请根据以下谚语的汉语和首字母提示写出正确单词，并将答案写在二卷答题纸上。
【小题1】 你敬人一尺，人敬你一丈。
R     a man, he will do the more.
【小题2】 当你同傻子辩论时，一定要弄清他是不是也在与傻子争论。
When you a     with a fool, be sure he isn’t similarly engaged.
【小题3】 你不能把感谢装到口袋里。
You can’t put t      into your pocket.
【小题4】 条条大路同罗马。
All roads l      to Rome.
【小题5】 少许也满足是真正的快乐。
To be c      with little is true happiness.
【小题6】 失败乃成功之母。
F     is the mother of success.
【小题7】 进攻是最好的防卫。
Attack is the best d     .
【小题8】以愤怒开始，必以耻辱告终。
What-e’er is begun in a     , ends in shame.
【小题9】 行动胜于语言。
D     speak louder than words.
【小题10】 失去自由就失去一切。
If we lose our f     , we have nothing else to lose.

请根据以下谚语的汉语和首字母提示写出正确单词，并将答案写在二卷答题纸上。

1. 你敬人一尺，人敬你一丈。

R     a man, he will do the more.

2. 当你同傻子辩论时，一定要弄清他是不是也在与傻子争论。

When you a     with a fool, be sure he isn’t similarly engaged.

3. 你不能把感谢装到口袋里。

You can’t put t      into your pocket.

4. 条条大路同罗马。

All roads l      to Rome.

5. 少许也满足是真正的快乐。

To be c      with little is true happiness.

6. 失败乃成功之母。

F     is the mother of success.

7. 进攻是最好的防卫。

Attack is the best d     .

8.以愤怒开始，必以耻辱告终。

What-e’er is begun in a     , ends in shame.

9. 行动胜于语言。

D     speak louder than words.

10. 失去自由就失去一切。

If we lose our f     , we have nothing else to lose.

Moreover, insofar as any interpretation of its author can be made from the five or six plays attributed to him, the Wake field Master is uniformly considered to be a man of sharp contemporary observation. He was, formally, perhaps clerically educated, as his Latin and music, his Biblical and patristic lore indicate. He is, still, celebrated mainly for his quick sympathy for the oppressed and forgotten man, his sharp eye for character, a ready ear for colloquial vernacular turns of speech and a humor alternately rude and boisterous, coarse and happy. Hence despite his conscious artistry as manifest in his feeling for intricate metrical and stanza forms, he is looked upon as a kind of medieval Steinbeck, indignantly angry at, uncompromisingly and even brutally realistic in presenting the plight of the agricultural poor.

Thus taking the play and the author together, it is mow fairly conventional to regard the former as a kind of ultimate point in the secularization of the medieval drama. Hence much emphasis on it as depicting realistically humble manners and pastoral life in the bleak hills of the West Riding of Yorkshire on a typically cold bight of December 24th. After what are often regarded as almost “documentaries” given in the three successive monologues of the three shepherds, critics go on to affirm that the realism is then intensified into a burlesque mock-treatment of the Nativity. Finally as a sort of epilogue or after-thought in deference to the Biblical origins of the materials, the play slides back into an atavistic mood of early innocent reverence. Actually, as we shall see, the final scene is not only the culminating scene but perhaps the raison d’etre of introductory “realism.”

There is much on the surface of the present play to support the conventional view of its mood of secular realism. All the same, the “realism” of the Wakefield Master is of a paradoxical turn. His wide knowledge of people, as well as books indicates no cloistered contemplative but one in close relation to his times. Still, that life was after all a predominantly religious one, a time which never neglected the belief that man was a rebellious and sinful creature in need of redemption, So deeply (one can hardly say “naively” of so sophisticated a writer) and implicitly religious is the Master that he is less able (or less willing) to present actual history realistically than is the author of the Brome “Abraham and Isaac”. His historical sense is even less realistic than that of Chaucer who just a few years before had done for his own time costume romances, such as The Knight’s Tale, Troilus and Cressida, etc. Moreover Chaucer had the excuse of highly romantic materials for taking liberties with history.

Which of the following statements about the Wakefield Master is NOT True?

[A]. He was Chaucer’s contemporary.

[B]. He is remembered as the author of five or six realistic plays.

[C]. He write like John Steinbeck.

[D]. HE was an accomplished artist.

By “patristic”, the author means

[A]. realistic. [B]. patriotic

[C]. superstitious. [C]. pertaining to the Christian Fathers.

The statement about the “secularization of the medieval drama” refers to the

[A]. introduction of mundane matters in religious plays.

[B]. presentation of erudite material.

[C]. use of contemporary introduction of religious themes in the early days.

In subsequent paragraphs, we may expect the writer of this passage to

[A]. justify his comparison with Steinbeck.

[B]. present a point of view which attack the thought of the second paragraph.

[C]. point out the anachronisms in the play.

[D]. discuss the works of Chaucer.

有些同学在家中是父母的好孩子，可是在学校里显得“格格不入”。事实上，只要你能够尊师敬友，热心助人，态度端正，遵纪守规，认真学习，善于聆听，你也会成为老师和同学眼中的好学生。请你以“I will be a popular star in school life!”为题，结合生活实际，用英语写一篇120词左右的短文，谈谈自己的做法。短文中不能出现本人的相关信息。

关于80后作家的话题，一直是文学领域的一个热门话题，下面请你根据以下要点提示并以Famous writers born after 1980为题写一篇英语短文，介绍他们的一些相关内容。

注意：1.词数120左右    2.可适当拓展内容。