【好题汇编】五年（2020-2024）高考英语
真题分类汇编（北京专用）解析版
专题 10 阅读理解记叙文
考点分布
年份 主题 词数 话题 细节 推理 主 旨 词 义
语境 理解 判断 大意 猜测
2024 人与自我 354 作者重拾画油画的信心并接受了自身局限性 1 3 0 0
2023 人与自我 386 被拒绝也不是坏事，这意味着你能重新确定自己的方 1 3 0 0
向。
2022 人与自然 348 参加保护自然活动治愈好了焦虑 3 1 0 0
2021 人与自我 379 第一印象不总是可信的 3 0 0 0
2020 人与自我 403 重视手工技能，将手工技能和科学结合在一起（夹叙夹 2 1 1 0
议文）
【2024北京卷】
When I was a little girl, I liked drawing, freely and joyously making marks on the walls at home. In primary
school, I learned to write using chalks. Writing seemed to be another form of drawing. I shaped individual letters
into repeating lines, which were abstract forms, delightful but meaningless patterns.
In secondary school, art was my favourite subject. Since. I loved it so much I thought I was good at it. For the
art O-level exam I had to present an oil painting. I found it difficult, but still hoped to pass. I failed, with a low
grade. I’d been over-confident. Now I’d been declared talentless.
But other channels of creativity stayed open: I went on writing poems and stories. Still, I went to exhibitions
often. I continued my habitual drawing, which I now characterised as childish doodling (乱画). In my 30s, I made
painter friends and learned new ways of looking at art. However, I couldn’t let myself have a go at actually doing it.
Though these new friends were abstract painters using oil paints, or were printmakers or sculptors, I took oil
painting as the taboo (禁忌) high form I wasn’t allowed to practice.
One night, in my early 40s, I dreamed that a big woman in red approached me, handed me a bag of paints, and
told me to start painting. The dream felt so authoritative that it shook me. It was a form of energy, giving me back
something I’d lost. Accordingly, I started by experimenting with water colours. Finally, I bought some oil paints.
Although I have enjoyed breaking my decades-long taboo about working with oil paints, I have discovered I
now prefer chalks and ink. I let my line drawings turn into cartoons I send to friends. It all feels free and easy. Un-
anxious. This time around, I can accept my limitations but keep going.Becoming a successful painter calls for being resolute. I realised I was always afraid of wanting too much.
That dream reminded me that those fears and desires could encourage me to take risks and make experiments.
24. How did the author feel about the result of the art exam?
A. Scared. B. Worried. C. Discouraged. D. Wronged.
25. In her 30s, the author _________.
A. avoided oil painting practice B. sought for a painting career
C. fancied abstract painting D. exhibited child paintings
26. Which word would best describe the author’s dream?
A. Confusing. B. Empowering.
C. Disturbing. D. Entertaining.
27. What can we learn from this passage?
A. Actions speak louder than words. B. Hard work is the mother of success.
C. Dreams are the reflections of realities. D. Creative activities involve being confident.
【2023北京卷】
【2023北京卷】Sitting in the garden for my friend’s birthday. I felt a buzz (振动) in my pocket. My heart
raced when I saw the email sender’s name. The email started off: “Dear Mr Green, thank you for your interest” and
“the review process took longer than expected.” It ended with “We are sorry to inform you…” and my vision
blurred (模糊). The position—measuring soil quality in the Sahara Desert as part of an undergraduate research
programme — had felt like the answer I had spent years looking for.
I had put so much time and emotional energy into applying, and I thought the rejection meant the end of the
road for my science career.
So I was shocked when, not long after the email, Professor Mary Devon, who was running the programme,
invited me to observe the work being done in her lab. I jumped at the chance, and a few weeks later I was equally
shocked—and overjoyed—when she invited me to talk with her about potential projects I could pursue in her lab.
What she proposed didn’t seem as exciting as the original project I had applied to, but I was going to give it my all.
I found myself working with a robotics professor on techniques for collecting data from the desert remotely.
That project, which I could complete from my sofa instead of in the burning heat of the desert, not only survived
the lockdown but worked where traditional methods didn’t. In the end, I had a new scientific interest to pursue.
When I applied to graduate school, I found three programmes promising to allow me to follow my desired
research direction. And I applied with the same anxious excitement as before. When I was rejected from one that
had seemed like a perfect fit, it was undoubtedly difficult. But this time I had the perspective (视角) to keep it from
sending me into panic. It helped that in the end I was accepted into one of the other programmes I was also excited
about.
Rather than setting plans in stone, I’ve learned that sometimes I need to take the opportunities that are
offered, even if they don’t sound perfect at the time, and make the most of them.
24．How did the author feel upon seeing the email sender’s name?
A．Anxious. B．Angry. C．Surprised. D．Settled.
25．After talking with Professor Devon, the author decided to ________.A．criticise the review process B．stay longer in the Sahara Desert
C．apply to the original project again D．put his heart and soul into the lab work
26．According to the author, the project with the robotics professor was ________.
A．demanding B．inspiring C．misleading D．amusing
27．What can we learn from this passage?
A．An invitation is a reputation. B．An innovation is a resolution.
C．A rejection can be a redirection. D．A reflection can be a restriction.
【2022北京卷】
My name is Alice. Early last year, I was troubled by an anxiety that crippled ( 削弱 ) my ability to do
anything. I felt like a storm cloud hung over me. For almost a year I struggled on, constantly staring at this wall that
faced me. My perfectionist tendencies were the main root of this: I wanted to be perfect at whatever I did, which
obviously in life is not possible, but it consumed me.
One day, I attended a presentation by wildlife conservationist Grant Brown at my high school. His presentation
not only awed and inspired me, but also helped emerge an inner desire to make a difference in the world. I joined a
pre-presentation dinner with him and that smaller setting allowed me to slowly build up my courage to speak one-
on-one with him—an idea that had seemed completely impossible. This first contact was where my story began.
A month later, Brown invited me to attend the World Youth Wildlife Conference. Looking back, I now see that
this would be the first in a series of timely opportunities that my old self would have let pass, but that this new and
more confident Alice enthusiastically seized. Shortly after I received his invitation, applications to join the Youth
for Nature and the Youth for Planet groups were sent around through my high school. I decided to commit to
completing the applications, and soon I was a part of a growing global team of young people working to protect
nature. Each of these new steps continued to grow my confidence.
I am writing this just six months since my journey began and I’ve realised that my biggest obstacle ( 障碍 )
this whole time was myself. It was that voice in the back of my head telling me that one phrase that has stopped so
many people from reaching their potential: I can’t. They say good things come to those who wait; I say: grab every
opportunity with everything you have and be impatient. After all, nature does not require our patience, but our
action.
24. What was the main cause for Alice’s anxiety?
A. Her inability to act her age. B. Her habit of consumption.
C. Her desire to be perfect. D. Her lack of inspiration.
25. How did Grant Brown’s presentation influence Alice?
A. She decided to do something for nature. B. She tasted the sweetness of friendship.
C. She learned about the harm of desire. D. She built up her courage to speak up.
26. The activities Alice joined in helped her to become more ________.
A. intelligent B. confident C. innovative D. critical
27. What can we learn from this passage?
A. Practice makes perfect. B. Patience is a cure of anxiety.C. Action is worry’s worst enemy. D. Everything comes to those who wait.
【2021北京卷】
I remember the day during our first week of class when we were informed about our semester（学期）
project of volunteering at a non-profit organization．When the teacher introduced us to the different organizations
that needed our help，my last choice was Operation Iraqi Children （OIC）．My first impression of the
organization was that it was not going to make enough of a difference with the plans I had in mind．
Then，an OIC representative gave us some details，which somewhat interested me．After doing some
research， I believed that we could really do something for those kids．When I went online to the OIC website，I
saw pictures of the Iraqi children．Their faces were so powerful in sending a message of their despair（绝望）
and need that I joined this project without hesitation．We decided to collect as many school supplies as possible，
and make them into kits——one kit，one child．
The most rewarding day for our group was project day，when all the efforts we put into collecting the items
finally came together．When I saw the various supplies we had collected，it hit me that every kit we were to build
that day would eventually be in the hands of an Iraqi child．Over the past four months，I had never imagined how
I would feel once our project was completed．While making the kits，I realized that I had lost sight of the true
meaning behind it．I had only focused on the fact that it was another school project and one I wanted to get a good
grade on．When the kits were completed，and ready to be sent overseas，the warm feeling I had was one I would
never forget．
In the beginning，I dared myself to make a difference in the life of another person．Now that our project is
over，I realize that I have affected not only one life，but ten．With our efforts，ten young boys and girls will
now be able to further their education．
24. How did the author feel about joining the OIC project in the beginning？
A. It would affect his/her initial plans．
B. It would involve traveling overseas．
.
C It would not bring him/her a good grade．
D. It would not live up to his/her expectations．
25. What mainly helped the author change his/her attitude toward the project？
A. Images of Iraqi children． B. Research by his/her classmates．
C. A teacher's introduction． D. A representative's comments．
26. The author's OIC project group would help ten Iraqi children to________．.
A. become OIC volunteers B. further their education
C. study in foreign countries D. influence other children
27. What can we conclude from this passage？
A. One's potential cannot always be underrated．
B. First impression cannot always be trusted．
C. Actions speak louder than words．
D. He who hesitates is lost．【2020北京卷】
For the past five years, Paula Smith, a historian of science, has devoted herself to re-creating long-forgotten
techniques. While doing research for her new book, she came across a 16th-century French manuscript（手稿）
consisting of nearly 1,000 sets of instructions, covering subjects from tool making to finding the best sand.
The author's intention remains as mysterious（神秘）as his name; he may have been simply taking notes for
his own records. But Smith was struck mainly by the fact that she didn't truly grasp any of the skills the author
described. "You simply can't get an understanding of that handwork by reading about it," she says.
Though Smith did get her hands on the best sand, doing things the old-fashioned way isn't just about playing
around with French mud. Reconstructing the work of the craftsmen（工匠）who lived centuries ago can reveal
how they viewed the world, what objects filled their homes, and what went on in the workshops that produced
them. It can even help solve present-day problems: In 2015, scientists discovered that a 10th-century English
medicine for eve problems could kill a drug-resistant virus.
The work has also brought insights for museums, Smith says. One must know how on object was made in
order to preserve it. What's more, reconstructions might be the only way to know what treasures looked like before
time wore them down. Scholars have seen this idea in practice with ancient Greek and Roman statues. These
sculptures were painted a rainbow of striking colours. We can't appreciate these kinds of details without seeing
works of art as they originally appeared-something Smith believes you can do only when you have a road map.
Smith has put the manuscript's ideas into practice. Her final goal is to link the worlds of art and science back
together: She believes that bringing the old recipes to life can help develop a kind of learning that highlights
experimentation, teamwork, and problem solving.
Back when science—then called “the new philosophy”—took shape, academics looked to craftsmen for help
in understanding the natural world. Microscopes and telescopes were invented by way of artistic tinkering（修补）,
as craftsmen experimented with glass to better bend light.
If we can rediscover the values of hands-on experience and craftwork, Smith says, we can marry the best of
our modern insights with the handiness of our ancestors.
38. How did Smith, feel after reading the French manuscript?
A. Confused about the technical terms.
B. Impressed with its detailed instructions.
C. Discouraged by its complex structure.
D. Shocked for her own lack of hand skills.
39. According to Smith, the reconstruction work is done mainly to _____________.
A. restore old workshops B. understand the craftsmen
C. improve visual effects D. inspire the philosophers
40. Why does the author mention museums?
A. To reveal the beauty of ancient objects.
B. To present the findings of old science.
.
C To highlight the importance of antiques.
D. To emphasise the values of hand skills.41. Which would be the best title for this passage?
A. Craftsmen Set the Trends for Artists
B. Craftsmanship Leads to New Theories
C. Craftsmanship Makes Better Scientists
D. Craftsmen Reshape the Future of Science
Passage 01
【2024年人大附中高三三模】I write this on a spring morning, in the van I have called home for two years
now.
From one small window, I have a view of joggers pounding the sunny path by the Oxford Canal, and the
other looks onto the busy railway line along which trains travel from Southampton Docks to Birmingham.
The woods where I’ve parked my van have grown up between them. This ancient van, a vehicle designed for
freedom and the open road, has proved a stable solution for surviving the current housing crisis.
I became a travel writer after my studies ended, committing to brief “residencies” with museums and art
centres—where temporary accommodation is often provided in exchange for producing new work about a
community. Over the years that followed, living and working on location in the polar regions or Scandinavia or the
Alps, not settling down for very long, meant wherever I landed was always “home”.
It was necessary to adopt a more permanent engagement with locality. Oxford had often drawn me back. It’s
a crossroads of reality and the imagination, the perfect city for a writer.
It takes a surprising amount of work to keep a tiny home in order: buying a used van online; ensuring the
smooth running of a gas cooker and car batteries; fetching water and emptying the mobile toilet. I began to enjoy
taking care of my immediate surroundings. Over the summer, I worked to turn waste-ground into a wild garden,
replacing weeds with wild plants.
I made friends with the self-sufficient boaters living nearby, always ready to share knowledge on the low-
carbon simplicity of life without electricity. I’ve learnt that comfort can be found away from the bright
infrastructure of urban life: in watching the birds that nest in the tree and the foxes playing in the woods at dawn, in
making a cup of coffee on a spring morning.
My step away from conventional housing has been a necessary act of personal economy, but the benefits
include taking nothing for granted, and unexpected delight.
24．The writer makes the van his home because ______.
A．the feature of the van and that of his occupation are matching
B．the van equals to a crossroads of reality and the imagination
C．the views of joggers and trains outside of it can relieve his pressure
D．living and working on location in the polar regions are appealing to him25．What does “immediate surroundings” in Paragraph 6 refer to?
A．a used van B．a gas cooker C．a wild garden D．a mobile toilet
26．Which of the following is the benefit of unconventional housing?
A．Joining joggers to do exercise. B．Keeping a tiny home in order easily.
C．Improving the economy of Oxford. D．Embracing delightful surprises.
Passage 02
【2024 年北京市朝阳区高三一模】My birth was a little more dramatic than the standard way a baby
enters the world. I was born missing my left hand. Indeed, my limb (手臂) difference could have been a disaster if
it hadn’t been for what happened next. A nurse placed me in my mother’s arms and instructed, “You will take her
home. You will love her and treat her as normal.”
That is exactly what happened. I played sports, acted in theater, excelled in school and had playdates with
friends. While I did get some stares and “polite” questions about my disability, I was lucky because I wasn’t made
fun of for it.
However, that fact that I was different hit me hard my first day of high school. I was 13, an age when kids
are already very self-conscious and the need to fit in is intensified. I remember one of the other kids on the school
bus stared just a little too long at my left arm. I felt a sudden urge to hide my hand, so I slipped it into my pocket. I
told myself that I’d just hide it that one day, while I was trying to make friends. But one day of hiding turned into a
week, a month, and years — 25 of them to be exact.
When I was 38 years old, tired of hiding and lonely, I met someone special and invited him in. The
combination of me finally feeling ready to unhide and his willingness to go through the unhiding process with me
was exactly what I needed. For the first time in my life, I allowed someone to really hold my limb, look at it, touch
it, love it — love me. I saw my limb difference as something unique about me, something that should be shown, not
hidden.
It was a transformational experience, and I learned to love me too. It changed how I lived my entire life and
made me happier. I also discovered and joined the Lucky Fin Project, an organisation devoted to people with all
types of disabilities.
Hiding things, especially from loved ones, is tiring and lonely, and it prevents us from getting help and
support. It’s time to change that.
24．What was the author’s childhood like?
A．She had no social interactions with friends.
B．She was raised with care and treated normally.
C．She faced some challenges in school activities.
D．She was upset about the attention to her difference.
25．What happened to the author when she was 13 years old?
A．She began to ignore her disability.
B．She suffered prejudice from some kids.
C．She started hiding herself away from friends.D．She became sensitive due to her self-awareness.
26．How did the author change when she stopped hiding?
A．She started to open up and be herself.
B．She met someone who cured her disability.
C．She was fed up with the company of others.
D．She reduced involvement in the disability group.
27．What can we learn from this passage?
A．Misfortune is a good teacher.
B．Disability is not a barrier to success.
C．Self-acceptance can lead to self-love.
D．Nothing beats the feeling of being loved.
Passage 03
【2024年北京市房山区高三一模】That day when Ludwig van Beethoven died was one of the saddest of
my life. I had stayed with him for more than twenty years and lived through many of his happiest moments and his
triumphs as well as his most unhappy times.
He wasn’t, however, the easiest of men to work for. His moods were changeable so that he could be
reasonable at one moment but most impatient and intolerant at the next. All these problems began in 1802 when he
discovered his loss of hearing was not temporary.
The loss of hearing brought him to a crossroads in his life. It was then that he realized that his future lay in
composing music. Luckily, although his deafness brought him fear and anxiety, he was able to use these emotions
to inspire his work.
Dealing with his inner problems and worries, his music was obviously subjective, which was not the most
popular type of its time. But people recognized his greatness. They did so even when they knew he could not
acknowledge it. When he was conducting his ninth and last symphony on its first performance he was totally deaf.
So he just didn’t realize that the music had finished and continued to conduct the orchestra. One of the singers had
to turn him round so he could receive the cheers of the audience. From one angle it was a sad moment but from
another it was an even greater triumph. That a man with such a condition could have written such dynamic music
was overwhelming! It brought tears to my eyes to think that I had contributed in some small way by looking after
him.
He dressed rather like a wild man himself. His hair was always untidy, his skin marked with spots and his
mouth set in a downward curve. He took no care of his appearance and walked around our city with his clothes
carelessly arranged. This was because he was concentrating on his next composition.
Helping him move house many times, preparing his meals and looking after his everyday comforts were my
reward for a life living so close to such a musical genius. I consider myself a lucky man!
24．The author was most likely to be Beethoven’s _______.
A．student B．doctor C．servant D．relative
25．What can be learned from this passage?A．Beethoven’s music was underestimated at that time.
B．Beethoven’s work was inspired by his fear and anger.
C．Beethoven’s music stayed in step with the mainstream music of the time.
D．Beethoven lost his ability to hear when first conducting his ninth symphony.
26．Why did the author tear in Paragraph 4?
A．Because the performance was a complete success.
B．Because he played a part in Beethoven’s success.
C．Because Beethoven was completely deaf then.
D．Because the audience cheered for Beethoven.
27．According to the author, Beethoven could be described as ________.
A．intolerant but cheerful
B．stubborn but reasonable
C．changeable but dedicated
D．unsociable but easy-going
Passage 04
【2024年北京市东城区高三一模】An Art Class
When Kelly was twelve, she started taking classes at Miss Grace’s School for Art. She didn’t like it at first: the
“novice artists”—the kids who hadn’t really done art before-worked mostly with clay, and Kelly was a terrible
sculptor.
It wasn’t until her third year that Kelly found something she was really good at-charcoal drawing (素描). She
loved watching the lines spread unevenly across the page as she moved the bits of charcoal back and forth over the
paper.
One day, Sophia, the best artist in her class, sat down and set up her easel (画架) next to Kelly. Kelly felt a
sinking feeling in her stomach. She’d actually found an art form that she enjoyed and was good at-and now Sophia
was going to outshine her again? Kelly fought back tears when Miss Grace entered the room.
“Hello class, Miss Grace said.” We’ll continue to work on the project today. What masterpiece would Sophia
have come up with?
Kelly looked at Sophia’s easel and she couldn’t believe it-it was a mess! For a brief moment, Kelly couldn’t
actually believe her drawing was better than Sophia’s.
But then she looked at Sophia, who was watching Kelly with an anxious expression. “I…. I couldn’t decide
what to do,” Sophia said. “And you’re so good. Sometimes I feel like my stuff is just so bad in comparison.”
Kelly looked to see if Sophia was joking, but she seemed completely serious. Now Kelly was shocked. “I’m
not talented ... Miss Grace seldom praises me. You’re the best one in our class!”
Sophia raised her eyebrows. “I might be a really good copier of the stuff, but I have no idea what to do when it
comes to making up my own images. You are so great at making new things out of the old stuff. I’ve loved your
works.”
“I’ve loved yours, too,” Kelly said.“Well, definitely not this one,” Sophia said.
Kelly smiled. “Maybe not right now. But if you move these lines up...” she said, pointing her finger on
Sophia’s paper.
Sophia was quiet for a moment. “That’s a great idea!” she said finally.
Kelly smiled and turned back to her drawing, looking every so often at Sophia’s work to see that she was
taking her advice, down to the last line.
24．When Kelly started classes at the art school, she _____.
A．was not good at the course B．lacked confidence in drawing
C．was often pushed by Miss Grace D．did not get along with the other kids
25．How did Kelly feel when Sophia sat beside her?
A．Thrilled. B．Confused. C．Frustrated. D．Relieved.
26．What did Kelly do in the art class?
A．She inspired Sophia. B．She praised Sophia’s creativity.
C．She decided to outshine Sophia. D．She finished the drawing for Sophia.
27．What can we learn from the passage?
A．Interest is the best teacher. B．You are what you believe to be.
C．Everyone has their own strengths. D．Hard work will eventually pay off.
Passage 05
【2024年北京市海淀区高三一模】At my first lesson in Chinese calligraphy, my teacher told me plainly:
“Now I will teach you how to write your name. And to make it beautiful.” I felt my breath catch. I was curious.
Growing up in Singapore, I had an unusual relationship with my Chinese name. My parents are ethnically
Chinese, so they asked fortune tellers to decide my name, aiming for maximum luck. As a result, I ended up with a
nonsense and embarrassing name: Chen Yiwen, meaning, roughly, “old”, “barley (薏米)” and “warm”.
When I arrived in America for college at 18, I put on an American accent and abandoned my Chinese name.
When I moved to Hong Kong in 2021, after 14 years in the States, I decided to learn calligraphy. Why not get back
in touch with my heritage? I thought.
In calligraphy, the idea is to copy the old masters’ techniques, thereby refining your own. Every week,
though, my teacher would give uncomfortably on-the-nose assessments of my person. “You need to be braver,” he
once observed. “Have confidence. Try to produce a bold stroke(笔画).” For years, I had prided myself on
presenting an image of confidence, but my writing betrayed me.
I was trying to make sense of this practice. You must visualize the word as it is to be written and leave a trace
of yourself in it. As a bodily practice, calligraphy could go beyond its own cultural restrictions. Could it help me go
beyond mine? My teacher once said to me, “When you look at the word, you see the body. Though a word on the
page is two-dimensional, it contains multitudes, conveying the force you’ve applied, the energy of your grip, the
arch of your spine.” I had been learning calligraphy to get in touch with my cultural roots, but what I was really
seeking was a return to myself. Now I have sensed that the pleasure out of calligraphy allows me to know myself
more fully.
During a recent lesson, my teacher pointed at the word I had just finished, telling me: “This word is muchbetter. I can see the choices you made, your calculations, your flow. Trust yourself. This word is yours.” He might
as well have said, “This word is you.”
24．What did the author initially think of her name “Chen Yiwen”?
A．It was lucky so she gladly accepted it. B．She felt proud of its symbolic meaning.
C．She understood the intention but still disliked it. D．Its strange pronunciation made her embarrassed.
25．The author decided to learn calligraphy to ______.
A．pick up a new hobby B．reconnect with her origin
C．gain insights into a new culture D．fit in with local community
26．From the teacher’s words, the author learns that calligraphy ______.
A．reflects the creator’s spirits B．comes from creative energy
C．highlights the design of strokes D．depends on continuous practice
27．What does the author intend to tell us?
A．Appreciate what our culture offers. B．Find beauty from your inner self.
C．A great teacher leads you to truth. D．We are the sum of what we create.
Passage 06
（2024·北京东城·二模）Mark Brown, 57, had been making films for 30 years, but he found himself
feeling tired of it. “I thought, things can only go downhill.” Brown knew he needed to do something else — but
what? A few years earlier, he had bought his childhood house and moved in. While Brown wondered about a
second care er in gardening, he heard a different internal voice. “That child who used to love drawing whispered to
me down the years,” he said. Some unacknowledged longing in him was brought out.
There was a great oak tree near his home. It had stood out to his young self as a “fantastical giant — a
treasure home to birds, insects and animals. There was a cave inside. We used to squeeze in through this hole.” He
decided to lock himself away for two months to draw it in all its glorious detail.
“While I was drawing,” he said, “there came moments when it was as though the tree was drawing itself. I
had spent so much time playing in it. I could feel it. It was deep inside me.” His finished oak held “a real power”,
he said. “As you walk towards it, it just grows.” Brown became a tree portraitist.
Over the next few years, he travelled across Britain and spent days with the trees selected with the help of
the Ancient Tree Forum, the Tree Council and the Woodland Trust. Brown has started work on a 20-drawing series
of Britain’s most important ash trees. “These beautiful old ash trees are going to be lost to us,” he says. “They are
350 years old and they are dying because of a disease that we’ve spread.”
Drawing is not only an act of care and a demand for preservation, but it “gives me that interface between my
passion for the natural world and my creativity,” Brown says. It has also given him a different perspective on the
passage of time. “I’m an old man yet I’m only 71, and some of the trees I’ve drawn are 1,000 years old. When I’m
with them and when I draw them, I think about the end of my life and the brief nature of human life that passes
momentarily beneath them.”
24．At the age of 57, Brown ______.
A．moved into his old house B．awakened a childhood interestC．reached the peak of his life D．developed a passion for gardening
25．What can we learn about the oak tree and Brown?
A．It helped him start a new career. B．It linked him with the world.
C．He built a tree house in it. D．He studied creatures in it.
26．What is Brown working on?
A．Setting up tree organizations. B．Looking for cures for tree diseases.
C．Drawing to call for protection for trees. D．Travelling to select important trees in Britain.
27．When Brown is with trees, he feels that ______.
A．time is endless B．human life is temporary
C．nature is dynamic D．life-long learning is crucial
