the divine comedy

名词解释

(史诗)（appearedinthetheAnglo-SaxonPeriod）

Itisanarrativeofheroicaction,oftenwithaprincipalhero,usuallymythicalinitscontent,grandinitsstyle,

offeringinspirationandennoblementwithinaparticularcultureornationaltradition.

Alongnarrativepoemtellingaboutthedeedsofgreatheroandreflectingthevaluesofthesocietyfromwhichit

originated.

Epicisanextendednarrativepoeminelevatedordignifiedlanguage,likeHomer’sIliad&llycelebrates

ionissimple,butfullofmagnificence.

Today,somelongnarrativeworks,likenovelsthatrevealanage&itspeople,arealsocalledepic.

f（thepagan（异教徒），cular(非宗教的)poetry）Iliad《伊利亚特》，Odysy《奥德赛》

ParadiLost《失乐园》，TheDivineComedy《神曲》

e（传奇）(Anglo-NormanfeudalEngland)

•Romanceisanyimaginativeliteraturethatistinanidealizedworldandthatdealswithheroicadventuresand

battlesbetweengoodcharactersandvillainsormonsters.

•Originally,thetermreferredtoamedieval(中世纪)taledealingwiththeloveandadventuresofkings,queens,

knights,andladies,andincludingsupernaturalhappenings.

Form:longcomposition,inver,inpro

Content:descriptionoflifeandadventuresofanoblehero

Character:aknight,amanofnoblebirth,skilledintheuofweapons;oftendescribedasridingforthtoek

adventures,takingpartintournaments(骑士比武),orfightingforhislordinbattles;devotedtothechurchandtheking

•Romancelacksgeneralremblancetotruthorreality.

•Itexaggeratesthevicesofhumannatureandidealizesthevirtues.

•Itcontainsperilous(dangerous)adventuresmoreorlessremotefromordinarylife.

•Itlaymphasisonsupremedevotiontoafairlady.

①TheRomanceCycles/Groups/Divisions

ThreeGroups

mattersofBritainAdventuresofKingArthurandhisKnightsoftheRoundTable（亚瑟王和他的圆桌骑士）

mattersofFranceEmperorCharlemagneandhispeers

mattersofRomeAlexandertheGreatandtheattacksofTroy

LeMorteD’Arthur（亚瑟王之死）

②ClassNature(阶级性)oftheRomance

Loyaltytokingandlordwasthethemeoftheromances,asloyaltywasthecorner-stone（themostimportantpart

基石）offeudalmorality.

Theromanceswerecompodnotforthecommonbutforthenoble,ofthenoble,andbythepoets

patronized（supported庇护,保护）bythenoble.

ration（押头韵）:arepeatedinitial(开头的)consonant(协调,一致)to

successive(连续的)words.

inthekindest,keenestforprai.

ongofsouthernsinger

tatement（低调陈述）（forironicalhumor）

nottroublesome:verywelcome

neednotprai:arighttocondemn

cle《编年史》（amonumentofOldEnglishpro）

s（民谣）（ThemostimportantdepartmentofEnglishfolkliterature）

①Definition:

Aballadisanarrativepoemthattellsastory,andisusuallymeanttobesungorrecitedinmusicalform.

AnimportantstreamoftheMedievalfolkliterature

②FeaturesofEnglishBallads

ladsareinvariousEnglishandScottishdialects.

recreatedcollectivelyandrevidwhenhandeddownfrommouthtomouth.

emainlytheliteratureofthepeasants,andgiveanoutlookoftheEnglishcommonpeopleinfeudalsociety.

③Stylistic（风格上）FeaturesoftheBallads

edincouplets（相连并押韵的两行诗,对句）orinquatrains（四行诗）knownastheballadstanza

（民谣诗节）,rhymingababorabcb,withthefirstandthirdlinescarrying4accentedsyllables（重读音节）andthe

condandfourthcarrying3.

,plainlanguageordialect（方言，土语）ofthecommonpeoplewithcolloquial（口语的，会话的）,

vividand,sometimes,idiomatic（符合当地语言习惯的）expressions

gagoodstorywithavividprentationaroundthecentralplot.

highproportionofdialoguewitharomanticortragicdimension（方面）toachievedramaticeffect.

④SubjectsofEnglishBallads

leofyounglovers

ctbetweenloveandwealth

yofjealousy

ismofthecivilwar

sofclassstruggle

couplet（英雄双韵体）（introducedbyGeoffreyChaucer）

Definition:therhymedcoupletofiambicpentameter;averforminepicpoetry,withlinesoftensyllablesandfive

stress,inrhymingpairs.

英雄诗体/英雄双韵体：用于史诗或叙事诗，每行十个音节，五个音部，每两行押韵。

t（两行诗，对句）:ccoupletisaniambic

popularverform.

pentameter:ApoeticlineconsistingoffiveVerfeet(penta-isfromaGreekwordmeaning“five”),

witheachfootaniamb--thatis,anunstresdsyllablefollowedbyastresdsyllable.

（韵，押韵）:therepetition(反复)ofsoundsintwoormorewordsorphrasthatappearclo

/shiver,song/long

(格律)（属于Prosody['prɔsədɪ]（韵文学;诗体学；(某语言的)韵律(学)））:Agenerally

regularpatternofstresdandunstresdsyllables（音节）inpoetry.

Themeterswithtwo-syllablefeetare:

Iambic(x/)（抑扬格）:Thattimeofyearthoumaystinmebehold

Trochaic(/x)（扬抑格）:Tellmenotinmournfulnumbers

Spondaic(//)（扬扬格）:Break,break,break/Onthycoldgraystones,OSea!

Themeterswiththree-syllablefeetare:

anapestic(xx/)（抑抑扬格）:Andthesoundofavoicethatisstill

dactylic(/xx)（强弱格，长短格，扬抑抑格）:Thisistheforestprimeval,themurmuring

pinesandthehemlock

(atrocheereplacesthefinaldactyl)

（节奏，韵律）（属于Prosody['prɔsədɪ]（韵文学;诗体学；(某语言的)韵律(学)））：

referstotheregularrecurrence（反复，重现）oftheaccent（重读）orstressinpoemorsong.

thmofdayandnight,theasonalrhythmoftheyear,thebeatofourhearts,andtheriandfallofatides,

etc.

basicpatternsofrhythms

a)Iambicfoot(iamb['aiæmb])（抑扬格）:anunstresdsyllablefollowedbyanstresdoneasintheword

“prevent”or“about”

It’stimethechildrenwenttobed.

We’lllearnapoembyKeats.

b)Trochaic[trəu'keiik]foot(trochee['trəuki:])（扬抑格）:astresdsyllablefollowedbyanunstresdoneas

in“football”,“never”,“happy”or“English”

WilliamMorristaughthimEnglish.

Double,double,toilandtrouble.

Fireburnsandcauldronbubble.

c)Anapesticfoot(anapest[ˈænəpi:st])（抑抑扬格）:twounstresdsyllablesfollowedbyastresdoneasin

“comprehend”or“intervene”

I’vebeenworkinginChinaforfortyyears.

d)Dactylicfoot(dactyl)（强弱格，长短格，扬抑抑格）:astresdsyllablefollowedbytwounstresdones

asin“dangerous”,“cheerfully”,“yesterday”or“merrily”

linelengths:

numberoffeetperline

•onefootmonometer[mɔ'nɔmitə](rare)（单音部）

•twofeetdimeter['dimitə](二步)

•threefeettrimester['trimitə](三步)

•fourfeettetrameter[te'træmitə](四步)

•fivefeetpentameter[pen'tæmitə](五步)

•sixfeethexameter[hek'sæmitə]

•venfeetheptameter[hep'tæmitə](rare)

•eightfeetoctameter[ɔk'tæmitə](rare)

tterns:

Couplet（相连并押韵的两行诗,对句）:2linesrhymingwitheachother

•Aheroiccoupletisaniambicpentametercouplet.

Tercet['tə:sit]（三行押韵诗句,三拍子）:3lines,terzarima(aba,bcb,cdc,ded)

Quatrain['kwɔtrein]（四行诗）:4lines,balladstanza(abcb)

Octave['ɔktɪv,-,teɪv]（八行诗）:8lines,ottavarima(abababcc)

Spenrianstanza（斯宾塞诗节）:9lines(ababbcbcc)（TheFaerieQueene（仙后）

Sonnet（十四行诗）:14lines(Shakespearean:ababcdcdefefgg)

Example:

Shewalksinbeauty,likethenight

ofcloudlessclimesandstarryskies;

Andallthat’sbestofdarkandbright

Meetinheraspectandhereyes:

Thusmellow’dtothattenderlight

Whichheaventogaudydaydenies

dlength:Iambictetrameter

(scheme):ababab

sm

1)ingtohumanists,humanbeingsweregloriouscreaturescapable

ofindividualdevelopmentinthedirectionofperfectionandtheworldcanbequestioned,exploredandenjoyed.

2)Byemphasizingthedignityofhumanbeingsandtheimportanceoftheprentlife,incontrasttothemedieval

emphasisonGodandcontemptforthethingsofthisworld,theyvoicedtheirbeliefsthatmandidnotonlyhavetheright

topursuehappinessofthislife,buthadtheabilitytoperfecthimlfandtoperformwanders.

tion

•Dramais“acompositioninproorver,adaptedtobeacteduponastage,inwhichastoryis

relatedbymeansofdialogueandaction,andisreprentedwithaccompanyinggesture,costume,and

scenery,asinreallife.”

elopmentofDrama

ousPeriod

1)MysteryplaysprentedstoriesfromtheOldandNewTestamentoftheBible.

•CreationoftheWorld,theFall,theGreatFlood,Redemption,FinalJudgment,etc.

•ThebirthoftheChrist—childsymbolizedhopeinthedarknessofwinter;Christ’sresurrection

（复活）accordedwiththeearth’srenewalinspring,andthepromiofharvestatmidsummer.

2)Miracleplays（奇迹剧）

•Dramatizing（将-改编成剧本）thelivesandmiraclesofsaints,ordivineintervention(神的

干预，介入)inhumanaffairs,thatis,storiesfromthelivesofsaints.

•OftenfocudonblesdvirginMary

3)Moralityplays（道德剧）

•Prentingstoriescontainingabstract（抽象的）virtuesandvices（美德和恶习）as

characters.

•Theywereplayswhichhadamoralmessage:GoodandEvilfightfordomination（统治）of

thehumansoul.

•Everyman,thebestexample,isthestoryofacharacterreprentingmankind.

icPeriod

ThefirstComedy,RalphRoisterDoister《拉尔夫·罗伊斯特·多伊斯特》writtenbythe

schoolmaster,NicholasUdallbetween1550and1553

ThefirstEnglishtragedy,Gorboducwrittenin1561byThomasSackvilleandThomasNorton

tsofdrama

(情节)

Thestructureofaplay’saction,theorderoftheincidents,theirarrangementandform.

ter(人物):thevitalcenterofaplay

Howtheylook,whattheysayandinwhatmannerstheysay;whattheydoandhowtheiractions

revealwhotheyareandwhattheyreprent

Thehumanqualitiesarethemostengagingfeature.

ue(对白)

Dramaisdescribedas“personsmovingaboutonstageusingwords.”

MajorfunctionsofDialogue:toadvancetheplot,toestablishtting,andtorevealcharacter.

g(舞台设计)

Thingslikepositionsofactors,nonverbalgesturesandmovements,scenicbackground,propsand

costumes,lightingandsoundeffects

(主题):thecentralideaoftheplay.

icTerms

(脚本):ainsstagedirectionsand

Dialogue

irections(舞台指导):notesprovidedbytheplaywrighttodescribehowsomethingshouldbe

prentedorperformedonstage

gue(独白):alongspeechgivenbyanactor

quy(独白):aspeechgivenbyacharacterwhoisalone(orthinksheisalone)onstage

(旁白):astatementintendedtobeheardbytheaudienceorbyasingleothercharacterbutnotbyall

theothercharactersonstage

(幕):amajordivisionofadrama

(场):typicallybeginswiththeentranceofoneormorecharactersand

endswiththeexitofoneormorecharacters.

(喜剧)（Dramaform）

Aplaywrittenchieflytoamuitsaudiencebyappealingtoanofsuperiorityoverthecharacters

ywillnormallybeclortoeverydaylifethanatragedy,andwillexplorecommonhuman

failingsratherthantragedy’ingwillusuallybehappyfortheleadingcharacters.

•E.g.（莎士比亚）RomanticComedies（theovercomingtheobstacleoflove）:AsYouLikeIt(皆大

欢喜),AMidsummerNight’sDream,TheTwelfthNight,&TheMerchantofVenice（威尼斯商人）

y（Dramaform）

•Ariousplayornovelreprentingthedisastrousdownfallofacentralcharacter,ingto

Aristotle,thepugiceffect

usuallydependsonourawarenessofadmirablequalitiesinheprotagonist,whicharewastedterriblyinthefated

disaster.

•E.g.（莎士比亚）GreatTragedies（四大悲剧）（exploresthefaults/weaknessofhumans）:Hamlet,

Othello,KingLear&Macbeth

icRomance(tragi-comedy)（悲喜剧）（莎士比亚）（Dramaform）:

•Romancesfocusontheparationandreunionoffamiliesratherthanloveandmarriage.

•Endingswerecharacterizedbyhomecoming,recognition,reconciliation,andforgiveness.

•Theromancesaretinmythicalworldswheresupernaturalandmagicandunlikelycoincidencesare

commonplace.

es《波里克利斯》,Cymbeline《辛柏林》,TheWinter’sTale《冬天的故事》,The

Tempest《暴风雨》

gue（长篇独白）

•Anextendedspeechutteredbyonespeaker,icantvarietiesincludethedramatic

monologue(akindofpoeminwhichthespeakerisimaginedtobeaddressingasilentaudience),andthe

soliloquy(inwhichthespeakerissuppodtobe“overheard（偷听，无意中听到）”whilealone).

quy

•Adramaticspeechdeliveredbyonecharacterspeakingaloudwhileundertheimpressionofbeingalone.

Thesoliloquistthusrevealshisorherinnerthoughtsandfeelingstotheaudience,eitherinsuppodlf-

communion（自我反省）orinaconsciouslydirectaddress（演说，演讲）.Itisalsoknownasinterior

monologue.内心独白

icplotoftheplay(Freytag’spyramid)

tion(阐述，讲解，说明):providesthebackgroundinformationneededtoproperlyunderstandthe

story,suchastheprotagonist,theantagonist,thebasicconflict,andthetting.

action（发展）:duringrisingaction,thebasicinternal（内部）conflictiscomplicated（复杂）

bytheintroductionofrelatedcondaryconflicts,includingvariousobstaclesthatfrustratethe

protagonist'sattempttoreachhisgoal.

（高潮）:theturningpoint,whichmarksachange,forthebetterorthewor,intheprotagonist’s

toryisacomedy,thingswillhavegonebadlyfortheprotagonistuptothispoint;

now,thetide,sotospeak,willturn,toryisa

tragedy,theoppositestateofaffairswillensue,withthingsgoingfromgoodtobadforthe

protagonist.

gaction:duringthefallingaction,orresolution,whichisthemomentofreversal（反向，倒转，转变，

颠倒）aftertheclimax,theconflictbetweentheprotagonistandtheantagonistunravels,withthe

lingactionmightcontainamomentof

finalsuspen,duringwhichthefinaloutcomeoftheconflictisindoubt.

5.Dénouement,resolution,orcatastrophe:compriventsbetweenthefallingactionandtheactual

ctsareresolved,

creatingnormalityforthecharactersandanofcatharsis,orreleaoftensionandanxiety,for

thereader.

Thecomedyendswithadénouement(aconclusion)inwhichtheprotagonistisbetteroffthanatthestory's

gedyendswithacatastropheinwhichtheprotagonistisworoffthanatthebeginningofthe

narrative.

InShakespeare'stragedies,thedénouementisusuallythedeathofoneormorecharacters.

icirony(戏剧性讽刺)

Dramaticirony:thewordsoractsofacharactermaycarryameaningunperceivedbythecharacterbutunder-

stoodbytheaudience.

ExamplesofdramaticironyinRomeoandJuliet

•BeforeRomeodrinksthepoison,heobrvesthatJulietlooksasthoughshewerealive.

•Romeoischeerfulbecauofadream,buthishopesarequicklydashedbyBalthasar’snewsofJuliet’sdeath.

er（无韵诗）

•eryflexibleEnglishverformwhichcanattainrhetorical

grandeur（雄伟，壮观）irstudbyHenryHoward,

EarlofSurrey,e,Shakespeare,

Milton,Wordsworth,Tennyson,StevensandRobertFrostarefondofthisform.

Asonnetisalyricpoemcomprising14rhyminglinesofequallength:iambicpentameterinEnglish,hendecasyllables

[hen,dekə'siləbl]（十一音节）inItalian,andalexandrines.[ˌæliɡˈzɑ:ndrain]（亚历ft大诗行）inFrench.

lian/Petrarchan（彼得拉克）sonnet

ItisnamedafterFrancescoPetrarch(1304-1374),14linesbreakintoanoctave(or

octet)of2quatrains,rhymedabbaabba(rhymedsometimesabbacddcorevenabababab);andastet,usually

rhymedcdecdeorcdcdcd.

lish/Shakespeareansonnet

ItwasintroducedintoEnglishpoetryintheearly16thcenturybySirThomasWyatt(1503-1542).Itconsists

of3quatrainsandafinalcouplet,rhymingababcdcdefefgg.

AnimportantvariantistheSpenriansonnet,whichlinksthe3quatrainsbyrhyme,rhymingababbcbccdcdee.

（quatrain:四行诗(每节四行,韵律一般为abab或abba)）

ry（寓言）

•Astorywithadoublemeaning:aprimaryorsurfacemeaning,andacondaryorunder-the-surface

meaning

•Astorythatcanberead,understoodandinterpretedattwolevels

Twolevelsofallegory

•Onelevelexaminesthemoral,philosophicalandreligiousvaluesandisreprentedbytheRedCross

Knight,whostandsforallChristians.

•Thecondlevelistheparticular,whichfocusonthepolitical,social,andreligiousconflictsinthe

thenEnglishsociety.

fpoetry

1)Narrativepoetry

epic,romance,andballad

Thestressisonaction,

storiesanddescribeactions;

2)Lyricpoetry

Elegies['elədʒi:]（挽歌）,odes（颂诗，颂歌）,sonnets,epigraphs['epiɡrɑ:f]（铭文,碑文）,

combinespeechandsongtoexpressfeelingsinvaryingdegreesofverbal（口头的，言语的）

music.

（散文，随笔）

Asaformofliterature,theessayisacompositionofmoderatelength,usuallyinpro,whichdealsinaneasy

waywiththeexternalconditionsofasubject,and,instrictness,withthatsubject,onlyasitaffectsthewriter.

e:

EssaysisintendedfortheambitiousElizabethanandJacobeanyouthofupperclass,totellthemhowtobe

efficientandmaketheirwayinpubliclife.

gstyle:fourprominentqualities:

preciness,directness,

tenness,forcefulness

’ssays

BaconoffershisviewsonawholesmorgasbordoftopicsrangingfromTruth,Death,Adversity,Marriage&

theSingleLife,Love,Boldness,Superstition,Friendship,Health,Ambition,Youth,BeautytoAnger&Fame.

esofBacon’ssays

Bacon’ssaysarethefirstexampleofthatgenreinEnglishliteratureandhavebeenrecognizedasan

aysarefamousforthepithyaphoristicstyle,

whichhehaddefendedinprincipleinTheAdvancementofLearningasproperfortheexpressionoftentative

opinions.

«培根论文集»“OfStudies”“OfWisdom”“OfDeath”“OfFriendship”“OfTravel”,etc.

ysical(形而上学，超自然，纯哲学)Poets

METAPHYSICALPOETSrefertoaschoolofpoetsatthebeginningofthe17thcenturyEnglandwhowroteunderthe

ksoftheMetaphysicalpoetsarecharacterized,generallyspeaking,bymysticismin

contentandfantasticalityinform.

ThemosteminentpoetsareJohnDonne,GeorgeHerbert&AndrewMarwell.

ysicalPoetry

Metaphysicalpoetryisconcernedwiththewholeexperienceofman,especiallyaboutlove,romanticand

nsual;aboutman'srelationshipwithGod,andaboutpleasure,learningandart.

Metaphysicalpoemsarelyricpoemsofbriefbutintenmeditations,characterizedbythestrikinguofwit,

htheformalstructure(ofrhyme,metreandstanza)istheunderlyingstructureofthepoem’s

“ToHisCoyMistress,”theexplicitargument(Marvell'srequestthatthecoyladyyieldtohispassion)isa

stalkinghorforthemoreriousargumentaboutthetransitorinessofpleasure.

Ri&FallofMetaphysicalPoetry

•Metaphysicalpoetrywasrarelyreadinthe17th,18thandearly19thcentury.

•Inthelate19thcenturyandearly20thcentury,therewasarenewedinterestinmetaphysicalpoetry.

•,

Donnebecameacultfigureintheearly20thcenturyEnglish-speakingcountries.

t（巧妙的词语；别出心裁的比喻）

Aconceitisafigureofspeechwhichmakesanunusualandsometimelaboratelysustainedcomparisonbetween

twodissimilarthings.

Metaphysicalconceit

Thistypeofconceitdrawsuponawiderangeofknowledge,anditscomparisonsareelaborately（苦心经营地，

精巧地）rationalized.

Forinstance,Donne’s“TheFlea”comparesafleabitetotheactoflove;andin“AValediction:Forbidding

Mourning”paratedloversarelikenedtothelegsofacompass,thelegdrawingthecircleeventuallyreturninghometo

"thefixedfoot."

er[,kævə'lɪə]Poets（保皇党派诗人）

Cavalierpoetsare,moreoftenthannot,knightsandsquires,whosidewiththekingagainsttheparliamentandthe

stlydealinshortsongsontheflittingjoysoftheday,butunderneaththeir

lightheartednessliessomeforebodingofimpendingdoom.

•gonthecourtlythemesofloyalty,love,andbeauty,thecavalierpoetsproducedfinelyfinishedvers.

•monfactorthatbindsthecavalierstogetheristheiruofdirectandcolloquiallanguageexpressive

ofahighlyindividualpersonality,andtheirenjoymentofthecasual,theamateur（外行的，业余的）,the

affectionate（充满深情的）poemwrittenbytheway.

•e“cavalier”inthen,notonlyofbeingRoyalists,butinthenthattheydistrusttheover-

earnest,thetoointen.

•dingcavalierpoetswereRobertHerrick,RichardLovelace,SirJohnSuckling,andThomasCarew.

MostwereadmirersofBenJonson.

ssicism（新古典主义）

–ItfounditsartisticmodelsintheclassicalliteratureoftheancientGreekandRomanwriterslikeHomer,

Virgil,Horace,Ovid.

–ApartialreactionagainstthefiresofpassionblazedinthelateRenaissance,especiallyinthe

Metaphysicalpoetry.

---Proshouldbepreci,direct,smoothandflexible.

---Poetryshouldbelyrical（抒情的）,epical（叙事的）,didactic（教导的）,satiricordramatic,and

eachclassshouldbeguidedbyitsownprinciples.

---Neo-classicalwritersare:JohnDryden,AlexanderPope,JonathanSwift,JophAddison,RichardSteele,

HenryFielding,SamuelJohnson,OliverGoldsmith,EdwardGibbon,etc.

oisie[,bʊəʒwɑ:'zi:]（中产阶级）(the18thCenturyAgeofBourgeoisie

tenmentMovement(启蒙运动)

Undertheinfluenceofscientificdiscoveries(Newton)andflourishingofphilosophies,Frenchenlightenment

started.

EnlightenmentthinkerssuchasVoltaire伏尔泰,Montesquieu孟德斯鸠,Locke洛克,Hobbes霍布斯,and

Rousau卢梭believedthattheworldwasanobjectofstudyandthatpeoplecouldunderstandandcontroltheworldby

meansofreasonandempirical（以观察或实验为依据的）rearch.

•anintellectualmovementbeginninginFranceandthenspreadthroughoutEurope

•acontinuationofRenaissanceinbeliefinthepossibilityofhumanperfectionthrougheducation

•theguidingprincipleorslogan（标语，标号）isRation（定量？）/Reason,naturalrightandequality

(AmericanIndependenceWarin1776;FrenchRevolutionin1789)

•Rationbecamestandardformeasurementofeverything.

•Inreligion,itwasagainstsuperstition（迷信）,intolerance（心胸狭窄）,anddogmatism（教条主义，独断，武断）

;inpolitics,itwasagainsttyranny（暴政，苛政）;andinsociety,itwasagainstprejudice,ignorance,

inequality,andanyobstaclestotherealizationofanindividual’

sametime,theyadvocated（提倡）ropinion,humanbeingswerelimited,

dualistic（二元的）,imperfect,andyetcapableofrationality（合理性，合理的行为见解）andperfection

througheducation.

Thegreatenlighteners:

•AlexanderPope,

•JophAddison,

•JonathanSwift,and

•SamuelJohnson

1)Biography（传记）:JamesBoswell’sLifeofSamuelJohnson

2)Journalism/Periodicals（期刊）:SteelsandAddison’sliteraryjournals

3)Realistnovel（现实主义小说）:bourgeoisinesnce

---subjectmatter,

---readership,

---didacticpurpo,

---form(pro,comicepic);

novel(frommid-18thcentury)

---Devotedtotalesofhorrorandthedarker

supernaturalforces

---Derivesitsnamefromsimilaritiesto

Medieval(中古的,中世纪)Gothicarchitecture

---GothicHorror:Athrillerdesignednotonlyto

terrifyorfrightentheaudience,buttoconveya

nofmoralfailureorspiritualdarkness.

---TheGothicinEnglandbeginswithTheCastleofOtrantoin1760,byHoraceWalpole,whichemphasizedthe

supernaturalmixedwiththegrotesqueinamedievaltting.

---AnneRadcliffeinMysteriesofUdolphoperfectedthentimentalgothicinthe1790s.

---Frankenstein(1817)byMaryShelley

---influencedthelatergenerations:Coleridge,Keats,Dickens,Brontesisters,etc.

entalityliterature伤感文学

---Itwasapartialreactionagainstthatcold,logicrationalismwhichdominatedpeople’slifesincethelastdecadesof

the17thcentury.

---Areadysympathyandaninwardpainforthemiryofothersbecamepartofacceptedsocialmoralityandethics.

---startedbySamuelRichardson’sPamela

andClarissa

---reprentedinnovelformbyLaurenceSterne’sA

SentimentalJourneythroughFranceand

Italy(1768)

---reprentedinpoetryby“TheGraveyardSchool”:

ThomasGray,EdwardYoung

---emphasizingtheemotion/heartinsteadofration

---graduallymergedintoRomanticism

:Aliterarymannerwhichblendshumorwithcriticismforthepurpoofinstructionortheimprovementof

humanity.

Thenecessaryingredients

---Humor

---Criticism,eithergeneralcriticismofhumanityorhuman

natureorspecificcriticismofanindividualorgroup.

---Somekindofmoralvoice:simplymockingorcriticism

isnot“satire.”

ThebestandmostreprentativeworksarefoundinthowrittenbyPopeandSwift.

AlexanderPope

•Mockepic:“TheRapeoftheLock”

•LiterarySatire:“TheDunciad”

•JonathanSwift

•“AModestProposal”

•Gulliver’sTravels

listicNovel

TheEnglishmiddle-classpeoplewerereadytocastawaythearistocraticromanceandtocreateanewandrealistic

literatureoftheirowntoexpresstheirideasandrvetheirinterests.

Thewholelifeinitsordinaryaspectsofthemiddleclassbecamethemajorsourceofinterestinliterature.

Majornovelists:DanielDefoe,SamuelRichardson,HenryFielding,LaurenceSterne,OliverGoldsmith,TobiasGeorge

Smollett…

tsofFiction

:thecentralideaorstatementaboutlifethatunifiesandcontrolsthetotalwork

Identifyingthetheme

•Toavoidconfusingawork’sthemewithitssubjectorsituation.

•Thestatementofthemedoestheworkfulljustice.

•Itisfullyandcompletelysupportedbythework’sotherelements.

•Thetitleoftheworkoftensuggestsaparticularfocusoremphasisforthereader’sattention.

:Theactioninfiction,thearrangementofeventsthatmakeupastory.

•Plotsturnonaconflict,orstrugglebetweenopposingforces,actionleadsinto

another.

•Structureisthedesignorformoftheaction,nsandtheshapeofcontent.

•Theclassicpattern:exposition,complication,crisis,fallingaction,andresolution

ter：Charactersareimaginarypeoplethatwriterscreate.

•Concernedwithbeingabletoestablishthepersonalitiesofthecharactersandtoidentifytheir

intellectual,emotional,andmoralqualities.

•Concernedwiththetechniquestocreateanddevelopcharacters.

•Concernedwithwhetherthecharactersarecredibleandconvincing.

Themajor,orcentral,characteroftheplotistheprotagonist(主角).

Theopponent,thecharacteragainstwhomtheprotagoniststrugglesorcontends,istheantagonist(反角).

Flatcharactersarethowhoembodyorreprentasinglecharacteristic,trait,oridea,oratmosta

verylimitednumberofsuchqualities.(typecharacters,one-dimensionalcharacters)

bodyanumberofqualitiesandtraits,andare

complexmulti-dimensionalcharactersofconsiderableintellectualandemotionaldepth.

Mostimportantly,theyhavethecapacitytogrowandchange.

g

Settingisboththephysicallocalethatframestheactionand

thetimeofdayoryear,theclimaticconditions,andthe

historicalperiodduringwhichtheactiontakesplace.

Thefunctionsoftting:

•Settingasabackgroundforaction.

•Settingasantagonist

•Settingasmeansofcreatingappropriateatmosphere.

•Settingasameansofrevealingcharacter.

•Settingasameansofreinforcingtheme.

fview

Themethodofnarrationthatdeterminestheposition,orangleofvisionfromwhichthestoryistold.

Commonlyudpointsofview

•Third-personpointofviewomniscient

•Third-personpointofviewlimited

•First-personpointofview

geandstyle

Styleconsistsofdiction(theindividualwordsan

authorchoos)andsyntax(thearrangementoftho

words),aswellassuchwritingdevicesasrhythm

andsound,allusion,ambiguity,irony,paradox,and

figurativelanguage.

Eachwriter’tituteshis

“signature”inawaythattshisworkapart.

sofCharacterization

•Characterizationthroughtheuofnames.

•Characterizationthroughappearance.

•Characterizationbytheauthor.

•Characterizationthroughdialogue.

•Characterizationthroughaction.

n（措辞）:thetypeandqualityoftheindividualwordsthatcomprianauthor’sbasicvocabulary.

•Thedenotativemeaningofwords,

•Theconnotativemeaning;

•Thedegreeofconcretenessorabstractness;

•Thedegreeofallusiveness;

•thepartsofspeechtheyreprent;

•Thelengthandconstruction;

•Thelevelofusagetheyreflect(standardornonstandard;formal,informal,orcolloquial);

•Theimagerytheycontain;

•Thefigurativedevices(simile,metaphor,personification,etc)theyembody;

['sɪn,tæks]句法;句法规则〔分析〕:

Thewaystheauthorarrangeswordsintophras,claus,andfinallywholentencestoachieveparticular

effects.

•Thelength—whethertheyareshort,spare,and

economicalorlongandinvolved;

•Theform—whethertheyaresimple,compound,or

complex;

uctionofntence

•Loontencesthatfollowthenormalsubject-verb-objectpattern,statingtheirmainideanear

thebeginningintheformofanindependentclau,

•Periodicntences工整句thatdeliberately（故意地，慎重地）withhold（扣留，保留，

抑制）orsuspend（暂停，终止，悬，吊）thecompletionofthemainideauntiltheend

ofthentence,

•Balancedntences（对杖句）inwhichtwosimilarorantitheticalideasarebalanced.

icalnovel

•Anovelwherefictionalcharacterstakepartinactualhistoricaleventsandinteractwithrealpeoplefromthepast.

•Examples:

•SirWalterScott:Ivanhoe,Waverly

•JamesFennimoreCooper:

TheLastoftheMohicans

icism

•politically:areactionagainstindustrialrevolutionandthesocialsystem

•literarily:areactionagainstNeo-classicism;concernedwithimaginationandpersonal

feelinginsteadofthepowerofration/reason

•philosophically:Itstressindividualism（个人主义）insteadofsocialorder.

①Artisticfeature

verform:lyrics,odes（颂，赋）,sonnets,ballads

diction（措辞）:fresh,simple,commonlyudcolloquiallanguage

themes:thebeautyandmysticismofnature;simple,commonrurallife;factsandideasofrevolution

•浪漫主义是对新古典主义的反驳：诗歌内容不再是对现实的反映或道德说教，而是诗人内心涌出的真实

感情；诗歌语言不是模仿经典作家去追求高雅精致，而是要贴近普通人的日常用语。浪漫主义诗人崇尚

自然，主张返朴归真。浪漫主义是一个比较笼统的概念，每个诗人各有其特征。

②Definition

•Romanticism:amovementinartandliteratureinthe18thand19thcenturiesinrevoltagainstNeoclassicism

ofthepreviouscenturies.

•FriedrichSchlegeldefineditas“literaturedepictingemotionalmatterinanimaginativeform.”

•VictorHugo’sphra"liberalisminliterature"isalsoapt.

③Characteristics

•Imagination,emotion,tofitsparticularcharacteristics

includessubjectivityandanemphasisonindividualism;spontaneity;freedomfromrules;solitaryliferatherthan

sociallife;beliefsthatimaginationissuperiortoreasonanddevotiontobeauty;loveofandworshipofnature;

andfascinationwiththepast,especiallythemythsandmysticismofthemiddleages.

④Englishromanticpoets:

WilliamWordsworth,SamuelTaylorColeridge,LordByron,PercyByssheShelley,andJohnKeats

Americanromanticpoets:

n,NathanielHawthorne,EdgarAllenPoe,u,HermanMelville,WaltWhitman

⑤RomanticLiterature

anegativeattitudetowardtheexistingconditionsofpolitical,economic,andsociallifeunderthefirmrule

ofthebourgeoisie,thoughsuchanattitudecamefromwritersofquitedifferentclassstands:

---somespeakingforthefeudalaristocracy;

---someforthepatriarchalpeasantry;

---someforthenewindustrialproletariat.

•Lakers/LakePoets(ThePassiveRomanticPoets):Wordsworth,Coleridge,Southey

•–criticizedindustrialcapitalismbyadvocatingthereturntothepatriarchalsocietyofthepast

•ActiveRomanticPoets:Byron,Shelley,Keats

•--attackedthetyrannyandexploitationofbothfeudalismandcapitalismandcalledontheoppresdpeopleto

riagainsttheirearthlytyrants

Theconflictbetweenthetwocampswasnotsimplyoneofpersonalhatred,butinawaystoodforthebroadsocial

strugglebetweenthelandedaristocracyandtheoppresdmultitudeoftheEnglishpeople.

encesbetweenthe18th&the19thcentury;betweenNeoclassicism&

Romanticism:

•reasonvspassion

•reasonvsimagination

•commercialvsnatural

•industrialvspastoral（田园生活的，农村生活的）

•prentvspast

•societyvsindividual

•orderandstability（稳定，稳固）vsfreedom

•decorativeexpressionvssimpleandspontaneous（天真的，率性的，自发的，无意识的）expression

/LakePoets:

(Wordsworth,Coleridge,Southey)radicalyouth;conrvative（保守的，传统的）oldage

•--hadradicalinclinationsintheiryouthbutlaterturnedconrvativeandreceivedfavorsfromthegreat.

•–criticizedindustrialcapitalism（资本主义）byadvocatingthereturntothepatriarchalsociety(男权社会)of

thepast

•--attackedbyByron

Attheend,oncesaid,"peoplewholearnto

learnareveryhappypeople.".Ineverywonderfullife,

aprofessionalclericalandteachingposition,Iunderstandtheimportanceof

continuouslearning,"lifeisdiligent,nothingcanbegained",onlycontinuouslearning

constantlylearningandmasteringthelatestrelevant

knowledge,canemployeesfromallwalksoflifekeepupwiththepaceofenterpri

cumentisalso

editedbymystudioprofessionals,theremaybeerrorsinthedocument,ifthereare

errors,pleacorrect,thankyou!

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