英美文學(xué)史(英國(guó))知識(shí)點(diǎn)匯總

英美文學(xué)史(英國(guó))知識(shí)點(diǎn)匯總英美文學(xué)史(英國(guó))知識(shí)點(diǎn)匯總英美文學(xué)史(英國(guó))知識(shí)點(diǎn)匯總xxx公司英美文學(xué)史(英國(guó))知識(shí)點(diǎn)匯總文件編號(hào)：文件日期：修訂次數(shù)：第1.0次更改批準(zhǔn)審核制定方案設(shè)計(jì)，管理制度英美文學(xué)期末復(fù)習(xí)Chapter1TheOldandMedievalPeriod中古時(shí)期AnIntroduction：最早的英國(guó)居民：CeltsIn43AD,RomanconqueredBritain,makingthelatteraprovinceofRomanEmpire.公元43年，羅馬征服英國(guó)，將其變成羅馬帝國(guó)的一個(gè)省份。In449JutescametoBritaintosettlethere.FollowingtheJutescameAnglesandSaxons.449年，朱特人定居英國(guó)，緊跟著是安格魯和撒克遜人。GermanicmeanstheAnglos,theSaxonsandtheJutes.日耳曼族包括了安格魯、薩克遜和朱特人。Anglo-Saxonpoetryisboldandstrong,mournfulandelegiacinspirit.安格魯撒克遜詩(shī)歌大膽而有力，悲傷且憂郁。ThesetribesfromNorthernEuropetogethercreatedtheunitedkingdom--Anglo-SaxonEngland("Angle-land").這些來(lái)自北歐的部落創(chuàng)建了聯(lián)合王國(guó)--安格魯撒克遜英格蘭(in449)TheirdialectsnaturallygrewintoasinglelanguagecalledAngle-ishorEnglish,theancestorofthepresent-dayEnglish.他們的方言自然而然地成為了一種單一的語(yǔ)言--盎格魯語(yǔ)或者英語(yǔ)。TheoldEnglishweredividedintotwogroups:①religiousgroup②seculargroup古英語(yǔ)詩(shī)歌被分成兩類：①宗教②世俗Thereligiousgroupismainlyonbiblicaltheme.宗教詩(shī)歌通常以圣經(jīng)為主題。Beowulfisthegreatestnationalepicpoem.貝奧武夫是最偉大的民族史詩(shī)。1066,NormanConquest.1066年，諾曼人征服英格蘭。NormanconquestofAnglo-SaxonEngland,underWilliam,DukeOfNormandyafterthebattleofHastingin1066,acceleratedthedevelopmentoffeudalisminEngland.諾曼人征服了安格魯撒克遜英格蘭，在諾曼底公爵威廉的帶領(lǐng)下，加速了英格蘭的封建主義發(fā)展。NormanConquestestablishedafeudalsysteminEngland.（Politically）諾曼征服在英格蘭建立了封建主義體制。（政治上）TheRome-backedCatholicChurchhadamuchstrongercontroloverthecountry.（Religiously）受羅馬支持的天主教堂權(quán)力超過(guò)了國(guó)家權(quán)力。（宗教上）WiththeNormanConquest,themedievalperiodofEnglishliteraturestarted.隨著諾曼征服，中世紀(jì)英語(yǔ)文學(xué)誕生了。TheliteraturewhichNormansbroughttoEnglandisremarkableforitsbright,romantictalesofloveandadventure.諾曼人帶來(lái)英格蘭的文學(xué)以其光明、浪漫愛(ài)情故事和冒險(xiǎn)著稱。Romance,whichusesnarrativeverseorprosetosingknightlyadventuresorotherheroicdeeds,ispopularliteraryforminthemedievalperiod.那些使用敘述詩(shī)和三問(wèn)來(lái)歌頌騎士冒險(xiǎn)和其他英雄事跡的傳奇文學(xué)，在中古世紀(jì)的文學(xué)中廣受歡迎。ThestructureofRomanceislooseandepisodic,thelanguageissimpleandstraightforward.傳奇文學(xué)的寫作結(jié)構(gòu)：松散&插話式；語(yǔ)言：簡(jiǎn)樸&直接ThreemajorthemeofRomance:傳奇文學(xué)的三個(gè)主要主題：ThematterofFrance:aboutCharlemagneandhispeer/knights關(guān)于法國(guó)：查理曼大帝和他的騎士ThematterofGreeceandRome:aboutAlexanderthegreatandtheTrojanWarandthefallofTroy.關(guān)于希臘羅馬：亞歷山大帝、特洛伊戰(zhàn)爭(zhēng)和特洛伊之衰亡ThematterofBritain:KingArthurandhisRoundTableKnight.關(guān)于大不列顛：亞瑟王和他的圓桌騎士TheauthorofSirGawainandGreenKnightistheonewhoproducedthebestromanceoftheperiod.高文爵士和綠衣騎士的作者創(chuàng)造了該時(shí)期最好的傳奇文學(xué)。OldEnglishpoetrywasdividedintotwogroups:Thereligiousgroup&Theseculargroup.中古世紀(jì)代表文學(xué)人物：GeoffreyChaucer,WilliamLangland,JohnGower傳奇文學(xué)的特點(diǎn)：TheNatureoftheRomance:與貴族相關(guān)1）Themes:Loyaltytothekingandthelord,whichwasthecorner-stoneoffeudalmorality.2）Theaudiencewasofnoblepeoplefromthecourtorthecastle.3）TheRomancehadnothingtodowiththecommonpeople.4）TheRomancewerewrittenforthenoble,ofthenobleandinmostcasesbythepoetspatronizedbythenobleFolkBallads民謠Aballadisaformofverse,oftenanarrativesettomusic.BalladswereparticularlycharacteristicofBritishandIrishpopularpoetryandsongfromthelatermedievalperioduntilthe19thcenturyandusedextensivelyacrossEuropeandlaterNorthAmerica,AustraliaandNorthAfrica.歌謠是一種體裁，通常是音樂(lè)的一種敘述。從中世紀(jì)后期到19世紀(jì)，歌謠是英國(guó)和愛(ài)爾蘭流行詩(shī)歌和歌曲的顯著特征，并且在歐洲被廣泛使用，一直到后來(lái)的北美，澳大利亞，北非。Itsstylisticfeatureshavederivedfromtheiroralnature:民謠的文體風(fēng)格源自于他們的口語(yǔ)性：thesimplelanguage;簡(jiǎn)單的語(yǔ)言itswonderfulstorywhichdealsonlywiththeculminatingincidentorclimaxofaplot.精彩的故事（只涉及情節(jié)的高潮和結(jié)局）itsdominantmoodortone.顯著的情感基調(diào)和語(yǔ)調(diào)fulluseofhyperbole.充滿了夸張手法theuseofrefrainsandotherkindsofrepetition.使用了疊句或者是其他的重復(fù)GeoffreyChaucer杰弗里·喬叟和坎特伯雷故事集GeoffreyChaucer(1343-1400),FatherofEnglishpoetry,founderofEnglishrealism,forerunnerofEnglishhumanism,andthefirstgreatwriterwhowroteinEnglishlanguage杰弗里·喬叟是英國(guó)詩(shī)歌之父,英國(guó)現(xiàn)實(shí)主義的創(chuàng)始人，英國(guó)人文主義的先驅(qū)，是第一個(gè)用英語(yǔ)寫作的偉大作家。Hehadthreeperiodinhisliterarycareer:在他的文學(xué)生涯中有三個(gè)階段：TheFrenchperiod(TheBookoftheDuchess)法語(yǔ)時(shí)期：《公爵夫人的書》TheItalianperiod(TroilusandCriseyde)意大利語(yǔ)時(shí)期：《特洛伊羅斯與克麗西達(dá)》Thematureperiod(TheCanterburyTales)成熟時(shí)期：《坎特伯雷故事集》Heestablishedtherhymedcoupletof5accentsiniambicmeter(theheroiccouplet)inEnglishpoetry.在英語(yǔ)詩(shī)歌總，他在抑揚(yáng)格中創(chuàng)建了五個(gè)重音的押韻對(duì)句（英雄雙韻體）HewroteinMiddleEnglish,LondondialectfromwhichModernEnglishisdescended.他用中世紀(jì)英語(yǔ)，倫敦方言進(jìn)行創(chuàng)作，倫敦方言是現(xiàn)代英語(yǔ)的起源。Hisachievements:ForerunnerofHumanism人文主義先驅(qū)ThefounderofEnglishRealism英國(guó)現(xiàn)實(shí)主義創(chuàng)始人FatherofEnglishpoetry(calledbyJohnDryden)英國(guó)詩(shī)歌之父MasterofEnglishLanguage英語(yǔ)語(yǔ)言大師heroiccouplet英雄雙韻體（兩行相互押韻、每行分五音步的）英雄偶句詩(shī)acoupletconsistingoftworhymedlinesofiambicpentameterandwritteninanelevatedstyle.雙韻體由兩行押韻的五步抑揚(yáng)格組成，以一種振奮的文體寫作。iambicpentameter:五步抑揚(yáng)格Oneiambic=onefoot=softloud.一個(gè)抑揚(yáng)格=一個(gè)音步=一個(gè)輕音+一個(gè)重音TheCanterburyTalesItdepictsarich,tapestryofmedievalsociallife,combiningelementsofallclasses,fromnoblestoworkers,frompriestsandnunstodrunkardsandthieves.坎特伯雷故事集描繪了一個(gè)豐富多彩的中世紀(jì)社會(huì)生活，結(jié)合了所有階級(jí)元素，上至貴族、牧師和修女，下至工人、酒鬼和小偷。WhenTheCanterburyTaleswerewritten:1386坎特伯雷故事集創(chuàng)作時(shí)間：1386.（真正靜下心創(chuàng)作的時(shí)間）Planned:120tales計(jì)劃120個(gè)故事Completed:22and2fragments實(shí)際完成22個(gè)故事和2個(gè)故事碎片Remaining:80manuscripts遺留了80個(gè)手稿Varietyofgenres:generalprologueisestatessatire題材多樣：總序?yàn)橹S刺Pilgrimageasaframingdevicefortales以朝圣為故事線序言：故事發(fā)生時(shí)間：Spring朝圣人數(shù)：30（加上Chaucer本人）Whydidtheygothere（朝圣目的）：Toseektheholyblissfulmartyr,quickTogivehishelptothemwhentheyweresick.去拜謝恩澤萬(wàn)民的殉難圣徒，因?yàn)槿藗冇胁r(shí)他給予救助。修女形象：BasedonPrioress’sportrait,canyougiveapossiblereasonwhysheisundertakingthispilgrimage【課后題】基于對(duì)修道院院長(zhǎng)的描述，你能說(shuō)一下她為什么要參加朝圣嗎--Shewantstolookfortheworldlylove.Thesentences”Amorvincitomnia”means“Loveconquersall”,whichcanshowsthePrioressisasecularpersonandshedoesn’tgiveupthesecularthingsatall.她想尋找世俗的愛(ài)?！癆morvincitall”這句拉丁文意思是：愛(ài)能征服一切。從這句話可以看出她是一個(gè)世俗的人并且無(wú)法完全放棄世俗的一切。Chaucerdescribestheprioressasanexampleofthebasichumanparadox,whichplaceswhatpeopleareinoppositiontowhattheythinktheyarepretendtoportraitoftheprioressdoseseemtobeacourtlyheroineorromanceratherthanamotto"Loveconquersall'impliesherdoublepilgrimagetotheshrineofVenusandthatofChrist.DoyouthinkthePrioressisportrayedbyChaucerasaperfectladyoraperfectnun--AperfectladyWhichdetailsuggestthatthePrioressmaybetryingtoappearmoresophisticatedthanshereallyis--Thewayshetalks,thelanguagesheuses,hertablemannersandhercourtliness.WhatseemstobethemotivesofferedforthepilgrimageInwhatwaysaretheseasonandthenatureimagesimportantfactors【課后題】Themotivesofferedforthepilgrimageisthatthepilgrimslongtoseekthestrangecountriesofdistantsaintsandespecially,theywanttoseektheholymartyrinCanterbury,whogavethemhelpwhentheyweresick.Atthebeginningofthepoem,thepoetintroducesthebestseasonofgoingpilgrimagebydescribingthesweetshowerinApril,whichengendersflowers,thewestwind,whichblowsuponthetendershoots,andthesmallbirdsinthewarmsun,whicharemakingmelodies.Therefore,theseasonandnaturestimulatepeople’sdesiretogopilgrimageandsettheoptimisticatmosphere.Intheseways,theyserveastheimportantfactorsforthepoettodevelophisnarrationofthestories.Chapter2TheRenaissancePeriod文藝復(fù)興時(shí)期（the14thcenturymid-17thcentury.）AnIntroductionRenaissancemarksthetransitionfromthemedievaltothemodernworld.文藝復(fù)興標(biāo)志著中世紀(jì)到現(xiàn)代世界的過(guò)渡。ItfirststartedinItalyinthe14thcenturyandgraduallyspreadalloverEurope.文藝復(fù)興起源于14世紀(jì)的意大利，并逐漸傳遍整個(gè)歐洲。Theword“Renaissance”meansrebirthorrevival.“文藝復(fù)興”一詞意味著重生/復(fù)興。Inessence,itisahistoricalperiodinwhichtheEuropeanhumanistthinkersandscholarsmadeattemptstogetridofthoseoldfeudalistideasinmedievalEuropeandintroducenewideasthatexpressedtheinterestsoftherisingbourgeoisie,andtolifttherestrictioninallareasplacedbytheRomanCatholicChurchauthorities本質(zhì)上，文藝復(fù)興是歐洲人文主義思想家和學(xué)者嘗試去擺脫中世紀(jì)歐洲那些舊封建思想并引入表達(dá)新興資產(chǎn)階級(jí)利益觀點(diǎn)、取消羅馬天主教會(huì)對(duì)所有地區(qū)的限制的一個(gè)時(shí)期。TheRenaissanceoriginallyreferstotherevivalofclassicalartsafterthedarkages.文藝復(fù)興起初指的是古典文學(xué)的復(fù)興。ThreehistoricaleventsoftheRenaissance–rebirthorrevival:1.newdiscoveriesingeographyandastrology2.thereligiousreformationandeconomicexpansion3.rediscoveryofancientRomanandGreekcultureClassicArts:Greek/Roman/Latin.Twofeaturesofrenaissance:1.Itisathirstingcuriosityfortheclassicalliterature.PeoplelearnedtoadmiretheGreekandLatinworksasmodelsofliteraryform.對(duì)古典文學(xué)的好奇2.Itisthekeeninterestintheactivitiesofhumanity.注重人本身TheWarsoftheRoseswereaseriesofEnglishcivilwarsforcontrolofthethroneofEnglandfoughtbetweensupportersoftworivalbranchesoftheroyalHouseofPlantagenet:theHouseofLancaster,associatedwitharedrose,andtheHouseofYork,whosesymbolwasawhiterose.玫瑰戰(zhàn)爭(zhēng)：thehouseofYorkandthehouseofLancaster.ThefinalvictorywenttoarelativeandclaimantoftheLancastrianparty,HenryTudor,whodefeatedRichardIIIattheBattleofBosworthField.TheruleofTudor.戰(zhàn)爭(zhēng)最后是Lancaster家族贏得王座。亨利三世建立都鐸王朝。Humanismisthekey-noteoftheRenaissance.人文主義是文藝復(fù)興的關(guān)鍵。Itreflectedthenewoutlookoftherisingbourgeoisclass.文藝復(fù)興反映了新興資產(chǎn)階級(jí)的新展望。Humanistsemphasizethedignityofhumanbeingsandtheimportanceofthepresentlifeandbelievethatmandidnotonlyhavetherighttoenjoythebeautyofthislife,buthadtheabilitytoperfecthimselfandtoperformwonders.人文主義者強(qiáng)調(diào)人類的尊嚴(yán)和現(xiàn)世生活的重要性，他們認(rèn)為人不僅僅擁有享樂(lè)權(quán)利還有完善自我和創(chuàng)造奇跡的能力。Theyalsoexpressedtheirrebelliousspiritagainstthetyrannyoffeudalruleandecclesiasticaldomination.人文主義者還表達(dá)了他們對(duì)封建制度和教會(huì)統(tǒng)治的反抗精神。ThomasMore,ChristopherMalloweandWilliamShakespearearethebestrepresentativesoftheEnglishhumanists.英國(guó)人文主義代表：ThomasMore,ChristopherMalloweandWilliamShakespeareHumanismbegantotakeholdinEnglandwhentheDutchscholarDesideriusErasmuscametoteachtheclassicallearning,firstatOxfordandthenatCambridge.（1466-1536）當(dāng)荷蘭學(xué)者來(lái)到英國(guó)傳授古典學(xué)習(xí)時(shí)，人文主義開(kāi)始在英格蘭盛行。ReligiousReformation宗教改革主要發(fā)起人：MartinLuther馬丁·路德Thosereformationsimprovedthecommonpeople’ssocialposition,andemancipatedthehumanbeings’thoughts.影響：提高了普通人的社會(huì)地位，解放人們思想。WilliamCaxton：thefirstpersonwhointroducedprintingintoEngland.第一個(gè)將印刷術(shù)傳入英格蘭的人StagesandTrendsofEnglishLiteratureoftheRenaissance:文藝復(fù)興時(shí)期英國(guó)文學(xué)的發(fā)展趨勢(shì)(1)ThefirststageisthepoetryfromtheintroductionoftheprintingpresstothewritingsofThomasMore,toofWyattandSurrey.第一階段：從ThomasMore著作中對(duì)印刷術(shù)的介紹，到詩(shī)人WyattandSurrey的作品【W(wǎng)yatt引入意大利十四行詩(shī)sonnet；Surrey帶來(lái)無(wú)韻詩(shī)Blankverse.】(2)Thenfollowedthe“ElizabethanAge”(1558-1603),especiallythelasttwodecadesofthe16thcentury第二階段：伊麗莎白時(shí)期，尤其是16世紀(jì)最后二十年。a.thepoetryofSidney,SpencerandthenJohnDonne（詩(shī)歌）b.thedramasoftheUniversityWitsandShakespeare(thefloweringtime)（戲劇最主流）(3)ThelaststageistheliteratureoftheJacobeanperiod.representativefigures:FrancisBacon&BenJonson.EdmundSpenser：Spenserwasthegreatestnon-dramaticpoetoftheElizabethanAge.Spenserhasbeencalledthe“poets’poet”,becauseofhisidealism,hisloveofbeauty,andhisexquisitemelody.Spenserhasexertedgreatinfluenceonlaterpoets.Representativeworks:TheFaerieQueene《仙后》WilliamShakespeareHeproduced37plays,154sonnetsandtwolongpoems.37部戲劇，154首十四行詩(shī)，兩首敘述長(zhǎng)詩(shī)。Hislifecanbedividedinto4stages:Thefirstperiod(1590-1594):apprenticeshipFourhistoryplays:1590，HenryⅥ,part2《亨利六世，中》1590，HenryⅥ,part3《亨利六世，下》1591，HenryⅥ,part1《亨利六世，上》1592，RichardIII《查理三世》TitusAndronicus《泰特斯安特洛尼克斯》Fourcomedies：

1592，TheComedyofErrors《錯(cuò)誤的喜劇》1593，TamingoftheShrew《馴悍記》1594，TwoGentlemenofVerona《維洛那二紳士》1594，Love'sLabour’sLost《愛(ài)的徒勞》Onetragedy：1593，TitusAndronicus《泰特斯·安德洛尼克斯》Twonarrativepoems：1593，VenusandAdonis《維納斯與安東尼斯》1594，TheRapeofLucrece《魯克麗絲受辱記》Thesecondperiod(1595-1600):hisstyleandapproachbecamehighlyindividualized.Itisaperiodof“greatcomedies”andmaturehistoricalplays.Fivehistories：1595，RichardII《查理二世》1596,KingJohn《約翰王》1597，HenryIV,part1《亨利四世，上》1597，HenryIV,part2《亨利四世，下》1598，HenryV《亨利五世》Sixcomedies：1595，AMidsummerNight'sDream《仲夏夜之夢(mèng)》1596，TheMerchantofVenice《威尼斯商人》1598，TheMerryWivesofWindsor《溫莎的風(fēng)流娘兒們》1598，MuchAdoAboutNothing《無(wú)事生非》1599，AsYouLikeIt《皆大歡喜》1600，TwelfthNight《第十二夜》TwoRomantragedies：1599，JuliusCaesar《裘力斯·凱撒》1594，RomeoandJuliet《羅密歐與朱麗葉》Thethirdperiod(1601-1607)：Itisaperiodof“greattragedies”and“darkcomedies”.Thetragedies：1601，Hamlet《哈姆萊特》(soliloquy)1604，Othello《奧賽羅》1605，KingLear《李爾王》1605，Macbeth《麥克白》以上四部為“四大悲劇”1607，TimonofAthens《雅典的泰門》1602，TroilusandCressida《特洛勒斯與克里西達(dá)》TwoRomantragedies：1606，AntonyandCleopatra《安東尼與克麗奧佩特拉》1607，Coriolanus《克利奧蘭納斯》Twocomedies：1603，All'sWellThatEndsWell《終成眷屬》1604，MeasureforMeasure《一報(bào)還一報(bào)》4.Thefourthperiod(1608-1612)：Itistheperiodofromanticdrama.Fourcomedies：1608，Pericles,PrinceofTyre《泰爾親王配力克里斯》1609，Cymbeline《辛伯林》1610，Winter'sTale《冬天的故事》1611，TheTempest《暴風(fēng)雨》Twohistories：1612，HenryVIII《亨利八世》TwoNobleKinsmen《兩貴親》Sonnet18Sonnet18,oftenalternatelytitledShallIcomparetheetoasummer'sday,isoneofthebest-knownof154sonnetswrittenbytheEnglishplaywrightandpoetWilliamShakespeare.Sonnet18isatypicalEnglishorShakespeareansonnet.Sonnet18hasthecharacteristicrhymescheme:ababcdcdefefgg.莎士比亞對(duì)文學(xué)藝術(shù)的表達(dá)：permanentByputtinghislove'sbeautyintotheformofpoetry,thepoetispreservingitforever."Solongasmencanbreathe,oreyescansee,Solonglivesthis,andthisgiveslifetothee."Thelover'sbeautywillliveon,throughthepoemwhichwilllastaslongasitcanberead.Inthesonnet,thespeakercompareshisbelovedtothesummerseason,andarguesthathisbelovedisbetter.Healsostatesthathisbelovedwillliveonforeverthroughthewordsofthepoem.課后題：WhatimagesdoesShakespeareuseinordertostrengthenthethemesummerHowdoesShakespeareusethefinalcoupletforeffectThecoupletbringsoutthethemeandcomestoaconclusion.thepoetrylastforeverandsodoesthebeautyofthelover.Anicesummer’sdayisusuallytransient,butthebeautyinpoetrycanlastforever,thusithasafaithinthepermanenceofpoetry.(情人的美在詩(shī)中得到永恒)Whatisthevalueorsignificanceofthepoem’sthemetheme：praiseyourbeautyeternalofthepoemsasaformofartsTheMerchantofVenice《威尼斯商人》人物：Shylock/Portia/Bassanio/AntonioShylock：HelendsAntonio3,000ducatswithacatch:Ifnotpaidbackontime,Antonioshouldrepayapoundofflesh.借錢給安東尼Portia：Rich,beautifulandintelligent.假扮法官裁決Shylock和Antonio的案件Bassanio：HeaskshisfriendAntonioforhelp:borrowalargesumofmoneytoengagewithPortia.向安東尼借錢娶Portia.Antonio：HehelpshisfriendBassinio,butgetsintotroublewithShylock.向Shylock借錢，陷入麻煩。Summary：ThestorymainlytalksaboutthatBassaniowantstoengagewithPortia,buthelacksofmoneysoheaskshisfriend,Antonio,forhelp.Tohelphisfriend,AntonioborrowsalargesumofmoneyfromShylock,aJew,withaclausethatifnotpaidbackontime,Antonioshouldrepayapoundofflesh.AsShylockhadbeeninsultedbyChristians,heresentsalltheChristians,includingAntonio.Afterthat,BassaniogainstheloveofPortia.However,Antonio’sshipdoesn’tcomebackandtheyareunabletorepaythemoneywhichmeanshehastorepayapoundoffleshtoShylock.NomatterhowtheybeggedShylockformercy,Shylockinsistedonobeyingthatclause.Finally,Portiapretendedasalawyer,defeatingShylockintelligentlyandsavingAntonio’slife.重點(diǎn)問(wèn)題：IsShylockinanywayasympatheticcharacterWhyorwhynotYes,Shylockisasympatheticcharacterinsomeway.Atthattime,peopleweremoreorlesshostilityto,prejudiceagainstJews,evenoppress,exploitandexpelthem,whichmadeJewsliveahardlife.Besides,Jewsweresufferingreligiousprosecute.Theywereconsideredtobeevilandinferiorandcouldn’tbeequaltoChristians.Insuchenvironment,itisnormalthatShylockhasresentmentforotherpeople.What’smore,aftersufferingthedeathofhiswife,heraisedhisdaughteraloneandcaredmuchabouther,buthisdaughter’sbetraygavehimahugestrike.Allthesefactorsshapedthispatheticcharacter.(youcandevelopyourpointsformracialdiscriminationandreligiouspersecution,Shylock'ssufferings)JohnMiltonandParadiseLost彌爾頓和《失樂(lè)園》JohnMilton,Englishpoet,pamphleteer,andhistorian,consideredthemostsignificantEnglishauthorafterWilliamShakespeare.HeisalsoaPuritanwriter.Hewasgreatlyinfluencedbyhisfamily.Receivedgoodeducationduetotheprosperityofhisfamily.彌爾頓：英國(guó)詩(shī)人，小冊(cè)子學(xué)者，歷史學(xué)家，及莎士比亞之后的最具影響力的英國(guó)作者，清教徒文學(xué)代表。Threeliteraryperiods:Earlyperiod:poemswritteninCambridgeandatHorton;OntheMorningofChrist’sNativity《基督誕生晨頌》,firstimportantwork.L’Allegro《快樂(lè)的人》Penseroso《幽思的人》Lycidas《利西達(dá)斯》,expressingthepathosofhisfriendEdwardKing’sprematuredeath.屬于哀歌elegy。Middle-agedperiod:politicalarticlespamphlets;（背景：CivilWar）1.Areopagitica《論出版自由》aproseworkforthefreedomofthepress.2.pamphletsonreligiousreformOfReformationinEngland《論英國(guó)改革》3.DefenceoftheEnglishPeople《為英國(guó)人民聲辯》4.TheSecondDefenceoftheEnglishPeople《再為英國(guó)人民聲辯》toanswerSalmasius’accusation3.Theperiodofhisoldage:threegiantworks.ParadiseLost(masterpiece)《失樂(lè)園》ThepoemconcernsthebiblicalstoryoftheFallofMan:thetemptationofAdamandEvebythefallenangelSatanandtheirexpulsionfromtheGardenofEden.Milton'spurpose,statedinBookI,isto"justifythewaysofGodtomen"2.ParadiseRegained《復(fù)樂(lè)園》3.SamsonAgonistes《力士參孫》poeticaldramaParadiseLost《失樂(lè)園》1.Milton’smasterpiece.2.Alongepicin12books.3.TakenfromtheOldTestament--TheGenesis.取自舊約-創(chuàng)世紀(jì)4.Majorcharacters:Satan,God,Archangel,Adam,Eve…5.ItisaboutSatan’srebellionagainstGodandtheexpulsionofAdamandEvefromtheGardenofEden.6.ThethemeofthepoemisarevoltagainstGod’sauthority.WhatdothemaincharactersresembleGod:selfishdespot（自私暴君）,cruel,unjustAdamandEveembodyMilton’sbeliefinthepowersofman,craving(longing)forknowledge.God’sangelsarefoolish,resemblingthecourtofanabsolutemonarch.SatanisarebelagainsttyrannyandSatanandhisfollowersresemblearepublicanParliament.WhatqualitiessustainhiminbottomlessperditionTheobdurateprideandsteadfasthate.Thoughthefieldmaybelost,whatisnotlosttheunconquerablewill,Andstudyofrevenge,immortalhate,Andcouragenevertosubmitoryield"WhatdoesSatansayaboutambitionToreignisworthambition,thoughinHell:BettertoreigninHellthanserveinHeaven.重點(diǎn)：1-20行、50-74行、105-124行SummaryofParadiseLost:Thisstorymainlytalksaboutthatthefallangel,Satan,defiedtheauthorityofGodandwassenttohell,whichmadehimwanttorevengebybreakingthenewworldcreatedbyGod.HeturnedhimselfintoasnakeandsneakedintoEden,inducingAdamandEvetoeattheforbiddenfruit.AsGodhadbeenforeseensuchscene,heaskedArchangelRaphaeltowarnAdamnottobetemptedandtellhimaboutthestoryofSatanandGod.However,Evedidn’trestrainherself,eatingtheforbiddenfruit.shealsopersuadedAdamtoeatthatfruit.Afterthat,GodwasfuriousaboutthemanddispelledthemoutoftheEdenasapunishment.Sincethen,theyhadbeenoutoftheirparadise.課后題：HowdoesSatanfeelaboutbeinginHellaccordingtothepoemSatanfeltangrywithGodforsendinghimtotheHell,sufferinggreattortures.However,hisafflictionanddismaymixedwithobdurateprideandsteadfasthate.AlthoughbeingcastdownintoHell,Satandoesnotrepent(后悔)ofhisrebellionagainstGod,suggestinginsteadthattheymightgathertheirforcesforanotherattack.SatanconsidershimselftheequaltoGodinreason.How,then,doesSatanexplainhisdefeatHesaidthatevenifhewasdefeatedbyGod,hedidn’tlosehisunconquerablewill,thepursuitofrevenge,theimmortalhateaswellasthecouragenevertosubmitoryield.SowhatdidGodwinHewouldneverbegforGod’smercybecauseitismoreshamefulthanbeingdefeated.HowdoesSatanseehimselfHeregardedthisdefeatasgloryandtriedtooverthrowGodagain.Hesaid“Bettertoreigninhellthanserveinheaven”.HowisSatan’sprideastragicasitisheroicHispridelethimoutofparadiseandintothehell,whichmadehimsuffergreatpainandtortures.However,hisprideshowshisrebelliousspirittowardGod.EvenhewasdefeatedbyGod,heneverlosehisfaith.Chapter3TheNeoclassicalPeriod新古典主義時(shí)期（1660-1798）HistoryBackground:Politicalandmilitaryunrest政治軍事動(dòng)蕩commercialwarconstantstrifebetweenthemonarchandtheparliamentreligiousconflictrulingclassandlaboringpoorFastdevelopmentofEnglandasanation英格蘭的快速發(fā)展Athome:ActsofEnclosure圈地運(yùn)動(dòng)TheIndustrialRevolution工業(yè)革命Abroad:VastexpansionofBritishcolonies英國(guó)殖民擴(kuò)張So,towardsthemiddleoftheeighteenthcentury,Englandhadbecomethefirstpowerfulcapitalistcountryintheworld.18th中期，英格蘭成為世界上第一個(gè)強(qiáng)大的資本國(guó)家。TheEnglishbourgeoisclass英國(guó)資產(chǎn)階級(jí)TheBritishbourgeoisormiddleclassbelievedinthefollowingnotionsasself-reliance,self-restraintandhardwork.英國(guó)城市資產(chǎn)階級(jí)或中產(chǎn)階級(jí)，相信三個(gè)理念：自律、自立、勞動(dòng)致富。Thepoliticalpowerofthemiddleclasswasfirmlyestablished.AnageofEnglightment啟蒙運(yùn)動(dòng)時(shí)期(起于法國(guó)-傳遍歐洲)ItwasaEuropeanintellectualandphilosophicalmovementofthe18thcenturythatemphasizedtheuseofreasonandscientificmethod.（理性和科學(xué)方法的使用）Theenlightenersheldthatthroughtheexerciseofreasonhumanbeingscouldclearawaythedarknessofignorance,intoleranceandprejudice,andmovetowardsamorejustandbetterlife.（理性實(shí)踐）Theenlightenersadvocateduniversaleducation.Theybelievedthathumanbeingswerelimited,dualistic,imperfect,andyetcapableofrationalityandperfectionthrougheducation.問(wèn)題：WhatgreateventshappenedinthisperiodRestoration王朝復(fù)辟theGreatPlague大瘟疫LondonFire倫敦火災(zāi)GloriousRevolution光榮革命2.Whywesaythisperiodisa“periodofunrest”commercialwarconstantstrifebetweenthemonarchandtheparliamentreligiousconflictrulingclassandlaboringpoorNeoclassicism:Inthefieldofliterature,theEnlightenmentMovementbroughtarevivalofinterestintheoldclassicalworks.Thistendencyisknownasneoclassicism.LiteraryGenreintheNeoclassicismperiod1.PoetryPoetryshouldbelyrical（抒情的）,epical（敘事的）,didactic（說(shuō)教的）,satiricordramatic.Representative:JohnDryden,AlexanderPope2.NovelthemodernEnglishnovel現(xiàn)代英語(yǔ)小說(shuō)RobinsonCrusoe《魯賓遜漂流記》thefirstsuccessfulEnglishnovel.注：RobinsonCrusoe:anadventuroustale冒險(xiǎn)故事apictureofearlycapitalistandcolonialistactivitiesofEngland早期英國(guó)資本家和殖民活動(dòng)。“firstsuccessfulEnglishnovel”(Page66)“oneoftheoriginatorsofrealisticfiction”現(xiàn)實(shí)主義小說(shuō)創(chuàng)始著作之一。Representative：DanielDefoe3.Shiftshiftofinterest興趣轉(zhuǎn)變Gothicnovels哥特式小說(shuō)Graveyardschool墓園學(xué)派preromanticpoems前浪漫詩(shī)歌4.DramaRepresentative：RichardBrinsley,RichardSteeleandJonathanSwiftDanielDefoe：oneoftheforerunnersoftheEnglishrealisticnovel.JonathanSwift：Gulliver'sTravelsman-likecreaturesYahoosAmodestProposalthebestmodelofsatire.RichardBrinsleySheridan：theleadingfigureamongahostofplaywrights.GraveyardPoetry墓園派詩(shī)歌Thistermisappliedtoaminorbutinfluential18th-centurytraditionofmeditativepoemsonmoralityandimmortality.Thebest-knownexampleisThomasGray’s“ElegywritteninaCountryChurchyard”.《墓園挽歌》Thesemelancholicpoemsconstituteasignificantcurrentofpreromanticism.WilliamBlakeandRobertBurns（作家）WilliamBlakeHewasanon-conformistandanti-establishmentthinker.不順從公認(rèn)習(xí)慣的/反抗權(quán)威TwoCollections:SongsofInnocence1789SongsofExperience1794TwocontrarystatesofhumansoulTheformerexpressesthepoet’sdelightinlife,whilethelatter’satmosphereissadandgloomy.TheMarriageofHeavenandHell（1792）：wasinfusedwithmysticismandcomplexsymbolism;isanimportantlandmarkinhispoeticcareer.Hisworks:SongsofInnocence（1789）SongsofExperience（1794）TheMarriageofHeavenandHell（1792）TheBookofUrizen（1794）TheSongofLos（1795）Milton（1802）PoemTheFourZoas（1803）Jerusalem（1804）RobertBurnsBurnswrotepoemsandsongsintheScottishdialectandinthetraditionofScottishfolksongs.Theyareshortandlyricalandmelodious.HeisregardedasavoiceoftheScottishcommonpeopleandanimportantpoetoftheperiodofpreromanticEnglishliterature.HewasconsideredapioneerintheRomantic,socialist,andliberalismmovements,satirist.Hisworks：OOnceILoved（1774）firstpoemChieflyintheScottishDialect（1786）--firstworkTheScotsMusicalMuseum（1787）ScottishsongARed,RedRose課后題【主題：Love&passion】Whyistheword“red”repeatedinthefirstlineTostiranechoeffectandintensifyhisemotion.whatothersimilesdoesthespeakerusetodescribehisloveRoseandmelody.WhatimagesdoesthespeakerusetoshowhisstrongloveforhisbelovedSeasandSun.WhatotherthemesdoesthispoemcarrybesidethelovethemeLoveandPassionJonathanSwiftandGulliver’sTravelsJonathanSwiftJonathanSwift(30November1667–19October1745)wasanAnglo-Irishsatirist,essayist,politicalpamphleteer(firstfortheWhigs,thenfortheTories),poetandclericwhobecameDeanofStPatrick'sCathedral,Dublin.HeisregardedbytheEncyclopediaBritannicaastheforemostprosesatiristintheEnglishlanguage,andislesswellknownforhispoetry.Heisoneofthegreatestwritersofsatiricprose.Hisworks：TheBattleoftheBooks《書籍之戰(zhàn)》（1704）ATaleofaTub《無(wú)稽之談》（1704）Drapier’sLettersAModestProposal--aclassicsatiricalworkGulliver’sTravels（1721-1725）allegoricalattackonthevanityandhypocrisyofcontemporarycourts,statesmenandpoliticalparties.Gulliver’sTravels格列夫游記（原名:TravelsintoSeveralRemoteNationsoftheWorld.）Thebookcontainsfourparts,eachdealingwithoneparticularvoyageduringwhichGullivermeetswithextraordinaryadventuresonsomeremoteislandafterhehasmetwithshipwreckofpiracyofsomeothermisfortune.Gulliver'sTravels(1726),asawhole,isoneofthemosteffectiveanddevastatingcriticismsandsatiresofallaspectsinthethenEnglishandEuropeanlife-socially,politically,religiously,philosophically,scientifically,andmorally.Itssocialsignificanceisgreatanditsexplorationintohumannatureprofo