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2018英语专四阅读练习及答案：从才华到艺术
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　　I have known very few writers, but those I have known, and whom I
respected, confess at once that they have little idea where they are going when
they first set pen to paper. They have a character, they are in
that condition of eager discomfort which pa all admit
radical changes of destination once
one, to my certain
knowledge, spent nine months on a novel about Kashmir, then reset the whole
thing in the Scottish Highlands. I never heard of anyone making a &skeleton&, as
we were taught at school. In the breaking and remaking, in the timing,
interweaving, beginning afresh, the writer comes to discern things in his
material which were not consciously in his mind when he began.　　This organic process, often leading to moments of extraordinary
self-discovery, is of an indescribable fascination. A blurred image appears, he
adds a brushstroke and another, but something was there, and he
will not rest till he has captured it. Sometimes the’ yeast within a writer
outlives a book he has written. I have heard of writers who read nothing but
their own books, like adolescents they stand before the mirror, and still cannot
fathom the exact outline of the vision before them. For the same reason, writers
talk interminably about their own books, winkling out hidden meanings,
superimposing new ones, begging response from those around them.　　Of course a writer doing this is misunderstood: he might as well try to
explain a crime or a love affair. He is also. Incidentally, an unforgivable
bore. This temptation to cover the distance between himself and the reader, to
study his image in the sight of those who do not know him, can be his undoing:
he has begun to write to please.　　A young English writer made the pertinent observation a year or two back
that the talent goes into the first draft, and the art into the drafts that
follow. For this reason also the writer, like any other artist, has no resting
place, no crowd or movement in which he may take comfort, no judgment from
outside which can replace the judgment from within. A writer makes order out of
he submits himself to a more ruthless discipline than
any critic dreamed of, and when he flirts with fame, he is taking time off from
living with himself, from the search for what his world contains at its inmost
point.　　1. The writers that the author is familiar with confess that they would　　A. work out the ending of a novel in advance.　　B. follow the writing methods learned at school.　　C. remodel the main character in writing.　　D. make changes to the stories they first construct.　　2. According to the passage, the process of writing　　A. depends on skillful planning.　　B. is predictable and methodological.　　C. depends on the writers' experiences.　　D. is disorderly and unsystematic.　　3. The word &undoing& in the third paragraph probably suggests　　A. success.　　B. happiness.　　C. failure.　　D. sorrow.　　4. According to the passage, the writer has no resting place because　　A. he is not clear about what he will write at the beginning.　　B. he should constantly edit his work to make it perfect.　　C. he has to face a lot of responses given by readers.　　D. he should add brushstrokes to the appearing blurred images.　　5. Which of the following statements about writers is TRUE according to the
last paragraph?　　A. They have little ideas before they start writing.　　B. Their talent goes into all their drafts.　　C. It does harm to their writing when they flirt with fame.　　D. They try to increase communication with readers.　　答案解析：　　1.[D]细节判断题。根据familiar
with，confess及各选项内容定位到第1段。第1段指出，这些作家在写作前后，作品的内容往往可能发生极大的变化，其中作者提到，有一位作家就将小说的背景从克什米尔搬到了苏格兰高地。由此可见，D的表述符合文意，为本题答案。文中指出，这些作家动笔之前不会有整篇的构思，也不会按学校所教的那样列出提纲，A、B可排除。文中只说作者开始写作时可能心中已经设定了一两个角色，并没有提到会否重新塑造或改变作品的主要角色，故C应排除。　　2.[D]细节推断题。第1段明确指出，作者熟悉的那些作家在写作过程中没有既定的思路，情节设置也往往根据需要或更深了解素材后才做出相应的变化和调整，这就表明，写作过程有点&混乱&，构思也不很系统化;此外，第2段提到。如果作家脑海中出现了朦胧的形象，他们会在此基础上做任意的改动。由此可见，D正确。根据文中介绍，写作过程并没有完整的构思，也无法预见，只是在写作过程中不断完善，可很快将A、B排除。此外。作家在写作的过程中会更多地了解所搜集的素材，这也与经历无关，故C也排除。　　3.[C]词义推断题。第3段指出作家如果试图拉近自己与读者的距离，企图通过他人的评论了解自己塑造的形象，就相当于为取悦他人而写作。四个选项中，较能概括这种行为性质的是C。此外，undoing有&毁灭&之义，故C为本题答案。　　4.[B]因果关系题。根据题干中的no resting
place定位到第4段。第4段段首提到：作家的才华体现在初稿，而艺术则体现在之后不断修改的稿子中。第2句以For this
reason(鉴于此)引出作家不能休息的情形。由此可见，第4段首句的内容，即作家需不断创作和修改作品：以实现由才华到艺术的转变是作家无法休息的真正原因。故8为答案，A、C、D不合文意。　　5.[C]细节判断题。末段末旬指出：&当他追逐名利时，他就脱离了自我生活，脱离了对自己内心最深处世界的探索&，故C符合文意，为本题答案。选项A、D均来自文中，但与末段无关，可排除。B与原文表述&作家的才华体现在初稿，而艺术则体现在之后不断修改的稿子中&不符，可排除。
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(关于英语专四专八报名资格问题解释) 许多同学对于TEM4和TEM8的报名资格问题都不是很清楚，以下是一些有关这方面的信息，希望能对大家有一些帮助： 1．通过全国普通高校入学统一考试的在校二年级和四年级英语专业本科生。参加当年高年级阶段统测（TEM8）的报名对象必须是四年前入学的在校英语专业四年级学生。参加当年基础阶段统测（TEM4）的报名对象必须是两年前入学的在校英语专业二年级本科生。 2．通过全国普通高校入学统一考试的修完英语专业基础阶段教学大纲规定课程的大专学生（包括二年制及三年制）。参加基础阶段统测（TEM4）的报名对象必须是最后一学年的学生。 3，经教育部批准并通过全国成人高等教育入学统一考试的有学历的成人高等教育学院（下简称成教院）中英语专业本科及大专学生。成教院中上四年制脱产学习高年级本科学生必须在第四学年时方可报名参加高年级阶段统测（TEM8），而二年级本科生在第二学年时方可报名参加，基础阶统测（TEM4）。成教院中五年制不脱产参加学习的高年级本科生必须在第五学年时方可报名参加TEM8，而修完基础阶段的本科生必须在第三学年方可报名参加TEM4。不脱产的三年制大专生，必须在第三学年时方可报名参加TEM4。 4．高校学生中以英语作为第二学位的双学位者，以及以英语专业作为第二专业者“参照报名资格第1．2．点要求，可参加TEM4及TEM8。高校学生如以英语作为副修课程，参加当年英语统测TEM4或TEM8者，仅限于上一年参加大学英语六级考试并获得全国大学英语考试六级（CET6）优秀成绩者，经各院校教务处审核后可报名参加。 5?凡当年参加过TEM4或TEM8统测不及格者，可于次年再一次（且仅限一次）报名参加统测，成绩及格以上者，一律发给合格成绩证书。己毕业的高校学生的报名及考试工作由原校负责。 (专四专八的报考资格) TEM4&8为英语专业本科生的水平测试，并不对外界开放，因此如果不是某外语院校英语专业或某所大学英语系的本科生，按规定无法获得参加考试的资格(非英语专业的原则上也不能报考)。即使是英语专业的本科生，也只有过了四级才有资格考八级，每位考生最多只有两次考试机会一般为大四，如果大四没考过，第二年只能再考最后一次。 但是需要指出的是英语专业四级和八级原则上虽然只对英语专业开放，不对非英语专业和已经毕业的英语专业学习者等社会考生开放，但是有些院校也会同意6级优秀生甚至良好者开放，视各校的具体情况而定，这就要看你的运气了，主要是看该校教务处是否同意你报考。 而且报考时通常要凭各个学校的学生证集体报名，很少接受其他学校的报名，因为最终会影响该校考试的通过率。}