2011年復(fù)旦大學(xué)考博英語(yǔ)真題3

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Analysts have had their go at humor, and I have read some of this interpretative literature, but without being greatly instructed. Humor can be dissected, as a frog can, but the thing dies in the process and the innards are discouraging to any but the pure scientific mind. In a newsreel theatre the other day I saw a picture of a man who had developed the soap bubble to a higher point than it had ever before reached. He had became the ace soap bubble blower of America, had perfected the business of blowing bubbles, refined it, doubled it, squared it, and had even worked himself up into a convenient lather. The effect was not pretty. Some of the bubbles were too big to be beautiful, and the blower was always jumping into them or out of them, or playing some sort of unattractive trick with them. It was, if anything, a rather repulsive sight. Humor is a little like that: it won’t stand much blowing up, and it won’t stand much poking. It has a certain fragility, an evasiveness, which one had best respect. Essentially, it is a complete mystery. A human frame convulsed with laughter, and the laughter becoming hysterical and uncontrollable, is as far out of balance as one shaken with the hiccoughs or in the throes of a sneezing fit.

One of the things commonly said about humorists is that they are really very sad people — clown with a breaking heart. There is some truth in it, but it is badly stated. It would be more accurate, I think, to say that there is a deep vein of melancholy running through everyone’s life and that the humorist, perhaps more sensible of it than some others, compensates for it actively and positively. Humorists fatten on trouble. They have always made trouble pay. They struggle along with a good will and endure pain cheerfully, knowing how well it will serve them in the sweet by and by. You find them wrestling with foreign languages, fighting folding ironing boards and swollen drainpipes, suffering the

terrible discomfort of tight boots (or as Josh Billing wittily called them, “tite” boots). They pour out their sorrows profitably，in a form that is not quite fiction nor quite fact either. Beneath the sparkling surface of these dilemmas flows the strong tide of human woe.

36. The central theme of this essay is:

A. There is little humor in old newsreel.

B. Humor can be dissected like a frog.

C. Humor is essentially a mystery, and because humorists are more aware of melancholy, they seem sadder than most people.

D. Humorists need to compensate for the pain they have suffered.

37. The main idea of Paragraph 2 is:

A. The author once saw a picture of the largest soap bubble ever made.

B. The bubble blowing performance was a repulsive sight.

C. Humor is fragile.

D. Laughter is not a measure of humor.

38. Why does the author feel that when humor is dissected, it dies in the process?

A. The fun in humor lies in examining its contents.

B. Humor must tantalize the senses on impact — if it has to be explained, it loses its effect.

C. Humor is best enjoyed by people with scientific minds.

D. A good humorist should explain his or her joke to make sure everyone understands it.

39. The word “melancholy” in Paragraph 3 probably means .

A. joy B. sadness C. hysteria D. exhilaration

40. In his final sentence, the author is evoking an image of ?

A. the ocean B. sparkling germs C. high tide D. flowing water

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