It was a brief， shining moment in Egypt's history——a time of epochal change presided over by a Pharaoh named Akhenaten and his beautiful wife Nefertiti. During his 17-year reign the old gods were cast aside， monotheism was introduced， and the arts liberated from their stifling rigidity. Even Egypt's capital was moved to a new city along the Nile called Akhetaten （modern Amarna）。 But like Camelot， it was short-lived， and its legacy was buried in the desert sands.
Now Akhenaten's 3，400-year-old world has been brilliantly recalled in an exhibit titled “Pharaohs of the Sun： Akhenaten， Nefertiti， Tutankhamen，” which opens this week at Boston's Museum of Fine Arts. Part of the city's eight-month tribute to ancient Egypt （operas， ballet and an IMAX film）， it is a unique assemblage of more than 250 objects from Egypt's 18th dynasty， some of which have languished unseen in storerooms and private collections for decades. They range from larger-than-life statues of Akhenaten to exquisitely sculpted reliefs and dazzling jewelry to such poignant reminders of everyday life as a perfectly preserved child's sandal.
The exhibit illuminates a murky period in Egyptian history that curator Rita Freed describes as having “all the elements of a soap opera.” When Amenhotep IV， as he was originally called， ascended the throne in 1353 B.C.， Egypt was a flourishing empire， at peace with its neighbors. Yet there were troubling signs. His father Amenhotep III had already challenged the powerful priesthood by proclaiming the sun god Aten as foremost among Egyptian deities and himself as his living incarnation.
His son shook things up even more， not only changing his name to honor the new god （Akhenaten means “one who serves Aten”） but also banishing the older gods， especially the priestly favorite Amen. Some scholars believe Akhenaten's monotheism， a historic first， inspired the Hebrew prophets， but it had the more immediate effect of freeing Egypt's artists. They could now portray the Pharaoh and the voluptuous Nefertiti （who may have shared the throne with him） in a far more casual， realistic way. Akhenaten's cone-shaped head， elongated face， fingers and toes， pot belly and flaring hips have led some scholars to suggest that he had hydrocephalus or Marfan's syndrome.
He was certainly a revolutionary， propelled either by madness or by great vision. Still， his changes did not endure. After his death， his son-in-law （and perhaps son） Tutankhamen moved the political and religious capitals back to Memphis and Thebes respectively and reinstated the old gods. Egyptian art returned to its classic， ritualized style. And like Camelot， Akhenaten's once bustling capital became only a mythic memory. “Pharaohs of the Sun” will remain in Boston until February， then travel to Los Angeles， Chicago and Leiden， the Netherlands.
注（1）：本文選自Time；11/22/99， p78；
注（2）：本文習(xí)題命題模仿對(duì)象2004年真題text 4；
1.Which of the following event did not happen during Akhenaten's reign over Egypt？
[A] He banished the older gods.
[B] People had to worship one god—— the sun god Aten.
[C] Egyptian artists suffered from a more casual， realistic way of portraying.
[D] He built a new capital along the Nile.
2.We can learn from the text that in Boston， many activities are held as tribute to ancient
Egypt except ________.
[A] pageant
[B] ballet
[C] operas
[D] movie
3.The views of Akhenaten and his father on the sun god Aten are _____.
[A] opposite
[B] controversial
[C] complementary
[D] similar
4.Tutankhamen， according to the text， probably ________.
[A] moved the political capital back to Thebes
[B] gave the older gods back their previous position
[C] might had got some disease that made his face longer than the healthy people
[D] moved the religious capital back to Memphis
5.What can we learn about the exhibit on ancient Egypt's 18th dynasty？
[A] It mainly consists of statues of the pharaohs of that time.
[B] It will last for eight months in Boston.
[C] It is very enlightening for people to know that period.
[D] The objects on the exhibit used to be stored in private collection.
答案：CADBC
篇章剖析
本篇文章以正在波士頓舉辦的一場(chǎng)展覽為引子，采用敘述的寫法，帶領(lǐng)讀者重溫了3400年前古埃及一段輝煌的歷史。第一段簡(jiǎn)介了太陽(yáng)神法老統(tǒng)治時(shí)期埃及社會(huì)發(fā)生的變化，接著在第二段中說(shuō)明波士頓正在舉辦古埃及周，其中包括一場(chǎng)展覽，第三、四段詳細(xì)說(shuō)明兩任法老所做的變革，最后一段說(shuō)變革持續(xù)時(shí)間不長(zhǎng)。
詞匯注釋
epochal： [5epCkEl] adj. 劃時(shí)代的
monotheism： [5mCnEuWi：izEm] n. 一神論
languish： [5lAN^wiF] v. 持續(xù)不前；毫無(wú)進(jìn)展
poignant： [5pCinEnt] adj. 深刻的；傷感的
murky： [5mE：ki]] adj. 昏暗的；不明朗的
curator： [kjuE5reitE] n.（美術(shù)館）館長(zhǎng)
incarnation： [7inkB：5neiFEn] n. 化身
banish： [5bAniF] v. 拋棄；廢除
voluptuous： [vE5lQptJEs] adj. 妖冶的；性感的
hydrocephalus： [7haidrEu5sefElEs] n. 腦積水
Camelot： [5kAmilCt] 傳說(shuō)中的地名，在英格蘭西南部，阿瑟和他的武士們?cè)幼∮诖?BR> 難句突破
1. Part of the city's eight-month tribute to ancient Egypt （operas， ballet and an IMAX film）， it is a unique assemblage of more than 250 objects from Egypt‘s 18th dynasty， some of which have languished unseen in storerooms and private collections for decades.（ Line 3， Paragraph 2）
主體句式：it is a unique assemblage…
結(jié)構(gòu)分析：這是一個(gè)包含同位語(yǔ)和定語(yǔ)從句的長(zhǎng)簡(jiǎn)單句。其中 “Part of the city's…”是主語(yǔ)it（指展覽）的同位語(yǔ)，定語(yǔ)從句 “some of which have …?！毙揎椕~ objects.
句子譯文：這次展覽只是波士頓為期8個(gè)月的致意古埃及活動(dòng)中的一部分（其它形式還有歌劇、芭蕾、一部IMAX電影）。這次獨(dú)特的展覽展出了埃及第18個(gè)王朝的250多件物品，其中有些物品幾十年來(lái)一直深藏于博物館或?yàn)樗饺怂囟坏妹媸馈?BR> 2. They range from large-than-life statues of Akhenaten to exquisitely sculpted reliefs and dazzling jewelry to such poignant reminders of everyday life as a perfectly preserved child's sandal.
主體句式： They range from … to … and … to such … as …
句子分析：其中最后一個(gè)to接的是“such…as”短語(yǔ)。
句子譯文：展品包羅萬(wàn)象，既有阿肯納坦比真人還大的雕像，做工精致的浮雕，又有令人眼花繚亂的珠寶首飾，甚至還有日常生活起居用品，比如一只保存完好的童鞋。
題目分析
1.答案是C， 屬事實(shí)細(xì)節(jié)題。第一段提到“l(fā)iberated from their stifling rigidity”，解放了埃及藝術(shù)， 第四段提到“They could portray … in a far more casual， realistic way”， 使藝術(shù)家可以更真實(shí)隨意的畫像，而不是束縛他們。
2. 答案是A， 屬事實(shí)細(xì)節(jié)題。第二段提到慶祝形式有operas， ballet 和an IMAX film， 未提pageant.
3.答案是D，屬判斷推理題。從第三、四段可以看出他們都只推崇太陽(yáng)神。
4. 答案是B， 屬事實(shí)細(xì)節(jié)題。從最后一段“Tutankhamen moved the political and religious capitals back to Memphis and Thebes respectively and reinstated the old gods.”可以看出。注意respectively的意思是“分別”。另外，得腦積水的是Akhenaten.
5. 答案是C，屬事實(shí)細(xì)節(jié)題。從第二段可知展品的具體情況。從最后一句可知展覽持續(xù)到明年二月份。
參考譯文
這是埃及歷短暫輝煌的時(shí)期，是法老阿肯納坦和他美麗的妻子奈菲提提統(tǒng)治下發(fā)生劃時(shí)代變革的時(shí)期。在他17年的統(tǒng)治期間，以往的多神論被摒棄，一神論被引入，藝術(shù)也從令人窒息的一成不變中解脫出來(lái)，甚至埃及的首都也遷到尼羅河邊的新城市阿肯納坦（現(xiàn)阿瑪納）。不過(guò)同卡蒙洛的結(jié)局一樣，這個(gè)時(shí)期持續(xù)時(shí)間不長(zhǎng)，其遺跡也淹沒(méi)于漫漫黃沙。
現(xiàn)在，3400年前阿肯納坦時(shí)代的輝煌將在波士頓美術(shù)館被人們重溫。這兒正舉辦“太陽(yáng)神法老：阿肯納坦、奈菲提提、塔坦卡門”展覽。這次展覽只是波士頓為期8個(gè)月的致意古埃及活動(dòng)中的一部分（其它形式還有歌劇、芭蕾、一部IMAX電影）。這次獨(dú)特的展覽展出了埃及第18個(gè)王朝的250多件物品，其中有些物品幾十年來(lái)一直深藏于博物館或?yàn)樗饺怂囟坏妹媸?。展品包羅萬(wàn)象，既有阿肯納坦比真人還大的雕像，做工精致的浮雕，又有令人眼花繚亂的珠寶首飾，甚至還有日常生活起居用品，比如一只保存完好的童鞋。
這次展覽向世人展示了埃及歷一段不為人所熟知的時(shí)期，一段被館長(zhǎng)瑞塔。弗瑞稱為擁有“肥皂劇全部要素”的時(shí)期。當(dāng)阿蒙赫特普四世——阿肯納坦本來(lái)叫這名字——公元1353年上臺(tái)執(zhí)政時(shí)，埃及國(guó)運(yùn)昌盛，同鄰國(guó)友好相處。但也有征兆表明要出亂子。他的父親阿蒙赫特普三世已經(jīng)質(zhì)疑勢(shì)力強(qiáng)大的教會(huì)。他宣稱太陽(yáng)神阿坦是埃及諸神中威力的神靈。他本人則是太陽(yáng)神的轉(zhuǎn)世化身。
他兒子做的更甚。他不僅把自己的名字改為阿肯納坦（意為阿坦的仆人）以表示對(duì)太陽(yáng)神的敬意，而且不許人們崇拜以往的神靈，特別是教會(huì)的至愛(ài)阿門神。有些學(xué)者認(rèn)為阿肯納坦倡導(dǎo)的一神論——?dú)v前無(wú)古人的做法——啟發(fā)了希伯來(lái)先知，但它對(duì)埃及的藝術(shù)發(fā)展則有更為直接的影響。它解放了埃及藝術(shù)家?，F(xiàn)在他們可以更為真實(shí)隨意的描畫法老和妖艷性感的奈菲提提（或許曾和阿肯納坦共同執(zhí)政）。阿肯納坦的頭圓錐形，臉、手指和腳趾較常人略長(zhǎng)，大腹便便，臀部肥大，這使得某些學(xué)者認(rèn)為他曾得過(guò)腦積水。
不管他的所作所為是瘋狂所致還是由于遠(yuǎn)見(jiàn)卓識(shí)，他都稱得上一位變革者。但這變革卻沒(méi)能持久。在他死后，他的女婿（或許也是兒子）塔坦卡門把政治中心移回孟斐斯，宗教中心移回底比斯。那些被摒棄的舊神重新歸位，埃及藝術(shù)又回到拘泥呆板的古典風(fēng)格。正如卡蒙洛一樣，阿肯納坦時(shí)曾經(jīng)繁華熙攘的首都現(xiàn)在只是神話中的記憶罷了?！疤?yáng)神法老”展覽在波士頓持續(xù)到二月份，然后在前往洛杉璣、芝加哥、荷蘭的雷登市。
Now Akhenaten's 3，400-year-old world has been brilliantly recalled in an exhibit titled “Pharaohs of the Sun： Akhenaten， Nefertiti， Tutankhamen，” which opens this week at Boston's Museum of Fine Arts. Part of the city's eight-month tribute to ancient Egypt （operas， ballet and an IMAX film）， it is a unique assemblage of more than 250 objects from Egypt's 18th dynasty， some of which have languished unseen in storerooms and private collections for decades. They range from larger-than-life statues of Akhenaten to exquisitely sculpted reliefs and dazzling jewelry to such poignant reminders of everyday life as a perfectly preserved child's sandal.
The exhibit illuminates a murky period in Egyptian history that curator Rita Freed describes as having “all the elements of a soap opera.” When Amenhotep IV， as he was originally called， ascended the throne in 1353 B.C.， Egypt was a flourishing empire， at peace with its neighbors. Yet there were troubling signs. His father Amenhotep III had already challenged the powerful priesthood by proclaiming the sun god Aten as foremost among Egyptian deities and himself as his living incarnation.
His son shook things up even more， not only changing his name to honor the new god （Akhenaten means “one who serves Aten”） but also banishing the older gods， especially the priestly favorite Amen. Some scholars believe Akhenaten's monotheism， a historic first， inspired the Hebrew prophets， but it had the more immediate effect of freeing Egypt's artists. They could now portray the Pharaoh and the voluptuous Nefertiti （who may have shared the throne with him） in a far more casual， realistic way. Akhenaten's cone-shaped head， elongated face， fingers and toes， pot belly and flaring hips have led some scholars to suggest that he had hydrocephalus or Marfan's syndrome.
He was certainly a revolutionary， propelled either by madness or by great vision. Still， his changes did not endure. After his death， his son-in-law （and perhaps son） Tutankhamen moved the political and religious capitals back to Memphis and Thebes respectively and reinstated the old gods. Egyptian art returned to its classic， ritualized style. And like Camelot， Akhenaten's once bustling capital became only a mythic memory. “Pharaohs of the Sun” will remain in Boston until February， then travel to Los Angeles， Chicago and Leiden， the Netherlands.
注（1）：本文選自Time；11/22/99， p78；
注（2）：本文習(xí)題命題模仿對(duì)象2004年真題text 4；
1.Which of the following event did not happen during Akhenaten's reign over Egypt？
[A] He banished the older gods.
[B] People had to worship one god—— the sun god Aten.
[C] Egyptian artists suffered from a more casual， realistic way of portraying.
[D] He built a new capital along the Nile.
2.We can learn from the text that in Boston， many activities are held as tribute to ancient
Egypt except ________.
[A] pageant
[B] ballet
[C] operas
[D] movie
3.The views of Akhenaten and his father on the sun god Aten are _____.
[A] opposite
[B] controversial
[C] complementary
[D] similar
4.Tutankhamen， according to the text， probably ________.
[A] moved the political capital back to Thebes
[B] gave the older gods back their previous position
[C] might had got some disease that made his face longer than the healthy people
[D] moved the religious capital back to Memphis
5.What can we learn about the exhibit on ancient Egypt's 18th dynasty？
[A] It mainly consists of statues of the pharaohs of that time.
[B] It will last for eight months in Boston.
[C] It is very enlightening for people to know that period.
[D] The objects on the exhibit used to be stored in private collection.
答案：CADBC
篇章剖析
本篇文章以正在波士頓舉辦的一場(chǎng)展覽為引子，采用敘述的寫法，帶領(lǐng)讀者重溫了3400年前古埃及一段輝煌的歷史。第一段簡(jiǎn)介了太陽(yáng)神法老統(tǒng)治時(shí)期埃及社會(huì)發(fā)生的變化，接著在第二段中說(shuō)明波士頓正在舉辦古埃及周，其中包括一場(chǎng)展覽，第三、四段詳細(xì)說(shuō)明兩任法老所做的變革，最后一段說(shuō)變革持續(xù)時(shí)間不長(zhǎng)。
詞匯注釋
epochal： [5epCkEl] adj. 劃時(shí)代的
monotheism： [5mCnEuWi：izEm] n. 一神論
languish： [5lAN^wiF] v. 持續(xù)不前；毫無(wú)進(jìn)展
poignant： [5pCinEnt] adj. 深刻的；傷感的
murky： [5mE：ki]] adj. 昏暗的；不明朗的
curator： [kjuE5reitE] n.（美術(shù)館）館長(zhǎng)
incarnation： [7inkB：5neiFEn] n. 化身
banish： [5bAniF] v. 拋棄；廢除
voluptuous： [vE5lQptJEs] adj. 妖冶的；性感的
hydrocephalus： [7haidrEu5sefElEs] n. 腦積水
Camelot： [5kAmilCt] 傳說(shuō)中的地名，在英格蘭西南部，阿瑟和他的武士們?cè)幼∮诖?BR> 難句突破
1. Part of the city's eight-month tribute to ancient Egypt （operas， ballet and an IMAX film）， it is a unique assemblage of more than 250 objects from Egypt‘s 18th dynasty， some of which have languished unseen in storerooms and private collections for decades.（ Line 3， Paragraph 2）
主體句式：it is a unique assemblage…
結(jié)構(gòu)分析：這是一個(gè)包含同位語(yǔ)和定語(yǔ)從句的長(zhǎng)簡(jiǎn)單句。其中 “Part of the city's…”是主語(yǔ)it（指展覽）的同位語(yǔ)，定語(yǔ)從句 “some of which have …?！毙揎椕~ objects.
句子譯文：這次展覽只是波士頓為期8個(gè)月的致意古埃及活動(dòng)中的一部分（其它形式還有歌劇、芭蕾、一部IMAX電影）。這次獨(dú)特的展覽展出了埃及第18個(gè)王朝的250多件物品，其中有些物品幾十年來(lái)一直深藏于博物館或?yàn)樗饺怂囟坏妹媸馈?BR> 2. They range from large-than-life statues of Akhenaten to exquisitely sculpted reliefs and dazzling jewelry to such poignant reminders of everyday life as a perfectly preserved child's sandal.
主體句式： They range from … to … and … to such … as …
句子分析：其中最后一個(gè)to接的是“such…as”短語(yǔ)。
句子譯文：展品包羅萬(wàn)象，既有阿肯納坦比真人還大的雕像，做工精致的浮雕，又有令人眼花繚亂的珠寶首飾，甚至還有日常生活起居用品，比如一只保存完好的童鞋。
題目分析
1.答案是C， 屬事實(shí)細(xì)節(jié)題。第一段提到“l(fā)iberated from their stifling rigidity”，解放了埃及藝術(shù)， 第四段提到“They could portray … in a far more casual， realistic way”， 使藝術(shù)家可以更真實(shí)隨意的畫像，而不是束縛他們。
2. 答案是A， 屬事實(shí)細(xì)節(jié)題。第二段提到慶祝形式有operas， ballet 和an IMAX film， 未提pageant.
3.答案是D，屬判斷推理題。從第三、四段可以看出他們都只推崇太陽(yáng)神。
4. 答案是B， 屬事實(shí)細(xì)節(jié)題。從最后一段“Tutankhamen moved the political and religious capitals back to Memphis and Thebes respectively and reinstated the old gods.”可以看出。注意respectively的意思是“分別”。另外，得腦積水的是Akhenaten.
5. 答案是C，屬事實(shí)細(xì)節(jié)題。從第二段可知展品的具體情況。從最后一句可知展覽持續(xù)到明年二月份。
參考譯文
這是埃及歷短暫輝煌的時(shí)期，是法老阿肯納坦和他美麗的妻子奈菲提提統(tǒng)治下發(fā)生劃時(shí)代變革的時(shí)期。在他17年的統(tǒng)治期間，以往的多神論被摒棄，一神論被引入，藝術(shù)也從令人窒息的一成不變中解脫出來(lái)，甚至埃及的首都也遷到尼羅河邊的新城市阿肯納坦（現(xiàn)阿瑪納）。不過(guò)同卡蒙洛的結(jié)局一樣，這個(gè)時(shí)期持續(xù)時(shí)間不長(zhǎng)，其遺跡也淹沒(méi)于漫漫黃沙。
現(xiàn)在，3400年前阿肯納坦時(shí)代的輝煌將在波士頓美術(shù)館被人們重溫。這兒正舉辦“太陽(yáng)神法老：阿肯納坦、奈菲提提、塔坦卡門”展覽。這次展覽只是波士頓為期8個(gè)月的致意古埃及活動(dòng)中的一部分（其它形式還有歌劇、芭蕾、一部IMAX電影）。這次獨(dú)特的展覽展出了埃及第18個(gè)王朝的250多件物品，其中有些物品幾十年來(lái)一直深藏于博物館或?yàn)樗饺怂囟坏妹媸?。展品包羅萬(wàn)象，既有阿肯納坦比真人還大的雕像，做工精致的浮雕，又有令人眼花繚亂的珠寶首飾，甚至還有日常生活起居用品，比如一只保存完好的童鞋。
這次展覽向世人展示了埃及歷一段不為人所熟知的時(shí)期，一段被館長(zhǎng)瑞塔。弗瑞稱為擁有“肥皂劇全部要素”的時(shí)期。當(dāng)阿蒙赫特普四世——阿肯納坦本來(lái)叫這名字——公元1353年上臺(tái)執(zhí)政時(shí)，埃及國(guó)運(yùn)昌盛，同鄰國(guó)友好相處。但也有征兆表明要出亂子。他的父親阿蒙赫特普三世已經(jīng)質(zhì)疑勢(shì)力強(qiáng)大的教會(huì)。他宣稱太陽(yáng)神阿坦是埃及諸神中威力的神靈。他本人則是太陽(yáng)神的轉(zhuǎn)世化身。
他兒子做的更甚。他不僅把自己的名字改為阿肯納坦（意為阿坦的仆人）以表示對(duì)太陽(yáng)神的敬意，而且不許人們崇拜以往的神靈，特別是教會(huì)的至愛(ài)阿門神。有些學(xué)者認(rèn)為阿肯納坦倡導(dǎo)的一神論——?dú)v前無(wú)古人的做法——啟發(fā)了希伯來(lái)先知，但它對(duì)埃及的藝術(shù)發(fā)展則有更為直接的影響。它解放了埃及藝術(shù)家?，F(xiàn)在他們可以更為真實(shí)隨意的描畫法老和妖艷性感的奈菲提提（或許曾和阿肯納坦共同執(zhí)政）。阿肯納坦的頭圓錐形，臉、手指和腳趾較常人略長(zhǎng)，大腹便便，臀部肥大，這使得某些學(xué)者認(rèn)為他曾得過(guò)腦積水。
不管他的所作所為是瘋狂所致還是由于遠(yuǎn)見(jiàn)卓識(shí)，他都稱得上一位變革者。但這變革卻沒(méi)能持久。在他死后，他的女婿（或許也是兒子）塔坦卡門把政治中心移回孟斐斯，宗教中心移回底比斯。那些被摒棄的舊神重新歸位，埃及藝術(shù)又回到拘泥呆板的古典風(fēng)格。正如卡蒙洛一樣，阿肯納坦時(shí)曾經(jīng)繁華熙攘的首都現(xiàn)在只是神話中的記憶罷了?！疤?yáng)神法老”展覽在波士頓持續(xù)到二月份，然后在前往洛杉璣、芝加哥、荷蘭的雷登市。