Creativity Is the Mother of Invention By Sha Azam Siddiqui | |
The world in which we live in This beautiful place which we belong to It’s so beautiful and so colorful But we always lack to see beauty of it and we continue to live the life which is so regretful This is the one life we have We have to live it to the fullest Not with happenings or desires of others But with the intention which truly inspires us. We have to live this life We have to create this life | This life is ours and only ours We need to realize this first It’s said that creativity is the mother of invention But it depends solely on individual intention If we are clear with our own destination It doesn’t matter then how much we get rejection Live this life as if you were the King Spend the luxuries as if you were the Queen It all starts with the only Intention If we just keep on thinking Then there is no end for this perspiration. |
Creativity is the key to a bright future. We live in a
Science fiction doesn’t always get the respect it deserves. My friend Ryan calls
Yes, science fiction is fun, but it’s also “real” literature. After all, some of
Not only
One accurate example by a science fiction writer is the invention of the automatic sliding door,
Okay, so maybe we could survive without automatic doors, but in the short story From the London Times of 1904 (published in 1898), Mark Twain described a m
3 . Sir Conan Doyle, whose Sherlock Holmes stories are known all over the world, worked
1.
A.on | B.as | C.in | D.for |
A.which | B.where | C.who | D.what |
A.adapted from | B.relied on | C.believed in | D.based on |
1. What does the woman ask the man to do?
A.Think of a subject for her writing. |
B.Introduce a book by Eric Hansen. |
C.Find a place of interest to travel to. |
A.Eric Hansen has a lot of work to do. |
B.The woman is not interested in the area. |
C.The book is about the writer’s experience among the natives. |
5 . When it came to concealing his troubles, Tommy Wilhelm was not less capable than the next fellow. So at least he thought, and there was a certain amount of evidence to back him up. He had once been an actor—no, not quite, an extra—and he knew what acting should be. Also, he was smoking a cigar, and when a man is smoking a cigar, wearing a hat, he has an advantage: it is harder to find out how he feels. He came from the twenty-third floor down to the lobby on the mezzanine to collect his mail before breakfast, and he believed — he hoped — that he looked passably well: doing all right. It was a matter of sheer hope, because there was not much that he could add to his present effort. On the fourteenth floor he looked for his father to enter the elevator; they often met at this hour, on the way to breakfast. If he worried about his appearance it was mainly for his old father's sake. But there was no stop on the fourteenth, and the elevator sank and sank. Then the smooth door opened and the great dark-red uneven carpet that covered the lobby billowed toward Wilhelm's feet. In the foreground the lobby was dark, sleepy. French drapes like sails kept out the sun, but three high, narrow windows were open, and in the blue air Wilhelm saw a pigeon about to light on the great chain that supported the marquee of the movie house directly underneath the lobby. For one moment he heard the wings beating strongly.
Most of the guests at the Hotel Gloriana were past the age of retirement. Along Broadway in the Seventies, Eighties, and Nineties, a great part of New York's vast population of old men and women lives. Unless the weather is too cold or wet they fill the benches about the tiny railed parks and along the subway gratings from Verdi Square to Columbia University, they crowd the shops and cafeterias, the dime stores, the tearooms, the bakeries, the beauty parlors, the reading rooms and club rooms. Among these old people at the Gloriana, Wilhelm felt out of place. He was comparatively young, in his middle forties, large and blond, with big shoulders; his back was heavy and strong, if already a little stooped or thickened. After breakfast the old guests sat down on the green leather armchairs and sofas in the lobby and began to gossip and look into the papers: they had nothing to do but wait out the day. But Wilhelm was used to an active life and liked to go out energetically in the morning. And for several months, because he had no position, he had kept up his morale by rising early: he was shaved and in the lobby by eight o'clock. He bought the paper and some cigars and drank a Coca-Cola or two before he went in to breakfast with his father. After breakfast—out, out, out to attend to business. The getting out had in itself become the chief business. But he had realized that he could not keep this up much longer, and today he was afraid. He was aware that his routine was about to break up and he sensed that a huge trouble long presaged(预感)but till now formless was due. Before evening, he'd know.
Nevertheless he followed his daily course and crossed the lobby.
Rubin, the man at the newsstand, had poor eyes. They may not have been actually weak but they were poor in expression, with lacy lids that furled down at the corners. He dressed well. It didn't seem necessary—he was behind the counter most of the time—but he dressed very well. He had on a rich brown suit; the cuffs embarrassed the hairs on his small hands. He wore a Countess Mara painted necktie. As Wilhelm approached, Rubin did not see him; he was looking out dreamily at the Hotel Ansonia, which was visible from his corner, several blocks away. The Ansonia, the neighborhood's great landmark, was built by Stanford White. It looks like a baroque palace from Prague or Munich enlarged a hundred times, with towers, domes, huge swells and bubbles of metal gone green from exposure, iron fretwork and festoons. Black television antennae are densely planted on its round summits. Under the changes of weather it may look like marble or like sea water, black as slate in the fog, white as tufa in sunlight. This morning it looked like the image of itself reflected in deep water, white and cumulous above, with cavernous distortions underneath. Together, the two men gazed at it.
Then Rubin said, “Your dad is in to breakfast already, the old gentleman.”
“Oh, yes?Ahead of me today?”
“That's a real knocked-out shirt you got on,” said Rubin.“Where’s it from, Saks?”
“No, it’s a Jack Fagman—Chicago.”
Even when his spirits were low, Wilhelm could still wrinkle his forehead in a pleasing way. Some of the slow, silent movements of his face were very attractive. He went back a step, as if to stand away from himself and get a better look at his shirt. His glance was comic, a comment upon his untidiness. He liked to wear good clothes, but once he had put it on each article appeared to go its own way. Wilhelm, laughing, panted a little; his teeth were small; his cheeks when he laughed and puffed grew round, and he looked much younger than his years. In the old days when he was a college freshman and wore a beanie(无檐小帽)on his large blonde head his father used to say that, big as he was, he could charm a bird out of a tree. Wilhelm had great charm still.
“I like this dove-gray color,” he said in his sociable, good-natured way. “It isn’t washable. You have to send it to the cleaner. It never smells as good as washed. But it’s a nice shirt. It cost sixteen, eighteen bucks.”
1. Wilhelm hoped he looked all right on his way to the lobby because he wanted to________.A.leave a good impression | B.give his father a surprise |
C.show his acting potential | D.disguise his low spirit |
A.lived a luxurious life | B.liked to swap gossips |
C.idled their time away | D.liked to get up early |
A.He felt something ominous was coming. | B.He was worried that his father was late. |
C.He was feeling at ease among the old. | D.He was excited about a possible job offer. |
A.His shirt made him look better. | B.He cared much about his clothes. |
C.He looked like a comedian in his shirt. | D.The clothes he wore never quite matched. |
The Flight of Youth
By Richard Henry Stoddard
There are gains for all our losses,
There are balms ( 止痛膏) for all our pains,
But when youth, the dream, departs
It takes something from our hearts,
And it never comes again.
We are stronger, and are better,
Under, manhood's sterner (严峻的) reign (驱使).
Till we feel that something sweet
Followed youth, with flying feet,
And will never come again.
Something beautiful is vanished (使消逝),
And we sigh (叹息) for it in vain;
We behold (看到) it everywhere,
On the earth, and in the air,
But it never comes again!
1. Is this poem written using personification (拟人法)?2. When does youth take something from our hearts?
3. Which word does the poet use to describe manhood's reign?
4. Where does the poet think we can find youth?
5. What does this poem want to tell us?
A. then B. while C. as D. down E. that F. but G. away H. within |
The eighth chapter is exceedingly brief, and relates that Gibbons, the amateur naturalist of the district,