2. 外语
  3. You should spend about 20 minutes on Questions 27-40 which are based on Reading Passage 3 below. Fierce, fabulous and fantastic

You should spend about 20 minutes on Questions 27-40 which are based on Reading Passage 3 below. Fierce, fabulous and fantastic

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问题 You should spend about 20 minutes on Questions 27-40 which are based on Reading Passage 3 below.
Fierce, fabulous and fantastic
A new exhibition traces the history of animal painting in Europe from the anatomically inaccurate to the highly sentimental.
The first picture you see in the exhibition Fierce Friends: Artists and Animals 1750-1900 is of a giraffe — sort of. Painted in about 1785, the creature in it has the neck of a giraffe, but its back is too long, its haunches too developed, and its legs are out of proportion to its body. Like most Europeans in the 18th century, the anonymous French artist who painted it had never seen a real giraffe. He relied on eyewitness descriptions, and on the skin of a giraffe the scientist and adventurer Francois Levallard had recently brought back from South Africa
Exotic animals shipped back to Europe at this time usually died soon after arrival, even supposing they survived the voyage. Until about 1900, taxidermy consisted of stuffing the carcass with straw, so the results fell apart after a few years. This meant that ordinary men and women had very few opportunities to see exotic animals at first hand until the establishment of the first zoos — in Paris in 1793, in London in 1818. For an accurate depiction of a giraffe, Europeans had to wait until 1827 and the arrival of the first living specimen, when the Swiss artist Jacques-Laurent Agasse painted his lovely study of the Nubian giraffe sent to King George IV by the Ottoman Viceroy of Egypt.
For most people in the 18th century, animals meant farm animals, carriage horses, and food for the table. But the Enlightenment was an age both of exploration and of discovery, as more and more species of animals, birds, fish and insects were identified and brought back from the South Seas, Africa and India. In 1740, almost 600 species of animals were known to science. One hundred years later, the number had risen to 2,400, including many that are familiar to most children today as a matter of course — ostrich, rhino, orang-utan and buffalo.
Kings and princes, to be sure, had their own menageries, and wealthy collectors added rare birds, fish and mammals (shown side-by-side with two-headed calves and fake dragons) to their cabinets of curiosities. In this way, the forerunners of modern zoos and museums developed along parallel lines. On special occasions an entrepreneur might exhibit a wild beast to the paying public, as was the case when the Venetian artist Pietro Longhi painted bored masqueraders at carnival time gawping at a pathetic rhinoceros. Out of such displays came another invention of the 19th century, the circus.
Wider knowledge of the animal kingdom came with the publication of George-Louis Leclerc Comte de Buffon’s multi-volume Histoire Naturelle (1749-1788). Based on specimens studied in the royal menageries, this remarkable book is still treasured — not for its scientific accuracy, but for its glorious hand-coloured engravings. Far too expensive for most people to buy, it at least helped to make men and women aware of the beauty of certain animals, as we can see in a service of Sevres porcelain created in 1793, where the decorative motifs are taken from the birds drawn by de Buffon.
Gradually, humans began to notice that dumb creatures have feelings. Man cannot afford to feel pity for an animal bred for food. When that wonderful artist Jean-Baptise Oudry shows a display of dead game in the 1740s, he is simply painting a luxury — fresh meat — available only to the well-off. Peasants ate bread. His lavish paintings were considered suitable for the dining rooms of the nobility because no one then expressed the slightest ethical or moral hesitation about hunting and killing rabbit, deer and boar for the table, or about slaughtering such vermin as foxes and wolves.
Domestic animals were a different story. When Oudry depicts a hound with her newborn puppies, the simple picture has revolutionary undertones. The pretty white bitch, noticing that two of her pups have fallen asleep and are not getting the nourishment they need, is full of maternal solicitude. At a time when French noblewomen still sent their babes out to wet-nurses, even an animal is shown to display true maternal feeling. And in 1824, the year Delacroix shows two horses killed in battle, there is a new element in man’s attitude towards the wanton slaughter of beautiful creatures: compassion. Delacroix’s little masterpiece pierces the heart, whereas the grotesque memorial to animals killed in war unveiled in London recently leaves the viewer cold. But the moral impulse behind the creation of both works is exactly the same.
Once animals can be loved for their innocence or good nature, it becomes more difficult to treat them cruelly. Almost 15 years before Jean-Baptise Greuze painted a picture of a young girl mourning her pet sparrow (1765), William Hogarth published his series of prints, the Stages of Cruelty, showing how the mistreatment of animals leads inexorably to the devaluing of all forms of life, including human. In this show, it is almost impossible to look at Emile Edouard Mouchy’s horrifying depiction of the vivisection of a dog (1832) without wincing. Though such experiments represent a necessary evil, our very squeamishness represents another rung upward in the moral evolution of mankind.
This process started in the early 19th century, when men began to see in the animal kingdom a mirror image of their own feelings. In his portrayal of a horse frightened by lightning, Gericault lets us see the animal’s tensed body, foam-flecked mouth and brow furrowed in anxiety. In The Jealous Lioness of about 1880, the German artist Paul Meyerheim shows a caged lioness enraged at the attention her mate is paying to a beautiful lion tamer.
Gradually, artists began to blur the distinctions between animal and human. When Edwin Landseer in High Life and Low Life contrasts a mongrel guard dog with a deer hound, the animals are surrogates for their absent masters, a butcher and a nobleman. All these artists emphasised the physical and emotional resemblances between animals and human beings.
Questions 27-31
Choose the correct letter, A, B, C or D.
Write the correct letter in boxes 27-31 on your answer sheet.
The writer mentions the porcelain created in 1793 as an example of
选项 A、improvements in the artistic portrayal of creatures.
B、the influence of Buffon’s Histoire Naturelle.
C、one of the disadvantages of Buffon’s Histoire Naturelle.
D、the popularity of pictures of creatures with the wealthy.
答案B
解析 本题为例证题，例证都是为观点服务的，要得出举例的目的必需从例子前后找观点句。porcelain created in 1793例子是在第五段最后一句的后半句，由as we can see可知，该例是为说明前半句的内容，该部分说Histoire Naturelle(it的指代)一书至少可以让民众认识到了某些动物的美丽，这算是该书的影响力(influence)，故答案选B项。
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