题目内容
For several days I saw little of Mr. Rochester. In the morning he seemed much occupied with business, and in the afternoon gentlemen from the neighbourhood called and sometimes stayed to dine with him. When his foot was well enough, he rode out a great deal. During this time, all my knowledge of him was limited to occasional meetings about the house, when he would sometimes pass me coldly, and sometimes bow and smile. His changes of manner did not offend me, because I saw that I had nothing to do with the cause of them. One evening, several days later, I was invited to talk to Mr. Rochester after dinner. He was sitting in his armchair, and looked not quite so severe, and much less gloomy. There was a smile on his lips, and his eyes were bright, probably with wine. As I was looking at him, he suddenly turned, and asked me, "do you think I’m handsome, Miss Eyre" The answer somehow slipped from my tongue before I realized it: "No, sir. " "Ah, you really are unusual! You are a quiet, serious little person, but you can be almost rude. " "Sir, I’m sorry. I should have said that beauty doesn’t matter, or something like that." "No, you shouldn’t! I see, you criticize my appearance, and then you stab me in the back! You have honesty and feeling. There are not many girls like you. But perhaps I go too fast. Perhaps you have awful faults to counterbalance your few good points. I thought to myself that he might have too. He seemed to read my mind, and said quickly, ""Yes, you’re right. I have plenty of faults. I went the wrong way when I was twenty-one, and have never found the right path again. I might have been very different. I might have been as good as you, and perhaps wiser. I am not a bad man, take my word for it, but I have done wrong. It wasn’t my character, but circumstances which were to blame. Why do I tell you all this Because you’re the sort of person people tell their problems and secrets to, because you’re sympathetic and give them hope. " It seemed he had quite a lot to talk to me. He didn’t seem to like to finish the talk quickly, as was the case for the first time. "Don’t be afraid of me, Miss Eyre. " He continued. "You don’t relax or laugh very much, perhaps because of the effect Lowood School has had on you. But in time you will be more natural with me, and laugh, and speak freely. You’re like a bird in a cage. When you get out of the cage, you’ll fly very high. Good night. " Why did Mr. Rochester say "... and then you stab me in the back!" (the 7th para. ) ______.
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For several days I saw little of Mr. Rochester. In the morning he seemed much occupied with business, and in the afternoon gentlemen from the neighbourhood called and sometimes stayed to dine with him. When his foot was well enough, he rode out a great deal. During this time, all my knowledge of him was limited to occasional meetings about the house, when he would sometimes pass me coldly, and sometimes bow and smile. His changes of manner did not offend me, because I saw that I had nothing to do with the cause of them. One evening, several days later, I was invited to talk to Mr. Rochester after dinner. He was sitting in his armchair, and looked not quite so severe, and much less gloomy. There was a smile on his lips, and his eyes were bright, probably with wine. As I was looking at him, he suddenly turned, and asked me, "do you think I’m handsome, Miss Eyre" The answer somehow slipped from my tongue before I realized it: "No, sir. " "Ah, you really are unusual! You are a quiet, serious little person, but you can be almost rude. " "Sir, I’m sorry. I should have said that beauty doesn’t matter, or something like that." "No, you shouldn’t! I see, you criticize my appearance, and then you stab me in the back! You have honesty and feeling. There are not many girls like you. But perhaps I go too fast. Perhaps you have awful faults to counterbalance your few good points. I thought to myself that he might have too. He seemed to read my mind, and said quickly, ""Yes, you’re right. I have plenty of faults. I went the wrong way when I was twenty-one, and have never found the right path again. I might have been very different. I might have been as good as you, and perhaps wiser. I am not a bad man, take my word for it, but I have done wrong. It wasn’t my character, but circumstances which were to blame. Why do I tell you all this Because you’re the sort of person people tell their problems and secrets to, because you’re sympathetic and give them hope. " It seemed he had quite a lot to talk to me. He didn’t seem to like to finish the talk quickly, as was the case for the first time. "Don’t be afraid of me, Miss Eyre. " He continued. "You don’t relax or laugh very much, perhaps because of the effect Lowood School has had on you. But in time you will be more natural with me, and laugh, and speak freely. You’re like a bird in a cage. When you get out of the cage, you’ll fly very high. Good night. " At the beginning Miss Eyre’s impressions of Mr. Rochester were all EXCEPT ______.
The Panorama is not the first model of New York. In 1845 E. Porter Belden, a savvy local who had written the best city guide of its day, set 150 artists, craftsmen, and sculptors to work on what an advertisement in his guide described as "a perfect facsimile of New York, representing every street, lane, building, shed, park, fence, bee, and every other object in the city." This "Great w0rk of art," Belden said, distilled "over 200, 000 buildings, including Houses, Stores and Rear-Buildings" and two and a half million windows and doors into a twenty-by-twenty-four-foot miniature that encompassed the metropolis below Thirty-second Street and parts of Brooklyn and Governors Island, all basking under a nearly fifteen-foot-high Gothic canopy decorated with 0il paintings of "the leading business establishments and places of note in the city." Alas, every trace of it has vanished. Of course Belden’s prodigy was far from the first display of model buildings. Since antiquity architects and builders have used miniatures m solve design problems and win support from patrons and public. A recent show at die National Gallery of Art in Washington, D.C., featured fourteen models created by Renaissance architects, including the six-ton, fifteen-foot-high model of St. Peter’s that Antonio da Sangallo the Younger built for the pope. Beyond their uses as design tools and propaganda, models have always possessed a curious power to enchant and excite. The sculptor Teremy Lebensohn was describing architectural models but could have been characterizing all miniatures when he wrote, "The model offers us a Gulliver’s view of a Lilliputian world, its seduction of scale reinforcing the sense of our powers to control the environment, whether it be unbroken countryside, a city block or the interior of a room." A model 0fthe 1876 Philadelphia Centennial Exhibition presented to the city in 1889 is unique in that some of the buildings and details are made of brass and that it is still on display in the basement of what was the Liberal Arts Building at the fair in Philadelphia’s Fairmont Park. The San Francisco World’s Fair of 1915 featured another New York City model, 550 feet square and complete with a lighting system that highlighted the city’s major features. City models have also miniaturized Denver, San Diego, and San Francisco, the Denver one built during the 1930s with WPA funding. A re-creation of the city as it appeared in 1860, it includes figures of men, women, and children in period costumes, along with animals and assorted wagons, and is now on display at the Colorado History Museum in Denver. San Diego’s model, in Old Town State Historic Park, was built by Jo Toigo and completed in the 1970s and depicts that city’s Old Town section as it looked a century earlier. Like the Denver model, it includes people, animals and vehicles. A model of San Francisco is in the Environmental Simulation Laboratory in Berkeley, California. Not a realistic model in the true sense of the word, it represents the buildings and land contours of the city and has been used to study patterns of sunlight and shadow and the flower of wind caused by San Francisco’s many hills. The computer’s ability to simulate the same effects has diminished the model’s importance, and its future is uncertain. New materials and techniques have now brought the craft of architectural models to an impressive level. Computer-controlled lasers and photo-etching (the process invented to create the Panorama’s bridges) allow model makers to create presentations pieces of astonishing realism. The sculptor Jeremy Lebensohn compares the model to ______.
The Panorama is not the first model of New York. In 1845 E. Porter Belden, a savvy local who had written the best city guide of its day, set 150 artists, craftsmen, and sculptors to work on what an advertisement in his guide described as "a perfect facsimile of New York, representing every street, lane, building, shed, park, fence, bee, and every other object in the city." This "Great w0rk of art," Belden said, distilled "over 200, 000 buildings, including Houses, Stores and Rear-Buildings" and two and a half million windows and doors into a twenty-by-twenty-four-foot miniature that encompassed the metropolis below Thirty-second Street and parts of Brooklyn and Governors Island, all basking under a nearly fifteen-foot-high Gothic canopy decorated with 0il paintings of "the leading business establishments and places of note in the city." Alas, every trace of it has vanished. Of course Belden’s prodigy was far from the first display of model buildings. Since antiquity architects and builders have used miniatures m solve design problems and win support from patrons and public. A recent show at die National Gallery of Art in Washington, D.C., featured fourteen models created by Renaissance architects, including the six-ton, fifteen-foot-high model of St. Peter’s that Antonio da Sangallo the Younger built for the pope. Beyond their uses as design tools and propaganda, models have always possessed a curious power to enchant and excite. The sculptor Teremy Lebensohn was describing architectural models but could have been characterizing all miniatures when he wrote, "The model offers us a Gulliver’s view of a Lilliputian world, its seduction of scale reinforcing the sense of our powers to control the environment, whether it be unbroken countryside, a city block or the interior of a room." A model 0fthe 1876 Philadelphia Centennial Exhibition presented to the city in 1889 is unique in that some of the buildings and details are made of brass and that it is still on display in the basement of what was the Liberal Arts Building at the fair in Philadelphia’s Fairmont Park. The San Francisco World’s Fair of 1915 featured another New York City model, 550 feet square and complete with a lighting system that highlighted the city’s major features. City models have also miniaturized Denver, San Diego, and San Francisco, the Denver one built during the 1930s with WPA funding. A re-creation of the city as it appeared in 1860, it includes figures of men, women, and children in period costumes, along with animals and assorted wagons, and is now on display at the Colorado History Museum in Denver. San Diego’s model, in Old Town State Historic Park, was built by Jo Toigo and completed in the 1970s and depicts that city’s Old Town section as it looked a century earlier. Like the Denver model, it includes people, animals and vehicles. A model of San Francisco is in the Environmental Simulation Laboratory in Berkeley, California. Not a realistic model in the true sense of the word, it represents the buildings and land contours of the city and has been used to study patterns of sunlight and shadow and the flower of wind caused by San Francisco’s many hills. The computer’s ability to simulate the same effects has diminished the model’s importance, and its future is uncertain. New materials and techniques have now brought the craft of architectural models to an impressive level. Computer-controlled lasers and photo-etching (the process invented to create the Panorama’s bridges) allow model makers to create presentations pieces of astonishing realism. It can be inferred from the passage that models ______.
For several days I saw little of Mr. Rochester. In the morning he seemed much occupied with business, and in the afternoon gentlemen from the neighbourhood called and sometimes stayed to dine with him. When his foot was well enough, he rode out a great deal. During this time, all my knowledge of him was limited to occasional meetings about the house, when he would sometimes pass me coldly, and sometimes bow and smile. His changes of manner did not offend me, because I saw that I had nothing to do with the cause of them. One evening, several days later, I was invited to talk to Mr. Rochester after dinner. He was sitting in his armchair, and looked not quite so severe, and much less gloomy. There was a smile on his lips, and his eyes were bright, probably with wine. As I was looking at him, he suddenly turned, and asked me, "do you think I’m handsome, Miss Eyre" The answer somehow slipped from my tongue before I realized it: "No, sir. " "Ah, you really are unusual! You are a quiet, serious little person, but you can be almost rude. " "Sir, I’m sorry. I should have said that beauty doesn’t matter, or something like that." "No, you shouldn’t! I see, you criticize my appearance, and then you stab me in the back! You have honesty and feeling. There are not many girls like you. But perhaps I go too fast. Perhaps you have awful faults to counterbalance your few good points. I thought to myself that he might have too. He seemed to read my mind, and said quickly, ""Yes, you’re right. I have plenty of faults. I went the wrong way when I was twenty-one, and have never found the right path again. I might have been very different. I might have been as good as you, and perhaps wiser. I am not a bad man, take my word for it, but I have done wrong. It wasn’t my character, but circumstances which were to blame. Why do I tell you all this Because you’re the sort of person people tell their problems and secrets to, because you’re sympathetic and give them hope. " It seemed he had quite a lot to talk to me. He didn’t seem to like to finish the talk quickly, as was the case for the first time. "Don’t be afraid of me, Miss Eyre. " He continued. "You don’t relax or laugh very much, perhaps because of the effect Lowood School has had on you. But in time you will be more natural with me, and laugh, and speak freely. You’re like a bird in a cage. When you get out of the cage, you’ll fly very high. Good night. " In ".... and all my knowledge of him was limited to occasional meetings about the house... " the word about means ______.
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