An introduction to this book is as superfluous as a candle in front of a powerful searchlight. But a convention of publishing seems to require that the candle should be there, and I am proud to be the one to hold it. About ten years ago I picked up from the pile of new books on my desk a copy of Sons and Lovers by a man of whom I had never heard, and I started to race through it with the immoral speed of the professional reviewer. But after a page or two I found myself reading, really reading. Here was—here is—a masterpiece in which every sentence counts, a book packed with significant thought and beautiful, arresting phrases, the work of a remarkable genius whose gifts are more richly various than those of any other young English novelist.
To appreciate the rich variety of Mr. Lawrence we must read his later novels and his volumes of poetry. But Sons and Lovers reveals the range of his power. Here are combined and blended(混合的) sort of “realism” and almost lyric(抒情的) imagery and rhythm. The speech of the people is that of daily life and the things that happen to them are normal adventures and accidents; they fall in love, marry, work, fail, succeed, and die. But of their deeper emotions and of the relations of these little human beings to the earth and to the stars, Mr. Lawrence makes something near to poetry and prose(散文) without violating its proper “other harmony.”
Take the marvellous paragraph on next to the last page of Sons and Lovers (Mr. Lawrence depends so little on plot in the ordinary sense of the word that it is perfectly fair to read the end of his book first):
Where was he? One tiny upright speck of flesh, less than an ear of wheat lost in the field. He could not bear it. On every side the immense dark silence seemed pressing him, so tiny a spark, into extinction, and yet, almost nothing, he could not be extinct. Night, in which everything was lost, went reaching out, beyond stars and sun, stars and sun, a few bright grains, went spinning round for terror, and holding each other in embrace, there in the darkness that outpassed them all, and left them tiny and daunted(气馁). So much, and himself, infinitesimal, at the core a nothingness, and yet not nothing.
Such glorious writing lifts the book far above a novel which is merely a story. I beg the reader to attend to every line of it and not to miss a single one of the many sentences that await and surprise you. Some are enthusiastic and impressive, like the paragraph above; others are keen, “realistic” observations of things and people. In one of his books Mr. Lawrence makes a character say, or think, that life is “mixed.” That indicates his philosophy and his method. He blends the accurately literal and trivial(琐碎的) with the extremely poetic.
To find a similar blending of tiny daily detail and wide imaginative vision, we must go back to two older novelists, Hardy and Meredith. I do not mean that Mr. Lawrence derives(源于) immediately from them or, indeed, that he is clearly the disciple(弟子) of any master. I do feel simply that he is of the elder stature(名望) of Hardy and Meredith, and I know of no other young novelist who is quite worthy of their company. When I first tried to express this comparison, this connection, I was contradicted by a fellow-critic, who pointed out that Meredith and Hardy are entirely unlike each other and that therefore Mr. Lawrence cannot resemble both. To be sure, nothing is more hateful than forced comparisons, nothing more boring than to discover parallels between one work of art and another. An artist’s mastery consists in his difference from other masters. But to refer a young man of genius to an older one, at the same time pronouncing his independence and originality, is a fair, if not very superior, method of praising him.
1. The underlined word “superfluous” in paragraph 1 is closest in meaning to _______.| A．meaningful | B．unnecessary |
| C．fundamental | D．unbelievable |
| A．They equally reveal his genius power. |
| B．They contain lots of great lyric poetry. |
| C．They present some real living situations. |
| D．They focus on relations between humans. |
| A．The plot of the novel has little to do with daily life. |
| B．It is wise to read Lawrence’s books from the end. |
| C．Lawrence is capable of telling good stories. |
| D．The language in Lawrence’s books is elegant. |
| A．They taught Lawrence literature when he was young. |
| B．They were the realistic novelists of Lawrence’s time. |
| C．They were novelists who resemble each other in writing. |
| D．They were novelists combining details with imagination. |
| A．He must have personal diversity. |
| B．He must have the critical spirits. |
| C．He must be happy to be compared. |
| D．He must be a man of genius. |
| A．To introduce Lawrence’s novel Sons and Lovers. |
| B．To show his experiences of reading classics. |
| C．To analyze Lawrence’s writing characteristics. |
| D．To compare the styles of different novelists. |
相似题推荐
【推荐1】Several dozen graduate students in London were recently tasked with outwitting a large language model (LLM), a type of AI designed to hold useful conversations. LLMs are often programmed with guardrails designed to stop them giving harmful replies: instructions on making bombs in a bathtub, say, or the confident statement of “facts” that are not actually true.
The aim of the task was to break those guardrails. Some results were merely stupid. For example, one participant got the chatbot to claim ducks could be used as indicators of air quality. But the most successful efforts were those that made the machine produce the titles, publication dates and host journals of non-existent academic articles.
AI has the potential to be a big benefit to science. Optimists talk of machines producing readable summaries of complicated areas of research; tirelessly analysing oceans of data to suggest new drugs and even, one day, coming up with hypotheses of their own. But AI comes with downsides, too.
Start with the simplest problem: academic misconduct.Some journals allow researchers to use LLMs to help write papers. But not everybody is willing to admit to it. Sometimes, the fact that LLMs have been used is obvious. Guillaume Cabanac, a computer scientist, has uncovered dozens of papers that contain phrases such as “regenerate response” — the text of a button in some versions of ChatGPT that commands the program to rewrite its most recent answer, probably copied into the manuscript (原稿) by mistake.
Another problem arises when AI models are trained on AI-generated data. LLMs are trained on text from the Internet. As they churn out (大量炮制) more such text, the risk of LLMs taking in their own outputs grows. That can cause “model collapse”. In 2023 llia Shumailov, a computer scientist, co-authored a paper in which a model was fed handwritten digits and asked to generate digits of its own, which were fed back to it in turn. After a few cycles, the computer’s numbers became more or less illegible.After 20iterations (迭代), it could produce only rough circles or blurry lines.
Some worry that computer-generated insights might come from models whose inner workings are not understood. Inexplainable models are not useless, says David Leslie at an AI-research outfit in London, but their outputs will need rigorous testing in the real world. That is perhaps less unnerving than it sounds. Checking models against reality is what science is supposed to be about, after all.
For now, at least, questions outnumber answers. The threats that machines pose to the scientific method are, at the end of the day, the same ones posed by humans. AI could accelerate the production of nonsense just as much as it accelerates good science. As the Royal Society has it,nullius in verba: take nobody’s word for it. No thing’s, either.
1. The result of the task conducted in London shows that ________.| A．LLMs give away useful information | B．the guardrails turn out to be ineffective |
| C．AI’s influence will potentially be decreased | D．the effort put into the study of AI hardly pays off |
| A．The readability of the models’output is underestimated. |
| B．The diverse sources of information confuse the models. |
| C．Training on regenerated data stops models working well. |
| D．The data will become reliable after continuous iterations. |
| A．impractical | B．unjustified | C．groundless | D．unsettling |
| A．Faster Nonsense: AI Could Also Go Wrong |
| B．Imperfect Models: How Will AI Make Advances? |
| C．The Rise of LLMs: AI Could Still Be Promising |
| D．Bigger Threats: AI Will Be Uncontrollable |
【推荐2】The outstanding biography — from the same author who brought us Steve Jobs and Einstein — portrays the life of the complicated Renaissance (文艺复兴时期的) artist with details. We come to see da Vinci as not only an inventor of musical instruments and early flying machines, but also a notebook keeper and vegetarian (素食者), who had trouble finishing many of the projects and paintings he started.
Yet what is most thrilling is getting to know da Vinci the scientist. Isaacson explains how loving science and applying the scientific method to observing the world was really what made da Vinci a great artist and, Isaacson argues, a genius.
Da Vinci was fascinated with observing and understanding phenomena in nature, from the proportions of the human body to how the muscles of the lips moved. He wanted to know about everything around him, in minute detail, Isaacson writes. He wondered about questions “most people over the age of ten no longer puzzle about”— for instance, how the tongue of a woodpecker works.
To learn about the world, da Vinci combined his own observations with experimentation. Never formally schooled, “he preferred to induce from experiments rather than deduce from theoretical principles,” Isaacson explains. He recorded his observations, looked for patterns among them, and then tested those patterns through additional observation and experimentation.
“When he became fascinated with the idea that he could invent flying machines, three and a half centuries before the Wright brothers flew the first airplane, he observed various birds and filled notebooks with the function and speed at which their wings flapped. That’s why lsaacson calls da Vinci an exemplar of this scientific method.” He goes on: “Galileo, born 112 years after Leonardo, is usually credited with being the first to develop this kind of approach and is often regarded as the father of modern science,” the historian Fritjof Capra wrote. “There can be no doubt that this honor would have been bestowed (赐予) on Leonardo da Vinci had he published his scientific writings during his lifetime, or had his notebooks been widely studied soon after his death.”
Da Vinci’s emphasis on empirical observation also helped him improve his art. First, he was able to use what he learned from looking at nature to paint and draw. His studies of the body, animals, motion, shadow and light, perspective and proportion helped him better understand what he was seeing in front of him, and render it in art more accurately and finely than anyone else of his time. He also used his observations of nature to make connections among phenomena. A recorder (竖笛) was like a larynx (喉管) in the throat. Here’s Isaacson again: What Leonardo probably began as four distinct elements ended up woven together in a way that illustrates a fundamental theme in his art and science: the interconnectedness of nature, the unity of its patterns, and the similarity between the workings of the human body and those of the earth.
Most importantly, his curiosity-driven explorations, and ability to connect art and science, helped him innovate in his work. They helped him think differently, Isaacson argues. Da Vinci made surprisingly diverse series of discoveries, including conceptualizing the helicopter and solar power and advancing knowledge about everything from the reproductive organs to botany. This genius is also what drew lsaacson to Albert Einstein and Steve Jobs as subjects: They’re all innovators who were inspired by and drew connections between art and science.
“Leonardo da Vinci is the ultimate example of the main theme of my previous biographies: how the ability to make connections across disciplines — arts and sciences, humanities and technology — is a key to innovation, imagination, and genius,” Isaacson writes. And this wonderful book is a reminder, in a time of increasingly narrow specialization and focus, that the methods of Renaissance men like da Vinci are as relevant as ever.
1. What made da Vinci’s thinking different from others?| A．He was used to skipping school. |
| B．He kept his childhood’s sense of curiosity. |
| C．He was filled with ambition to become an artist and inventor. |
| D．He developed a fascination with historical novels. |
| A．To introduce his important findings. |
| B．To memorize the father of modern science. |
| C．To show the prejudice faced by da Vinci during his lifetime. |
| D．To illustrate the significance of da Vinci' s research method. |
| A．express | B．mix | C．confirm | D．associate |
| A．They are too complicated to understand. |
| B．They focus on the workings of the human body. |
| C．They are more accurate than modern methods. |
| D．They still apply to contemporary scientific research. |
| A．How a Genius Changed the World |
| B．The Features of Renaissance Art |
| C．How Science Shaped His Art |
| D．The Comparison between Induction and Deduction |
It’s common knowledge that the woman in Leonardo da Vinci’s most famous painting seems to look back at observers, following them with her eyes no matter where they stand in the room. But this common knowledge turns out wrong.
A new study finds that the woman in the painting is actually looking out at an angle that’s 15. 4 degrees off to the observer’s right-well outside of the range that people normally believe when they think someone is looking right at them. In other words, said the study author, Horstmann, “She’s not looking at you. “ This is somewhat ironic, because the entire phenomenon of a person’s gaze (凝视) in a photograph or painting seeming to follow the viewer is called the “Mona Lisa effect” . That effect is absolutely real, Horstmann said. If a person is illustrated or photographed looking straight ahead, even people viewing the portrait from an angle will feel they are being looked at. As long as the angle of the person’s gaze is no more than about 5 degrees off to either side, the Mona Lisa effect occurs.
This is important for human interaction with on-screen characters. If you want someone off to the right side of a room to feel that a person on-screen is looking at him or her, you don’t cut the gaze of the character to that side-surprisingly, doing so would make an observer feel like the character isn’t looking at anyone in the room at all. Instead, you keep the gaze straight ahead.
Horstmann and his co-author were studying this effect for its application in the creation of artificial-intelligence avatars(虚拟头像) when Horstmann took a long look at the “Mona Lisa” and realized she wasn’t looking at him.
To make sure it wasn’t just him, the researchers asked 24 people to view images of the “Mona Lisa” on a computer screen. They set a ruler between the viewer and the screen and asked the participants to note which number on the ruler intersected(和……相交) Mona Lisa’s gaze. To calculate the angle of Mona Lisa’s gaze as she looked at the viewer, they moved the ruler farther from or closer to the screen during the study. Consistently, the researchers found, participants judged that the woman in the “Mona Lisa” portrait was not looking straight at them, but slightly off to their right.
So why do people repeat the belief that her eyes seem to follow the viewer? Horstmann isn’t sure. It’s possible, he said, that people have the desire to be looked at, so they think the woman is looking straight at them. Or maybe the people who first coined the term “Mona Lisa effect” just thought it was a cool name.
1. It is generally believed that the woman in the painting “Mona Lisa”___________.| A．attracts the viewers to look back |
| B．seems mysterious because of her eyes |
| C．fixes her eyes on the back of the viewers |
| D．looks at the viewers wherever they stand |
A． | B． | C． | D． |
| A．confirm Horstmann’s belief |
| B．create artificial-intelligence avatars |
| C．calculate the angle of Mona Lisa’s gaze |
| D．explain how the Mona Lisa effect can be applied |
| A．Horstmann thinks it’s cool to coin the term “Mona Lisa effect”. |
| B．The Mona Lisa effect contributes to the creation of artificial intelligence. |
| C．Feeling being gazed at by Mona Lisa may be caused by the desire for attention. |
| D．The position of the ruler in the experiment will influence the viewers’ judgement. |
