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[单选题]
Nothing could have been more annoying. It was （) annoying thing that could have happend.
A.the more
B.the most
C.most
D.more
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题目内容
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A.the more
B.the most
C.most
D.more
如果结果不匹配，请 联系老师 获取答案
更多“Nothing could have been more a…”相关的问题
A.had been canceled
B.have been canceled
C.were canceled
D.having been canceled
A.我尽力回想到底发生了什么事情，但就是什么也想不起来
B.我尽力回想到底发生了什么事情，但就是没有什么建议
C.我尽力去想可能发生的事情，但就是没有什么建议
D.我尽力去想可能发生了什么样的事情,但就是什么也想不起来
But that is precisely the trouble; for as far as I can see, Mozart's can. Mozart makes me begin to see ghosts, or at the very least ouija-boards. If you read Beethoven's letters, you feel that you are at the heart of a tempest, a whirlwind, a furnace; and so you should, because you are. If you read Wagner's, you feel that you have been run over by a tank, and that, too, is an appropriate response.
But if you read Mozart's—and he was a hugely prolific letter-writer—you have no clue at all to the power that drove him and the music it squeezed out of him in such profusion that death alone could stop it; they reveal nothing—nothing that explains it. Of course it is absurd(though the mistake is frequently made)to seek external causes for particular works of music; but with Mozart it is also absurd, or at any rate useless, to seek for internal ones either. Mozart was an instrument. But who was playing it？
That is what I mean by the Mozart Problem and the anxiety it causes me. In all art, in anything, there is nothing like the perfection of Mozart, nothing to compare with the range of feeling he explores, nothing to equal the contrast between the simplicity of the materials and the complexity and effect of his use of them. The piano concertos themselves exhibit these truths at their most intense; he was a greater master of this form. than of the symphony itself, and to hear every one of them, in the astounding abundance of genius they provide, played as I have so recently heard them played, is to be brought face to face with a mystery which, if we could solve it, would solve the mystery of life itself.
We can see Mozart, from infant prodigy to unmarked grave. We know what he did, what he wrote, what he felt, whom he loved, where he went, what he died of. We pile up such knowledge as a child does bricks; and then we hear the little tripping rondo tune of the last concerto—and the bricks collapse; all our knowledge is useless to explain a single bar of it. It is almost enough to make me believe in — but I have run out of space, and don't have to say it. Put K. 595 on the gramophone and say it for me.
According to Paragraph 1, Cardus observed that ______ .
A．a composer can separate his language and harmonies from his own mind and sensibility
B．a composer can separate his language and harmonies from the mind and sensibility of an artist
C．some people can separate the language and harmonies of a composer from his mind and sensibility
D．the language, harmonies, rhythms, melodies, colors and texture of a composer cannot be separated from each other
But that is precisely the trouble; for as far as I can see, Mozart's can. Mozart makes me begin to see ghosts, or at the very least ouija-boards. If you read Beethoven's letters, you feel that you are at the heart of a tempest, a whirlwind, a furnace; and so you should, because you are. If you read Wagner's, you feel that you have been run over by a tank, and that, too, is an appropriate response.
But if you read Mozart's—and he was a hugely prolific letter-writer—you have no clue at all to the power that drove him and the music it squeezed out of him in such profusion that death alone could stop it; they reveal nothing—nothing that explains it. Of course it is absurd(though the mistake is frequently made)to seek external causes for particular works of music; but with Mozart it is also absurd, or at any rate useless, to seek for internal ones either. Mozart was an instrument. But who was playing it？
That is what I mean by the Mozart Problem and the anxiety it causes me. In all art, in anything, there is nothing like the perfection of Mozart, nothing to compare with the range of feeling he explores, nothing to equal the contrast between the simplicity of the materials and the complexity and effect of his use of them. The piano concertos themselves exhibit these truths at their most intense; he was a greater master of this form. than of the symphony itself, and to hear every one of them, in the astounding abundance of genius they provide, played as I have so recently heard them played, is to be brought face to face with a mystery which, if we could solve it, would solve the mystery of life itself.
We can see Mozart, from infant prodigy to unmarked grave. We know what he did, what he wrote, what he felt, whom he loved, where he went, what he died of. We pile up such knowledge as a child does bricks; and then we hear the little tripping rondo tune of the last concerto—and the bricks collapse; all our knowledge is useless to explain a single bar of it. It is almost enough to make me believe in — but I have run out of space, and don't have to say it. Put K. 595 on the gramophone and say it for me.
According to Paragraph 1, Cardus observed that ______ .
A．a composer can separate his language and harmonies from his own mind and sensibility
B．a composer can separate his language and harmonies from the mind and sensibility of an artist
C．some people can separate the language and harmonies of a composer from his mind and sensibility
D．the language, harmonies, rhythms, melodies, colors and texture of a composer cannot be separated from each other
So the king made it 【B8】______ to all that if any person could discover the 【B9】______ and find out where it was that the princesses danced in the 【B10】______ , he would have the 【B11】______ he liked best to take as his wife, and would be king 【B12】______ his death. But whoever tried and did not succeed, after three days and nights, would be 【B13】______ to death.
A prince from a nearby country soon came. He was well entertained, and in the evening was taken to the chamber (大房间) next 【B14】______ the one where the princesses lay in their twelve 【B15】______ .There be was to sit and 【B16】______ where they went to dance; and, in order 【B17】______ nothing could happen without him hearing it, the door of his 【B18】______ was left open. But the prince soon went to sleep; and when he 【B19】______ in the morning he found that the princesses had all been dancing, 【B20】______ the soles of their shoes were full of holes.
【B1】
A．was
B．were
C．is
D．are
Suppose a man wanted to reach a distant star. Even if he traveled his whole life, he would have to move faster than the speed of light. Nothing can move that fast except light itself.
Strange things happen to an object when it moves rapidly. The object weighs more. An object moving at 86 percent of the speed of light is twice as heavy as it is at rest. A stick appears shorter. A clock runs more slowly. A man would not age so fast as he would on the earth.
Light travels more than 186, 000 miles a second, or about 11 million miles a minute. In one year, light travels six trillion(万亿) miles. That great distance is called a light-year. It is used to measure distances in space.
The star closest to our sun is Alpha Centrauri (半人马座a星). It is more than four lightyears away. If one traveled at the speed of light, he could make a round trip to Alpha Centauri in nine years. But, even at that speed, he could not reach Alcaid (北斗星)in the handle of the Big Dipper. A one-way journey to Alcaid would take almost 200 years!
Why do we measure the distance in light-years instead of miles？
A．Units of light-years sound better.
B．Using light-years reduced the number of figures used.
C．We used to measure distance in light-years long ago.
D．We do not make mistakes when we use light-years.
When the girl heard the news, she could do nothing but () back home.
A.going
B.went
C.to go
D.go
The world I entered at the age of eighteen when I became a medical student was a world that knew nothing of such advanced things as planes, films, radios or telephones. It was a very cheap world. Prices were stable. When I entered St. Thomas' hospital I rent a set of rooms in Vincent Square for which I paid 18 shillings a week. My landlady provided me with a very good breakfast before I went to the hospital and a dinner when I came back at half past six. I only had to pay for the breakfasts and dinners twelve shillings a week. For four-pence I lunched at St. Thomas' on bread and butter and a glass of milk. I could be able to live very well, pay my fees, buy my necessary instruments, clothe myself, and have a lot of fun on fourteen pounds a month. And I could always pawn (当掉) my microscope for three pounds.
I spent five years at St. Thomas' hospital. I was a bad student, for my heart, as you might have guessed, was not in it. I wanted, I had always wanted to be a writer, and in the evenings, after my dinner, I wrote and read. Before long, I wrote a novel called "Liza of Lambeth" , which I sent to a publisher and was accepted. It came out during my last year at the hospital and it was successful. It was of course an accident, but I didn't know that. I felt I could afford to give up medicine and make writing my profession; so, three days after I graduated from the school of medicine, I left for Spain to write another book. I did not realize, at that time, that I was taking a great risk.
The text is a talk given by the author when______.
A．he was 18
B．his first novel was published
C．he graduated from the school of medicine
D．he was at an advanced age
