如何阅读英语原著
英语简易原著阅读The Blue Cross
He made of his physicle abilities to avoid being caught.
His crimes were chiefly those of clever robberies.
Flambeau became a internationally known figure.
Valentin told the priest never to say that again before he got out.Then Valentin look out for everyone who had listened the massage.But didn't find any clues.
Around Central London
After a long time thinking and walking,Valentin decided to use a unusual thougut to find out Flambeau.So he didn't go to banks or police stations but the place where a man might stop……
Identity:
The head of the Pairs police and the most famous detective in the world
purpose: To catch the robbery Flambeau
Appearance: A french man of great
strengtch,size and daring.
Identity:
A robbery who was tracked by the police of three countries.
初中英语拓展阅读
初中英语拓展阅读
以下是初中英语拓展阅读的一些建议：
1. 读英文原著：选择适合自己水平的英文原著，例如《小王子》、《哈利·波特》等。
通过阅读原著，可以接触到地道的英文表达方式，提高阅读
理解能力和词汇量。
2. 阅读新闻：选择适合自己水平的英文新闻，例如BBC、CNN等媒体的新闻。
通过阅读新闻，可以了解时事、扩大知识面，同时提高阅读速度和词汇量。
3. 读英文杂志：选择适合自己水平的英文杂志，例如《国家地理》、《时代周刊》等。
通过阅读杂志，可以了解各个领域的最新动态，提高阅读理解能力和拓展知识面。
4. 读英文小说：选择适合自己水平的英文小说，例如《简爱》、《了不起的盖茨比》等。
通过阅读小说，可以培养英语语感，提高阅读理解能力和欣赏能力。
5. 做英文练习册：选择适合自己水平的英文练习册，例如《剑桥英语阅读》、《托福阅读突破》等。
通过做练习册，可以巩固阅读基础，提高阅读速度和解题能力。
6. 看英文电影和电视剧：选择适合自己水平的英文电影和电视剧，例如《哈利·波特》、《生活大爆炸》等。
通过观看电影和电视剧，可以提高听力理解能力和口语表达能力。
总之，初中英语拓展阅读需要注重材料的选取和方法的指导。
通过多种形式的阅读活动，可以提高英语阅读能力和拓展知识面。
英语阅读-英文原著-RIDERS TO THE SEA(葬身海底)
RIDERS TO THE SEAby J. M. SYNGEINTRODUCTIONIt must have been on Synge's second visit to the Aran Islands that he had the experience out of which was wrought what many believe to be his greatest play. The scene of "Riders to the Sea" is laid in a cottage on Inishmaan, the middle and most interesting island of the Aran group. While Synge was on Inishmaan, the story came to him of a man whose body had been washed up on the far away coast of Donegal, and who, by reason of certain peculiarities of dress, was suspected to be from the island. In due course, he was recognised as a native of Inishmaan, in exactly the manner described in the play, and perhaps one of the most poignantly vivid passages in Synge's book on "The Aran Islands" relates the incident of his burial.The other element in the story which Synge introduces into the play is equally true. Many tales of "second sight" are to be heard among Celtic races. In fact, they are so common as to arouse little or no wonder in the minds of the people. It is just such a tale, which there seems no valid reason for doubting, that Synge heard, and that gave the title, "Riders to the Sea", to his play. It is the dramatist's high distinction that he has simply taken the materials which lay ready to his hand, and by the power of sympathy woven them, with little modification, into a tragedy which, for dramatic irony and noble pity, has no equal among its contemporaries. Great tragedy, it is frequently claimed with some show of justice, has perforce departed with the advance of modern life and its complicated tangle of interests and creature comforts. A highly developed civilisation, with its attendant specialisation of culture, tends ever to lose sight of those elemental forces, those primal emotions, naked to wind and sky, which are the stuff from which great drama is wrought by the artist, but which, as it would seem, are rapidly departing from us. It is only in the far places, where solitary communion may be had with the elements, that this dynamic life is still to be found continuously, and it is accordingly thither that the dramatist, who would deal with spiritual life disengaged from the environment of an intellectual maze, must go for that experience whichwill beget in him inspiration for his art. The Aran Islands from which Synge gained his inspiration are rapidly losing that sense of isolation and self-dependence, which has hitherto been their rare distinction, and which furnished the motivation for Synge's masterpiece. Whether or not Synge finds a successor, it is none the less true that in English dramatic literature "Riders to the Sea" has an historic value which it would be difficult to over-estimate in its accomplishment and its possibilities. A writer in The Manchester Guardian shortly after Synge's death phrased it rightly when he wrote that it is "the tragic masterpiece of our language in our time; wherever it has been played in Europe from Galway to Prague, it has made the word tragedy mean something more profoundly stirring and cleansing to the spirit than it did."The secret of the play's power is its capacity for standing afar off, and mingling, if we may say so, sympathy with relentlessness. There is a wonderful beauty of speech in the words of every character, wherein the latent power of suggestion is almost unlimited. "In the big world the old people do be leaving things after them for their sons and children, but in this place it is the young men do be leaving things behind for them that do be old." In the quavering rhythm of these words, there is poignantly present that quality of strangeness and remoteness in beauty which, as we are coming to realise, is the touchstone of Celtic literary art. However, the very asceticism of the play has begotten a corresponding power which lifts Synge's work far out of the current of the Irish literary revival, and sets it high in a timeless atmosphere of universal action.Its characters live and die. It is their virtue in life to be lonely, and none but the lonely man in tragedy may be great. He dies, and then it is the virtue in life of the women mothers and wives and sisters to be great in their loneliness, great as Maurya, the stricken mother, is great in her final word."Michael has a clean burial in the far north, by the grace of the Almighty God. Bartley will have a fine coffin out of the white boards, and a deep grave surely. What more can we want than that? No man at all can be living for ever, and we must be satisfied." The pity and the terror of it all have brought a great peace, the peace that passethunderstanding, and it is because the play holds this timeless peace after the storm which has bowed down every character, that "Riders to the Sea" may rightly take its place as the greatest modern tragedy in the English tongue.EDWARD J. O'BRIEN.February 23, 1911.PERSONSMAURYA (an old woman) . . . Honor Lavelle BARTLEY (her son) ............. W. G. Fay CATHLEEN (her daughter). .....Sarah Allgood NORA (a younger daughter). . Emma Vernon MEN AND WOMENRIDERS TO THE SEAA PLAY IN ONE ACTFirst performed at the Molesworth Hall, Dublin, February 25th, 1904.SCENE. -- An Island off the West of Ireland. (Cottage kitchen, with nets, oil-skins, spinning wheel, some new boards standing by the wall, etc. Cathleen, a girl of about twenty, finishes kneading cake, and puts it down in the pot-oven by the fire; then wipes her hands, and begins to spin at the wheel. NORA, a young girl, puts her head in at the door.)NORA [In a low voice.]Where is she?CATHLEEN She's lying down, God help her, and may be sleeping, if she's able.[Nora comes in softly, and takes a bundle from under her shawl.]CATHLEEN [Spinning the wheel rapidly.]What is it you have?NORA The young priest is after bringing them. It's a shirt and a plain stocking were got off a drowned man in Donegal.[Cathleen stops her wheel with a sudden movement, and leans out to listen.]NORA We're to find out if it's Michael's they are, some time herself will be down looking by the sea.CATHLEEN How would they be Michael's, Nora. How would he go the length of that way to the far north?NORA The young priest says he's known the like of it. "If it's Michael's they are," says he, "you can tell herself he's got a clean burial by the grace of God, and if they're not his, let no one say a word about them, for she'll be getting her death," says he, "with crying and lamenting."[The door which Nora half closed is blown open by a gust of wind.] CATHLEEN [Looking out anxiously.]Did you ask him would he stop Bartley going this day with the horses to the Galway fair?NORA "I won't stop him," says he, "but let you not be afraid. Herself does be saying prayers half through the night, and the Almighty God won't leave her destitute," says he, "with no son living."CATHLEEN Is the sea bad by the white rocks, Nora?NORA Middling bad, God help us. There's a great roaring in the west, and it's worse it'll be getting when the tide's turned to the wind.[She goes over to the table with the bundle.]Shall I open it now?CATHLEEN Maybe she'd wake up on us, and come in before we'd done.[Coming to the table.]It's a long time we'll be, and the two of us crying.NORA [Goes to the inner door and listens.]She's moving about on the bed. She'll be coming in a minute.CATHLEEN Give me the ladder, and I'll put them up in the turf-loft, the way she won't know of them at all, and maybe when the tide turnsshe'll be going down to see would he be floating from the east.[They put the ladder against the gable of the chimney; Cathleen goes up a few steps and hides the bundle in the turf-loft. Maurya comes from the inner room.]MAURYA [Looking up at Cathleen and speaking querulously.]Isn't it turf enough you have for this day and evening?CATHLEEN There's a cake baking at the fire for a short space. [Throwing down the turf] and Bartley will want it when the tide turns if he goes to Connemara.[Nora picks up the turf and puts it round the pot-oven.]MAURYA [Sitting down on a stool at the fire.]He won't go this day with the wind rising from the south and west.He won't go this day, for the young priest will stop him surely.NORA He'll not stop him, mother, and I heard Eamon Simon and Stephen Pheety and Colum Shawn saying he would go.MAURYA Where is he itself?NORA He went down to see would there be another boat sailing in the week, and I'm thinking it won't be long till he's here now, for the tide'sturning at the green head, and the hooker' tacking from the east.CATHLEEN I hear some one passing the big stones.NORA [Looking out.]He's coming now, and he in a hurry.BARTLEY [Comes in and looks round the room. Speaking sadly and quietly.]Where is the bit of new rope, Cathleen, was bought in Connemara?CATHLEEN [Coming down.]Give it to him, Nora; it's on a nail by the white boards. I hung it up this morning, for the pig with the black feet was eating it.NORA [Giving him a rope.]Is that it, Bartley?MAURYA You'd do right to leave that rope, Bartley, hanging by the boards (Bartley takes the rope]). It will be wanting in this place, I'm telling you, if Michael is washed up to-morrow morning, or the next morning, or any morning in the week, for it's a deep grave we'll make him by the grace of God.BARTLEY [Beginning to work with the rope.]I've no halter the way I can ride down on the mare, and I must go now quickly. This is the one boat going for two weeks or beyond it, and the fair will be a good fair for horses I heard them saying below.MAURYA It's a hard thing they'll be saying below if the body is washed up and there's no man in it to make the coffin, and I after giving a big price for the finest white boards you'd find in Connemara.[She looks round at the boards.]BARTLEY How would it be washed up, and we after looking each day for nine days, and a strong wind blowing a while back from the west and south?MAURYA If it wasn't found itself, that wind is raising the sea, and there was a star up against the moon, and it rising in the night. If it was a hundred horses, or a thousand horses you had itself, what is the price of a thousand horses against a son where there is one son only?BARTLEY [Working at the halter, to Cathleen.]Let you go down each day, and see the sheep aren't jumping in on therye, and if the jobber comes you can sell the pig with the black feet if there is a good price going.MAURYA How would the like of her get a good price for a pig?BARTLEY [To Cathleen]If the west wind holds with the last bit of the moon let you and Nora get up weed enough for another cock for the kelp. It's hard set we'll be from this day with no one in it but one man to work.MAURYA It's hard set we'll be surely the day you're drownd'd with the rest. What way will I live and the girls with me, and I an old woman looking for the grave?[Bartley lays down the halter, takes off his old coat, and puts on a newer one of the same flannel.]BARTLEY [To Nora.]Is she coming to the pier?NORA [Looking out.] She's passing the green head and letting fall her sails.BARTLEY [Getting his purse and tobacco.]I'll have half an hour to go down, and you'll see me coming again in two days, or in three days, or maybe in four days if the wind is bad.MAURYA [Turning round to the fire, and putting her shawl over her head.]Isn't it a hard and cruel man won't hear a word from an old woman, and she holding him from the sea?CATHLEEN It's the life of a young man to be going on the sea, and who would listen to an old woman with one thing and she saying it over?BARTLEY [Taking the halter.]I must go now quickly. I'll ride down on the red mare, and the gray pony'll run behind me. . . The blessing of God on you.[He goes out.]MAURYA [Crying out as he is in the door.]He's gone now, God spare us, and we'll not see him again. He's gone now, and when the black night is falling I'll have no son left me in the world.CATHLEEN Why wouldn't you give him your blessing and he lookinground in the door? Isn't it sorrow enough is on every one in this house without your sending him out with an unlucky word behind him, and a hard word in his ear?[Maurya takes up the tongs and begins raking the fire aimlessly without looking round.]NORA [Turning towards her.]You're taking away the turf from the cake.CATHLEEN [Crying out.]The Son of God forgive us, Nora, we're after forgetting his bit of bread.[She comes over to the fire.]NORA And it's destroyed he'll be going till dark night, and he after eating nothing since the sun went up.CATHLEEN [Turning the cake out of the oven.]It's destroyed he'll be, surely. There's no sense left on any person in a house where an old woman will be talking for ever.[Maurya sways herself on her stool.]CATHLEEN [Cutting off some of the bread and rolling it in a cloth; to Maurya.]Let you go down now to the spring well and give him this and he passing. You'll see him then and the dark word will be broken, and you can say "God speed you," the way he'll be easy in his mind.MAURYA [Taking the bread.]Will I be in it as soon as himself?CATHLEEN If you go now quickly.MAURYA [Standing up unsteadily.]It's hard set I am to walk.CATHLEEN [Looking at her anxiously.]Give her the stick, Nora, or maybe she'll slip on the big stones.NORA What stick?CATHLEEN The stick Michael brought from Connemara.MAURYA [Taking a stick Nora gives her.]In the big world the old people do be leaving things after them for their sons and children, but in this place it is the young men do be leavingthings behind for them that do be old.[She goes out slowly. Nora goes over to the ladder.]CATHLEEN Wait, Nora, maybe she'd turn back quickly. She's that sorry, God help her, you wouldn't know the thing she'd do.NORA Is she gone round by the bush?CATHLEEN [Looking out.]She's gone now. Throw it down quickly, for the Lord knows when she'll be out of it again.NORA [Getting the bundle from the loft.]The young priest said he'd be passing to-morrow, and we might go down and speak to him below if it's Michael's they are surely.CATHLEEN [Taking the bundle.]Did he say what way they were found?NORA [Coming down.]"There were two men," says he, "and they rowing round with poteen before the cocks crowed, and the oar of one of them caught the body, and they passing the black cliffs of the north."CATHLEEN [Trying to open the bundle.]Give me a knife, Nora, the string's perished with the salt water, and there's a black knot on it you wouldn't loosen in a week.NORA [Giving her a knife.]I've heard tell it was a long way to Donegal.CATHLEEN [Cutting the string.]It is surely. There was a man in here a while ago -- the man sold us that knife -- and he said if you set off walking from the rocks beyond, it would be seven days you'd be in Donegal.NORA And what time would a man take, and he floating?[Cathleen opens the bundle and takes out a bit of a stocking. They look at them eagerly.]CATHLEEN [In a low voice.]The Lord spare us, Nora! isn't it a queer hard thing to say if it's his they are surely?NORA I'll get his shirt off the hook the way we can put the one flannel on the other [she looks through some clothes hanging in the corner.] It'snot with them, Cathleen, and where will it be?CATHLEEN I'm thinking Bartley put it on him in the morning, for his own shirt was heavy with the salt in it [pointing to the corner]. There's a bit of a sleeve was of the same stuff. Give me that and it will do.[Nora brings it to her and they compare the flannel.]CATHLEEN It's the same stuff, Nora; but if it is itself aren't there great rolls of it in the shops of Galway, and isn't it many another man may have a shirt of it as well as Michael himself?NORA [Who has taken up the stocking and counted the stitches, crying out.]It's Michael, Cathleen, it's Michael; God spare his soul, and what will herself say when she hears this story, and Bartley on the sea?CATHLEEN [Taking the stocking.]It's a plain stocking.NORA It's the second one of the third pair I knitted, and I put up three score stitches, and I dropped four of them.CATHLEEN [Counts the stitches.]It's that number is in it [crying out.] Ah, Nora, isn't it a bitter thing to think of him floating that way to the far north, and no one to keen him but the black hags that do be flying on the sea?NORA [Swinging herself round, and throwing out her arms on the clothes.]And isn't it a pitiful thing when there is nothing left of a man who was a great rower and fisher, but a bit of an old shirt and a plain stocking?CATHLEEN [After an instant.]Tell me is herself coming, Nora? I hear a little sound on the path.NORA [Looking out.]She is, Cathleen. She's coming up to the door.CATHLEEN Put these things away before she'll come in. Maybe it's easier she'll be after giving her blessing to Bartley, and we won't let on we've heard anything the time he's on the sea.NORA [Helping Cathleen to close the bundle.]We'll put them here in the corner.[They put them into a hole in the chimney corner. Cathleen goesback to the spinning-wheel.]NORA Will she see it was crying I was?CATHLEEN Keep your back to the door the way the light'll not be on you.[Nora sits down at the chimney corner, with her back to the door. Maurya comes in very slowly, without looking at the girls, and goes over to her stool at the other side of the fire. The cloth with the bread is still in her hand. The girls look at each other, and Nora points to the bundle of bread.]CATHLEEN [After spinning for a moment.]You didn't give him his bit of bread?[Maurya begins to keen softly, without turning round.]CATHLEEN Did you see him riding down?[Maurya goes on keening.]CATHLEEN [A little impatiently.]God forgive you; isn't it a better thing to raise your voice and tell what you seen, than to be making lamentation for a thing that's done? Did you see Bartley, I'm saying to you? MAURYA [With a weak voice.] My heart's broken from this day.CATHLEEN [As before.]Did you see Bartley?MAURYA I seen the fearfulest thing.CATHLEEN [Leaves her wheel and looks out.]God forgive you; he's riding the mare now over the green head, andthe gray pony behind him.MAURYA [Starts, so that her shawl falls back from her head and shows her white tossed hair. With a frightened voice.]The gray pony behind him.CATHLEEN [Coming to the fire.]What is it ails you, at all?MAURYA [Speaking very slowly.]I've seen the fearfulest thing any person has seen, since the day Bride Dara seen the dead man with the child in his arms.CATHLEEN AND NORA Uah.[They crouch down in front of the old woman at the fire.]NORA Tell us what it is you seen.MAURYA I went down to the spring well, and I stood there saying a prayer to myself. Then Bartley came along, and he riding on the red mare with the gray pony behind him [she puts up her hands, as if to hide something from her eyes.] The Son of God spare us, Nora!CATHLEEN What is it you seen.MAURYA I seen Michael himself.CATHLEEN [Speaking softly.]You did not, mother; it wasn't Michael you seen, for his body is after being found in the far north, and he's got a clean burial by the grace of God.MAURYA [A little defiantly.]I'm after seeing him this day, and he riding and galloping. Bartley came first on the red mare; and I tried to say "God speed you," but something choked the words in my throat. He went by quickly; and "the blessing of God on you," says he, and I could say nothing. I looked up then, and I crying, at the gray pony, and there was Michael upon it -- with fine clothes on him, and new shoes on his feet.CATHLEEN [Begins to keen.]It's destroyed we are from this day. It's destroyed, surely.NORA Didn't the young priest say the Almighty God wouldn't leave her destitute with no son living?MAURYA [In a low voice, but clearly.]It's little the like of him knows of the sea. ............... Bartley will be lost now, and let you call in Eamon and make me a good coffin out of the white boards, for I won't live after them. I've had a husband, and a husband's father, and six sons in this house -- six fine men, though it was a hard birth I had with every one of them and they coming to the world -- and some of them were found and some of them were not found, but they're gone now the lot of them .............. There were Stephen, and Shawn, were lost in the great wind, and found after in the Bay of Gregory of the Golden Mouth, and carried up the two of them on the one plank, and in by that door.[She pauses for a moment, the girls start as if they heard something through the door that is half open behind them.]NORA [In a whisper.]Did you hear that, Cathleen? Did you hear a noise in the north-east?CATHLEEN [In a whisper.]There's some one after crying out by the seashore.MAURYA [Continues without hearing anything.]There was Sheamus and his father, and his own father again, were lost in a dark night, and not a stick or sign was seen of them when the sun went up. There was Patch after was drowned out of a curagh that turned over.I was sitting here with Bartley, and he a baby, lying on my two knees, and I seen two women, and three women, and four women coming in, and they crossing themselves, and not saying a word. I looked out then, and there were men coming after them, and they holding a thing in the half of a red sail, and water dripping out of it -- it was a dry day, Nora -- and leaving a track to the door.[She pauses again with her hand stretched out towards the door. It opens softly and old women begin to come in, crossing themselves on the threshold, and kneeling down in front of the stage with red petticoats over their heads.]MAURYA [Half in a dream, to Cathleen.]Is it Patch, or Michael, or what is it at all?CATHLEEN Michael is after being found in the far north, and when he is found there how could he be here in this place?MAURYA There does be a power of young men floating round in the sea, and what way would they know if it was Michael they had, or another man like him, for when a man is nine days in the sea, and the wind blowing, it's hard set his own mother would be to say what man was it.CATHLEEN It's Michael, God spare him, for they're after sending us a bit of his clothes from the far north.[She reaches out and hands Maurya the clothes that belonged to Michael. Maurya stands up slowly, and takes them into her hands. NORA looks out.]NORA They're carrying a thing among them and there's water drippingout of it and leaving a track by the big stones.CATHLEEN [In a whisper to the women who have come in.]Is it Bartley it is?ONE OF THE WOMEN It is surely, God rest his soul.[Two younger women come in and pull out the table. Then men carry in the body of Bartley, laid on a plank, with a bit of a sail over it, and lay it on the table.]CATHLEEN [To the women, as they are doing so.]What way was he drowned?ONE OF THE WOMEN The gray pony knocked him into the sea, and he was washed out where there is a great surf on the white rocks.[Maurya has gone over and knelt down at the head of the table. The women are keening softly and swaying themselves with a slow movement. Cathleen and Nora kneel at the other end of the table. The men kneel near the door.]MAURYA [Raising her head and speaking as if she did not see the people around her.]They're all gone now, and there isn't anything more the sea can do to me. . . . I'll have no call now to be up crying and praying when the wind breaks from the south, and you can hear the surf is in the east, and the surf is in the west, making a great stir with the two noises, and they hitting one on the other. I'll have no call now to be going down and getting Holy Water in the dark nights after Samhain, and I won't care what way the sea is when the other women will be keening. To Nora]. Give me the Holy Water, Nora, there's a small sup still on the dresser.[Nora gives it to her.]MAURYA [Drops Michael's clothes across Bartley's feet, and sprinkles the Holy Water over him.]It isn't that I haven't prayed for you, Bartley, to the Almighty God. It isn't that I haven't said prayers in the dark night till you wouldn't know what I'ld be saying; but it's a great rest I'll have now, and it's time surely. It's a great rest I'll have now, and great sleeping in the long nights after Samhain, if it's only a bit of wet flour we do have to eat, and maybe a fish that would be stinking.[She kneels down again, crossing herself, and saying prayers under her breath.]CATHLEEN [To an old man.]Maybe yourself and Eamon would make a coffin when the sun rises. We have fine white boards herself bought, God help her, thinking Michael would be found, and I have a new cake you can eat while you'll be working.THE OLD MAN [Looking at the boards.]Are there nails with them?CATHLEEN There are not, Colum; we didn't think of the nails.ANOTHER MAN It's a great wonder she wouldn't think of the nails, and all the coffins she's seen made already.CATHLEEN It's getting old she is, and broken.[Maurya stands up again very slowly and spreads out the pieces of Michael's clothes beside the body, sprinkling them with the last of the Holy Water.]NORA [In a whisper to Cathleen.]She's quiet now and easy; but the day Michael was drowned you could hear her crying out from this to the spring well. It's fonder she was of Michael, and would any one have thought that? CATHLEEN [Slowly and clearly.]An old woman will be soon tired with anything she will do, and isn't it nine days herself is after crying and keening, and making great sorrow in the house?MAURYA [Puts the empty cup mouth downwards on the table, and lays her hands together on Bartley's feet.]They're all together this time, and the end is come. May the Almighty God have mercy on Bartley's soul, and on Michael's soul, and on the souls of Sheamus and Patch, and Stephen and Shawn (bending her head]); and may He have mercy on my soul, Nora, and on the soul of every one is left living in the world.[She pauses, and the keen rises a little more loudly from the women, then sinks away.]MAURYA [Continuing.]Michael has a clean burial in the far north, by the grace of the Almighty God. Bartley will have a fine coffin out of the white boards, and a deep grave surely. What more can we want than that? No man at all can be living for ever, and we must be satisfied.[She kneels down again and the curtain falls slowly.]。
英语记叙文阅读答题方法与技巧
英语记叙文阅读答题方法与技巧近年来，英语记叙文阅读在高中英语考试中扮演着越来越重要的角色。
掌握好阅读答题方法和技巧，对于学生提高英语成绩至关重要。
下面，我将从阅读答题方法、技巧和个人理解几个方面为大家详细介绍。
一、阅读答题方法对于英语记叙文阅读，首先要明确题目的要求，结合题目中的指示词，有的放矢地进行阅读。
在快速阅读时，要注意把握文章的脉络，明确文章的主题和大意。
抓住关键信息，譬如人物、事件、时间、地点等，这有助于思考后续的问题。
在精读过程中，要注重细节，尤其是对一些名词解释、原因阐述等要格外留意。
要善于利用上下文的理解和判断能力，以便更好地理解作者之意。
当遇到难句或不认识的生词时，不妨通过上下文推测生词的含义，以免耽误速度。
二、阅读答题技巧要做到审题审仔细，确保对问题的理解准确，因为有些问题可能会有陷阱。
要善于总结归纳，要根据文章的内容来进行整合，不可片面理解。
要注意考虑作者的意图和态度，分析文章的写作目的和文体特点，有利于理解作者的用词和表达。
在回答问题时，要简洁明了，重点突出，不要在答案中涉及无关信息。
可以通过引用原文来支持自己的观点，以展现自己对文章的理解。
要检查答案，看是否有语言或逻辑错误，避免疏忽大意，提高答题的准确性。
三、个人观点和理解对于阅读答题方法的个人理解，我认为阅读不只是为了应付考试，更是为了拓展知识面、增加思维广度和深度的过程。
平时多读书、多阅读一些优秀的英语记叙文，可以帮助提高阅读能力和阅读理解水平。
要注意培养自己的归纳总结能力，在总结中发现问题和不足，持续优化自己的阅读方法。
总结回顾在总结方面，我们可以归纳出以下几点：1. 对于英语记叙文阅读，应该做到快速阅读和精读相结合，注重细节，抓住关键信息，善于利用上下文推测生词的含义。
2. 在答题时，要审题审仔细，注意总结归纳，善于分析作者的意图和态度，简洁明了地回答问题，最后检查答案。
3. 在平时的阅读中，要多读书、多阅读优秀英语记叙文，培养归纳总结能力，持续优化阅读方法，不断提高阅读理解水平。
阅读英文原著,提高英语水平
原著所采用的双 关、拟 声等修辞手法常 在高校调 查在校 学生阅 读英文原著的比 得到的很 例， 在翻译的过程中， 可 能是一个无法 让人乐观的结果， 即便是读过一两 本英文 会不可避免地得 不到传达。 “ ｎ ｕｄ ｅ ｐｙｏｙｕ 如 Ｏ ｎａｔｙ ｒ ｒｏ Ｓ ｙｈ ａ ｆ 原著简写 本的学生，也屈指可数。而这种情况对于 正处于 ａ ｏ ａ ｔｙ ｒ ｕ ～般译为 “ 他们为你 ｎ ｏ Ｍ ｎ ｙｈ ｅ Ｏｙ ． ｄ ｎ ｄ ｅｐ ｙ ｎ ｏ ” 周日 周一他们却掠夺你” 。又如， Ｔｅｉｍ ｒｕｄ ｅ “ｈｇｌ ｕ ｒ ｒ ｒ ｍ ｅ ｈ 学习英语重要阶 段的大学生而言， 并不正常。 阅读英文原 祷告， 著作品的 重要意义 体现在诸 多方面： １ ． 是英语 语言 学习的 需要。 ｔｎｓ 译为 “ ｈ ｋ” ａ ． 那个女孩 轻声地说了 声谢谢。 ”
不足。英语教育专家张思中 说过，阅读原著是学好英语的 表达二战 五十 后四 年代美国 社会一 个亚文 化群体的生 活观和
方法 之一， 带动学生 也是 语言学习的 一条重要 途径。 ２ ． 是学好英 美文学的 需要。 阅 读英文原著，决不等于只 是读一些英文文学作品
价值观的。 举出 子很多，但 能 的例 道理只 有一个，即 英 阅读 文原 能 著， 够促进我 们对英 家的了 语国 解。
二、 通过阅读原 著提高英 语水平
１ 生自 ． 学 己阅读 与教师推 荐相结合。 教师 有必要根据相关年级学生的 英语水平，罗 适 列出
的简写本， 因为只读相关作品的简介或评论，是无法体会 原著作品字里行间 所洋溢的风土 人情和语言特征的 。唯有
零距离接触原著，才可能有最直接最切身的感受。如今可 合学生阅读的 英文原著 作品， 推荐给 学生阅读。 从原则 上讲，
英语阅读题蒙题技巧
英语阅读题蒙题技巧英语阅读题蒙题技巧篇1首先，我们要知道英语的阅读理解大都又臭又长，难度越大的题一搬内容越多，如果拿到题就直接读，等你读完后也许很多细节已经忘了，或者根本没有注意到，更有甚者读完后连中心大意都没有理解，一头雾水，更别说做后面的题目了。
所以我们要做的第一步是快速了解*的中心大意，即阅读*的第一句和最后一句，大部分的*在第一句和最后一句都点名了大意，所以通过这两个句子，我们就可以大致猜到这篇*在讲什么了。
有必要的话可以适当增加阅读的句数，但不宜超过3句，否则短一点的*大半篇都被你读完了，时间也浪费了，快速猜测大意的目的也失去了。
接下来，我们不要急着去阅读全文，而是转向阅读后面的题目，先读第一题的题目及选项，遇到关键词要做标记，然后开始从*的开头开始阅读，直至找到与第一题有关的内容处，开始仔细阅读，勾画关键词以及与题目相关的内容并标上第一题的题号，以便后续的检查，，然后对第一题进行解答。
然后我们再阅读第二题的题目及内容，步骤和刚才一样，依次先阅读题目，再去文中找答案，基本上题目做完了，*也读完了，而且不容易把细节漏掉，因为大部分的*题目都是*内容的顺序来编号的，所以这个方法适用于大多数的*。
所有题目做完以后，再回过头来检查一遍，重点看勾画的关键词和句子与对应的题目是否符合，是否有细节上的差异，而这种差异是否意味着你选择了一个错误的答案，这些工作做完以后，一篇阅读理解就算做完了。
考试的时间很紧，没有大把的时间让你仔细阅读一遍*，弄清楚每个地方的意思以后，再一题一题慢慢的做，遗忘的地方又到*中从头去找，然后细细研读，最后在细细的重读全文及题目检查答案，所以在上述这种快速定位正确答案的方法才能在考试中节约时间。
当然，光有方法还是不够的，我们更需要的是多加练习和仔细体会其中的规律与技巧，没有什么是可以一蹴而就的，一步一步脚踏实地，认真努力的做好每一次练习，日积月累才能由量变引起质变，勤奋才是成功的秘诀!英语阅读题蒙题技巧篇2先看题目后看*。
高中英语：原著阅读小课题研究
various
emotions no feeling given by parents by the
emotion
name
community colorful
Job
Differences
color black&
white
free choice
assigned
family
原著阅读的几个可 行性课题，以
“The Giver”为 例
背景
《普通高中英语课程标准（实验）》（教育部，2003） （以下简称“课标”）八级目标要求学生能够在教师 的帮助下欣赏浅显的英语文学作品；九级目标要求学 生能够阅读一般英文原著，抓住主要情节,了解主要人 物。英语原著是原生态的语料，有着相对真实的生活 场景，融合更多的文化因子，具有浓厚的人文性，学 生更易在情感上产生共鸣，在思想上获得启迪，在品 性上得到完善，从而更易达到课标中强调的“语言运 用能力和人文素养”上的双丰收。
判
断 Why is the “evening telling of feeling” before
性
each dinner so important?(Chapter1)
思
维评
能
价 对部分章节内容背后所反映的社会价值
力
质 取向进行质疑或批判，理性发表自己的看
疑 法，同时鉴赏语言表达的特点。
例如：
Jonas was impressed by the things Benjamin had achieved. But they had never talked about the boy’s accomplishments because such a conversation would have been awkward for Benjamin. There was never any comfortable way to mention or discuss one’s successes without breaking the rule against bragging, even if one didn’t mean to. (Chapter 4 P33)
英语名著读写指导
Ｃhａncｅfavors tｈe prepared ｍinｄ、英语原著读写指导教学流程(一) 如设置故事悬念？1、理论基础格式塔心理学派认为, 人们通过感官知觉得到得就是一个个“完形”，当人们在观瞧到一个不规则, 不完满得形状时, 就会产生一种在得紧力。
这种力迫使大脑皮层紧地活动，以填补“缺陷”, 能给人以意觉上得不完满感, 因此，在阅读前巧设悬念，就能激发学生得好奇心与求知欲，使其思维处于一种激动状态，产生一种非弄清不可得探究心理.2、设置故事悬念技巧与电视节目预告一样,教师先把小说得魅力、事情得高潮、结果之中某个突出得片断得故事讲给学生听,让学生不由自主地产生究根究底得愿望,自然地在教师得带领下进入阅读得大门。
(二) 如梳理小说中得人物关系?把握好人物关系, 就是理解小说得关键，可以通过建立人物关系思维导图得式,理清小说中得人物关系。
(三) 如梳理小说得故事情节？ﻫ把握好故事情节，就是读懂小说得关键。
故事情节梳理通常从故事得开始, 发展,高潮与结束四个环节着手。
（四) 如概括故事大意(suｍmａry）？ﻫ概括故事大意就是培养学生归纳概括能力得有效途径之一。
概1)依据故事情节.括故事大意可以从以下三个面着手。
ﻫ2）故事大意得五要素：ｗhen, wherｅ, who, what，hｏｗ、3 ）写故事大意常用关联词语：aｔfirst，ｔhｅn，after thａｔ, ｌａｔer, ｉｎｔhe end/fiｎally ／ｅventuａllｙ/ａt ｌasｔ、（五) 如进行主题归纳（阅读启发与思考）小说得主题就是小说得灵魂，就是作者得写作目得所在,也就是作品得价值意义之所在。
主题归纳通常从小说得人物形象与某些细节入手.如《弗兰肯斯坦》归纳主题.ﻫ（六）如进行主题归纳（阅读启发与思考）ﻫ(九)写作指导—提高篇英语原著《弗兰肯斯坦》读写指导课例一．《弗兰肯斯坦》悬念设置One stｏrｍy nｉght a ｈorrｉblｅsｃreａm came from ａrｏom ｉn a hotｅl ｓudｄenｌy、F ｒankeｎsｔeｉn rusheｄtｈere, only tｏｆinｄhｉs newly- maｒried wife lying in bloｏd wｉth her heart tａken out、Ｗho was tｈe muｒｄerer? Why wａs tｈe mｕrｄer so bｒuｔal？（一个狂风暴雨之夜,突然从一个旅馆得房间里传来一声可怕得尖叫声。
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读原著，学英语（初级篇）小说原著要怎么读才能学到英语呢？以下就根据笔者个人的学习经验，给初入门的学习者提供几点建议：挑选作品1.浪漫喜剧小说这类小说一般是写给青年人看的，语言通俗浅显，风格轻松活泼，题材软性轻松，每每受到读者喜爱；这类讨论男女关系、家庭生活的小说，时空背景又多设定于现代，书中人物的生活不至于与现实脱节太大，观众很容易就能产生共鸣。
此外，有些对白场景与日常生活情境相关，值得学习者留意，比方说上餐馆点菜或与人辩论等等；甚至，透过故事还能了解英美等国的风土文化，比如说婚礼或节庆的习俗。
2. 其他主题除了上述类型的小说之外，一般故事的主题包罗万象，小自人生哲理，大至国家要事，同样可以拿来当作学习的教材，进一步训练批判性思考或口语简报讨论的能力。
不过，其情节通常要比浪漫喜剧来的多，而且情节较为复杂，探讨的主题若是扯上国家社会问题，也会显得较为严肃，学习者可要有点耐性。
由于各个作家的写作风格不同，文笔也不一，文字难度上会有很大的差异；即使是同一作家，不同作品也会风格迥异。
因此，初学者在挑选上要特别谨慎，否则会挫伤积极性。
一般来说，可以选一些已有中译本的小说，这并不是要鼓励大家完全依赖中文，而是有实在搞不懂的地方，可以参考一下译文。
其次，小说中涉及的主题不应过于专业或文化底蕴不要太丰富，像迈克尔·克莱顿的作品由于涉及很多高科技，很多魔幻小说引用神话故事，这些并不适合初学者。
第三，根据我个人的读书经验来看，小说每页的生词不宜超过3-5%（涉及的地名、人名、产品名等一般不影响阅读，故不算在内），否则就PASS。
3.阅读适合自己水平的作品根据上面的阐述，古典作品难读现代作品易读这样的思想观念是不正确的。
无论古典还是现代，言情还是神话，阅读的驱动力主要还是兴趣和成就感。
前者依赖于个人的口味，而后者则与小说的正确选择有很大的关系。
因为要保证良好的阅读效果，不同级别的英语学习者就需要阅读与自己水平相适应的文学作品。
太难和太易都不能激发学习的动感。
那么应该如何判断自己的水平和小说的水平是否一致呢？最简单的方法就是在不翻阅字典的情况下尝试阅读第一章，然后对照中译本检查自己理解的程度，70％－80％以上既可以说水平合适。
如果没有中译本，也可以把看开头几段，把生词查完后对照查之前的理解程度来判断。
有人也提出了以生词量的多少作为选择的标准，3％－5％的生词量是一般要求。
然而有的作品即使有大量的词汇不认识也不会影响阅读（这类词汇主要包括专业领域的名词和部分形容词，还有少部分可以猜测意思的动词和动词短语），另外一些作品则正好相反。
所以还是主张以理解程度来判断。
平时阅读时只有多多尝试不要轻易放弃，就不会错过一些表面上很难但实际上能读懂的小说。
我个人读过的较容易的作品是西德尼·谢尔顿（Sydney Sheldon）的《天幕降临》（The Sky Is Falling），Dave Berry的Big Trouble，John Grisham的The Brethren。
心态和工具的准备别以为把一部小说重复看十次，英语就能进步，你要懂得方法，重点学习，学什么呢？学作者的遣词用字，想想他们为什么这么说，看看他们如何将语言灵活运用于情境之中，如果可以的话，最好还要学学他们展现在语言上的幽默和思维逻辑，这一点最为困难，即使是苦读英语十年的人也不一定学得来。
照这么说来，利用小说学英语其实工程浩大，无法一蹴而就，这种自我学习是重质不重量，只要功夫下的扎实，就算你每次只花十五分钟或半小时来读一小片段，一年只读一两本小说也绰绰有余了。
（画外音：好啦，别罗嗦啦！举个例子嘛！）先不急，我先讲讲读原著时的常用装备：1. 笔记本（是笔记的本子，也可以是电脑啦）或者小卡片N张，主要用来记录生词、词组、好句子，总结归纳同义表达、近反义词，记录难点。
2. 英汉双解词典一部（或者在线词典），要勤翻词典。
阅读时的心态也很重要，除了不要急功近利以外，还有一些要注意的：刚开始阅读的阶段也是最容易放弃的阶段，因为从新闻英语考试英语转换到阅读小说所改变的不仅仅是阅读的形式，而且是整个英语体系的改变――小说的整个遣词造句都与平时新闻考试里遇到的文章有很大的差别。
所以这样的心理准备一定要做好：刚开始不会很容易的。
尤其是前两个月的阅读，主要目的是用来调整个语言体系和记忆新的词汇短语。
绝大多数英语小说的阅读者都会遇到这个阶段，克服的方法也只有一个就是持续不断的阅读和记忆。
只有在掌握了基本的小说词汇之后，欣赏才有可能。
阅读技巧和方法如何避免复杂的句子和生词影响到阅读的进程？1．首先养成良好的阅读习惯。
2．学会猜测词语的含义。
a 大写的词语一般是专属的名词，可以表示特定的机构和人物，也可以表示现实地区名、河流、山脉某一类特殊的群体以及作者文章中虚构出来的地方和人物。
b 有些动词可以根据主语和宾语猜测出来。
还有一些名词，如各种不同的生物，和医学物理学器具，是不需要知道中文的意思的，比如：bonito的意思是鲣，鱼类的一种，但是鲣到底是什么就是中文里也不知道；还有希腊的许多小神祗的名称，也是一样。
只要能根据上下文的意思确定不认识的名词属于某个专业的范围，就连字典都不用查。
读得多了见得多了自然而然就记住了。
就像汉语里的专业词汇一样，有许多我们也看不懂；只是熟悉了就不在乎了。
c 形容词和动词词组。
个人感觉这两个是英文小说阅读里最难的。
除了多读多查多记，没有其他方法。
3.阅读速度。
如果刚开始阅读第一本小说，速度一定不快。
但是应该强迫自己把速度提高上去。
因为据心理学研究表明，高速度阅读不但有利于提高阅读的理解能力，还能在一定程度上改善阅读疲乏的症状；可以保证更长时间的持续阅读。
那么如何提高阅读速度？第一是不要一遇到生词就查词典，第二适当掠过不影响剧情的生词，第三，参考专门的速读教程。
阅读时该留意哪些字词句呢？1.留意小词的灵活用法英语中象come，go等一类的小词用法特别灵活，一个词能表达好多意思。
我们平时搜肠刮肚想了半天才找到个词表达的意思，一个小词往往就可以解决。
比如，要表达“他在我们公司说了算”，我们可以轻松地说‘In our company, what he says goes’。
类似的例子还有The deal is off, I'm right on it, It's been two hours into the movie.2.留意已学过的词的新用法不要以为你学过某个单词就没事啦。
阅读小说时，你会经常发现明明是已学过的单词，可意思怎么也对不上号。
比如He was lifted high up in the air, legs whisking desperately as if they were trying to gain a purchase. 这里的purchase 似乎怎么也跟购买扯不上关系，但从小学到大学，似乎也没哪位老师提过purchase还有别的意思。
其实，这里是指A position, as of a lever or one's feet, affording means to move or secure a weight. 支撑的位置：如杠杆上的位置或某人的双脚等用于移动或支撑重量的位置。
3. 词组和习语见一个记一个4. 留意好句子从学英语的角度说，好句子大致可分几种情况：a.生活化口语(I heard a lot about you 久仰大名)b.评论性话语（可以拿来套用在你的议论文写作上，比如Michael Crichton的侏罗纪公园的引子里有大量评论现代科技发展的文字，非常值得借鉴）c.一些中文耳熟能详的句子但地道英文不知咋说（数量有限，欲购从速limited availability, order soon）d.一些中文耳熟能详的句子、地道英文也知道咋说，可小说中又有别的或补充表达（魔戒中表达良药苦口，忠言逆耳是并未用我们熟知的good medicine tastes bitter，good advice is harsh to the ear，而是用了Faithful heart may have forward tongue）。
e.感动你的文（比如竞选演说）5．留意文中的描写片段我们中国学生最不会写的当是用英语描写人物、场景。
学会一些常见的场景描述对写作绝对有好处。
例如，在自传体小说Sounds of the River里，作者在登上火车进入车厢时，对车厢内那种气味，人群混杂作了一段精彩的描述。
这种场景相信大家挤火车时都见过，但用英文恐怕还不是那么好说的。
再比如，雨水拍打在窗户上，然后蜿蜒流下的场景大家都知道吧，但英文该怎么讲呢？我在一篇小说里就看到过这段文字 A light rain pattered tiny wet fingers on the windows and water beaded and ran down in meandering rivulets.注意总结归纳阅读不是被动吸收的过程，而是主动参与。
不论你在阅读中学到什么，都不要学一个记一个，学两个，记一双。
要善于对所学东西进行归类，发现规律，这样会大大提高学习效率。
就单词而言，因为词汇在人脑中是以激活扩散的方式提取的，就象往河里扔石子，会产生涟漪一样，遇见一个单词，你往往还会激活其他相关的单词。
我们要善于把学到的生词建立成网络状，要由一个词联想到其他词。
这种联想可以是近反义词，也可以是某个特定的场合下的其他单词（比如你最喜爱的电影片段）。
比如alien一词，你可以一下子联想到著名的电影《异形》，同时表达外星人的还有E.T.（extraterrestrial）, 既然alien指异于其他，自然还可以指外国的，不同的，象医学上的“异物”可以说alien object。
再例如围绕打电话我们可以总结一些常用语，有初高中就教的Can I take a message? I will put you through on the office line. 还有课本内没有的Could you please put Mr. Smith on? （你能叫Smith先生听电话吗？）。