Motor vehicles are the largest source of air pollution, producing a haze of smog over the world ' s cities. In the United States, they produce at least 50% of the country's air pollution.

46. Cars represent people' s _________.

[A] occupation [ B] identity

[C] life style [D] fame

47. According to the passage, the average number of people killed annually in traffic accidents around the world is __________.

[A] 18 million [B] 250,000

[ C ] half of the world ' s population [ D] 60 million

48. A serious environmental problem resulting from automobiles is _________.

[ A ] tragic loss of life [ B ] traffic jams

[ C ] air pollution [ D ] mental stress

49. It can be inferred from this passage that automobiles _________.

[ A ] are an important part of the world ' s economy

[ B ] are becoming less dangerous

[ C ] will produce less air pollution in the future

[ D ] are killing more people in recent years than in the past

50. The title that suits the passage best is _________.

[ A ] Automobile and Economy

[B] Automobile and the Environment

[ C ] The Problems with the Automobile

[D] Advantages and Disadvantages of the Automobile

Text 2

I don't know how I became a writer, but I think it was because of a certain force in me that had to write and that finally burst through and found a channel. My people were of the working class of people. My father, a stone-cutter, was a man with a great respect and veneration for literature. He had a tremendous memory, and he loved poetry, and the poetry that he loved best was naturally of the rhetorical kind that such a man would like. Nevertheless it was good poetry, Hamlet's Soliloquy, Macbeth , Mark Antony' s "Funeral Oration" , Grey' s "Elegy" , and all the rest of it. I heard it all as a child; I memorized and learned it all.

He sent me to college to the state university.

The desire to write, which had been strong during all my days in high school, grew stronger still. I was editor of the college paper, the college magazine , etc. , and in my last year or two I was a member of a course in playwriting which had just been established there. I wrote several little one-act plays, still thinking I would become a lawyer or a newspaper man, never daring to believe I could seriously become a writer. Then I went to Harvard, wrote some more plays there, became obsessed with the idea that I had to be a playwright, left Harvard, had my plays rejected, and finally in the autumn of 1926, how, why, or in what manner I have never exactly been able to determine. But probably because the force in me that had to write at length sought out its channel, I began to write my first book in London, I was living all alone at that time. I had two rooms－a bedroom and a sitting room－in a litter square in Chelsea in which all the houses had that familiar, smoked brick and cream-yellow-plaster look.

51. We may conclude, in regard to the author's development as a writer, that his father _________.

[ A ] made an important contribution

[ B ] insisted that he choose writing as a career

[ C ] opposed his becoming a writer

[ D] insisted that he read Hamlet in order to learn how to be a writer

52. The author believes that he became a writer mostly because of _________.

[A] his special talent [B] his father's teaching and encouragement

[C] his study at Harvard [D] a hidden urge within him

53. The author _________,

[A] began to think of becoming a writer at Harvard

[ B ] had always been successful in his writing career

[ C ] went to Harvard to learn to write plays

[ D ] worked as a newspaper man before becoming a writer

54. The author really started on his way to become a writer _________.

[A] when he was in high school [B] when he was studying at Harvard

[ C ] when he lived in London [ D ] after he entered college

55. A conclusion we cannot safely draw (based upon this passage) about the author's life in

1926 is that _________.

[A] he was unmarried

[B] he was miserable about having his plays rejected

[C] he lived in a house like all the other houses around him

[D] he started his first novel

Text 3

Greek mythology is largely made up of stories about gods and goddesses, but it must not be read as a kind of Greek Bible, an account of the Greek religion.

According to the most modern idea, a real myth has nothing to do with religion. It is an explanation of something in nature; how, for instance, any and everything in the universe came into existence: men, animals, this or that tree or flower, the sun, the moon, the stars, storms, eruptions, earthquakes, all that is and all that happens. Thunder and lightning are caused when Zeus hurls his thunderbolt. A volcano erupts because a terrible creature is imprisoned in the mountain and every now and then struggles to get free. The Dipper ( 大熊星座) , the constellation ( 星座) called also the Great Bear, does not set below the horizon because a goddess once was angry at it and decreed (命令 ) that it should never sink into the sea. Myths are early science, the result of men ' s first trying to explain what they saw around them.

But there are many so-called myths which explain nothing at all. These tales are pure entertainment, the sort of thing people would tell each other on a long winter' s evening. The story of Pygmalion (皮格马利翁) and Galatea is an example; it has no conceivable connection with any event in nature. Neither has the Quest of the Golden Fleece (寻找金羊毛) , nor Orpheus (奥菲士，竖琴圣手) and Eurydice, nor many another. This fact is now generally accepted; and we do not have to try to find in every mythological heroine the moon or the dawn and in every hero' s life a sun myth. The stories are early literature as well as early science. But religion is there, too. In the background, to be sure, but nevertheless plain to see. From Homer through the tragedians and even later, there is a deepening realization of what human beings need and what they must have in their gods.

56. The author believes that myths __________.

[ A ] have nothing to do with religion

[ B ] contain very modern ideas

[ C ] are pure entertainment with no religious content

[ D ] have to do with science, religion and entertainment

57. In every myth, _________.