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SAT的文學(xué)類(lèi)文章難點(diǎn)分析~

發(fā)布時(shí)間：2024/12/05 16:11:51

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SAT的文學(xué)類(lèi)文章一直讓同學(xué)們頭大，今天我們來(lái)分析下文學(xué)文學(xué)文章的難點(diǎn)和應(yīng)對(duì)方案。

1.古英語(yǔ)用詞，

SAT文學(xué)類(lèi)文章橫跨了小說(shuō)、詩(shī)歌、戲劇三種細(xì)分體裁，其中詩(shī)歌和戲劇以及年代偏久遠(yuǎn)的小說(shuō)會(huì)有大量古英語(yǔ)單詞，就像滅絕的恐龍復(fù)活一樣，直接給人整不會(huì)了！比如下面這篇

The following text is from William Shakespeare's play The Tempest, first performed in 1611. Miranda has lived on an island with her father, Prospero, sinceshe was three years old. Prospero has stated that Miranda likely does not remember anything other than her life on the island.

MIRANDA: "Tis far off.

And rather like a dream than an assurance

That my remembrance warrants. Had l not

Four or five women once that tended me?

PROSPERO: Thou hadst, and more, Miranda. But how is it

That this lives in thy mind? What seest thou else

In the dark backward and abysm of time?

If thou remember'st ought ere thou camest here.

How thou camest here thou mayst.

這篇文章里古英語(yǔ)用詞的密度就太高了，如果不知道這些詞的意思一定會(huì)影響對(duì)文章的理解，比如 Tis、thou、hadst、ought、ere、mayst，當(dāng)然這個(gè)問(wèn)題相對(duì)好解決，瀾大教研組專(zhuān)門(mén)整理了高頻古英語(yǔ)用詞詞表，只要背熟輕松搞定。

2.不標(biāo)準(zhǔn)的語(yǔ)法，喪尸般的句子

小說(shuō)其實(shí)還好，句子的主謂賓還是規(guī)規(guī)矩矩的，一到了戲劇和詩(shī)歌，語(yǔ)法老師的30米大刀可就收不住了。這些詩(shī)人和劇作家，明顯沒(méi)來(lái)瀾大上過(guò)語(yǔ)法課?。?/p>

In monotone the lizard shrills his tune.

The wild goose, homing, seeks a sheltering,

Where rushes grow, and oozing lichens cling.

Late cranes with heavy wing, and lazy flight,

Sail up the silence with the nearing night.

And like a spirit, swathed in some soft veil,

Steals twilight and its shadows o'er the swale.

Hushed lie the sedges, and the vapours creep.

Thick, grey and humid, while the marshes sleep.

比如第二句，只有主語(yǔ)沒(méi)有謂語(yǔ)，這不就是語(yǔ)法題里經(jīng)典的錯(cuò)誤選型么！其實(shí)，讀詩(shī)歌，不要過(guò)于執(zhí)著于語(yǔ)法結(jié)構(gòu)，而是根據(jù)詩(shī)歌中的要素，構(gòu)建畫(huà)面感就可以了，這首詩(shī)中的幾個(gè)要素 lizards、goose、lichens、cranes、swale、vapours構(gòu)成一副水草繁茂、鳥(niǎo)飛鶯舞的和諧畫(huà)面，我們捕捉到這個(gè)感覺(jué)就可以了。

3.文學(xué)修辭

很多同學(xué)看文學(xué)文章，胸中的怒火熊熊燃燒，只想對(duì)作者大吼一句，說(shuō)人話(huà)！沒(méi)錯(cuò)，文學(xué)文章大量使用修辭，讓本來(lái)清晰的意思包裹在比喻和擬人當(dāng)中，像是給生活加一層朦朧感的濾鏡，美感確實(shí)是有了，扛不住咱現(xiàn)在是考試急著出答案啊！

In hearts like thine ne'er may I hold a place

Till I renounce all sense, all shame, all grace

That seat, --like seats, the bane of Freedom's realm,

But dear to those presiding at the helm--

Is basely purchased, not with gold alone;

Add Conscience, too, this bargain is your own

'T is thine to offer with corrupting art

The rotten borough of the human heart

這首詩(shī)開(kāi)始講到詩(shī)人糾結(jié)自己在對(duì)方心中有無(wú)位置，結(jié)果第二句就提到買(mǎi)票的事情，同學(xué)們肯定有點(diǎn)懵，詩(shī)人思路有點(diǎn)跳躍??？！其實(shí)，詩(shī)歌再跳脫，也不可能是瘋子寫(xiě)的，前后句一定是連貫的合情合理的。所以，一旦我們覺(jué)得文學(xué)中有不合理的描述，就要考慮修辭手法。此處，買(mǎi)票其實(shí)是比喻，比喻的是在付出一些東西來(lái)獲得在對(duì)方心中的位置。

The following text is Emily Dicknison's circa 1873 poem “There ia no Frigate like a Book". A Frigate like a Book” A Frigate is a light fast ship; courses are swift horses.

There is no Frigate like a Book

To take us Lands away

Nor any Coursers like a Page

Of prancing Poetry

This Traverse may the poorest take

Withut oppress of Toll

How frugal is the Chariot

That bears the Human soul.

在這首詩(shī)歌中，同學(xué)會(huì)覺(jué)得，詩(shī)人讀書(shū)的時(shí)候還又坐船又騎馬的，這是要上天？其實(shí)，船和馬都是一種比喻，把書(shū)本這種人思維的載體比作了交通工具。還是那句話(huà)，不合邏輯，就想修辭。

4.文學(xué)文章的間接表達(dá)方式

很多文學(xué)類(lèi)文章話(huà)不直說(shuō)，而是繞著彎子，通過(guò)雙重否定、改變前提假設(shè)、反問(wèn)的方式表達(dá)某個(gè)意思。

The following text is from Anthony Trollope's 1855 novel The Warden. The narrator is describing a rectory, the residence of a clergyperson.

There was an air of heaviness about the rooms which might have been avoided without any sacrifice of propriety; colours might have been better chosen and lights more perfectly diffused; but perhaps in doing so the thorough clerical aspect of the whole might have been somewhat marred; at any rate, it was not without ample consideration that those thick, dark, costly carpets were put down; those embossed, but sombre Iwallpapers] hung up; those heavy curtains draped so as to half exclude the light of the sun.

在這段小說(shuō)節(jié)選中，作者想表達(dá)房間的裝修想刻意體現(xiàn)住的人的身份，但并不直說(shuō)，而是假設(shè)如果房間的裝飾如果改變的話(huà)，住戶(hù)作為神職人員的神圣感會(huì)被玷污，讓本來(lái)可以很直白的意思，隱藏在語(yǔ)言幽深曲折的暗巷里，你開(kāi)著車(chē)還到不了，要七拐八拐才能抵達(dá)。

對(duì)于這種情況，一是要靠專(zhuān)業(yè)老師拆解，熟悉這類(lèi)說(shuō)話(huà)方式的原理；第二。也是更重要的是，要增加文學(xué)文章的閱讀量，讓自己大量接觸這種說(shuō)話(huà)方式，再曲折的巷子，多走幾次也就摸著門(mén)了。

5.對(duì)于情感和心理的間接表達(dá)

古人云，知人知面不知心，沒(méi)錯(cuò)，還有比人類(lèi)的情感、人性、和心理更復(fù)雜和陰暗的存在嗎？而文學(xué)家的一大使命，就是把這種曲折蜿蜒的人性展現(xiàn)在陽(yáng)光之下，理解這些心理和情感，需要文字功力，也需要閱歷和思考。比如下面這段文字

例1

The following text is adapted from George Eliot's 1857short story "The Sad Fortunes of the Rev. AmosBarton." The Countess Czerlaski is a newcomer to thetown of Milby.

I am by no means sure that if the good people of Milby had known the truth about the Countess Czerlaski, they would not have been considerably disappointed to find that it was very far from being as bad as they imagined nice distinctions are troublesome. It is so much easier to make up your mind that your neighbour is good for nothing, than to enter into all the circumstances that would oblige you to modify that opinion.

在這段例子中，第一句提到鄰居當(dāng)知道一個(gè)貴婦太太生活的比他們想象的更好時(shí)，感到非常失望。這是一種怎么樣的心理呢？其實(shí)，人可以忍受遠(yuǎn)在天邊的人飛黃騰達(dá)，卻受不了近在咫尺的人比自己更好，這種人性陰暗心理的理解，需要?dú)q月的淬煉和閱歷的。

例2

The following text is adapted from Charles Dickens's 1859 novel A Tale of Two Cities. Mr. Lorry, traveling to France on business, is delivering some news to Miss Manette, the daughter of one of his friends.

"Miss Manette. I am a man of business. I have a business charge to acquit myself of. In your reception of it, don't heed me any more than if I was a speaking machine-truly. I am not much else. I will, with your leave, relate to you, miss, the story of one of our customers.”

"Story!"

He seemed wilfully to mistake the word she had repeated, when he added, in a hurry."Yes, customers; in the banking business we usually call our connection our customers. He was a French gentleman: a scientific gentleman; a man of great acquirements--a Doctor.”

很多時(shí)候，文學(xué)中人物的心理通過(guò)動(dòng)作細(xì)節(jié)表現(xiàn)出來(lái)。這個(gè)例子中，當(dāng)女孩大聲喊出“story”后，男人是willfully to mistake，這個(gè)willfully非常傳神，體現(xiàn)了男人聽(tīng)懂了但是裝傻的心理，但是文章沒(méi)有明示，需要我們深挖。怎么解？要注意，在讀文學(xué)時(shí)，不是讀字，而是體察，也就是老話(huà)說(shuō)聽(tīng)話(huà)聽(tīng)音，不是看一個(gè)人說(shuō)了什么做了什么，而是體會(huì)語(yǔ)言和動(dòng)作背后的心理。

總結(jié)：文學(xué)文章的難點(diǎn)克服，需要了解一些知識(shí)（古英語(yǔ)用詞、文學(xué)特色的句式原理），更需要在大量閱讀文學(xué)文本的過(guò)程中，刻意練習(xí)。菜，就多練！無(wú)他，唯手熟爾！

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