Задание 13 ЕГЭ 2027 по английскому языку: Чтение: точная деталь

Попробуйте сами

4 задания 13 номера с проверкой ответа — здесь же, без регистрации.

1. Задание 1 из 4

   On my first night at the field station, the forest sounded much larger than it had looked in daylight. Branches knocked together above the roof, frogs called from the flooded grass, and something heavy moved beyond the lamps. I lay awake naming each noise badly and confidently. By breakfast, I had invented at least three rare mammals. Our guide, Mara, listened without laughing. She explained that a hollow drumming sound came from fruit falling onto old metal sheets near the storehouse. The supposed growl was made by two trees rubbing in the wind. Only the sharp cry from the river interested her; she had not heard it that season. Mara advised us to keep our notebooks open but our conclusions provisional. Instruments could preserve a sound and show its frequency, she said, yet a recording alone did not reveal what normally happened at that bend of the river. We should watch, record and then compare our impressions with the knowledge of people who had lived there through many seasons. Neither method was sufficient on its own. The next evening we followed her advice. When the cry returned, the recorder captured it clearly, while a fisherman recognised the moment it occurred: small fish were jumping close to the bank. We waited in silence. Soon a night heron emerged from the reeds, and the mystery became an ordinary part of the river. What stayed with me was not the name of the bird. It was the discipline of delaying a satisfying answer. In an unfamiliar place, certainty arrives quickly; understanding usually takes longer.

   Read the passage. Which option best summarises the advice given in paragraph 3? 1) Record every unfamiliar sound before asking local people about it. 2) Combine careful observation with local knowledge when interpreting nature. 3) Trust experienced residents instead of using scientific equipment. 4) Study animal calls only when weather conditions are stable.

   Показать ответ

2. Задание 2 из 4

   At sunrise the glacier looked solid enough to carry a city. Blue shadows filled the cracks, and fresh snow had softened every edge. Our planned camp lay beyond a low ridge, no more than six hours away according to the map. By nine, small signs began to disagree with the map's calm geometry. Snow had drifted across the eastern slope, one marker pole had vanished, and the air felt warmer than the forecast predicted. No single change seemed decisive. Together they made the route feel unfamiliar. Our leader reminded us that a plan is a tool, not a promise. Before setting out, she said, a team should identify safer alternatives and clear points at which it will stop or turn back. During the journey, new evidence must outweigh pride, distance already covered or the wish to keep to a timetable. Changing course early is often the decision that preserves later choices. We took the longer western line and camped below the ridge. That afternoon a section of the eastern slope released with a sound like a door slammed underground. The snow stopped far from our original track, but nobody spoke for several minutes. The incident did not prove that every cautious decision will be rewarded by visible danger. Most are not. It taught me something less theatrical: good judgement often looks unnecessary precisely because it works.

   Read the passage. Which option best summarises the advice given in paragraph 3? 1) Prepare several routes and be ready to turn back when evidence changes. 2) Continue towards the planned camp unless every team member objects. 3) Rely on the newest forecast when choosing a route across the ice. 4) Avoid crossing glaciers after any night of unusually heavy snowfall.

   Показать ответ

3. Задание 3 из 4

   The workshop smelled of cedar dust and cold iron. Along one wall stood finished violins, their varnish dark as tea; along the other lay pieces of maple that looked, to me, disappointingly ordinary. I had expected the making of music to begin with something more dramatic. Mr Bell gave me a blunt knife and a strip of waste wood. My task was to cut a clean curve. I pressed hard, as if determination could compensate for ignorance, and the blade jumped across the grain. The result resembled a road after an earthquake. Do not begin by demanding a shape from the wood, Mr Bell said. First make light cuts in several directions and notice where the fibres lift or resist. Listen to the sound of the blade and feel the pressure in your thumb. Once you understand how this particular piece responds, you can decide how to approach the curve without tearing it. For an hour I produced nothing worth keeping. Still, the strip gradually became legible: one direction gave a whisper, the other a rough complaint. When I finally cut the curve, it was not perfect, but the knife no longer seemed to have a temper of its own. Years later, I visited the workshop again. The violins still drew the eye, but I looked first at the heap of discarded strips. They held the quiet beginning of every polished instrument in the room.

   Read the passage. Which option best summarises the advice given in paragraph 3? 1) Replace old tools whenever they leave marks on the finished object. 2) Practise only on valuable wood so that mistakes receive full attention. 3) Learn the material's response before trying to control the final result. 4) Copy the hand movements of an expert as accurately as possible.

   Показать ответ

4. Задание 4 из 4

   For six months I carried the beginning of a novel from one notebook to another. A woman stepped off a night train in a town she had left as a child. The station clock had stopped. She recognised nobody. After that, the pages dissolved into alternatives. I drew timelines, family trees and a map showing every shop in the town. Planning felt productive because it left no bad sentences behind. Yet the woman remained on the platform, surrounded by information that never touched her. A novelist at a workshop asked what she wanted before morning. I gave him three paragraphs of background. He asked again. Start with a desire strong enough to create a choice, he advised, then write far enough to see whether the choice produces pressure. Keep what you discover about the character, even if it changes the route you planned; structure should guide the search, not prevent it. That evening I decided she wanted to find her brother before the first train left. At once the silent town acquired obstacles: a locked waiting room, a taxi driver who remembered her name, a telephone number with one missing digit. Not all of these survived revision. They made movement possible. The finished novel no longer begins at the station. Still, beneath its first chapter lies that urgent question, like track under snow. Planning had given me a town; desire finally gave the town a story.

   Read the passage. Which option best summarises the advice given in paragraph 3? 1) Rewrite the opening pages until the narrator sounds completely confident. 2) Decide every event in advance so the middle of the story cannot change. 3) Describe characters through dialogue instead of explaining their motives. 4) Test the story's central desire while allowing discoveries during writing.

   Показать ответ

Задания не загрузились. Обновите страницу или откройте тренажёр.