多选题Alec Guinness has few equals among English speaking actors, and in his autobiography he reveals himself to possess an uncommonly ______ prose style as well.AambivalentBinfamousCfelicitousDhappyEredundantFephemeral
多选题
Alec Guinness has few equals among English speaking actors, and in his autobiography he reveals himself to possess an uncommonly ______ prose style as well.
A
ambivalent
B
infamous
C
felicitous
D
happy
E
redundant
F
ephemeral
参考解析
解析：
句子表明，亚力克·吉尼斯在同时代的英语演员中少有对手，同时在其自传中，亚力克也向人们展示了他罕见的巧妙散文风格，选项C felicitous（恰当的，贴切的；得体的，巧妙的）和D happy（适合的，恰当的；巧妙的）意思相近且与句意相符，是最佳选项；A ambivalent矛盾的；B infamous声名狼藉的；无耻的；E redundant多余的，过剩的；冗长的；被解雇的；F ephemeral短暂的，朝生暮死的。
句子表明，亚力克·吉尼斯在同时代的英语演员中少有对手，同时在其自传中，亚力克也向人们展示了他罕见的巧妙散文风格，选项C felicitous（恰当的，贴切的；得体的，巧妙的）和D happy（适合的，恰当的；巧妙的）意思相近且与句意相符，是最佳选项；A ambivalent矛盾的；B infamous声名狼藉的；无耻的；E redundant多余的，过剩的；冗长的；被解雇的；F ephemeral短暂的，朝生暮死的。
相关考题：
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问答题Practice 6 I have known very few writers, but those I have known, and whom I respect, confess at once that they have little idea where they are going when they first set pen to paper. They have a character, perhaps two; they are in that condition of eager discomfort which passes for inspiration; all admit radical changes of destination once the journey has begun; one, to my certain knowledge, spent nine months on a novel about Kashmir, then reset the whole thing in Scottish Highlands. I have never heard anyone making a ‘skeleton’, as we were taught at school. In the breaking and remarking, in the timing, interweaving, beginning afresh, the writer comes to concern things in his material which were not consciously in his mind when he began. This organic process, often leading to moments of extraordinary self-discovery, is of an indescribable fascination. A blurred image appears; he adds a brushstroke and another, and it is gone; but something was there, and he will not rest till he has captured it. Sometimes the years within a writer outlives a book he has written. I have heard of writers who read nothing but their own books; like adolescents they stand before the mirror, and still cannot fathom the exact outline of the vision before them. For the same reason, writers talk interminably about their own books, winkling out hidden meanings, super-imposing new ones, begging response from those around them. Of course a writer doing this is misunderstood: he might as well try to explain a crime or a love affair. He is also, incidentally, an unforgivable bore. This temptation to cover the distance between himself and the reader, to study his image in the sight of those who do not know him, can be his undoing: he has begun to write to please. A young English writer made the pertinent observation a year or two back that the talent goes into the first draft, and the art into the drafts that follow. For this reason also the writer, like any other artist, has no resting place, no crowd or movement in which he may take comfort, no judgment from outside which can replace the judgment from within. A writer makes order out of the anarchy of his heart; he submits himself to a more ruthless discipline than any critic dreamed of, and when he flirts with fame, he is taking time off from living with himself, from the search for what his world contains at its inmost point.