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  3. The work of English writer Aphra Behn (1640 ~ 1689) changed markedly during the 1680s, as she turned from writing plays to writi

The work of English writer Aphra Behn (1640 ~ 1689) changed markedly during the 1680s, as she turned from writing plays to writi

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问题     The work of English writer Aphra Behn (1640 ~ 1689) changed markedly during the 1680s, as she turned from writing plays to writing prose narratives. According to literary critic Rachel Carnell, most scholars view this change as primarily motivated by financial considerations: earning a living by writing for the theatre became more difficult in the 1680s, so Behn tried various other types of prose genres in the hope of finding another lucrative medium. In fact, a long epistolary scandal novel that she wrote in the mid-1680s sold quite well. Yet, as Carnell notes, Behn did not repeat this approach in her other prose works; instead, she turned to writing shorter, more serious novels, even though only about half of these were published during her lifetime. Carnell argues that Behn, whose stage productions are primarily comedies, may have turned to an emerging literary form, the novel, in a conscious attempt to criticize, and subvert for her own ends, the conventions and ideology of a well-established form of her day, the dramatic tragedy.
    Carnell acknowledges that Behn admired the skill of such contemporary writers of dramatic tragedy as John Dryden, and that Behn’s own comic stage productions displayed the same partisanship for the reigning Stuart monarchy that characterized most of the politically oriented dramatic tragedies of her day. However, Carnell argues that Behn took issue with the way in which these writers and plays defined the nature of tragedy. As prescribed by Dryden, tragedy was supposed to concern a heroic man who is a public figure and who undergoes a fall that evokes pity from the audience. Carnell points out that Behn’s tragic novels focus instead on the plight of little-known women and the private world of the household; even in her few novels featuring male protagonists, Behn insists on the importance of the crimes these otherwise heroic figures commit in the domestic sphere. Moreover, according to Carnell, Behn questioned the view promulgated by monarchist dramatic tragedies such as Dryden’s; that the envisioned "public" political ideal — passive obedience to the nation’s king — ought to be mirrored in the private sphere, with family members wholly obedient to a male head of household. Carnell sees Behn’s novels not only as rejecting the model of patriarchal and hierarchical family order , but also as warning that insisting on such a parallel can result in real tragedy befalling the members of the domestic sphere. According to Carnell, Behn’s choice of literary form underscores the differences between her own approach to crafting a tragic story and that taken in the dramatic tragedies, with their artificial distinction between the public and private spheres. Behn’s novels engage in the political dialogue of her era by demonstrating that the good of the nation ultimately encompasses more than the good of the public figures who rule it.
The passage suggests that Carnell sees Behn’s novels featuring male protagonists as differing from dramatic tragedies such as Dryden’s featuring male protagonists in that the former______.
选项 A、depict these characters as less than heroic in their public actions
B、emphasize the consequences of these characters’ actions in the private sphere
C、insist on a parallel between the public and the private spheres
D、are aimed at a predominantly female audience
答案B
解析 事实细节题。第二段第三句指出德莱顿对男主人公的描写方法：一位英雄是公共人物，他所经历的苦难引起了观众的同情。第四句则指出贝恩在仅有的几部描述男主人公的小说中所强调的重点：贝恩强调了这些英雄人物在家庭环境中所犯下罪行的重要性。本题针对贝恩对男主人公的描写，故答案为[B]项。
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