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处于演替早期阶段的生物体积小、生活史短但繁殖速度快，这便于最大限度地适应新环境和占有空缺生态位。()
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一个气候区内只有一个顶级群落。()
What was significant about Mackintoshes entry for the competition？
The first school I went to was a red-brick building on the edge of the town, in the district of Georgetown. We had a splendid teacher and he taught us, about sixty small boys, for the four years I was in the school, between the ages of seven and eleven. He was not only fond of words himself, but he could use them to tell jokes, to sing aloud, to explain things so vividly to us that we could see, almost, what he described. And he educated our senses, too, he made us look at everything so firmly, to know the textures of things with our skins, to hear the particular noises that exist in the world all around us. So real were our experiences that we began to look for the words necessary to recreate those experiences. That is how I began to write poetry.
I can't say that poetry was flay greatest enthusiasm at that time. I loved football most of all, and after that boxing. I would travel miles just to kick a football. I knew all the great boxers of our town. When I was about ten years old I saw the fight I wrote about in The Ballad of Billy Rose. And years later, in Bristol, I saw the same man, old now, and very frail. His name, however, was really Tommy Rose, and in the first version of my poem I called him that. When I finished it, I read it aloud, and I knew that something was wrong. I was forced to change it to Billy, so that the balance was right, so that there was a satisfying correspondence between the word "ballad" and the word "Billy". Much the same thing happened when I wrote about his last great fight. I wanted my readers to hear for themselves the sounds of the fight, and how the words which end in "s" are really the shoes of the boxers as they slither on the resin. What I'm saying is that in my poems I try not so much to describe things as actually to make them, with words.
My friend Ted Walker, a very fine poet himself, and I, used to set each other weekly poetry writing challenges, he choosing a title one week and I the next. In this way I came to write Gardening Gloves. The poem is an example of how necessary it is for the poet to observe well, so that an old pair of gloves can reveal all that there is to know about them, and for imagination to begin to build a little world around them.
Poetry is a craft as well as an art. We owe very great responsibility to the poem; if we do not write well enough the poem fails. Like any other craft, although some people are more naturally gifted than others, we can all learn the skills. I learned by reading the work of other poets. I read everything, good poems, bad poems, learning as I read. I was very fond of funny poems, and that was valuable for me since, to be successful, funny poems have to be extremely well made. But as I grew more experienced and severe, as my taste developed, I needed better examples. I found them in the work of Edward Thomas, a poet who was killed in the First World War. From him I learned how to write quietly and simply, without, I hope, losing any strength or true complexity of thought I might possess. A Glass Window is in part my tribute to this man, dead years before I was born, who, among many others, taught me what poetry can be, how to listen to it. How to write it.
One of the strengths of the author's teacher was that he taught his pupils to ______.
Few great architects have been so adamant in their belief in the integration of architecture and design as Charles Rennie Mackintosh. Clients who tried to modify his grip on every detail of the structure, interior decoration or furniture often ended up with the architect losing his temper—and his commission. Now, 63 years after he died, Mackintosh has found the perfect patron, in the form. of a 56-year-old structural engineer and fellow Glaswegian named Graham Roxburgh.
The story begins with a competition launched in December 1900 by Zeitschrift Fur Innendekoration, an innovative design magazine published in the German city of Darmstadt. European architects were invited to design an Art Lover's House. Mackintosh sent in his entry in March 1901, his one chance to design a house unfettered by financial constraints or a conservative client. But he was disqualified for failing to include the required number of drawings of the interior. He hastily completed the portfolio, which he then resubmitted. Delighted with the designs, the judges awarded Mackintosh a special prize (there was no outright winner).
Publication of these drawings did much to establish Mackintoshes reputation abroad as an original and distinctive architect, particularly in Austria and Germany. The Art Lover's House is an important twentieth-century building because it anticipates the abstract forms of Modernism. At first glance it could be an illustration from the thirties. Artists of the avantgarde Vienna Secession described Mackintosh as "our leader who showed us the way"—an acclaim that he was never able to gain at home. Rich Glasgow businessmen never quite took him seriously.
But today Glaswegians hail Mackintosh as their local genius. Three years ago, the enterprising Mr Roxburgh, who has already rescued Craigie Hall, a mansion on the outskirts of Glasgow that Mackintosh helped design, hatched a plan to build the Art Lover's House—now close to completion on a site in Glasgow's Bellahouston Park. Strathclyde Council, the Scottish Development Agency and the Scottish Tourist Board have picked up a third of the hefty ￡3 million bill. Roxburgh has raised the rest through sponsorship and private loans.
The original designs contradict each other in places. Details of the elaborate external stone carvings and much of the furniture and fittings for the main interiors—which will be open to the public—are exact, but Mackintosh gave no indication of what should be done with the lower ground floor or the roof spaces. No matter, for the area will be rented out as offices to recoup some of the costs. The plans have been meticulously interpreted by Andy McMillan of Glasgow's Mackintosh School of Architecture and the furniture made by an expert cabinet-maker.
The elegant, mysterious music-room is lit by tall windows along one sides the vertical lines are repeated in the elongated female figures embroidered on linen that hang in the recesses, in the clusters of coloured lamps suspended on slender wires and the uncomfortable high-backed chairs.
The whole effect culminates in the strange superstructure of the piano.
What would Mackintosh have made of the Art Lover's House？ There is a danger it will be all too perfect, like those expensive reproduction Mackintosh chairs you find in shiny magazines or on the dust-free floors of design buffs. Yet Roxburgh's attention to detail and refusal to cut corners makes him a man after Mackintoshes heart. He is now hunting for an extra ￡300,000 to complete the 'interiors according to his exacting requirements.
Why were there sometimes problems between Mackintosh and his clients？
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