好不容易过了英语四六级，还有必要再考一个英语专...

SECTION B INTERVIEW

Directions: In this section you will hear everything ONCE ONLY. Listen carefully and then answer the questions that follow. Questions 1 to 5 are based on an interview. At the end of the interview you will be given 10 seconds to answer each of the following five questions.

Now listen to the interview.

听力原文：Interviewer: Well Charles, I must say that your shop is pretty remarkable. Um, it's basically a sweetshop, but you also do stationery and greeting cards and tobacco and fireworks

Shopkeeper: And newspapers.

Interviewer: And newspapers. Ah. And apart from all that, you've got photocopiers...

Shopkeeper: That's right.

Interviewer: And a fax machine.

Shopkeeper: Indeed.

Interviewer: Yes. How did. I mean, why the photocopiers?

Shopkeeper: Everything that's happened in my shop has almost happened by accident. But when I got into Clifton, I needed a photocopy one day and no one could tell me where to go. So it struck me that if I didn't know where to go, other people were in the same situation, so that's why I started it. And then I added on a facsimile machine because it seemed like a natural progression at the time. And all sorts of people use it.

Interviewer: Yes, who, what sort of people do use it?

Shopkeeper: Um, a lot of professional people —surveyors, engineers — particularly people who need to send plans. Because in the past you could send messages via telex, but a telex can't express a plan, whereas facsimile has that dimension, the added dimension.

Interviewer: Right. And do people send these fax messages abroad, or is it just to this country?

Shopkeeper: Well, it's surprising because when I started, I thought I'd be sending things to London and maybe Birmingham but, in fact, a high percentage of it is sent abroad, because it's immediate, it's very speedy. You can send a message and get an answer back very quickly.

Interviewer: And how much would it cost, for example, if I wanted to send a fax to the United States?

Shopkeeper: Well, a fax to the United States would cost you five pounds for a page. And when you think that in England by the Royal Mail, it would cost you twelve pounds to send a page by special delivery, it's actually a good value.

Interviewer: OK. What about your hours? How long do you have to spend actually in the shop?

Shopkeeper: Well, the shop is open from, essentially from eight in the morning until six at night, six days a week, and then a sort of fairly flexible morning on a Sunday. Um, and of those hours, I'm in it quite a lot.

Interviewer: And how long have you actually had the shop?

Shopkeeper: I started to have my shop in 1982, the 22nd of December, oh, sorry, the 22nd of November. It sticks in my brain.

Interviewer: And did you enjoy it?

Shopkeeper: Yes, overall I enjoy it. Running a business by yourself is jolly hard work and you never quite like every aspect all the time. 95% of the customers I love. Uh, 2% I really, you know, I'm not too bothered about. And 3% I positively hate.

Interviewer: What, What's the problem with those? Are they people who stay around and talk to you when you're busy or complain or what?

Shopkeeper: Um, it's bard to categorize really. I find people who are just totally rude, urn, unnecessary, and I don't really need their custom. And I suppose they form. the volume of the people that I don't like. But it's a very, very, very small percentage.

Interviewer: But is there a danger that shops like yours will disappear, more and more?

Shopkeeper" I think there's a very, very great danger that the majority of them will disappear.

Interviewer: Why's that?

Shopkeeper: Simply because costs of running a shop have just become very, very high. To give you some example, in the time that I've been there, my rent has quadrupled, the local property tax have doubled, other costs have gone up proportionately. And at the end of the day it is a little bit hard to try to keep u

A．cigarettes

B．exercise books

C．photocopiers

D．chocolates

【M3】

Thomas Hardy's impulses as a writer, all of which he indulged in his novels, were numerous and divergent, and they did not always work together in harmony. Hardy was to some degree interested in exploring his characters' psychologies, though impelled less by curiosity than by sympathy. Occasionally he felt the impulse to comedy (in all its detached coldness) as well as the impulse to farce, but he was more often inclined to see tragedy and record it. He was also inclined to literary realism in the several senses of that phrase. He wanted to describe ordinary human beings; he wanted to speculate on their dilemma rationally (and, unfortunately, even schematically); and he wanted to record precisely the material universe. Finally, he wanted to be more than a realist. He wanted to transcend what he considered to be the banality of solely recording things exactly and to express as well his awareness of the occult and the strange.

In his novels these various impulses were sacrificed to each other inevitably and often. Inevitably, because Hardy did not care in the way that novelists such as Flaubert or James cared, and therefore took paths of least resistance. Thus, one impulse often surrendered to a fresher one and, unfortunately, instead of exacting a compromise, simply disappeared. A desire to throw over reality a light that never was might give way abruptly to the desire on the part of what we might consider a novelist-scientist to record exactly and concretely the structure and texture of a flower. In this instance, the new impulse was at least an energetic one, and thus its indulgence did not result in a relaxed style. But on other occasions Hardy abandoned a perilous, risky, and highly energizing impulse in favor of what was for him the fatally relaxing impulse to classify and schematize abstractly. When a relaxing impulse was indulged, the style. —that sure index of an author's literary worth —was certain to become verbose. Hardy's weakness derived from his apparent inability to control the comings and goings of these divergent impulses and from his unwillingness to cultivate and sustain the energetic and risky ones. He submitted to first one and then another, and the spirit blew where it listed; hence the unevenness of any one of his novels. His most controlled novel, Under the Greenwood Tree, prominently exhibits two different but reconcilable impulses —a desire to be a realist-historian and a desire to be a psychologist of love —but the slight interlockings of plot are not enough to bind the two completely together. Thus even this book splits into two distinct parts.

The most appropriate title for the passage could be ______.

A．Under the Greenwood Tree: Hardy's Ambiguous Triumph

B．The Real and the Strange: the Novelist's Shifting Realms

C．Hardy's Novelistic Impulses: the Problem of Control

D．Divergent Impulses: the Issue of Unity in the Novel