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　　1)   Of all the changes that have taken place in English- language newspapers during the past quarter-century, perhaps the most far- reaching has been the inexorable decline in the scope and seriousness of their arts coverage.

　　2)   It is difficult to the point of impossibility for the average reader under the age of forty to imagine a time when high-quality arts criticism could be found in most big-city newspapers. Yet a considerable number of the most significant collections of criticism published in the 20th century consisted in large part of newspaper reviews. To read such books today is to marvel at the fact that their learned contents were once deemed suitable for publication in general-circulation dailies.

　　3)   We are even farther removed from the unfocused newspaper reviews published in England between the turn of the 20th century and the eve of World War ll. at a time when newsprint was dirt-cheap and stylish arts criticism was considered an ornament to the publications in which it appeared. In those far-off days, it was taken for granted that the critics of major papers would write in detail and at length about the events they covered. Theirs was a serious business and even those reviewers who wore their learning lightly, like George Bernard Shaw and Ernest Newman, could be trusted to know what they were about. These men believed in journalism as a calling, and were proud to be published in the daily press. So few authors have brains enough or literary gift enough to keep their own end up in journalism." Newman wrote. "that I am tempted to define ‘journalism' as 'a term of contempt applied by writers who are not read to writers who are'."

　　4)  Unfortunately, these critics are virtually forgotten. Neville Cardus, who wrote for the Manchester Guardian from 1917 until shortly before his death in 1975, is now known solely as a writer of essays on the game of cricket. During his lifetime, though, he was also one of England's foremost classical-music critics, and a stylist so widely admired that his Autobiography (1947) became a best-seller. He was knighted in 1967, the first music critic to be so honored. Yet only one of his books is now in print, and his vast body of writings on music is unknown save to specialists

　　5)  Is there any chance that Cardus's criticism will enjoy a revival? The prospect seems remote. Journalistic tastes had changed long before his death. and postmodern readers have little use for the richly upholstered Vicwardian prose in which he specialized. Moreover, the amateur tradition in music criticism has been in headlong retreat.

　　21. It is indicated in Paragraphs 1 and 2 that________.

　　[A] arts criticism has disappeared from big-city newspapers.

　　[B] English-language newspapers used to carry more arts reviews.

　　[C] high-quality newspapers retain a large body of readers.

　　[D] young readers doubt the suitability of criticism on dailies.

　　22. Newspaper reviews in England before World War II were characterized by________.

　　[A] free themes.

　　[B] casual style.

　　[C] elaborate layout.

　　[D] radical viewpoints.

　　23. Which of the following would Shaw and Newman most probably agree on?

　　[A] It is writers' duty to fulfil journalistic goals.

　　[B] It is contemptible for writers to be journalists

　　[C] Writers are likely to be tempted into journalism.

　　[D] Not all writers are capable of journalistic writing.

　　24. What can be learned about Cardus according to the last two paragraphs?

　　[A] His music criticism may not appeal to readers today.

　　[B] His reputation as a music critic has long been in dispute.

　　[C] His style caters largely to modern specialists.

　　[D] His writings fail to follow the amateur tradition.

　　25. What would be the best title for the text?

　　[A] Newspapers of the Good Old Days

　　[B] The Lost Horizon in Newspapers

　　[C] Mournful Decline of Journalism

　　[D] Prominent Critics in Memory

　　参考答案：

　　21.选项[B]正确。

　　段后半部分提到了现在的情况: inexorable decline in the scope and seriousness of their arts coverage,第二段句指出了过去的状况: high-quality arts criticism could be found in most big-city newspapers,第二段最后一句更是直接指出,现在人们对于日报上大量刊登文艺评论感到十分惊讶。以上信息说明现在报纸上很少像过去一样刊登文艺评论，因此也就不难得出[B]正确。

　　22.选项[A]正确。

　　第三段句前半句提到,20世纪初期到二战前夕英国报纸评论的特点是unfocused。unfocused本意为“未聚焦的",此处指作品的主题和内容自由、没有限定。后半句继续指出当时人们对文艺评论的看法: stylish arts criticism was considered an ornament to the publications in which it appeared(时髦的文艺评论被认为是刊登它的出版物的装饰)，可以看出当时的文艺评论的主题非常随意。需要注意的是,文中谈论的内容是主题的自由和随意，并不是写作风格的特点,所以确定本题的答案为[A]。

　　23.选项[D]正确。

　　第三段最后一句前半句“So few authors have brains enough or literary gift enough to keep their own end up in journalism," (很少有作家能拥有足够的头脑或文学天赋以保证他们在新闻业能够坚持下去)表明，并不是所有的作家都有能力进行新闻写作,[D]中的Not all正是对本句中few的同义替换,所以[D]为答案。

　　24.选项[A]正确。

　　第四段首句指出,令人遗憾的是,这些评论家们几乎被人们遗忘了,然后以卡达斯为例,将他曾经在文艺评论方面的辉煌与现在的备受冷落进行对比。最后一段作者又以设问的方式指出，卡达斯的评论重新流行的前景渺茫。因此不难得出，卡达斯的评论已经不再吸引现在的读者了,因此答案为[A]。

　　25.选项[B]正确。

　　本文既提到报纸文艺评论在20世纪初到二战前夕备受重视,评论家备受人们的赏识，也介绍了报纸文艺评论的现状:人们已经遗忘了这些评论家,文艺评论复兴前景渺茫。全文通过对比报纸文艺评论在过去和现在的状况,分析了其逐渐走向衰退的事实。[B]可以用来比喻报纸中文艺评论逐渐走向衰退的趋势，所以[B]为本文的标题。

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