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Critics maintain that the fiction of Herman Melville (1819–1891) has limitations, such as its lack of inventive plots after Moby-Dick (1851) and its occasionally inscrutable style. A more serious, yet problematic, charge is that Melville is a deficient writer because he is not a practitioner of the “art of fiction,” as critics have conceived of this art since the late nineteenth- century essays and novels of Henry James. Indeed, most twentieth-century commentators regard Melville not as a novelist but as a writer of romance, since they believe that Melville’s fiction lacks the continuity that James viewed as essential to a novel: the continuity between what characters feel or think and what they do, and the continuity between characters’ fates and their pasts or original social classes. Critics argue that only Pierre (1852), because of its subject and its characters, is close to being a novel in the Jamesian sense.

However, although Melville is not a Jamesian novelist, he is not therefore a deficient writer. A more reasonable position is that Melville is a different kind of writer, who held, and should be judged by, presuppositions about fiction that are quite different from James’s. It is true that Melville wrote “romances”; however, these are not the escapist fictions this word often implies, but fictions that range freely among very unusual or intense human experiences. Melville portrayed such experiences because he believed these best enabled him to explore moral questions, an exploration he assumed was the ultimate purpose of fiction. He was content to sacrifice continuity or even credibility as long as he could establish a significant moral situation. Thus Melville’s romances do not give the reader a full understanding of the complete feelings and thoughts that motivate actions and events that shape fate. Rather, the romances leave unexplained the sequence of events and either simplify or obscure motives. Again, such simplifications and obscurities exist in order to give prominence to the depiction of sharply delineated moral values, values derived from a character’s purely personal sense of honor, rather than, as in a Jamesian novel, from the conventions of society.

The author probably mentions Melville’s Pierre to

  • 分析A选项
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  • 分析B选项
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  • 分析C选项
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  • 分析D选项
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  • 分析E选项
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当前版本由 216505pr 更新于2021-11-04 16:18:06 感谢由 216505pr 对此题目的解答所做出的贡献。
Critics argue that only Pierre (1852), because of its subject and its characters, is close to being a novel in the Jamesian sense.定位到这里,提到这本书是因为想说只有这本书是符合james标准的(他自己风格之外的),言下之意就是别的都没有符合james标准,都很坚持的自己的风格特点。迷惑选项是E,注意这里问的是作者提及这句话是为了干什么,作者不可能去强化批评家观点,因为作者在第二段反驳了他们。因此最后选D

题目讨论 5条评论)

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    FreddaHSU

    A为啥不对?
    0 0 回复 2021-11-14 16:50:47
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    贾思敏

    Critics argue that only Pierre (1852), because of its subject and its characters, is close to being a novel in the Jamesian sense.
    0 0 回复 2021-10-09 10:38:14
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    245240abh

    虽然只有这一个反例,但是这个反例是不能reinforcecritics的观点的
    0 0 回复 2020-09-07 18:40:26
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      581114wthb回复245240abh

      客观上可以作为批评家的论据,所以是可以reinforce批评家的立场的。但是reinforce批评家不是作者的目的。作者的目的是详细表述批评者的观点和立场,以便于后面表述自己的看法。

      0 0 回复 2021-07-16 12:00:49

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    思雅

    评论家认为只有Pierre才算是James意义上的小说家,因此其他的作者都和Melville大同小异。(few exceptions to M...重点要读懂这句话的意思 有点绕)
    0 3 回复 2020-08-11 10:56:32
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      colourgreen回复思雅

      Pierre是Melville的作品...

      0 0 回复 2020-08-24 11:05:41

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      colourgreen回复思雅

      你这一路要读错多少词组和单词才得出 Pierre是作者这个结论啊 Critics argue that only Pierre (1852<--这里指的是作品出版时间), because of (its subject and its characters), is close to being (a novel) in the Jamesian sense. The author probably mentions (Melville’s Pierre) to D suggest that literary critics find few exceptions to what they believe is a characteristic of Melville’s (fiction)

      3 0 回复 2020-08-24 11:18:16

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    229300hsfp

    问的这句话只是在重复大部分作品跟james的不同,前文已经说过了,所以无法reinforce the contention of critics(有点像cr的那种错误选项...)
    0 0 回复 2019-12-29 18:46:10
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