kind it's ninety-eight."

"Are you sure?"

"Absolutely," I said, "It's like miles and kilometers. You know, like how many kilometers we make when we do seventy miles in the car?"

"Oh," he said.

But his gaze at the foot of the bed relaxed slowly. The hold over himself relaxed too, finally, and the next day it was very slack(松驰的) and he cried very easily at little things that were of no importance.

1.The author writes about the doctor’s visit in order to _____.

A. show the doctor’s knowledge about influenza and its treatment

B. show the boy’s illness was quite serious

C. create a situation of misunderstanding around which to build a story

D. show the father was very much concerned about the boy’s illness

2.The pronoun “it” in “Papa, if it bothers you” (line 41) refers to _____.

A. the boy’s high temperature

B. the father giving the medicine to the boy

C. the father staying with the boy

D. the boy’s death

3.It can be inferred from the story that it is _____ by the time the father gets home from hunting.

A. early in the afternoon                            B. close to evening

C. at noon                                                      D. late in the morning

4.From the story we know that the boy kept tight control over himself because _____.

A. he did not want to be a bother to others

B. he wanted to recover quickly so that he could go hunting with his father

C. he was afraid that he would die if he lost control over himself

D. he thought he was going to die and he must show courage in the face of death

5.That the boy cried very easily at little things of no importance the next day suggests that _____.

A. he couldn’t control his emotions when he finally relaxed

B. his father would go out hunting without him if he didn’t cry

C. something went wrong with his brain after the fever

D. he often complained about unimportant things as a spoiled boy

6.The theme of the story is _____.

A. death is something beyond a child’s comprehension

B. to be calm and controlled in the face of death is a mark of courage

C. misunderstanding can occur even between father and son

D. misunderstanding can sometimes lead to an unexpected effect

 

In many ways, the earliest periods of photography are the most satisfying. Learning to use the controls is easy and comes quickly, and you can measure the results in terms of sharp and correctly developed pictures. Once you have mastered that, you can start on the second step of your photographic work. Using these basic skills in the wide variety of situations to give the pictures you want, noticing what you see through the viewfinder and turning that into the most effective picture becomes totally interesting.

All good photographs have one thing in common: there is no doubt what the subject of the picture is meant to be. Every photographer must use those same standards to his or her work, not only to finished results but to the subject before he or she takes it. Always work out quite clearly what the subject of the picture is to be and why you are taking the picture. For example, "I am going to take a picture of this street to show the different styles and ages of the buildings and that people have been living, working and shopping in them since time began." By doing this you have a better idea of what to include in the picture and what to leave out. How often have you been shown photographs taken by people away on a trip somewhere? The judgment is always similar, something about "the car park is out of the picture to the left", or "you can't quite see from this picture but if you go up the street". The photographs are usually collections of buildings, people, parked cars, possibly a distant look of an ancient church, and best of all, a figure which you are told is Aunt Henrietta, disappearing in the middle distance. When photographers show you their pictures, they have a clear idea of what they want to bring to your attention, but it often does not appear in the picture. If they had given just a little of their time to think about their future judgment before taking the picture, then the picture would relate its own story. Good pictures can show their subjects quickly and easily.

64. What does the author mean by saying "in many ways, the earliest periods of photography are the most satisfying"?

A. The skills of photography are not as satisfactory nowadays as before.

B. The earliest pictures were the best pictures people have ever taken.

C. The present-day photography depends more on technology than on art.

D. Learning to produce a sharp and correctly developed picture is only the first step in photography and is easily learned.

65. What will it bring you if you decide the purpose of the photograph in advance?

A. It will allow you to leave out unnecessary material.

B. It will allow you to stand in the best place.

C. It will help you to vary the subjects of your pictures.

D. It means you will waste less time.

66. Many photographers fail because ______.

A. their pictures include both buildings and people    

B. everything is not clear in their pictures

C. the subjects of their pictures are not obvious

D. the explanation given for their pictures is mistaken

67. What book is this passage most likely taken from?

A. A book on photography for news reporters.   B. A book on how to photograph people.

C. A book on choosing the right camera.           D. A book on improving photographic techniques.