如图所示，是用七巧板拼成的正方形，下列判断正确的有（　　）

①BG⊥OH； ②LH∥AB； ③OL∥CH； ④HE⊥AO；

⑤LF∥CH； ⑥OG∥EH．

旷代的忧伤

林贤治

    ①世界上没有哪一位画家，乍读之下，会使我立刻想起年迈的母亲，行将荒芜的田园，和久别的胼手胝足的兄弟，除了珂勒惠支。

    ②珂勒惠支，以锋利无比的雕刀，侵入石板、铜、坚韧的木质，而直抵内心。雕刀之下没有风景。蝴蝶、春天、蔷薇园，都斑斓在别一世界。这里则是黑暗的中午，是展开在哑默中的广大的底层，人类弱小而纯良的部分，苦难覆盖他们一如绵亘的岁月；反抗的意志，乃在无从察觉的最沉重因而最稳定的处所萌芽。乌黑而深垂的手，纷纷抓起武器，从铁镰木斧直到随处可见的石头，重复着先人猎兽般充满激情的原始动作。在铁栅外面，奴隶们怒吼、欢呼，跳断头台之舞；然而，节日尚未诞生，就已经被勒死在绳圈里了。

    ③珂勒惠支一生作了50多幅自画像。这些画像，无言地纠缠着所有受难的妇女的灵魂，正如画家给妇女造像时，着意保留自己的影子一样。她们是如此相似。我看见她们常常交叠双手，抱着前胸，仿佛永远在护卫着怀中的生命；一俟无力与死神争夺，遂以手加额，在极度的疲累和无望中作不屈的沉思。母性博大、慈爱、坚忍、庄严，渴待生命的热情，于她们是上天的赐予，徒劳然而无尽；即使燃着逼人的愤怒，她们的目光，也一样流露着旷代的忧伤。

    ④版画原本是男性艺术。它所使用的工具和材料，明显地具有对抗性质：坚定、沉着、富于锋芒。珂勒惠支以天生的大悲悯，容涵这一切，浸润这一切，于是，她的版画制作，通过粗犷而细腻的描线，单纯而丰富的颜色，遂传递出了一种品格，一种气质，一种如暴风雪驰向大旷野般的强烈的凄怆的诗意。

    ⑤女画家承认，自己的艺术是有目的的：她决心以此在人们普遍彷徨失措和急待援助的时代中发挥作用。显然，艺术的作用被她过分夸大了，实际上，艺术很少有机会进入森严的社会。即如珂勒惠支，虽则没有放弃当一名“律师”的责任，所有作品都服务于“控诉”“警告”和“呼吁”，倘使法西斯政府如后来所做的那样，把强令退出艺术机构，禁止举办展览等等措施提前实行，那么，什么劳什子版画，都将完结得无声无息。然而，艺术的本体的意义也正在这里。对于一个艺术家，即使剥夺了可供他利用的所有的传播媒介，也无法剥夺艺术本身。也即是说，一个艺术家的出版自由可以被剥夺净尽，但是创作自由是永远存在的。因为在创作的任何一个瞬间，作为艺术家，他已经表达过了。

    ⑥真正伟大的艺术，是以某种具体的艺术媒介，对人类苦难所作的最富于个人特质的强大的反应与深刻的诠释；即使这苦难牵涉到了生命的最神秘、最深隐、最恒久的部分，也仍然同人类当下的存在密切相关。珂勒惠支的艺术，就是这样的艺术。她以一位母亲的无限阔大的襟怀，遮没了美术史上所有的男性画家。

“螳螂捕蝉，黄雀在后”中描述的现象体现了生物的基本特征是（ ）

    We have been driving in fog all morning, but the fog is lifting now. The little seaside villages are 1 one by one. "There is my grandmother's house," I say,2 across the bay to a shabby old house.

    I am in Nova Scotia on a pilgrimage (朝圣) with Lise, my granddaughter, seeking roots for her, retracing (追溯)3 memory for me. Lise was one of the mobile children,4 from house to house in childhood. She longs for a sense of 5 , and so we have come to Nova Scotia where my husband and I were born and where our ancestors 6for 200 years.

    We soon 7 by the house and I tell her what it was like here, the memories8back, swift as the tide (潮水).

Suddenly, I long to walk again in the 9where I was once so glorious a child. It still 10a member of the family, but has not been lived in for a while. We cannot go into the house, but I can still walk11the rooms in memory. Here, my mother 12 in her bedroom window and wrote in her diary. I can still see the enthusiastic family 13 into and out of the house. I could never have enough of being 14 them. However, that was long after those childhood days. Lise 15 attentively as I talk and then says, " So this is where I 16 ; where I belong. "

She has17her roots. To know where I come from is one of the great longings of the human 18. To be rooted is "to have an origin". We need 19 origin. Looking backward, we discover what is unique in us; learn the20 of "I". We must all go home again—in reality or memory.