单选题 {{B}}Text 2{{/B}}

Many will know that the word "muscle" comes from the Latin for "mouse" (rippling under the skin, so to speak ). But what about "chagrin", derived from the Turkish for roughened leather, or scaly sharkskin. Or "lens" which comes from the Latin "lentil" or "window" meaning "eye of wind" in old Norse? Looked at closely, the language comes apart in images, like those strange paintings by Giuseppe Arcimboldo where heads are made of fruit and vegetables.
Not that Henry Hitchings's book is about verbal surrealism. That is an extra pleasure in a book which is really about the way the English language has roamed the world helping itself liberally to words, absorbing them, forgetting where they came from, and moving on with an ever-growing load of exotics, crossbreeds and subtly shaded near-synonyms. It is also about migrations within the language's own borders, about upward and downward mobility, about words losing their roots, turning up in new surroundings, or lying in wait, like "duvet" which was mentioned by Samuel Johnson, for their moment.
All this is another way of writing history. The Arab etymologies of " saffron ", "crimson" and "sugar" speak of England's medieval trade with the Arab world. We have "cheque" and "tariff" from this source too, plus "arithmetic" and "algorithm"-just as we have "etch" and "sketch" from the Dutch, musical terms from the Italians and philosophical ones from the Germans. French nuance and finesse are everywhere. At every stage, the book is about people and ideas on the move, about invasion, refugees, immigrants, traders, colonists and explorers.
This is a huge subject and one that is almost bound to provoke question-marks and explosions in the margins-soon forgotten in the book's sheer sweep and scale. A balance between straight history and word history is sometimes difficult to strike, though. There is a feeling, occasionally, of being bundled too fast through complex linguistic developments and usages, or of being given interesting slices of history for the sake, after all, of not much more than a "gong" or a "moccasin". But it is churlish to carp. The author's zest and grasp are wonderful. He makes you want to check out everything-" carp" and "zest" included. Whatever is hybrid, fluid and unpoliced about English delights him.
English has never had its Acad mie Francaise, but over the centuries it has not lacked furious defenders against foreign "corruption". There have been rearguard actions to preserve its "manly" pre-Norman origins, even to reconstruct it along Anglo-Saxon lines: "wheel- saddle" for bicycle, "painlore" for pathology. But the omnivorous beast is rampant still. More people speak it as their second language than as their first. Forget the language of Shakespeare. It's "Globish" now, the language of aspiration. No one owns it, a cause for despair to some. Mr. Hitchings admits to wincing occasionally, but almost on principle he is more cheerful than not.

单选题 According to the text, which of the following is TRUE?

单选题 What is the trend in the English language that this book emphasizes?

【正确答案】 C

【答案解析】本题根据第二段中的一句话作答，即That is an extra pleasure in a book which is really about the way the English language has roamed the world helping itself liberally to words，absorbing them，forgetting where they came from，and moving on with an ever-growing load of exotics，crossbreeds and subtly shaded near-synonyms．，说的是英语在使其自身不断自由地转变、吸收外来词，忘却来源，演变为不断新增的外来词汇，并且和外来词互相交汇，以至于变为极为相似的同义词。那么再看选项，A是英语正在与其他语言同化，B是语言之间的区别正愈加明显，C是英语吸收其他语言的词汇并收为己用，D是英语正在失去其活力。综合判断，可以得出C项正确。

单选题 Why does the author quote the paintings by Giuseppe Arcimboldo?

【正确答案】 B

【答案解析】本题需要回到原句Looked at closely，the language comes apart in images，like those strange paintings by Giuseppe Arcimboldo where heads are made of fruit and vegetables，该句是说“仔细看的话，会发现语言的组成是千姿百态的，就像是阿奇姆波尔多那些奇怪的画一样，画中人物的头都是由水果和蔬菜组成的”。其强调的应该是语言组成部分的丰富多彩。因此再结合选项，A项据常识判断明显错误，B项符合句意，C项说语言被视为图画，也不正确，D项文中未提及，依常识判断也是错误的。