lawrence勞倫斯作品賞析和英國(guó)現(xiàn)代主義文學(xué)簡(jiǎn)介-課件

Chapter5TheModernPeriod

I.ModernperiodItisfromthesecondhalfofthe19thcenturyandtheearlydecadesofthe20thcentury.

II.Background

ThecatastrophicFirstWorldWartremendouslyweakenedtheBritishEmpireandbroughtaboutgreatsufferingstoitspeopleaswell.ThepostwareconomicdislocationandspiritualdisillusionproducedaprofoundimpactupontheBritishpeople,whocametoseetheprevalentwretchednessincapitalism.

1.TheinfluencesofthetwoWorldWarsonBritainTheSecondWorldWarmarkedthelaststageofthedisintegrationoftheBritishEmpire.Britainsufferedheavylossesinthewar:thousandsofpeoplewerekilled;theeconomywasruined;andalmostallitsformercolonieswerelost.Theoncesun-never-setEmpirefinallycollapsed.

III.Culturebackground

AlltheseradicalchangesgaverisetoallkindsofphilosophicalideasinWesternEurope.Inthemid-19thcentury,a.KarlMarxandEngelsputforwardthetheoryofscientificsocialism,whichnotonlyprovidedaguidingprinciplefortheworkingpeople,butalsoinspiredthemtomakedauntlessfightsfortheirownemancipation.

b.Darwin’stheoryofevolutionexertedastronginfluenceuponthepeople,causingmanytolosetheirreligiousfaith.“survivalofthefittest.”c.Einstein’stheoryofrelativityprovidedentirelynewideasfortheconceptsoftimeandspace.d.Freud’sanalyticalpsychologydrasticallyalteredourconceptionofhumannature.

j.AftertheFirstWorldWar,allkindsofliterarytrendsofmodernismappeared:expressionism,surrealism,futurism,Dadaism,imagismandstreamofconsciousness.一戰(zhàn)后，所有的現(xiàn)代主義文學(xué)潮流都產(chǎn)生了：表現(xiàn)主義（強(qiáng)調(diào)自我表現(xiàn)，反對(duì)藝術(shù)的目的性），超現(xiàn)實(shí)主義，未來(lái)主義，達(dá)達(dá)主義（頹廢派文藝），意象主義以及意識(shí)流等等。

AftertheSecondWorldWar，avarietyofmodernism，orpost-modernism，likeexistentialistliterature，theateroftheabsurd，newnovelsandblackhumor,rosewiththespuroftheexistentialistideathat"theworldwasabsurd，andthehumanlifewasanagony."二戰(zhàn)后，另一種形式的現(xiàn)實(shí)主義，即后現(xiàn)代主義，比如存在主義文學(xué)，荒誕派戲劇，新小說(shuō)及黑色幽默，如雨后春筍涌現(xiàn)出來(lái)，其理論基礎(chǔ)便是存在主義所講的“世界是荒謬的，人生則是巨大的痛苦”。IV.ModernismItisareactionagainstrealism.Itrejectsrationalismwhichisthetheoreticalbaseofrealism;itexcludesfromitsmajorconcerntheexternal,objective,materialworld,whichistheonlycreativesourceofrealism;byadvocatingafreeexperimentationonnewformsandnewtechniquesinliterarycreation,1.Thedefinition2.ThebasicphilosophyorcharacteristicsofModernism

Modernismtakestheirrationalphilosophyandthetheoryofpsycho-analysisasitstheoreticalbase.Themajorthemesofthemodernistliteraturearethedistorted，alienatedandillrelationships（被扭曲的，漸漸疏遠(yuǎn)的，病態(tài)的關(guān)系。）

betweenmanandnature，manandsociety，manandman,andmanandhimself.Modernismis,inmanyaspects，areactionagainstrealism.Itrejectsrationalism,whichisthetheoreticalbaseofrealism；V.StreamofconsciousnessInhisopinion,theartist,whowantstoreachthehigheststageandtogaintheinsightsnecessaryforthecreationofdramaticart,shouldrisetothepositionofagodlikeobjectivity;heshouldhavethecompleteconsciouscontroloverthecreativeprocessanddepersonalize(使失去個(gè)性）

hisownemotionintheartisticcreation.Heshouldappearasanomniscientauthorandpresentunspokenmaterialsdirectlyfromthepsycheofthecharacters,ormakethecharacterstelltheirowninnerthoughtsinmonologues.Thisliteraryapproachtothepresentationofpsychologicalaspectsofcharactersisusuallytermedas“streamofconsciousness”.

VI.Mainwriters:

A.GeorgeBernardShaw喬治.蕭伯納(1856-1950)abrilliantdramatist,Shawisconsideredtobethebest-knownEnglishdramatistsinceShakespeare.蕭伯納在戲劇方面被公認(rèn)為自莎士比亞后，英國(guó)最優(yōu)秀的戲劇大師。

Mainworks:CashelByron'sProfession《卡歇爾。拜倫的職業(yè)》

Widowers'House《鰥夫的房產(chǎn)》

Mrs.Warren'sProfession《沃倫夫人的職業(yè)》

ManandSuperman《人與超人》

TooTruetoBeGood《難以置信》B.JohnGalsworthy(1867-1933)

約翰.高爾斯華綏Hewasbornintoanupper-middleclassfamily.Mainworks:FromtheFourWinds《來(lái)自四位吹奏者》(shortstories)TheSilverBox《銀盒》TheForsyteSaga:(hisfirsttrilogy第一部費(fèi)爾塞特世家三部曲TheManofProperty《財(cái)主》;InChancer《騎虎難下》ToLet《出租》)AModernComedy《現(xiàn)代喜劇》EndoftheChapter《篇章末尾》C:WilliamButlerYeats(1865-1939)

威廉.巴特勒.葉芝HewasbornintoanAnglo-IrishProtestantfamilyinDublin.HewasawardedNobelPrizeforliterature.Mainworks:TheLakeIsleofInnisfree《伊尼斯弗利的湖中沙洲》TheManWhoDreamedofFaeryland.《夢(mèng)見仙境的人》NoSecondTroy《沒有第二個(gè)特洛伊》September1913SailingtoByzantium《駛向拜占庭》Onceoutofnature《一旦脫離凡塵》Monumentsofunagingintellect《長(zhǎng)青知識(shí)的紀(jì)念碑》Artificeofeternity《永恒的世界》Ofwhatispast,orpassing,ortocome《為過(guò)去現(xiàn)在將來(lái)歌唱》LedaandtheSwan《麗達(dá)及天鵝》TheCountessCathleen《凱瑟琳伯爵夫人》TheLandofHeart’sDesire《心欲的土地》TheShadowyWaters《布滿影蔭的水城》Purgatory《煉獄》喬治.艾略特HefirststudiedatSmithAcademyinhishometown,thenatHarvardwhereheconcentratedhisenergiesonstudyingphilosophyandlogic.ThestudyinFrance,GermanyandOxford.EditoroftheTheEgoistandTheCriterion.HerewardedtheNobelPrizeandtheOrderofMeritin1948.Mainworks

PrufrockandOtherObservations《普魯弗洛克與其他情況》TheLoveSongofJ.AlfredPrufrock《普魯弗洛克的情歌》TheWasteLand《荒原》(themostfamouspoem,comparabletoWordsworth’sLyricalBallads.)fiveparts1.TheBurialoftheDead《埋葬死者》Unrealcity《虛幻之城》(inpart1)2.AGameofChess《棋賽》

HURRYUPPLEASEITSTIME《趕快，到點(diǎn)關(guān)門了》(inpart2)3.TheFireSermon《激情訓(xùn)誡》4.DeathbyWater《溺水而死》5.WhattheThunderSaid《雷訓(xùn)》1927---aretheplayshavesomethingtodowithChristianthemes.AshWednesday《灰星期三》FourQuartets《四個(gè)四重奏》MurderintheCathedral《大教堂兇殺案》TheFamilyReunion《合家團(tuán)圓》TheCocktailParty《雞尾酒會(huì)》TheConfidentialClerk《機(jī)要秘書》TheElderStatesman《政界元老》Everyman《每個(gè)人》TraditionandIndividualTalent.《傳統(tǒng)與個(gè)人才能》戴維.伯特.勞倫斯

Hewasthesonofthecoal-minerwithlittleeducation.Mainworks:TheWhitePeacock《白孔雀》SonsandLovers《兒子與情人》WomeninLove《戀愛中的女人》Aaron'sRod《亞倫神杖》LadyChatterley'sLover《查太萊夫人的情人》F:JamesJoyce(1882-1941)

詹姆斯.喬伊斯HewasbornintoaCatholicfamilyinDublin.Hisnovelswhichhavethesamesetting:Ireland,especiallyDublin,andthesamesubject:theIrishpeopleandtheirlife.AndJoyceisregardedasthemostprominentstream-of-consciousnessnovelist.喬伊斯則是最偉大的意識(shí)流小說(shuō)家MainWorksDubliner《都柏林人》15shortstories

APortraitoftheArtistasaYoungMan.《青年藝術(shù)家的肖像》Ulysses《尤利西斯》(hismasterpiece)FinnegansWake《菲尼根斯。韋克》D.H.Lawrence1885－1930I.HisPersonallife

LawrenceisoneofthegreatestEnglishnovelistsofthe20thcentury.

DavidHerbertLawrencewasbornataminingvillageinNottinghamshire.Hisfatherwasacoal-minerwithlittleeducation；buthismother，onceaschoolteacher，wasfromasomewhathigherclass，whocametothinkthatshehadmarriedbeneathheranddesiredtohavehersonswelleducatedsoastohelpthemescapefromthelifeofcoalminers.

BeauvalePrioryBeauvalePriory:Gatehouse

BeauvalePriory:FarmhouseArthurLawrence,fatherofDHLawrence,wasbornatBrinsleyon!8June1846.HebeganworkingatBrinsleyPitatage7.ThebirthplaceofDHLawrencesfatheratBrinsleyTheLawrenceFamilyc.1895youngDHstandingbetweenhisparents.Theconflictbetweentheearthy，coarse，energeticbutoftendrunkenfatherandtherefined，strong-willedandup-climbingmotherisvividlypresentedinhisautobiographicalnovel，SonsandLovers（1913）。II.Lawrence'smajorworksSt.MawrSt.MawrTrespasser

Duringhislife-longliterarycareer，hehadwrittenmorethantennovels，severalvolumesofshortstoriesandalargenumberofpoems.Lawrencebeganhisnovelwritinginhisearlytwenties.Hisfirstnovel，TheWhitePeacock《白孔雀》（1911），isaremarkableworkofatalentedyoungman，acutelyobservantofnatureanddelightinginstory.

FelleyMill,knownasStrelleyMillinthe'WhitePeacock.'TheRamInnmentionedin'TheWhitePeacock.

HissecondnovelisTheTrespasser《過(guò)客》（1912),whichisaboutthefailureofhumancontactandthelackofwarmthbetweenpeople，whicharetobefurtherexploredinhislaternovels.LawrencewasrecognizedasaprominentnovelistonlyafterSonsandLovers《兒子與情人》waspublished.TheRainbow《虹》（1915）andWomeninLove《戀愛中的女人》（1920）aregenerallyregardedashismasterpiecesinwhichsymbolismandcomplexnarrativeareemployedmorerichly.

Hislaternovels，whichdealmoreextensivelywiththemesofpower，dominance，andleadership；therelationshipsthatmenformwithoneanother，arealsounderexploration.TheseworksincludeAaron'sRod《亞倫神杖》（1922），Kangaroo《袋鼠》（1923），ThePlumedSerpent《帶羽毛的蛇》（1926），andLadyChatterley'sLover《查太萊夫人的情人》（1928).

InLadyChatterley'sLover，LawrencehasreturnedtohisearlysubjectsandbackgroundofNottinghamshire.Bypresentinganoldromanticstoryaboutadissatisfiedaristocraticladywhodesertsherhalf-man，half-machinehusbandtofindlovewithamanofnature，Lawrencenotonlycondemnsthecivilizedworldofmechanismthatdistortsallnaturalrelationshipsbetweenmenandwomen，butalsoadvocatesareturntonature.Thethemeofhisshortstories：

Lawrencealsousesthemtoexposethebankruptcyofthemechanicalcivilizationandtofindananswertoit.Irony，humourandwitarethecharacteristicfeaturesofmanyofthestories.St.Mawr《圣摩爾》，TheDaughteroftheVicar《主教的女兒》，TheHorseDealer'sDaughter《販馬人的女兒》，TheCaptain'sDoll《船長(zhǎng)的娃娃》，ThePrussianOfficer《普魯士軍官》，andTheVirginandtheGypsy《貞女和吉普賽人》aregenerallyconsideredtobeLawrence'sbestknownstories.Lawrenceisalsoaproficientpoet.Hebeganhispoetrywritingveryearlyandwrotequitealargenumberofpoemsinhiswholecareer.Hispoemsfallroughlyintothreecategories-satiricalandcomicpoems，poemsabouthumanrelationshipsandemotions，andpoemsaboutnature.Lawrencedoesnotcaremuchabouttheconventionalmetricalrules；whathetriestodoinpoetryistocatchtheinstantlifeoftheimmediatepresent.Lawrence‘sthreeinfluentialplaysareknownas“theLawrencetrilogy”“勞倫斯三部曲”：

ACollier‘sFridayNight《礦工的周五夜晚》（1909），TheDaughter-in-Law《兒媳》（1912）andTheWidowingofMrs.Holroyed《守寡的霍爾羅伊德夫人》（1914），haveincommonthetypicalworking-classenvironmentssetinNottinghamshire.（這三部作品的背景都是諾丁漢姆郡的工人階級(jí)。）

Themainconflictisbetweentheignorant，drunkenandbrutishfatherorhusbandandtheweary，frustratedmotherorwifewhotriestofindemotionalfulfillmentinherchildren.Whattheplaysfocusonisthedirectandviolentemotionsofthemaincharactersintimesofcrisisintheirmarriedlife.TheplaysarepresentedwithahigherdegreeofobjectivityanddetachmentthanthenovelsbyLawrence.

III.Lawrence'sworksfeaturesLawrence'sartistictendencyismainlyrealism，whichcombinesdramaticsceneswithanauthoritativecommentary.（勞倫斯繼承了現(xiàn)實(shí)主義創(chuàng)作手法，將戲劇化情節(jié)與權(quán)威性的評(píng)說(shuō)結(jié)合起來(lái)。）Andtherealisticfeatureismostobviouslyseeninitsdetailedportraiture.Withtheworking-classsimplicityanddirectness，Lawrencecansummonupallthephysicalattributesassociatedwiththecommondailyobjects.

Inpresentingthepsychologicalaspectsofhischaracters，Lawrencemakesuseofpoeticimaginationandsymbolisminhiswriting.Byusingsetsofnaturalimagesaspoeticsymbolstoembodytheemotionalstatesofthecharactersandtoillustratehumansituations，Lawrenceendowsthetraditionalrealismwithafreshpsychologicalmeaning.

Throughacombinationoftraditionalrealismandtheinnovatingelementsofsymbolismandpoeticimagination，Lawrencehasmanagedtobringoutthesubtleebbandflowofhischaracters'subconsciouslife.（勞倫斯通過(guò)將傳統(tǒng)的現(xiàn)實(shí)主義手法與改革后的象征主義與詩(shī)化聯(lián)想結(jié)合為一體，勞倫斯成功的展示了角色潛意識(shí)的跌宕起伏，賦予傳統(tǒng)現(xiàn)實(shí)主義新的意義。）（1）Thestory：

TheRainbowisastoryaboutthethreegenerationsoftheBrangwenfamilyontheMarshfarm.ThefirstpartisaboutthemarriageandlifeofTomBrangwenandLydiaLensky，aPolishwidow.Theyhaveadeepandlovingunderstandingofeachotherinspiteoftheutterforeignnessbetweenthem.Theycanalsocommunicatewiththemysteriousnaturalworld.Theirrelationshipispresentedasthemodeloneinthenovel.

IV.TheRainbow

ThesecondpartofthenovelisaboutAnnaLensky，Lydia'sdaughterbyherfirsthusband，andWill，Tom'snephew.Theyhavephysicalpassionforeachother；but，inLawrence'swords，"theirsoulsremainseparate."Theirrelationshipisfraughtwithconflicts，andtheirmarriagefailstoachievethefinalfulfillmentoftheoldergeneration.

ThelastpartofthenoveldealswithUrsula，theeldestdaughterofWillandAnna，whocarriesthestoryonintothethirdgeneration.ThispartofthenoveltracesUrsula'slifefromchildhoodthroughadolescenceuptoadulthood.Attheendofthenovel；Ursulaisleftwithmuchexperiencebehindher，butstill"uncreated"infaceoftheunknownfuture.（2）Thesocialsignificanceof

TheRainbow：

Inthisnovel，Lawrenceillustratesaterriblesocialcorruptionthataccompaniestheprogressofhumancivilization.InLawrence'sopinion，themechanicalcivilizationisresponsiblefortheunhealthydevelopmentofhumanpersonalities,theperversionofloveandthefailureofhumanfulfillmentinmaritalrelationships.，（勞倫斯認(rèn)為工業(yè)機(jī)械化的文明是人類個(gè)性病態(tài)發(fā)展，愛情扭曲，婚姻不幸的罪魁禍?zhǔn)?。）Inreadingthenovel，thereaderoftenfeelsthethreateningshadowsofthedisintegrationanddestructivenessofthewholecivilizedworldwhichloombehindtheemotionalconflictsandpsychologicaltensionsofthecharacters.Asamatteroffact，itisthefirsttimeforLawrencetomakeaconsciousattempttocombinesocialcriticismwithpsychologicalexplorationinhisnovelwriting.

V.WomeninLove：

MoorgreenReservoirwherethedrowningincidentinWomeninLovewasbased(WhilleyWater).

ItwasalsofeaturedintheWhitePeacockasNethermereLambCloseHouseMoorgreenhomeoftheBarberFamilyandfeaturedas'HighClose'intheWhitePeacock,'Shortlands'inWomeninLoveandalsoin'SonsandLovers'and'LadyChatterley'sLover.'（1）Thestory：

Asitstitleimplies，WomeninLoveisanovelabouttwopairsoflovers，aroundwhomaseriesofepisodesaredramaticallypresented.ThetwoheroinesareUrsulaBrangwenandheryoungersisterGudrun；andthetwochiefmalecharactersareGeraldCrich，ayoungcoalmineowner，andRupertBirkin，aschoolinspector.

Attheopeningofthestory，UrsulaandBirkinstrikeanimmediatekinshipwitheachother，whileGudrunisattractedbyGerald'sphysicalenergy.Therestofthenovelisaworkingoutoftherelationshipsofthesefourthroughinterrelatingeventsandconflictsofpersonalities.Afteraseriesofupsanddowns，BirkinandUrsulahavereachedafruitfulrelationshipbymaintainingtheirintegrityandindependenceasindividualsanddecidedtogetmarriedintheend.

ButthepassionatelovebetweenGudrunandGeraldexperiencesaprocessoftensionanddeterioration.Asbothofthemhavelettheir"will-power"and"ideals"interferewiththeirproperrelations，theirloveturnsouttobeadisastroustragedy.（2）Thesymbolicmeaningsinthisnovel：

WomeninLoveisrichinitssymbolicmeanings.GeraldCrich，anefficientbutruthlesscoalmineowner，whomakesthemachinehisgodandestablishestheinhumanmechanicalsysteminhisminingkingdom，isasymbolicfigureofspiritualdeath，representingthewholesetofbourgeoisethics.

WhereasBirkin，aself-portraitofLawrence，whofightsagainstthecrampingpressuresofmechanizedindustrialismandthedominationofanykindofdeadformulas，ispresentedasasymbolicfigureofhumanwarmth，standingforthespontaneousLifeForce..（《戀愛中的女人》中杰拉德象征著精神的死亡，代表了整個(gè)資產(chǎn)階級(jí)的倫理觀。而勃金則是勞倫斯的一幅自畫像，他反抗著工業(yè)機(jī)械化帶來(lái)的種種壓抑以及任何一種喪失了生命力的形式與教條，代表了人情溫暖及生命原始的沖動(dòng)。）

WomeninLoveisaremarkablenovelinwhichtheindividualconsciousnessissubtlyrevealedandstrandsofthemesareintricatelywoundup.ThestructuralpatternofthebookderivesfromthecontrastbetweenthedestiniesofthetwopairsofloversandthesubordinatemasculinerelationshipbetweenBirkinandGerald.Thetwosisters，thetwomalefriends，andthetwocouplesarecloselyparalleledinideas，actionsandrelationssothateachiscorrespondingtoandcontrastingwiththeother.Thus，WomeninLoveisregardedtobeamoreprofoundlyorderednovelthananyotherwrittenbyLawrence.

VI.SonsandLoversHaggsFarm:thehomeofJessieChambersD.H.lawrence’sclosefriend.'AlsoknownasWilleyFarminson'sandLovers,thehomeof'Miriam.'（1）ThebriefoutlineofLawrence'sSonsandLover：

SonsandLoversislargelyanautobiographicalnoveltoldbymeansofstraight-forwardnarrativeandvividepisodesinchronologicalsequence.ThestorystartswiththemarriageofPaul'sparents.Mrs.Morel，daughterofamiddle-classfamily，is"awomanofcharacterandrefinement"，astrong-willed，intelligentandambitiouswomanwhoisfascinatedbyawarm,vigorousandsensuouscoalminer，WalterMorel，andmarriedbeneathherownclass.

Afteraninitialstageofhappinessintheirmarriage，theclassdifferencebetweenthemstartstoestrangethemfromeachother.Thedisillusioninherhusbandmakesherlavishalltheaffectionsuponhersons.Shedeterminesthathersonsshouldneverbecomeminers；theywillbeeducatedtorealizeheridealsofsuccess，happinessandsocialesteem.Thus，thesonsgraduallycomeunderthestronginfluenceofthemotherinaffections，aspirationsandmentalhabits，andseetheirfatherwiththeirmother'seyes，despisingtheirfatherwhosepersonalitydegeneratesstepbystepashefeelshisexclusion.LaterMrs.MorelstandsinthewayofhersecondsonPaul'sloveaffairsfirstwithMiriam，afarmer'sdaughter，andthenwithClara，amarriedwomanwholivesseparatedfromherhusband.Inthenear-endofthestory，Mrs.Morelsuffersfromaterminaldisease.Paulcastsoffhismistressandattendstohisdyingmother.Itisonlyafterhismother'sdeaththathefeelsfree.Resistingtheurgetofollowhismotherintodarkness，hewalkstowardslife.（2）ThecharacterizationofPaulinSonsandLovers：Paul'spsychologicaldevelopmentistracedwithgreatsubtlety，especiallyhisemotionalconflictsinthecourseofhisearlyloveaffairswithMiriamandClara.Pauldependsheavilyonhismother'sloveandhelptomakesenseoftheworldaroundhim；butinordertobecomeanindependentmanandatrueartisthehastomakehisowndecisionsabouthislifeandwork