5月7日SAT測驗寫作部門比擬難。Essay部門的瀏覽文章選自2009年揭櫫在Vanity Fair上的由Christopher Hitchens寫的一片社論文章，講的是希臘古雕塑自己藝術代價極高，汗青上被損壞和平沽給英國，作者主意應當還給希臘。此次的 “The Lovely Stones” 和官方給出的大部門文章同樣, 遵守一個模式：出現一個題目+剖析題目配景+號令行動。
難度高於OG的文章和2016年3月北美的文章，主如果由於觸及較多汗青、雕塑等專業辭匯，很多考生大概瀏覽要花較多時光瀏覽且懂得難度大。
如下是本次測驗寫作瀏覽原文：
The great classicist A. W. Lawrence (illegitimate younger brother of the even more famously illegitimate T.E. “of Arabia”) once remarked of the Parthenon that it is “the one building in the world which may be assessed as absolutely right.” I was considering this thought the other day as I stood on top of the temple, and watched the workshop that lay below and around me. Putting the rightest, or most right, building to rights means that the workers must use marble from a quarry in the same mountain as the original one, that they must employ old-fashioned chisels to carve, along with traditional brushes and twigs, and that they must study and replicate the ancient Lego-like marble joints with which the master builders of antiquity made it all fit miraculously together.
The damage done by the ages to the building, and by past empires and occupations, cannot all be put right. But there is one desecration and dilapidation that can at least be partially undone. Early in the 19th century, Britain’s ambassador to the Ottoman Empire, Lord Elgin, sent a wrecking crew to the Turkish-occupied territory of Greece, where it sawed off approximately half of the adornment of the Parthenon and carried it away. As with all things Greek, there were three elements to this, the most lavish and beautiful sculptural treasury in human history. Under the direction of the artistic genius Phidias, the temple had two massive pediments decorated with the figures of Pallas Athena, Poseidon, and the gods of the sun and the moon. It then had a series of 92 high-relief panels, or metopes. The most intricate element was the frieze, carved in bas-relief, which showed the gods, humans, and animals that made up the annual Pan-Athens procession: there were 192 equestrian warriors and auxiliaries featured, which happens to be the exact number of the city’s heroes who fell at the Battle of Marathon.
Ever since Lord Byron wrote his excoriating attacks on Elgin’s colonial looting, first in Childe Harold’s Pilgrimage (1812) and then in The Curse of Minerva (1815), there has been a bitter argument about the legitimacy of the British Museum’s deal. I’ve written a whole book about this controversy and would just make this one point. If the Mona Lisa had been sawed in two during the Napoleonic Wars and the separated halves had been acquired by different museums in, say, St. Petersburg and Lisbon, would there not be a general wish to see what they might look like if re-united? If you think my analogy is overdrawn, consider this: the body of the goddess Iris is at present in London, while her head is in Athens. The front part of the torso of Poseidon is in London, and the rear part is in Athens. And so on. This is grotesque.
It is unfortunately true that the city allowed itself to become very dirty and polluted in the 20th century, and as a result the remaining sculptures and statues on the Parthenon were nastily eroded by “acid rain.” And it’s also true that the museum built on the Acropolis in the 19th century, a trifling place of a mere 1,450 square meters, was pathetically unsuited to the task of housing or displaying the work of Phidias. But gradually and now impressively, the Greeks have been living up to their responsibilities. Beginning in 1992, the endangered marbles were removed from the temple, given careful cleaning with ultraviolet and infra-red lasers, and placed in a climate-controlled interior. Alas, they can never all be repositioned on the Parthenon itself, because, though the atmospheric pollution is now better controlled, Lord Elgin’s goons succeeded in smashing many of the entablatures that held the sculptures in place. That leaves us with the next-best thing, which turns out to be rather better than one had hoped.
About a thousand feet southeast of the temple, the astonishing new Acropolis Museum will open on June 20. With 10 times the space of the old repository, it will be able to display all the marvels that go with the temples on top of the hill. Most important, it will be able to show, for the first time in centuries, how the Parthenon sculptures looked to the citizens of old.
The Acropolis Museum has hit on the happy idea of exhibiting, for as long as following that precedent is too much to hope for, its own original sculptures with the London-held pieces represented by beautifully copied casts. This has two effects: It allows the visitor to follow the frieze round the four walls of a core “cella” and see the sculpted tale unfold (there, you suddenly notice, is the “lowing heifer” from Keats’s Ode on a Grecian Urn). And it creates a natural thirst to see the actual re-assembly completed. So, far from emptying or weakening a museum, this controversy has instead created another one, which is destined to be among Europe’s finest galleries. And one day, surely, there will be an agreement to do the right thing by the world’s most “right” structure.
文章和寫作思緒剖析：
1、文章剖析
文章主題是英國應當清償屬於希臘的幾件雕塑作品。
P1：經由過程A. W. Lawrence的話引出本文主角 the Parthenon希臘的帕台農神殿。
P2：細數帕台農神殿的悲催汗青，如曾被封閉，無人問津，以後被改建為基督教教堂，又被土耳其部隊用作工事，被炸彈緊張損毀，被納粹占據，總之一起被虐。實在原文第三段首句便是對本段最佳的總結：The damage done by the ages to the building。
P3：回想完汗青後，作者在本段亮出概念： But there is one desecration and dilapidation that can at least be partially undone. 舊事雖已成舟，但有一件劣跡尚可挽回，即英國在19世紀暴力鋸下並搶奪了神殿裏快要一半的裝潢性雕塑作品，現在應當完璧歸趙，個中藝術代價最高的三塊浮雕是包含兩大塊山型墻飾(pediments)和一條雕帶(freize)。段末誇大了一下這條雕帶上的浮雕報告了一個聯貫的故事( a continuous narrative)且有一半被賣到了英國倫敦，表示了物歸原主的需要性。
P4：作者用了一系列類最近論證上段中那筆生意業務分歧理，一是《蒙娜麗莎》被鋸成兩半然後被分歧博物館朋分，二是希臘神話裏的彩虹女神身首異處，等等，段末給出結論This is grotesque.
P5：開端妥協，認可希臘確切曾茍且偷安，任其雕塑被雨打風吹去。然後辯駁，說希臘人已開端承當義務去掩護那些藝術作品，並用了一個究竟支撐。 Beginning in 1992, the endangered marbles were removed from the temple, given careful cleaning with ultraviolet and infra-red lasers, and placed in a climate-controlled interior.
P6：持續擺出更多究竟支撐上段主題，如神殿鄰近會新開一家博物館Acropolis Museum，旨在展現神殿的雕塑。
P7 ：說英國可以持續死撐著不還，然則Acropolis Museum已盤算辦一個展覽，展出本身珍藏的一半真跡，被英國搶走的一半則用仿品取代，如許觀光者天然就會盼望看到完全的真跡，試圖經由過程國民大眾向英國施壓。末了末端說終有一日可以合璧。
2、寫作思緒剖析
本文寫作角度可以有如下這些：
word choice/appeal to emotion：P2裏在描寫神殿悲涼汗青時作者用到了一些比擬重的詞，如tragic result ， huge damage ，Most horrible of all, 以此來喚起讀者憐憫之心，為以後段落打好情感基本。
reasoning：P3裏對那條雕帶(freize)描寫時誇大了一下這條雕帶上的浮雕報告了一個聯貫的故事( a continuous narrative)且有一半被賣到了英國倫敦。可以懂得為作者從理性的角度跟讀者講事理，你看只有一半連故事在講甚麽都不曉得，多沒意思。
irony：P3末了說那條雕帶其時是被人平沽還債的 having been sold well below cost by Elgin to the British government in 1816 for $2.2 million in today’s currency to pay off his many debts.相稱荒謬的一個橋段，仍然論證生意業務的分歧理。
analogy(stylistic elements)：P4中的一系列類比，如《蒙娜麗莎》被鋸成兩半然後被分歧博物館朋分，如希臘神話裏的彩虹女神身首異處，等等，經由過程荒謬的假如論證帕台農神殿雕塑被賣給英國的分歧理性。
concession and rebuttal(stylistic elements)：P5和6，先妥協，認可希臘確切曾沒把那些雕塑當回事。然後辯駁，用了一系列究竟說希臘人已開端覺悟並承當義務去掩護那些藝術作品。
evidence：上面提到的P5-6裏的一系列究竟。
本次測驗瀏覽文章的難點重要便是在瀏覽上，文章中有較多的專業辭匯假如考生對這些辭匯看不懂的話那末瀏覽起來比擬艱苦。讀懂以後文章的思緒會比擬清楚，寫作手段典範且豐碩。此次的寫作測驗反應出來在日常平凡的瀏覽量的主要性，這也是眾人備考的重要偏向。
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