桑戴克在《世界文化史》中说：“若是我们要指定中世纪科学终止是哪一年，我们就推举1543年，那年根据实验方法而确立的两本基本的近代著作出世了，一本是维萨留斯所著的《人体结构》，一本是哥白尼所著的《天体运行之道路》。”这两本著作的主要意义在于（   ）

    It was an autumn morning shortly after my husband and I moved into our first house. Our children were upstairs unpacking, and I was looking out of the window at my father moving around mysteriously on the front lawn. “What are you doing out there?” I called to him.

    He looked up, smiling. “I'm making you a surprise.” I thought it could be just about anything. When we were kids, he always created something surprising for us. Today, however, Dad would say no more, and caught up in the busyness of our new life, I eventually forgot about his surprise.

    Until one gloomy day the next March when I glanced out of the window, I saw a dot of blue across the yard. I headed outside for a closer look. They were crocuses (番红花）throughout the front lawn — blue, yellow and my favorite pink, with little faces moving up and down in the cold wind. I remembered the things Dad secretly planted last autumn. He knew how the darkness and dullness of winter always got me down. What could have been more perfectly timely to my needs?

    My father's crocuses bloomed (开花） each spring for the next five seasons, always bringing the same assurance： Hard times are almost over. Hold on, keep going, and light is coming soon.

    Then a spring came with only half the usual blooms and the next spring there were none. I missed the crocuses, so I would ask Dad to come over and plant new bulbs. But I never did. He died suddenly one October day. My family were in deep sorrow, leaning on our faith.

    On a spring afternoon four years later, I was driving back when I felt depressed. It was Dad's birthday, and I found myself thinking about him. This was not unusual — my family often talked about him, remembering how he lived up to his faith. Suddenly I slowed as I turned into our driveway. I stopped and stared at the lawn. There on the muddy grass with small piles of melting snow, bravely waving in the wind, was one pink crocus.

    How could a flower bloom from a bulb more than 18 years ago, one that hadn't bloomed in over a decade? But there was the crocus. Tears filled my eyes as I realized its significance.

    Hold on, keep going, and light is coming soon. The pink crocus bloomed for only a day, but it built my faith for a lifetime.

阅读下面的文字，完成下列小题。

    我们读经典，要有人文情境参与其中。人文情境，是指阅读经典或认知传统文化精髓所必备的、人同其心又同其情的“情境”。下面谈“学术情境”和“艺术情境”两点。

    学术情境就是用求真的心态去认知经典。如何理解与营造阅读经典的学术情境，传统智慧依然启迪无穷，可从如下学术关系来考察。

    一是“博与精”。学习要博览群书，拓展视野，人们说“开卷有益”“世事洞明皆学问”就是这个道理。我们读《诗经·关雎》“关关雎鸠，在河之洲，窈窕淑女，君子好逑”，再结合《诗经·衡门》“岂其食鱼，必河之鲤，岂其娶妻，必宋之子”，其学术背景是古老文化的生殖崇拜。博，才能“通”，通，才能达到“大方无隅”的境界。与博对应的是精，杜甫对作诗的要求是“毫发无遗憾，波澜独老成”，可谓精益求精。这种专心致志丝毫不苟且的精品意识，是我们学习经典中应汲取的精神力量。二是“渐与顿”。古代经典示求实、求知、求真之法，分渐悟与顿悟两类。孔子授学以“时习之”“学而不厌，诲人不倦”，均是渐习而求知。与渐习对应的是顿悟。据《坛经》记载，禅宗五祖弘忍传法，弟子神秀最为优秀，作偈语“身是菩提树，心如明镜台，时时勤拂拭，莫使染尘埃”，柴房小僧惠能以为不佳，复作偈语“菩提本无树，明镜亦非台，原来无一物，何处染尘埃”。前者明“渐”，后则倡“顿”，由此而被弘忍激赏，传衣钵予惠能，成为六祖。顿悟启迪智慧，激发主观能动性，揭示了一种在求知求实之上的精神超越。三谈“得与失”。学习经典，获得容易，舍得难，舍得就是舍去获得，即“失”。老子是大智慧者，他曾说“圣人为腹不为目”。林语堂有一句情人节的话：你如果爱一个人，不要给她九十九朵玫瑰，而给她喜欢吃的饱饱吃一顿。这或许是故意歪曲老子原意，但这种求“失”，与孔子的“安贫乐道”、孟子的“舍利取义”思想是默契的。

    用审美的心态去认识经典、理解经典，在阅读经典时得到审美的趣味，这种互为，是艺术情境。有人借用古代的“秋水蒹葭”“人面桃花”“红叶题诗”谈诗学中的执着、感逝与向往，非常形象而精彩。这三段故事也能借助阅读经典而达致艺术情境的进阶程序：《诗经·蒹葭》“蒹葭苍苍，白露为霜，所谓伊人，在水一方”，这本是一首情诗，但其所表现的对美好事物之永恒追求，却对我们认识经典并付之实践，以倡扬不懈努力的奉献精神，是有所启迪的。唐代诗人崔护的《人面桃花》写了一段情事,表现出一种对和美世界的回忆与反思，同样可以引喻为某种反省精神。《北梦琐言》记载一名宫女题写在红叶上的诗：“流水何太急，宫中尽日闲。殷情谢红叶，好去到人间。”原来这诗表现对外部世界的向往与人身自由的追求，而古人又将此加以演化，成为人生于困顿中振发的精神力量。

    艺术情境与学术情境的不同，在于创“形象”为“象征”。例如《诗经·采薇》“昔我往矣，杨柳依依”喻指一位戍卒背井离乡的情境。“杨柳”已由一种植物形象化成“别情”的象征。

（节选自许结《经典阅读与人文情境》）