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第一段
1 .Listen to part of the lecture in a literature class.
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第二段
1 .So, urn, in France, you have the French Academy, which was created to uphold standards of literary taste.
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2 .It was a very conservative organization.
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3 .It tried to keep things a certain way...uh...resist change.
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第三段
1 .It dictated that French plays should neoclassical in form, you know, have five acts, sophisticated language, etc.
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2 .But try as it might, it couldn't stop change.
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3 .French drama was changing, though the transition from neoclassical drama to Romantic drama was itself pretty dramatic.
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第四段
1 .Let's look at a play by Victor Hugo called Hernani, or as the French would say, Hernani.
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2 .Although Hugo was a truly brilliant writer of essays, poems, novels, and plays, uh, his play, Hernani, isn't a great play in and of itself.
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3 .It's got a really confusing, convoluted storyline.
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4 .Critics back then were unimpressed by it,
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5 .though it's likely that their own feelings about how plays should be,
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6 .neoclassical or romantic, affected their opinions about it.
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第五段
1 .But its premiere in Paris, in 1830, was anything but ordinary.
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2 .Hernani's opening night was probably one of the most important literary events in 19th century France!
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第六段
1 .What happened was...OK. Hugo was a Romanticist, right?
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2 .He was part of a growing movement of young authors and artists who were rebelling against neoclassicism,
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3 .against the conventions of neoclassicism.
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4 .And what this meant is that Hugo opposed the neoclassical unities that French theater had inherited from Greek drama.
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5 .These unities were basically the unity of time, space and action,
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6 .meaning that the entire play consisted of just one main event that was unfolding in just one specific place,
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7 .usually in the course of one day.
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第七段
1 .And Hugo found this to be too constraining.
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2 .He looked for inspiration in...well...OK.
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3 .Hugo is from the 19th century, but he looked to Shakespeare,
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4 .several centuries in the past, long before neoclassicism.
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第八段
1 .For example, in Shakespeare's play, A Midsummer Night's Dream,
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2 .the play moves from indoors to outdoors, from the city to the forest, and back again.
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3 .So there was a kind of mobility in...in the use of space. And...well...in A Midsummer Night's Dream,
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4 .of course the action in that play takes place on a single summer's night,
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5 .but in Shakespeare's other plays, in Hamlet, for example, ti me elapses.
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6 .People travel; they go to other destinations.
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7 .And the action is not limited to one plot.
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第九段
1 .Hugo also opposed the neoclassical insistence on the separation of genres.
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2 .For a neoclassicist, a play could only be dramatic and high art, or comic, well, light-hearted.
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3 .And in either case, there was still a sense of decorum.
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4 .Characters might make jokes and get into silly situations, but they're still regular people, like not in disguise or anything.
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5 .There's still a certain amount of restraint in a neoclassical comedy.
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第十段
1 .Again, earlier works by Shakespeare provided very different models that Hugo found more appealing.
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2 .Many of Shakespeare's plays, even the tragedies, contain scenes with ridiculous, outlandish characters like clowns, so that many of the plays have both qualities: a serious dramatic side and comedic scenes with the clowns that break the drama.
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第十一段
1 .And Hugo, like other Romantics, was also opposed to the artistic rules that the neoclassicists had inherited from the Enlightenment.
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2 .The Romantics wanted a more passionate kind of theater and it was more rooted in the individual and the individual sensibility.
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第十二段
1 .Romanticism was political as well, claiming that individuals, people, could govern themselves,
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2 .without the need for kings and queens.
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3 .There was an ideological struggle between a lot of young people, artists, people who wanted change, and people who didn't.
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4 .So of course Romanticism was controversial.
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第十三段
1 .Now, Hernani was a play that incorporated these Romantic conventions.
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2 .Hugo suspected that neoclassical audiences would be hostile to this new form and the ideas it represented.
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3 .So to protect himself, he rounded up his friends for opening night.
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4 .And hundreds of them came to the theater that night.
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第十四段
1 .And Hugo writes about this arrival of the Romantics,
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2 .these wild and bizarre characters and their outlandish customs,
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3 .which stupefied and infuriated the more conventional theater-goers.
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4 .So the play that night took forever to finish because it was interrupted many times and there were these debates in the audience,
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5 .between Hugo's friends and supporters, the Romantics, and the Neoclassicists, the supporters of the old school.
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6 .Lots of interruptions!
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第十五段
1 .And afterward, what had been a debate inside the theater spilled out onto the street and there were fist fights.
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2 .It was a complete free-for-all. And this went on for the next forty-five nights.
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3 .Every night that the play was performed,
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4 .there was this excitement and controversy that was,
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5 .was really an expression of the kinds of passions that...uh...differences of aesthetics and political opinions and taste could give rise to.
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