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Hugo also opposed the neoclassical insistence on the separation of genres.
Hugo還反對新古典主義對流派分離的堅持。
For a neoclassicist, a play could only be dramatic and high art, or comic, well, light-hearted.
對一個新古典主義者來說，一部戲只能是戲劇性的和高雅的藝術，或者滑稽的，輕松的。
And in either case, there was still a sense of decorum.
無論是哪一個類別，仍存在一種守禮的感覺。
Characters might make jokes and get into silly situations, but they’re still regular people, like not in disguise or anything.
戲劇中的角色也許會開玩笑，陷入愚蠢的境況，但是他們仍是普通人，沒有偽裝之類的。
There’s still a certain amount of restraint in a neoclassical comedy.
在新古典主義的喜劇中仍有一定程度的約束。
Again, earlier works by Shakespeare provided very different models that Hugo found more appealing.
莎士比亞的早期作品提供了非常不同的模式，Hugo認為它們更具吸引力。
Many of Shakespeare’s plays, even the tragedies, contain scenes with ridiculous, outlandish characters like clowns,
莎士比亞的很多戲劇，即使是悲劇，也包含了像小丑一樣荒誕、古怪的角色，
so that many of the plays have both qualities: a serious dramatic side and comedic scenes with the clowns that break the drama.
所以他的很多戲劇都同時有兩個特點：嚴肅的戲劇的一面，和打破戲劇的有小丑的喜劇場景。
And Hugo, like other Romantics, was also opposed to the artistic rules that the neoclassicists had inherited from the Enlightenment.
而Hugo，和其他浪漫主義者一樣，也反對新古典主義者從啟蒙運動中繼承的藝術法則。
The Romantics wanted a more passionate kind of theater and it was more rooted in the individual and the individual sensibility.
浪漫主義者想要的是一種更加熱情的戲劇，而它更多來自個人及個人的感覺。
Romanticism was political as well, claiming that individuals, people, could govern themselves, without the need for kings and queens.
浪漫主義也具有政治性，宣稱個體，人們能夠管理自己，不需要國王和王后。
There was an ideological struggle between a lot of young people, artists, people who wanted change, and people who didn’t.
很多年輕人、藝術家，渴望改變和不希望改變的人們之間存在著一種意識形態上的掙扎。
So of course Romanticism was controversial.
所以浪漫主義當然富有爭議。
