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  3. It so happened that Lucy, who found daily life rather chaotic, entered a more solid world when she opened the piano. She was the

It so happened that Lucy, who found daily life rather chaotic, entered a more solid world when she opened the piano. She was the

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问题    It so happened that Lucy, who found daily life rather chaotic, entered a more solid world when she opened the piano. She was then no longer either deferential or patronizing; no longer either a rebel or a slave. The kingdom of music is not the kingdom of this world; it will accept those whom breeding and intellect and culture have alike rejected. The commonplace person begins to play, and shoots into the empyrean without effort, whilst we look up, marveling how he has escaped us, and thinking how we could worship him and love him would he but translate his visions into human actions. Perhaps he cannot; certainly he does not, or does so very seldom. Lucy had done so never.
   She was no dazzling execultante; nor was she the passionate young lady, who performs so tragically on a summer’s evening with the window open. Passion was there, but it could not be easily labeled. And she was tragical only in the sense that she was great, for she loved to play on the side of Victory. Victory of what and over what-that is more than the words of daily life can tell us. But that some sonatas of Beethoven are written tragic no one can gainsay; yet they can triumph or despair as the player decides, and Lucy had decided that they should triumph.
   A very wet afternoon at the Pension Bertolini permitted her to do the thing she really liked, and after lunch she opened the little draped piano. A few people lingered round and praised her playing, but finding that she made no reply, dispersed to their rooms to write up their diaries or to sleep. She took no notice of Mr. Emerson looking for his son, nor of Miss Bartlett looking for Miss Lavish, nor Miss Lavish looking for her book. Like every true performer, she was intoxicated by the mere feel of the notes.
   Mr. Beebe, sitting unnoticed in the window, pondered over this illogical element in Lucy Honeychurch, and recalled the occasion at Tunbridge Wells when he had discovered it. It was at one of those entertainments where the upper classes entertain the lower. The seats were filled with a respectful audience, and the ladies and gentlemen of this parish, under the auspices of their vicar, sang, or recited, or imitated the drawings of a champagne cork. Among the promised items was ’Miss Honeychurch. Piano. Beethoven’, and Mr. Deebe was wondering whether it would be ’Adelaida’, or the march of ’The Ruins of Athens’, when his composure was disturbed by the opening bars of Opus III. He was in suspense all through the introduction for not until the pace quickens does one know what the performer intends. With the roar of the opening theme he knew that things were going extraordinarily; in the chords that herald the conclusion he heard the hammer strokes of victory. He was glad that she only played the first movement, for he could have paid no attention to the winding intricacies of the measure of nine-sixteen. The audience clapped, no less respectful. It was Mr Bebee who started the stamping; it was all that one could do.
   ’Who is she?’ He asked the vicar afterwards.
   Cousin of one of my parishioner. I do not consider her choice of a piece happy Beethoven is so usually simple and direct in his appeal that it is sheer perversity to choose a thing like that, which, if anything disturbs.
   When he was introduced, Mr. Beebe realized. that Miss Honeychurch, disjoined from her music-stool, was only a young lady with a very pretty, pale, underdeveloped face. She loved going to concerts, she loved stopping with her cousin, she loved iced coffee and meringues. But before he left Tunbridge Wells he made a remark to the vicar, which he now made to Lucy herself when she closed the little piano and moved dreamily towards him.
   If Miss Honeychurch ever takes to live as she plays, it will be very exciting—both for us and for her.
In the first paragraph we are told that ______.
选项 A、one needs to reject worldly pleasure to truly develop musical talent.
B、music is sometimes regarded as a substitute for creation.
C、there is often a mismatch between great musical talent and ordinary life.
D、it is amazing how great an effect music tends to have on our lives.
答案D
解析 文中第一段中“The kingdom of music is not the kingdom of this world; it will accept those whom breeding and intellect and culture have alike rejected.”指出音乐的王国会接受现实中所抵触的东西。而选项A，B和C并未被涉及。
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