【正文】 rms were even further exploited by the next generation of great European posers.在相同的潮流中，現(xiàn)存的音樂(lè)形式會(huì)被下一代杰出的作曲家進(jìn)一步利用。（正確，最后一段指出，貝多芬實(shí)際上繼承并發(fā)揚(yáng)了上一代如漢爾德和巴赫等的音樂(lè)形式）C、 Thus, many of the great posers displayed the same bination of talents exhibited by Monteverdi.因此，許多著名作曲家展現(xiàn)了如蒙泰韋爾迪展示的相同的整合才能。（錯(cuò)誤，最后一段指出蒙泰韋爾迪超越的現(xiàn)有局限，并沒(méi)有重點(diǎn)強(qiáng)調(diào)其整合才能，強(qiáng)調(diào)的是莫扎特和貝多芬的整合才能。）D、 By contrast, the view that creativity in the arts exploits but does not transcend limits is supported in the field of literature.相反地，創(chuàng)造力在藝術(shù)利用中沒(méi)有超越局限的這種觀點(diǎn)在文學(xué)領(lǐng)域的到支持（錯(cuò)誤，文章中并沒(méi)有提及文學(xué)領(lǐng)域）E、 Actually, Beethoven‘s most original works were largely unappreciated at the time that they were first performed.實(shí)際上，貝多芬的大多數(shù)原創(chuàng)作品在第一次演奏它們時(shí)并未得到欣賞。（錯(cuò)誤，文章并未提及貝多芬大多數(shù)原創(chuàng)作品第一次被演奏時(shí)的情況。）【Passage 5】Great ic art is never otherworldly, it does not seek to mystify us, and it does not deny ambiguity by branding as evil whatever differs from good. 偉大的喜劇從來(lái)都不是超凡脫俗的，它并未尋求迷惑眾人，并且它不會(huì)通過(guò)貼上標(biāo)簽區(qū)別“好”和“壞”而否認(rèn)兩者之間的模糊性。Great ic artists assume that truth may bear all lights, and thus they seek to accentuate contradictions in social action, not gloss over or transcend them by appeals to extra social symbols of divine ends, cosmic purpose, or laws of nature. 偉大的漫畫家們認(rèn)為真理往往匯聚在光亮之下，因此他們尋求強(qiáng)調(diào)在社會(huì)行為中的矛盾點(diǎn)，但并非通過(guò)訴諸于額外的神圣目的社會(huì)象征，全宇宙的目標(biāo)及自然法則的過(guò)度修飾或者超越它們。The moment of transcendence in great ic art is a social moment, born out of the conviction that we are human, even though we try to be gods. 偉大喜劇藝術(shù)超然的瞬間是社會(huì)的瞬間，該瞬間來(lái)源于我們是人類，盡管我們嘗試著成為神這一堅(jiān)定的信念。The ic munity to which artists address themselves is a munity of reasoning, loving, joyful, passionate beings, who are willing to assume the human risks of acting rationally. 藝術(shù)家們致力于表現(xiàn)自我的那個(gè)喜劇社會(huì)，是一個(gè)充滿理性，愛(ài)，愉快以及激情的社會(huì)，在該社會(huì)中，他們?cè)敢獬袚?dān)人類由于理性行為而帶來(lái)的風(fēng)險(xiǎn)。Without invoking gods or demons, great ic art arouses courage in reason, courage which grows out of trust in what human beings can do as humans.不需要祈求神明或者惡魔，偉大的喜劇藝術(shù)喚起我們對(duì)于理性的勇氣，喚起那種源自于作為人可以做到的事情的信心。（T1）Select the sentence in the passage that suggests that great ic art can be characterized as optimistic about the ability of humans to act rationally.在文章中選一句話能夠證明偉大的喜劇藝術(shù)可以作為關(guān)于人類理性行為能力的樂(lè)觀主義的特征Without invoking gods or demons, great ic art arouses courage in reason, courage which grows out of trust in what human beings can do as humans.這句話通過(guò)“Without invoking gods or demons”來(lái)說(shuō)明了樂(lè)觀。（T2）DIt can be inferred from the passage that the author admires great ic artists primarily for their可以從文章中得出作者欽佩偉大的喜劇藝術(shù)家主要是因?yàn)樗麄儯篈、 ability to understand the frequently subtle differences between good and evil有能力弄懂“好”和“壞”之間頻繁而細(xì)小的差別。（錯(cuò)誤，文章第一句指出偉大的戲劇藝術(shù)不會(huì)否認(rèn)好壞之間的模糊性。）B、 ability to reconcile the contradictions in human behavior有能力去調(diào)和人類行為中的矛盾。（錯(cuò)誤，并非調(diào)和而是尋求強(qiáng)調(diào)矛盾“thus they seek to accentuate contradictions”。）C、 ability to distinguish between rational and irrational behavior有能力去分辨理性以及非理性的行為。（錯(cuò)誤，文章中并未提及如何分辨非理性行為。）D、 insistence on confronting the truth about the human condition堅(jiān)持與人類的真實(shí)境遇相抗衡。（正確，文章第三句強(qiáng)調(diào)偉大的喜劇藝術(shù)超然的瞬間是源自人類堅(jiān)定的信念—嘗試成為神，體現(xiàn)了人類堅(jiān)持與其真實(shí)境遇相抗衡。）E、 insistence on condemning human faults and weaknesses堅(jiān)持譴責(zé)人類的失誤和缺點(diǎn)。（錯(cuò)誤，文章中未提及譴責(zé)人類的失誤和缺點(diǎn)。）（T3）CWhich of the following is the most accurate description of the organization of the passage?下列哪一句話最準(zhǔn)確的描述了文章的組織結(jié)構(gòu)？A、 A sequence of observations leading to a prediction 一系列的觀察引出一個(gè)預(yù)測(cè)。 （錯(cuò)誤，文章中沒(méi)有觀察，沒(méi)有預(yù)測(cè)）B、 A list of inferences drawn from facts stated at the beginning of the passage 根據(jù)文章開(kāi)頭的事實(shí)陳述得出一連串的推理。 （錯(cuò)誤，文章中沒(méi)有關(guān)于主旨的推理）C、 A series of assertions related to one general subject 一系列關(guān)于一般對(duì)象的申明。（正確，文章從開(kāi)頭到結(jié)尾一直對(duì)喜劇藝術(shù)的偉大進(jìn)行申明）D、 A statement of the major idea, followed by specific examples主要觀點(diǎn)的陳述，其后跟著具體的例子。（錯(cuò)誤，文章各段都在陳述其主要觀點(diǎn)）E、 A succession of ideas moving from specific to general從特殊到一般的觀點(diǎn)的延續(xù)。（錯(cuò)誤，文章并未體現(xiàn)觀點(diǎn)的特殊性和一般性）