10. Both passages support the point that 求同题

　　(A) many of the generally accepted details about Shakespeare's life are probably inaccurate

　　(B) Shakespeare was a genius of the highest magnitude

　　(C) few people today actually read Shakespeare's work

　　(D) very little is known about certain periods of Shakespeare's life

　　(E) a thriving industry is dependent on Shakespeare's life and work

　　分析：第一篇文章Now it is a poor year for the Shakespeare business when two or three more do not show up on bookstore shelves.第二篇文章Shakespeare's familiar high-domed head, an image that is quite possibly not him at all, has adorned everything from TV beer commercials to British currency.分别都提到Shakespeare对经济的重要性。

　　Questions 11-16 are based on the following passage.

　　This passage is adapted from a contemporary book about jewelry.

　　In the wake of the Industrial Revolution, when mass production became the pride and joy of nineteenth-century entrepreneurs, a fast-growing middle class reveled in the luxury of consumer goods, including jewelry, made available at economical prices. Prosperous segments of the population wanted to demonstrate their affluence, a development that provided a powerful stimulus to the jewelry industry in both Europe and the United States.

　　在工业革命苏醒之际，大规模生产变成了十九世纪企业家的骄傲和自豪。快速发展的中产阶级让奢侈品变成了大众消费品。百姓中富裕的人们想要显示自己的富裕。而这一因素的存在也快速激励了美国及欧洲的珠宝行业。

　　In this avalanche of mass production, many artists and artisans of the Arts and Crafts movement felt that the human touch, respect for materials, and the satisfaction of a fine finish were being lost. Jewelry, like other articles, was becoming impersonal, carelessly constructed, unimaginatively designed. Though labeled romantic and idealistic, some artists sought to produce individually conceived and executed pieces in workshop situations similar to those of medieval guilds. They wanted to produce, handmade jewelry from less-expensive materials for the general public, yet with the same care and commitment a court jeweler might apply to work for aristocratic clientele. In medieval times there had been artisans in towns and villages, working for ordinary people on a one-to-one basis; the adherents of the movement felt there was an urgency to return to this special relationship. It was considered particularly important that artists be involved to ensure the production of more meaningful objects, whether they be pottery, furniture, or, especially, jewelry. The material used in jewelry was prized for its decorative and symbolic effects, not for its intrinsic value. Rejecting the cluttered overornamentation of the past, artists influenced by Art Nouveau sought to draw popular interest away from machine-made products by incorporating more delicate and fluid natural forms—peacock feathers, flower stalks, vine tendrils, even insect wings.