单选题鹤草芽研粉吞服的每日用量为

单选题艾叶有小毒，使用用量是

单选题以大寒之剂，易为清补之方的方剂是

单选题下列哪项不是苏合香的功效

单选题下列哪味药不是源于蔷薇科植物A．地榆B．山楂C．绿萼梅D．玫瑰花E．荔枝核

单选题治疗风湿痹证，无论寒热新久皆可配伍应用的是

单选题服用时宜从小量开始，缓缓增加，不可骤用大量，以免阳升风动，头晕目赤，或伤阴动血的药物是

单选题治血热之血淋、尿血，下列何药为首选：

单选题A．罂粟壳 B．诃子 C．乌梅 D．五倍子

单选题半夏不具有的功效是

单选题A．祛痰B．开窍C．二者均是D．二者均非

单选题A．磁石B．龙骨C．朱砂D．琥珀

单选题既能行气止痛，又能温肾散寒的药物是

单选题A．安胎 B．祛风 C．燥湿 D．止泻

单选题A．白附子B．竹沥C．菖蒲D．冰片E．牛黄(1994年第85。86题)

单选题A．威灵仙B．桑寄生C．防己D．秦艽

单选题A．雄黄B．胆矾C．常山D．瓜蒂

单选题山楂尤宜于A．肉食积滞B．米面淀粉类食积C．食积气滞D．食积外感

单选题既治风湿热痹，义治疗湿热黄疸的药物是( )(1997年第35题)

单选题Thomas Hardy's impulses as a writer, all of which indulged in his novels, were numerous and divergent, and they did not always work together in harmony. Hardy was to some degree interested in exploring his characters' psychologies, though impelled less by curiosity than by sympathy. Occasionally he felt the impulse to comedy (in all its detached coldness) as well as the impulse to farce, but he was more often inclined to see tragedy and record it. He was also inclined to literary realism in the several senses of that phrase; He wanted to describe ordinary human beings. He wanted to speculate on their dilemmas rationally (and, unfortunately even schematically); and he wanted to record precisely the material universe. Finally, he wanted to be more than a realist. He wanted to transcend what he considered to be the banality of solely recording things exactly and to express as well his awareness of the occult and the strange. In his novels these various impulses were sacrificed to each other inevitably and often inevitably, because Hardy did not care in the way that novelists such as Flaubert or James learned, and therefore took paths of least resistance. Thus one impulse often surrendered to a fresher one and, unfortunately, instead of exacting a compromise, simply disappeared. A desire to throw over reality a light that never was might give way abruptly to the desire on the part of what we might consider a novelist scientist to record exactly and concretely the structure and texture of a flower. In this instance, the new impulse was at least an energetic one. And thus its indulgence did not result in a relaxed style. But on other occasions Hardy abandoned a perilous risky and highly energizing impulse in favor of what was for him the fatally relaxing impulse to classify and schematize abstractly. When a relaxing impulse was indulged, the style--that sure index of an author's literary worth--was certain to become verbose. Hardy's weakness derived from his apparent inability to control the comings and goings of these divergent impulses and from his unwillingness to cultivate and sustain the energetic and risky ones. He submitted of first one and then another, and the spirit blew where it listed; hence the unevenness of any one of his novels. His most controlled novel, Under the Greenwood Tree, prominently exhibits two different but reconcilable impulses--a desire to be a realist-historian and a desire to be a psychologist of love but the slight interlockings of plot are not enough to bind the two completely together. Thus even this book splits into two distinct parts.