英美文学教案

校级精品课程“英国文学”成果材料之一英国文学主讲教案ENGLISHLITERATURESURVEYANDSELECTEDREADINGS2NDDRAFT,FORJUNIORSTHEOBJECTIVESOFTHECOURSE1TOHELPLEARNERSBUILDUPLITERARYCRITICALABILITIESBYWAYOFREADINGANDAPPRECIATINGTHEREPRESENTATIVEWORKSINENGLISHLITERATURE2TOHELPLEARNERSENHANCECULTURALCOGNITIVEABILITIESBYWAYOFINTRODUCINGTHEBACKGROUNDOFLITERATURE,PARTICULARLYTHERELATIONSHIPBETWEENTHELITERARYCREATIONANDTHESOCIALMOVEMENTS3TOHELPLEARNERSIMPROVELANGUAGEABILITIESINTHEASPECTOFLITERARYCRITICISMANDRESEARCHWRITINGINTRODUCTIONMAJORPOINTSTHEGENERALBACKGROUNDINPOLITICS,CULTUREANDRELIGIONTHEGENERALCOLORSOFENGLISHLITERATURE1THEBACKGROUNDINPOLITICS,CULTUREANDRELIGIONTHEORIGINSOFENGLISHLITERATUREATHECELTSORKELTSWHOREMAINEDTHEEARLIESTINHABITANTSINTHEISLANDANDWEREDRIVENAWAYFROMTHECENTRALPARTSTOTHEREMOTEPLACESSUCHASTHEHEIGHTSOFSCOTLANDANDWALESTHEYBECAMEINCREASINGLYMARGINALIZEDINTHELONGTIMEOFTHEMEDIEVALAGEBUTMADETHEMSELVESFELTINTHEMAKINGOFTHENATIONBECAUSEOFTHEIROPTIMISTICMANNERSTOWARDSLIFEANDSPECIALTYINLIFEPATTERNSSUCHASCUSTOMSANDLANGUAGECOLORSBANGLOSAXONSANDJUTESINVADEDENGLANDFROMTHENORTHOFEUROPE,TOBEMOREEXACTFROMTHESCANDINAVIAPENINSULASUCHASMODERNNORWAY,SWEDENANDSOONAFTERTHEWITHDRAWALOFROMANSFROMTHEISLANDTHEYDROVETHECELTSAWAYTHECENTRALANDNORTHERNPARTANDBECAMETHEDOMINANTTRIBESOFTHEISLANDANDBROUGHTALONGTHEIRHARDWORKINGORDILIGENCETOGETHERWITHPESSIMISTICORMELANCHOLYMANNERSANDATTITUDETOWARDSNATUREANDTHELIFECNORMANS,LEDBYWILLIAMTHEDUKE,CAMETOANDCONQUERENGLANDIN1066AFTERDEFEATINGANGLOSAXONSTHENORMANSNOTONLYBECAMETHERULINGCLASSBUTALSOBROUGHTALONGTHEIRLANGUAGEFRENCH,THEIRCONSTITUTIONALCONCEPTSANDALOTOFCIVILIZEDSTANDARDS,CONVENTIONSANDGOVERNMENTALSTRATEGIESANDWAYS,WHICHSPREADOVERMOSTPARTOFENGLANDPROMOTEDANDASSISTEDWITHTHEIRPOWERS,WHILETHEIRROMANTICATTITUDEANDMANNERSBECAMETHENTHEFASHIONFORTHENOBLEANDTHEROYALFACTORSCONCERNEDWITHCULTURALBACKGROUNDTHEWAYOFLIFEOFCELTS,ANGLOSAXONSANDNORMANSTHEBLENDOFDIFFERENTCULTURESOFTHETRIBESANDNATIONSSUCHASCELTS,DANES,ANGLOSAXONS,NORMANSANDSOONFACTORSRELATEDTORELIGIOUSBACKGROUNDTHESPREADANDESTABLISHMENTOFCHRISTIANITY2GENERALCOLORSOFENGLISHLITERATUREFACTORSAFFECTINGTHECOLORSOFENGLISHLITERATUREAITSENVIRONMENTCONCERNINGITSENVIRONMENT,THEFOLLOWINGFACTORSAREOFTENTAKENINTOCONSIDERATION1ITSSPECIALLOCATIONASWEKNOW,THEISLANDOFGREATBRITAINISSEPARATEDFROMTHEMAINCONTINENTOFEUROPESUCHAPARTICULARLOCATIONHASITSADVANTAGESANDDISADVANTAGESASFORTHEADVANTAGES,ITCANBERESERVEDTOITSELFWITHOUTDIRECTINFLUENCEORIMPACTFROMTHECONTINENT,VERYGOODEXAMPLECANBESELECTEDFREELYFROMHISTORYANDFROMPRESENTTIMES,FORINSTANCE,WHENALMOSTTHEWHOLEEUROPEWERESUFFERINGFROMTHERELENTLESSTRAMPLESOFHITLERDURINGWORLDWARII,BRITAINCOULDKEEPITFROMBEINGINVADEDMAINLYOWINGTOITSSEPARATIONINGEOGRAPHY,ANDMOREOVER,NOWWHENTHEMAINBODYOFEUROPE,INCLUDINGGERMANY,FRANCE,NETHERLAND,BELGIUMANDSOON,AREQUICKENINGTHEIRSTEPSTOWARDSAUNITEDMONETARYSYSTEMNEXTYEAR,ENGLANDISSTILLIDLYWANDERINGOUTSIDEENGLISHCHANNEL,WHICHSEPARATESBRITAINFROMTHECONTINENT,PLAYSAROLEASASAFEGUARDTOPREVENTITFROMBEINGCONTAGIOUSORINFECTEDFROMANYDISEASEFROMTHECONTINENTANDDRAWNINTOANYWARTHISISMAYBEAVERYIMPORTANTFACTORTHATTHEREHASNEVERBEENANYWARHAPPENINGINTHEISLANDFORSEVERALHUNDREDSOFYEARSSIMULTANEOUSLY,HOWEVER,THECHANNELBECOMESANOBSTACLETOREFUSETHENEWIDEASANDMOVEMENTSFROMEUROPESOMEONESAIDTHATATDOVERTHERESTANDSACONSERVATIVEGIANTWHOSTOPSANYTHINGHETHINKSHARMFULORNOTAGREEABLEFROMENTERINGANDDRIVESTHEMBACKTOTHECONTINENTASARESULT,INCOMPARISONWITHTHECONTINENT,BRITAINISOFTENONEORTWOGENERATIONSLAGGINGBEHINDINPOLITICSANDIDEOLOGY2ITSSPECIALWEATHERMAINLYDEFINEDTOITSSPECIALLOCATION,BRITAINHASAUNIQUEWEATHER,TOOBECAUSEITLOCATESINANISLAND,WITHLOWLATITUDEORNEARTOTHENORTH,ITENJOYSAVERYMILDWEATHER,NOTTOOWARMINSUMMERNORTOOCOOLINWINTERUNIQUELY,ITHASMUCHFOGANDHUMIDITYSUCHAMILDWEATHER,ACCORDINGLY,USUALLYCREATEAMODERATEPEOPLE3ITSCOLORFULLANDFORMSINGEOGRAPHY,BRITAINHASACOLORFULLANDFORMSUSUALLYTHEISLANDISDIVIDEDINTOTHREEPARTSGEOGRAPHICALLYANDPOLITICALLY,THATIS,ENGLAND,SCOTLANDANDWALESEACHHASITSOWNCHARACTERISTICLANDFORMS,MOUNTAINSANDHIGHLANDSINSCOTLAND,MOUNTAINSANDPLATEAUINWALES,ANDPLATEAU,LOWLAND,MOORLANDSANDPLAINSINENGLAND,WHICHMAKEUPTHECOLORFULLANDFORMSFORTHEISLANDANDSUPPLYTHECOMPREHENSIVECONDITIONSFORITSFORMATIONANDDEVELOPMENTBOTHINITSCULTUREANDNATIONALITYBITSBLENDOFRACESASWEDISCUSSEDINTHEFORMERPARTWHICHNODOUBTPLAYSANIMPORTANTPARTINFORMINGTHECOLORSOFENGLISHLITERATUREGENERALCOLORSELEGANTANDSTANDARDINLANGUAGEMELANCHOLYANDIRONICALINSTYLEORINTONECONVENTIONALANDCONSERVATIVEINTHEMATICCONCERNANDINLITERARYTHOUGHTSCHAPTERONETHEPRECLASSICPERIODTHEEARLYOFTHE7THCENTURY1485MAJORPOINTSMAJORACHIEVEMENTSMAJORFIGURESINTHISPERIODPARTIMAINACHIEVEMENTSINTHISPERIOD1BEOWULFTHEFIRSTENGLISHNATIONALEPICBEOWULFTELLSASTORYABOUTANATIONALHEROBRAVELYFIGHTINGAGAINSTAMONSTERFORTHESAKEOFTHEPEOPLEBEOWULF,ONHEARINGTHENEWSTHATATERRIBLEMONSTERGRENDELHARMSTHEPEOPLE,SAILSFORDENMARKWITH14COMPANIONSTOFIGHTTHEMONSTERAFTERARRIVAL,BEOWULFANDHISCOMPANIONSLIEDOWNINTHEHALLWHICHGRENDELCOMESTOSEIZETHEWARRIORSDURINGTHEFIGHTSINGLEHANDEDLYAGAINSTGRENDEL,BEOWULFWOUNDSITMORTALLYTHENBEOWULFAGAINDEFEATSGRENDELSMOTHERWHOCOMESTOREVENGEFORHERSONANDRUNSAFTERHERTOTHEDEPTHOFALAKEANDKILLSHERAFTERTHATHEBECOMESTHEKINGOFHISPEOPLEBUTWHENHEISOLD,HEBIDSFAREWELLTOHISFAMILYTOFIGHTAFIREDRAGONWHICHBRINGSHARMTOTHEPEOPLEAGAINHEDEFEATSTHEFIREDRAGON,BUTISMORTALLYWOUNDEDBEOWULFISAFOLKLEGENDBROUGHTTOENGLANDBYANGLOSAXONSFROMTHENORTHOFEUROPEANDWASORALLYSPREADOVERFORCENTURIES,COMBININGBOTHTHEIRSTRUGGLEAGAINSTNATURALDISASTERSINTHEHOMEANDINTHENEWENVIRONMENTINTHEISLAND,ANDREVEALINGAPRIMITIVESTATEOFTHEMWITHBRAVEBUTSUPERSTITIOUSMINDANDAPERSEVERINGSPIRITBEOWULFISALONGPOEMOFOVER3000LINESARTISTICALLYSPEAKING,ITWELLREVEALSTHEFEATURESOFANGLOSAXONENGLISHSUCHAS1WIDEUSEOFALLITERATION,2METAPHORSAND3UNDERSTATEMENTS2ENGLISHBALLADSENGLISHBALLADSAREALSOCALLEDPOPULARBALLADSITISONEKINDOFORALLITERATUREBECAUSEMOSTOFTHEBALLADSWERESPREADORALLYFORALONGTIMEINTHEFORMOFFOLKSONGSORBALLADSANDTHENWERERECORDEDINWRITTENFORMALOTOFBALLADSEXISTEDLONGBEFORETHENORMANCONQUESTBUTMOSTOFTHEMWERECOMPOSEDPROBABLYAFTERTHE14THCENTURY,PARTICULARLYINTHE15THCENTURY,BUTTHEYWERENOTCOLLECTEDNORPUBLISHEDTILLMUCHLATERTHEBESTKNOWNOFTHEEARLIESTPUBLICATIONSOFTHESEBALLADSWASTHATBYBISHOPTHOMASPERCYINTHELATEOFTHE18THTHEREAREVARIOUSKINDSOFBALLADSHISTORICAL,LEGENDARY,FANTASTICAL,LYRICALANDHUMOROUSMANYOFTHEMWEREDEVOTEDTOHISTORICALEVENTSTHEROBINHOODBALLADSREMAINSTHEMOSTPOPULARROBINHOODBALLADSHAVEVARIOUSKINDSOFTYPESANDSTORIES,BUTINGENERALTHESEBALLADSDEALWITHROBINHOODANDHISMENINTHEIRSTRUGGLEAGAINSTTHEOPPRESSORSOFONEKINDORANOTHER,FOREXAMPLE,BISHOPS,BARONSANDSOONINTERMSOFLIUBINGSHAN,“THECHARACTEROFROBINHOODISMANYSIDEDSTRONG,BRAVEANDCLEVER,HEISATTHESAMETIMETENDERHEARTEDANDAFFECTIONATEHEISAMANWITHATWINKLEINHISEYE,AMANFONDOFAVERYJOKEANDAHEARTYLAUGHBUTTHEDOMINANTKEYINHISCHARACTERISHISHATREDFORHECRUELOPPRESSORSANDHISLOVEFORTHEPOORANDDOWNTRODDEN”PARTIIGEOFFREYCHAUCERANDTHECANTERBURYTALES1CHAUCERSMAINCONTRIBUTIONSTOENGLISHLITERATURE1HISFIRSTANDFOREMOSTCONTRIBUTIONCANBEFOUNDFROMLANGUAGEASPECTITISCHAUCERWHOFORMALLYFINISHEDTHEBLENDOFTHREELANGUAGES,ANGLOSAXONENGLISH,NORMANSFRENCHANDLATINTOSHAPETHEEARLYFORMOFMODERNENGLISHOFCOURSE,THISPROCESSOFBLENDLASTEDMORETHANTHREEHUNDREDYEARS,THATIS,FROMWILLIAMCONQUESTTOCHAUCERSTIME,BUTITISHEWHOFIRSTUSEDLONDONDIALECTENGLISHINFORMALWRITING,ANDITISDUETOHISWRITINGTHATMODERNENGLISHBECAMETHEONLYNATIONALLANGUAGEACCEPTEDBYALLENGLISHPEOPLESOITCANTBEOVERSTATEDTOSTRESSCHAUCERSFUNCTIONINGIVINGBIRTHTOTHEEARLYSHAPEOFMODERNENGLISHINTERMSOFONERESEARCH,INONETHOUSANDWORDSTHATRECURMOSTFREQUENTLYINOURSPEAKINGANDWRITING,617PERCENTCOMEFROMANCIENTENGLISH,THATIS,ANGLOSAXONENGLISH,309PERCENTFROMFRENCH,29PERCENTFROMLATINTHISSTATISTICSCANCLEARILLUSTRATECHAUCERSCONTRIBUTIONTOMODERNENGLISHBECAUSEITWASSTILLANADVENTUROUSACTIONTOUSELONDONDIALECT,ORANGLOSAXONENGLISHTOWRITEALONGPOEMASTHECANTERBURYTALESATTHATTIME2BASEDONHISAPPLICATIONOFLONDONDIALECTENGLISHINHISWRITINGS,ENGLISHBECAMEABRIDGEBETWEENLITERATUREANDTHEGREATPUBLIC,ORTHEMASSINMAOTSEDONGSWORDS,WHICHMADEITPOSSIBLEFORARAPIDDEVELOPMENTTAKINGABENEFICIALCONDITIONFROMTHEMAJORITYOFTHEPEOPLEITPROBABLYREMAINSUNCLEARWHETHERENGLISHCOULDMETITSPROSPERITYINTHERENAISSANCEIFWITHOUTCHAUCERSUSEOFLONDONDIALECTTHENALIVELYLANGUAGE3CHAUCERPIONEEREDINUSINGTHECOUPLETFIRSTINHISWRITING,INCONCRETE,4ACCENTSCOUPLETINHISEARLYWRITINGAND5ACCENTSCOUPLETINTHEFAMOUSCANTERBURYTALESWHICHLATERWASWIDELYUSEDBYALOTOFWRITERSANDWASPERFECTEDDURINGTHETIMEOFENLIGHTENMENT4HEDEVOTEDAMASTERPIECETHECANTERBURYTALESTOENGLISHLITERATURE,WHICHREMAINSACLASSICWITHSUFFICIENTHERITAGEINBOTHLANGUAGEANDARTISTICACHIEVEMENTSHISTORICALLY,THECANTERBURYTALESPROVIDESAPANORAMAOFTHESOCIETYINHISTIME,THATIS,THELATEOFTHEANGLOSAXONNORMANPERIODANDTHEEARLYOFTHERENAISSANCEARTISTICALLY,ITCREATESASERIESOFLIVECHARACTERSOFMANYRANKSFROMTHEKNIGHTS,WORRIERS,LANDLORDSORSQUIREINENGLISH,MONK,CLERGYMEN,OXFORDSCHOLAR,LAWYER,DOCTOR,NUN,ASWELLASSOMEORDINARYPEOPLESUCHASTHEWIFEOFBATH,INNSKEEPER,CARPENTER,SOONANDSOFORTH,WHICHHAVEAHIGHMERITINDISPLAYINGDIFFERENTCHARACTERISTICS2THECANTERBURYTALESACASESTUDYFROMLANGUAGETOIMAGES,TONUMBERSORRHYTHMSANDTOGENERALTONEINTHEPASSAGE1STUDYONDICTIONQUESTIONSAFROMTHETHREEGROUPSOFWORDS,INTERMSOFTHEIRMEANINGSANDSIGNIFICATIONS,WHATDOYOUTHINKARETHEFEATURESOFTHEMINSEMANTICASPECTSANDINRHETORICALASPECTSBWHATDOTHEYSUGGESTINMEANINGORINSIGNIFICATIONCCANYOUSUMMARIZETHEGENERALTONEINTHISPARTWITHTHEHELPOFTHEANALYSISOFTHEDICTIONANDCANYOUPREDICTTHEGENERALTONEOFTHETALESTHATFOLLOW2STUDYONIMAGES3STUDYONNUMBERS4STUDYONTHECOHERENCEBETWEENTHELANGUAGE,SETTING,TONEANDCHAUCERSGENERALCOLORSINWRITINGQUESTIONSAHOWISTHESETTINGOFTHESTORYDESCRIBEDWHATISTHEGENERALCOLOROFTHESETTINGIFYOUAREASKEDTODRAWAPICTUREOFTHESETTINGBWHATISTHEGENERALTURNORTENDENCYOFTHELANGUAGECWHATISTHERELEVANCEBETWEENTHELANGUAGEANDTHESETTINGDWHATISTHERELEVANCEBETWEENTHELANGUAGE,SETTINGANDTONETHENAVERYBRIEFSUMMARYOFTHEFEATURESOFCHAUCERSWRITING,TAKINGTHEDISCUSSEDLINESASEXAMPLE1SIMPLEANDEXPRESSIVELANGUAGE2OPTIMISTICTONE3THEMATICCONCERNTHERISINGANDADVANCINGSOCIETYCHAPTERTWOTHECLASSICPERIOD14851660MAJORPOINTSBACKGROUNDINFORMATIONMAJORACHIEVEMENTSOFTHETIMEREADINGANDANALYSISOFSOMEMASTERPIECESPARTIBACKGROUNDINFORMATIONHISTORICALEVENTSAFFECTINGTHEMAKINGOFENGLISHLITERATUREOFTHETIME1HENRYVIITHEKINGCAMETOTHEPOWERIN1485,WHICHBEGANANEWEPOCHOFUNIFICATIONANDDEVELOPMENT2HENRYVIIISBREAKWITHTHEROMECATHOLICSIN1533,WHICHPAVEDTHEWAYFORALIBERALANDRAPIDDEVELOPMENT3VICTORYOVERSPAINBYDEFEATINGSPANISHARMADAIN1588,WHICHPAVEDTHEWAYFORENGLISHMENTOSEARCHTREASUREANDTERRITORYALLOVERTHEWORLD4CHARLESISSUCCEEDINGTOTHECROWNIN1625ANDHISHARSHTREATMENTWITHTHEPARLIAMENTGAVEBIRTHTOTHEPURITANREVOLUTIONECONOMICALFACTSHAVINGIMPACTONTHEDEVELOPMENTOFENGLISHLITERATUREOFTHETIME1THEMOVEMENT“SHEEPDEVOUREDMEN”2WITHTHEEXPANSIONOFITSTERRITORYANDENDLESSTREASUREFROMTHECOLONIES,ENGLISHECONOMYOBTAINFAVORABLECONDITIONSANDSUFFICIENTCAPITALANDRESOURCESTODEVELOPITSINDUSTRYANDTOBUILDCITIESCULTURALFACTSAFFECTINGTHEPRACTICEOFENGLISHLITERATURE1THEEUROPEANRENAISSANCEANDTHECOMPROMISEBETWEENTHEROYALANDTHEPARLIAMENTIN16882JAMESIAUTHORIZEDTHEPUBLICATIONOFTHEBIBLE,WHICHBRIDGEDCHRISTIANITYWITHTHECOMMONPEOPLEANDSETUPABASISFORASTABLEIDEOLOGY3THEPURITANREVOLUTIONANDTHEREVOLUTIONARYTHOUGHTSOFTHEPURITANSPIONEEREDAWAYFORREFORMSANDREVOLUTION,WHICHESTABLISHEDATRADITIONFORLATERPROGRESSANDCHANGESPARTIITHEMAINLITERARYACHIEVEMENTSOFTHETIMEMAINFIGURESEDMUNDSPENSER15521599,CHRISTOPHERMARLOWE15641599,WILLIAMSHAKESPEARE15641616,FRANCISBACON15611626,JOHNDONNE15721631ANDBENJONSON15721637EDMUNDSPENSERSMAINCONTRIBUTIONCANBESEENINPOETRYTHATISWHYSOMETIMESHEISCALLEDAS“POETSPOET”HISMASTERPIECEISTHEFAERIEQUEENE仙后，WHICHWASDEDICATEDTOQUEENELIZABETHHISPROMINENCELIESINHISSONNETANDSTANZAWHICHWERENAMEDAFTERHIMASSPENSERIANSONNETANDSPENSERIANSTANZA,PARTICULARLYTHELATTERWASPRACTISEDBYSOMEFAMOUSPOETSINENGLISHLITERATURE,BYRONFOREXAMPLEINHISLONGPOEMCHILDEHAROLDSPILGRIMAGECHRISTOPHERMARLOWEWASAGENIUSWHODIEDYOUNGANDHEWASONEOFTHE“UNIVERSITYWITS”HISCONTRIBUTIONISWITNESSEDINDRAMA,THEFAMOUSONESARETAMBURLAINE1588,DRFAUSTUS1589ANDTHEJEWOFMALTA1590,PROBABLYFROMWHICHSHAKESPEAREGOTSOMEINSPIRATIONSFORHISWRITINGANDITISSAIDTHATMARLOWESUCCESSFULLYEMPLOYEDBLANKVERSEINHISDRAMA,WHICHBECAMEALMOSTANESTABLISHEDFORMINDRAMAFROMTHENONBENJONSONWASANOTHERGENIUSDURINGTHATTIMEHEWASOVERSHADOWEDBYSHAKESPEAREINHISTORYBUTVIRTUALLYENJOYEDMUCHMOREFAMEAMONGTHEIRCONTEMPORARIESTHANTHELATTERATTHATTIMESOAFTERSHAKESPEARE,HEWASADMIREDBYAGROUPOFPOETSWHOFELTPROUDOFBEINGCALLEDAS“SONSOFBEN”JONSONSISPROMINENTFORHISACHIEVEMENTSINCOMEDIES,PARTICULARLYCOMEDIESOFHUMOURS,THEREPRESENTATIVESOFWHICHAREEVERYMANINHISHUMOR1598ANDVOLPONE,ORTHEFOX1606ASFORTHEOTHERTHREEFIGURERS,WESHALLDISCUSSTHEMRESPECTIVELYLATERSOMELITERARYTERMSRELATEDTOTHISPERIOD1UNIVERSITYWITSITISAPPLIEDTOAGROUPOFWRITERSWHOFLOURISHEDINLONDONINTHELASTTWENTYYEARSORSOOFTHE16THCENTURYTHEMOSTNOTABLEWEREMARLOWE,NASHE,GREENEANDLYLYWHOALLGRADUATEDFROMEITHEROXFORDORCAMBRIDGE,ANDWHOFAVOREDUSINGEUPHUISMANDEXTRAVAGANCEINWRITING2COMEDIESOFHUMORSITISAPPLIEDTOAFORMOFDRAMAFASHIONABLEINTHELATEOFTHE16THANDTHEEARLYOFTHE17THCENTURYITISSOCALLEDBECAUSEITPRESENTEDCHARACTERSWHOSEACTIONSWERERULEDBYAPARTICULARPASSION,TRAITORHUMORTHELEADINGFIGUREOFTHISFORMISBENJONSONANDHISPLAYEVERYMANINHISHUMORISONEOFTHETYPICAL3METAPHYSICALPOETSTHISISATERMAPPLIEDTOAGROUPOFSEVENTEENTHCENTURYPOETS,SUCHASJOHNDONNE,GEORGEHERBERTANDANDREWMARVELLTHEYSHAREDSOMEFEATURESINWRITING,FOREXAMPLE,THEYFAVOREDUSINGCONCEITS,HYPERBOLESANDOVERSTATEMENTS,THEYLIKEDTODEVELOPSOMEPECULIARTHEMESBUTDIDNTLIKETOBERESTRAINEDBYSTRICTRHYTHMPARTIIIREADINGANDANALYSIS1WILLIAMSHAKESPEARE15641616CONCERNINGSHAKESPEARESLIFEANDACHIEVEMENTS,PROBABLYITISNOTNECESSARYTOSAYSOMUCHBECAUSEMOSTOFENGLISHLEARNERSMUSTHAVEKNOWNSOME,THEREFORE,HEREONLYSOMESIGNIFICANTFACTSAREEMPHASIZEDFIRST,SHAKESPEAREHADAVERYRICHEXPERIENCEINTHEATREFIRSTASANACTORANDTHENASAPLAYWRIGHT,ANDSECOND,HELIVEDINAPERIODOFTHEATRESBOOMINGORPROSPERITYANDHEHADAVERYRICHTRADITIONOFTHEATRETOINHERITANDLEARN,FOREXAMPLE,FROMCHRISTOPHERMARLOWESPLAYSTHEJEWOFMALTAANDDRFAUSTUSTHESETWOBENEFICIALCONDITIONSMUSTBEATTACHEDENOUGHATTENTIONINTHESTUDYOFSHAKESPEARESACHIEVEMENTSSAMPLEREADINGOFSHAKESPEARESSONNETS,SONNET18TECHNICALANALYSIS1RHYTHM2IMAGESSUMMERSDAY,ROUGHWINDS,THEDARLINGBUDSOFMAY,THEEYEOFHEAVEN,GOLDCOMPLEXION,DEATHRHETORICALANALYSIS1FIGURESOFSPEECH2CONTRASTTHEEASUMMERSDAY,ROUGHWINDSTHEDARLINGBUDS,NATURESCHANGINGCOURSETHYETERNALSUMMER,DEATHETERNALLINES,MENTHISPOEM,ETCTOPICSFORREFLECTION1WHOIS“THEE”INTHEPOEMPROVEYOURINTERPRETATION2THESONNETISASSIGNEDTOBERECITEDSUMMARYSAMPLEREADINGOFSHAKESPEARESDRAMAONEEXCERPTFROMHAMLETHISTORICALAPPROACHHISTORICALBACKGROUNDOFTHEPLAYHISTORICALBACKGROUNDINTHEPLAYCHARACTERSTUDYANALYSISOFHAMLET1ANALYSISINGENERAL2ANALYSISOFHAMLETSMELANCHOLYANDDELAYINACTION3ANALYSISOFTHEMONOLOGUESUMMARYOFHAMLETSCHARACTERISTICS1HAMLETISINASERIOUSCONFLICTORCONTRADICTION,TOBEORNOTTOBETHATISTHEQUESTION2HAMLETISINAGREATMELANCHOLYANDHEISSENSITIVEANDALERT3HAMLETBELIEVESMOREINTHELIFETHANTHEAFTERLIFE4HAMLETISVERYCAUTIOUSANDTHOUGHTFUL5HAMLETHASAVERYPERCEPTIVEMINDATTHECRUELTYANDHARDSHIPSOFTHELIFEORTHESOCIETYTERMINOLOGYSHAKESPEARESFOURGREATTRAGEDIESSHAKESPEARESTRAGEDIESAREOFTENREGARDEDASTHEGREATESTACCOMPLISHMENTSOFTHEDRAMATIST,WHILEHISFOURTRAGEDIESSTANDOUTASTHEMASTERPIECESTHEFOURGREATESTTRAGEDIESAREHAMLET,OTHELLO,KINGLEARANDMACBETHHAMLET,ADRAMAOFMURDERANDREVENGE,REVEALSTHECONFLICTBETWEENFEUDALISMANDHUMANISMOTHELLO,ATRAGEDYOFCREDULITY,DEPICTSACONFLICTBETWEENANUPRIGHTMANANDAPUREWOMANWITHATREACHEROUSVILLAINANDHISTRICKSKINGLEAR,ATRAGEDYOFVANITY,HYPOCRISYANDFLATTERY,DISCLOSESTHESERIOUSSTRUGGLEFORPROPERTYANDFAMEMACBETH,ATRAGEDYOFWILDAMBITION,DEPICTSTHESTRUGGLEFORTHECROWNAMONGTHENOBLEANDTHEROYAL2JOHNDONNEANDHISMETAPHYSICALPOETRYBRIEFINTRODUCTIONREADINGANDUNDERSTANDINGPARAPHRASEANDEXPLANATIONTECHNICALANALYSISRHYTHM1METERPREDOMINANTLYINIAMBICTETRAMETERBUTWITHMANYVARIATIONSEGSTANZA1,STANZA22RHYMELONGVOWELS,14SHORTVOWELS,22,INTHELONGVOWELS,THEREAREMORE/OU/AND/U/,WHICHSUGGESTSADNESS,SIGHANDDEPRESS,WHILETHESHORTVOWELSSUCHAS/I/,/E/,/IE/AND/SUGGESTTHESECRECYANDINTIMACYOFACHATORCONVERSATIONBETWEENACOUPLENARRATIVEORCONVERSATIONALSTYLEDICTIONIMAGERYRHETORICALANALYSISMETAPHORCONTRASTHYPERBOLEOVERSTATEMENTBRIEFINTRODUCTIONTOTHEMETAPHYSICALSCHOOLTHEMAJORCOLORSOFMETAPHYSICALWRITING1THEORIGINALIMAGESANDCONCEITS2SKILLFULUSEOFCOLLOQUIALSPEECHORLANGUAGE3FLEXIBLEMETERANDRHYTHM4EXTRAVAGANTHYPERBOLES5COMPLEXANDEVENPECULIARTHEMESTERMINOLOGYMETAPHYSICALPOETRYASATERM3FRANCISBACON15611626BRIEFINTRODUCTIONSAMPLEREADINGOFSTUDIESPARTIALANALYSISS1S9DICTIONSENTENCEPATTERNRHETORICALANALYSISSIMILESMETAPHORSALLUSIONSPARALLELISMINSUMMARY,BASEDONTHEFORMERBRIEFANALYSISOFTHETHREEASPECTSOFLANGUAGE,THESTYLEOFTHEESSAYCANBEDESCRIBEDASCONCISE,FORCEFUL,ANDELEGANTANDCONSIDERINGTHEGENERALATTITUDEORTONEOFTHEWORK,WECANDRAWACONCLUSIONTHATITISPREDOMINANTLYSUBJECTIVE,POSITIVEANDFORMALBEINGSUBJECTIVEMEANSTHATTHECENTRALTOPICORTHEMAINARGUMENTSAREBUILTONBACONSPERSONALIDEASANDOPINIONSRATHERTHANONSOMEOBJECTIVEDATASUCHASFACTSORDETAILSFROMEXPERIMENTSORSOMETHINGLIKETHATANDOBSERVINGTHESENTENCEPATTERN,WESHALLFINDTHATTHEREAREMANYSENTENCESINPREDICATEPLUSPREDICATIVESTRUCTURE,THATIS,“WHATISWHAT”STRUCTURE,FOREXAMPLE,1“THERECHIEFUSEFORDELIGHTISINPRIVATENESSANDRETIRINGFORORNAMENT,ISINDISCOURSEANDFORABILITY,ISINTHEJUDGMENTANDDISPOSITIONOFBUSINESS”,2“TOSPENDTOOMUCHTIMEINSTUDIESISSLOTHTOUSETHEMTOOMUCHFORORNAMENTISAFFECTATION”,3“THEYPERFECTNATURE,FORNATURALABILITIESARELIKENATURALPLANT,”,4“SOMEBOOKSARETOBETASTED,”,5“SOMEBOOKSALSOMAYBEREADBYDEPUTYANDEXTRACTS”THISTYPEOFSENTENCE,INDEEPSTRUCTUREORINSTYLISTICS,SUGGESTSAMORECONCLUSIVECONNOTATIONTHANAHORTATIVEMEANINGBEINGPOSITIVEMEANSTHATINATTITUDEBACONINTENDSTOEDUCATEORINSPIREORINSTRUCTINORDERTOHELPTHOSEFROMTHENOBLEORARISTOCRATICFAMILIESHOWTOBUILDUPGOODMANNERS,MORALSANDMETHODSBEINGFORMALCANBESTRENGTHENEDFROMBOTHTHEDICTIONANDSENTENCEPATTERNANDRHETORICALDEVICESCHAPTERTHREETHENEOCLASSICPERIODMAJORPOINTSBACKGROUNDINFORMATIONMAJORFIGURESOFTHETIMEREADINGANDANALYSISOFSOMEREPRESENTATIVEWORKSPARTIBACKGROUNDINFORMATIONPARTIIMAJORFIGURES1JOHNMILTON160816742JOHNDRYDEN163117003JOHNBUNYAN162816884JOSEPHADDISON16721719ANDRICHARDSTEELE167217295DANIELDEFOE166017316ALEXANDERPOPE168817447JONA