寫實主義文學的魅力 Why Realism Made Ordinary Lives Matter 浪漫主義文學的魅力 Why Romanticism Put Feeling First

題目一：寫實主義文學的魅力 Why Realism Made Ordinary Lives Matter

So determined were nineteenth-century realist novelists to show life as it was actually lived, with its unpaid bills, cramped lodgings and small compromises, that they turned from kings and heroes to clerks, farmers and seamstresses, treating their ordinary struggles with the seriousness once reserved for tragedy, an approach that, although critics sometimes accused it of dwelling on drabness, trained readers to look closely at the social conditions shaping every private choice they depicted, and that continues to inform modern novels, films and journalism in which what is left unsaid about money and class matters as much as what is said.

（100 字）

1. 結構破解

So determined were nineteenth-century realist novelists

to show life as it was actually lived,

with its unpaid bills, cramped lodgings and small compromises,

that they turned from kings and heroes

to clerks, farmers and seamstresses,

treating their ordinary struggles

with the seriousness once reserved for tragedy,

an approach that,

although critics sometimes accused it of dwelling on drabness,

trained readers to look closely at the social conditions

shaping every private choice they depicted,

and that continues to inform modern novels, films and journalism

in which what is left unsaid about money and class

matters as much as what is said.

2. 分解為短句

Realist novelists were determined.（So ... that 的原因）

They wanted to show life as it was actually lived.

Life had unpaid bills, cramped lodgings and small compromises.

They turned from kings and heroes.（結果主句骨架）

They turned to clerks, farmers and seamstresses.

They treated ordinary struggles seriously.

Tragedy had once received that seriousness.

This was an approach.

Critics sometimes accused it of dwelling on drabness.

The approach trained readers to look closely at social conditions.

The conditions shaped every private choice.

The novelists depicted those choices.

The approach continues to inform modern novels, films and journalism.

In them, what is left unsaid matters.

What is said also matters.

The two matter equally.

3. 參考譯文

十九世紀的寫實主義小說家一心要呈現生活真實的樣貌，包括未付的帳單、擁擠的住處與小小的妥協，因此他們從國王與英雄轉向職員、農夫與女裁縫，以過去只留給悲劇的嚴肅態度看待這些平凡人的掙扎。這種手法雖然有時被批評者指為沉溺於灰暗，卻訓練讀者仔細觀察那些左右每個私人選擇的社會條件，而且至今仍影響現代的小說、電影與新聞報導，在這些作品中，沒說出口的金錢與階級問題，和說出口的一樣重要。

4. 組合寫作練習（請勿看例句，嘗試將短句組回原長句）

5. 補充說明

句型創新：以 So + 形容詞 + 倒裝 開頭，並用 that 子句帶出結果。中段以 treating ... 分詞構句補充方式，再用 an approach that ... 同位語，插入 although 讓步子句。句尾以 and that 連接第二個關係子句，並用 what is left unsaid ... as much as what is said 的名詞子句比較收束。

單字：

determined：「下定決心的」；lodgings：「住處、寄宿處」

compromise：「妥協」；seamstress：「女裁縫」

drabness：「單調灰暗」；dwell on：「老是談論、沉溺於」

depict：「描繪」；inform：「影響、給予依據」（此處的用法）

文法提醒：

So determined were ... novelists to show ... 是倒裝句。原句是 Realist novelists were so determined to show ... that ...，把 so determined 移到句首，be 動詞 were 跟著提前，主詞 novelists 移到後面。

as it was actually lived 的 as 引導方式子句，lived 是被動語態，主詞 it 指 life。with its unpaid bills ... 是附帶說明，三個名詞要平行。

treating their ordinary struggles ... 是分詞構句，主詞與前面 they 相同。once reserved for tragedy 是過去分詞片語，修飾 seriousness。

an approach that, although ..., trained ... and that continues ... 中，兩個 that 同樣修飾 approach，並以 and 連接，所以第二個 that 不能省。although critics ... drabness 是插入的讓步子句。

shaping every private choice they depicted 的 shaping 是現在分詞，修飾 conditions；they depicted 是省略關係代名詞的子句，修飾 choice。

in which what is left unsaid ... matters ... 中，in which 的 which 指 novels, films and journalism。what is left unsaid 是名詞子句作主詞，動詞用單數 matters。as much as what is said 是比較結構，後面省略了 matters。

舉例：巴爾札克的《人間喜劇》（1829 年起陸續出版）以大量人物描寫巴黎社會與金錢關係；福樓拜的《包法利夫人》（1857）寫外省婚姻的沉悶與幻滅，行文講求精確；狄更斯的《孤雛淚》（1838）則寫貧窮與濟貧院制度下的孩子，對當時社會問題提出批評。

一點提醒：寫實主義不等於把生活原封不動搬進紙上，作家仍會挑選、安排與誇張，例如狄更斯就常用諷刺與戲劇化的手法。另外，寫實主義與稍後的自然主義（如左拉）也有差異，後者更強調遺傳與環境的決定力量。本句用 trained readers to look closely，描述的是閱讀習慣的影響，而不是為某一位作家下定論。

題目二：浪漫主義文學的魅力 Why Romanticism Put Feeling First

Where the Enlightenment had prized reason, order and universal rules, Romantic writers, many of them young and restless, placed their faith in feeling, imagination and the singular, unrepeatable individual, finding in storms, ruins, solitary walks and childhood memories a language for emotions that polite argument could never fully reach, with the consequence that poems, ballads and novels began to be judged less by their obedience to inherited classical forms than by the intensity of lived experience they conveyed, a change whose influence survives even today in every modern writer who believes that sincerity of voice matters more than polish and correctness.

（101 字）

1. 結構破解

Where the Enlightenment had prized reason, order and universal rules,

Romantic writers, many of them young and restless,

placed their faith in feeling, imagination

and the singular, unrepeatable individual,

finding in storms, ruins, solitary walks and childhood memories

a language for emotions

that polite argument could never fully reach,

with the consequence that poems, ballads and novels

began to be judged less by their obedience to inherited classical forms

than by the intensity of lived experience they conveyed,

a change whose influence survives even today

in every modern writer

who believes that sincerity of voice

matters more than polish and correctness.

2. 分解為短句

The Enlightenment had prized reason, order and universal rules.（Where 對比子句）

Romantic writers placed their faith in feeling and imagination.（主句骨架）

Many of the writers were young and restless.

They also trusted the singular, unrepeatable individual.

They found a language in storms, ruins, solitary walks and childhood memories.

The language was for emotions.

Polite argument could never fully reach the emotions.

As a result, poems, ballads and novels began to be judged differently.

They were judged less by obedience to inherited classical forms.

They were judged more by the intensity of lived experience.

The works conveyed that experience.

This was a change.

The change's influence survives even today.

It survives in every modern writer.

The writer believes sincerity of voice matters.

It matters more than polish and correctness.

3. 參考譯文

啟蒙運動推崇理性、秩序與普遍規則，而浪漫主義作家（其中許多人年輕而躁動）則把信念放在情感、想像與獨一無二的個人身上。他們從風暴、廢墟、獨行與童年回憶中，找到一種語言，用來表達連禮貌的論辯也難以完全觸及的情緒。結果，詩、民謠與小說開始較少依其是否遵守繼承而來的古典形式來評判，而更多看其所傳達的生命經驗有多強烈。這個轉變的影響至今仍在，存在於每一位相信「聲音的真誠比修飾與規範更重要」的現代作家身上。

4. 組合寫作練習（請勿看例句，嘗試將短句組回原長句）

5. 補充說明

句型創新：以 Where 引導對比子句開頭（相當於 whereas），主句中插入 many of them young and restless 的獨立插入語。後面用 finding ... 分詞構句，再以 with the consequence that 帶出結果，並用 less ... than ... 的比較結構。句尾以 a change whose ... 同位語，加上 every modern writer who believes that ... 的層層修飾收束。

單字：

Enlightenment：「啟蒙運動」；prize：「重視、珍視」

singular：「獨一無二的」；unrepeatable：「無法重現的」

polite：「禮貌的、斯文的」；obedience：「服從、遵守」

inherited：「繼承而來的」；sincerity：「真誠」

文法提醒：

Where 在這裡不是「在……的地方」，而是「然而、反觀」，表示前後對比，用法接近 whereas。had prized 用過去完成式，因為啟蒙運動的推崇發生在浪漫主義之前。

Romantic writers, many of them young and restless, placed ... 中，many of them young and restless 是獨立結構，不需要動詞，用逗號夾在主詞與動詞之間補充說明。

finding in storms ... a language 是分詞構句，find ... in ... 的受詞 a language 被放到後面，因為前面的介系詞片語較長，這樣讀起來較順。

a language for emotions that polite argument could never fully reach 中，that 修飾 emotions，是 reach 的受詞；never fully 連用表示「從未能完全」。

with the consequence that 引導結果，began to be judged 是被動語態。less by A than by B 中，A 與 B 要平行（by their obedience ... / by the intensity ...）。they conveyed 省略了關係代名詞，修飾 experience。

a change whose influence survives ... 是同位語，whose 表所有格。in every modern writer who believes that ... 中，who 修飾 writer，所以 believes 用單數；matters more than polish and correctness 的 polish and correctness 是平行名詞。

舉例：華茲華斯與柯立芝合著的《抒情歌謠集》（1798）常被視為英國浪漫主義的起點，主張以日常語言寫詩、書寫強烈的情感；瑪麗·雪萊的《科學怪人》（1818）寫創造者與被造者的孤獨與責任，帶有對科學野心的疑慮；拜倫的《柴爾德·哈羅德遊記》（1812 至 1818 年陸續出版）則塑造了孤傲、漂泊的「拜倫式英雄」形象。

一點提醒：浪漫主義（Romanticism）的「Romantic」不等於日常說的「浪漫愛情」，它指的是一場重視情感、想像、自然與個人的文學藝術運動。另外，啟蒙時代的作家也並非沒有情感，兩者的差別是重心不同，而非一方完全排斥另一方。各國浪漫主義的面貌也不盡相同，本句只描述一種常見的轉變，用 judged less ... than ... 保留了程度上的彈性。