One sunny day, I decided to go for a walk with my husband. I was wearing a special1 ring that day. It was my 20th birthday gift from my grandmother.

    As we were walking in the park, I just looked 2 at my hand and found the diamond on my ring was missing. I was really 3 so I went back to look for it. I knew how small the chances were of finding it, but I still wanted to give it a try.

    As I was fixing my eyes on the ground, I ran into an old gentleman 4.

    “What's the matter, love?” he asked nicely.

    “Sorry that I ran into you,” I said. “But I lost something important. I'm really nervous.”

    I explained about the missing diamond and showed him the5 in my ring.

    “That's not going to be easy to find it,” he said. “Tell you what, love, I take a walk here every day. I'll6 my eyes open for it.”

    I thanked him, expecting7. However, a few days later, my husband and I met the old man again in the park.

    “Guess what,” he said. “I found your diamond!”

    I couldn't believe what I saw when the gentleman handed the diamond back to me. Then my husband8him money for his help, but he refused.

    As the diamond is worth several thousand dollars, the old man could have easily kept the diamond 9sold it, but he did neither of these.

    Now thanks to this man, I always look at my ring and remind10 that there are still kind and generous souls out there. I'll spend more time trying to do something equally nice for other people.

阅读理解。阅读下列短文, 从给的四个选项 (A、B、C和D) 中, 选出最佳选项。   

    When was the last time you did something really fun with one of your parents—just the two of you?

    Parents who take their young children to music，swimming and art classes often stop arranging such activities once their kids are older and in school all day.But it doesn't have to be that way.Doing something enjoyable with your kids just might make you look at each other in a whole new way，especially if you do it through a class or an event.When parent and child become students together，it puts them on the same level，at least for a while.

“I really like parents to come to class with their kids—they start sharing things and talking about what they’re doing and what they like，” said art teacher Pyper Dixon.

    However，finding something new in common is a big  choice for them，especially when kids get involved in sports and other after­school activities.But it's possible to learn a new skill or hobby together.

    That's certainly true of Lauren,11，from Silver Spring，who is in Dixon's class with her father，Dennis.“I was just going to drop her off，” Dennis said，“but Dixon persuaded me to stay.”

    Now Lauren gets to nag her father about doing his art homework.“He always leaves it to the last minute，” she said.“But then he'll turn around to do amazing drawings，”  she added.“We have different styles of drawing，so it's interesting  to talk it over with him.”

    Without the Saturday morning art class，Dennis said，he  would be reading the paper，and Lauren would be on her own in her room or on the computer.But they talk more now.“I can't think of an experience where you communicate with your kid so closely，” he said.

阅读下面文字，回答后面的题。

      论述20世纪最初三十年中国小说转型中传统文学的创造性转化所起的作用，面临的第一个难题就是，研究对象不只很少提供可资直接引用的论据，反而冒出许多反面的证词。也就是说，新小说家不大论及他们接受西洋小说的影响，而强调其与传统中国小说的联系；反之，“五四”作家则大都否认他们的创作与传统小说有直接的联系，而突出域外小说的影响。关键不在于对吴趼人、林纾或者鲁迅、叶圣陶的说法加以辩证，而是必须说明，为何那么多真诚而且精明的作家，会同时产生这么一种显而易见的“错觉”。

      除了策略的考虑，作家们之所以不大谈论传统的创造性转化，主要原因在于，这种“转化”，是在作家不自觉的状态下完成的。

      对于“五四”作家来说，幼年时代熟读经史、背诵诗词，以及明里暗里翻看《三国》《水浒》，只是一种必要的人文修养，或无功利的娱乐，并没想到从中学习什么写作技巧。而青年时代如痴如醉地啃读域外小说，却颇具学习借鉴之心。这就难怪他们创作小说时，理直气壮地以域外小说为榜样。偶尔也会师法“传统”，但有意无意间将其西洋化进而合理化。一方是无意中接受，一方却是有意去模仿。尽管后世的研究者可能对那无意中接受的观念如何歪曲模仿的对象、限制模仿的效果更感兴趣，“五四”作家则大多只意识到后者而忽略了前者。还不只是前者“得来全不费工夫”，故视而不见，后者“踏破铁鞋无觅处”，故弥足珍贵；更因为传统文学更多地作为一种修养、一种趣味、一种眼光，化在作家的整个文学活动中，而不是落实在某一具体表现手法的运用上。无疑，具体而可视的“手法”，比起抽象而隐晦的“趣味”，更容易为作家和读者所感知。

      新小说家的情况恰好相反。梁启超、吴趼人、刘鹗等人的实际创作，已经突破了旧的格局，可仍喜欢使用传统的批评术语。大家似乎都有“以中化西”的愿望，只不过不像林纾表达得那么直白而已。在借鉴域外小说技巧的同时，尽量在传统文学中寻找对应物；一旦证明古已有之，用起来自然更得心应手。接受外来文化，本来就有重新选择、解释传统的权利，“以中化西”也无可厚非，只要不过于离谱。可这么一来，很容易造成一种错觉，似乎并没接受什么新东西，只不过是“出土文物”。殊不知“文物”之所以“出土”，也必须借助新的眼光。不理解这一点，单从言论及术语判断，新小说可能显得很旧。

       也许更重要的是，新小说家和“五四”作家接受的不仅仅是中国古典小说，而是整个中国文学传统的影响。单从小说的承传，确实无法说清从《儒林外史》到《狂人日记》的嬗变。只有将其置于20世纪初整个文化变迁的大背景下，才能纠正上述并不轻微的“错觉”。在东西方文化碰撞与交汇中演进的中国小说，既不可能完全固守传统，又不可能被西方小说所同化，而是在诸多个平行四边形的合力作用下蹒跚前进。

（选自陈平原《中国散文小说史》