英国文学史及选读复习资料整理

OldEnglishPeriod—Anglo-SaxonPeriod(450-1066)1.TheHistoryFrom55BCto410AD,theRomansconqueredthelandandtransplanteditscivilization.2.TheLiteratureTwodivisions:Pagan&ChristianPaganTheSeafarer水手;TheFightatFinnisburg芬尼斯郡之战;TheWanderer流浪者;Waldhere瓦登希尔;TheBattleofMaldom马尔登战役Widsith(威德西斯);ThecomplaintofDeor迪奥的抱怨Thewife’sLament妻子的哀歌;Ruin毁灭aregoodexamples.Beowulf,England’snationalepic.WritingfeaturesnotaChristianbutapaganpoemofalladvancedpagancivilization,Theuseofthestrongstressandthepredominanceofconsonantsareverynotableinthispoem.Eachlineisdividedintotwohalves,andeachhalfhastwoheavystressesTheuseofalliterationisanothernotablefeatureandmakesthestressesmoreemphatic.TherearealotofmetaphorsandunderstatementsinthispoemAnglo-NormanPeriod(1066-1350)TheliteratureTheGrowthoftheArthurianLegendsThelegendsofKingArthurandhisknightshadexistedasanoraltraditionsincethetimeoftheCelts.JohnWycliffe(1320-1384)thefirstmanwhoattemptedtotranslatetheBiblefromsonorousLatinintoEnglish.ChansondeRoland罗兰之歌WilliamLanglandSirGawainandtheGreenKnightGeoffreyChaucer(1340-1400)Chaucer’scontributiontoEnglishLiteratureandLanguagethe“fatherofEnglishpoetry”thefirstmostsignificantpoetinEnglishliteraryhistorytowriteinMiddleEnglishthe“heroiccouplet”didmuchinmakingthedialectofLondonthefoundationforthemodernEnglishlanguagePopularBallads大众民谣代表人物：BishopThomasPercy托马斯.帕希主教

代表作：RobinHoodandAllin-a-Dale罗宾汉和阿林代尔TheRenaissanceThePre-ElizabathanPeriod(1400-1557)ThomasMore托马斯.莫尔Utopia乌托邦TheElizabethanAgeEdmundSpenser(1552-1599)TheShepheardesCalendar；TheFaerieQueenePhilipSidneyArcadia；AstrophelandStellaChristopherMarloweblankverseTamburlainetheGreat；TheJewofMalta；TheTragicalHistoryofDoctorFaustusWilliamShakespeareThemostpopularandthemostwidelyrespectedwriterinallEnglishliteratureComedies:AMidsummerNight’sDream,TheMerchantofVenice,AsYouLikeIt,TwelfthNight.Tragedies:Hamlet,Othello,KingLear,andMacbeth.Sonnet:a“physical”poet；154innumberwhoselife,thoughsimpleandcrude,hasbeenfullofrealhappinessandmeaningPoeticpattern:quatrainsofiambicpentameterlinesrhymingABABMood:melancholy,calm,meditativeStyle:neoclassic---vividvisualpainting,---musical/rhythmic,---controlledandrestrained,---polishedlanguageSection1Itsetsthesceneforthepoet’svisittothechurchyard.Itisenvelopedingloomandgrief,whichisarchetypalofgraveyard,poets’fascinationwithnight,graves,anddeath.ThetoneisechoedbythelastpartofthepoemSection2Ittellsaboutthepeopleentombedthereandrecallstheirlifeexperiences.Whenthe“rudeforefathersofthehamlet”lived.Theygotupearlyatthetwitteringofswallows,orarooster’swake-upcallorahunter’shorn,enjoyedfamilyblisswithwifeandkidsintheevening,orwerehappilybusywithfarmworkinthefields,butnowthattheylieintheir“narrowcells”,their“usefultoil”and“homelyjoys”happennomore.Thetoneisoneofmelancholyandregretforthedead.Section3Itwarnstherichandpowerfulnottodespisethepoorsinceallareequalinfaceofdeathandthegravelevelsoffalldistinction.Allnobility,power,andwealth“awaitalike”theinevitableendand“thepathsofgloryleadbuttothegrave”.Nothingcouldeverbringanythingbacktolife.Section4Itexpresses,ontheonehand,thepoet’sregretthattheirlifehadnotbeencongenialtothegrowthandfullplayofthepoorfarmers’nativegiftsandtalentsand,ontheother,hisfeelingof“ablessingindisguise”fortheminthesensethat,becausetheydidnotcommitanycrimestohumankindnorhavetoplaytheobsequioussocialclimberagainstone’sintegrity.Section5Itassertsthenotionthat,eventhoughtheylivedalesseventfullife,thereisnoreasontoforgetthesefarmers.Section6Itportraysthescenariothatthepoetenvisionswouldhappenafterhisowndeath.Avillagerwouldsayofhim:hegotupearlytogouphilltothelawnandlaytheremeditatingunderthetreeuntilnoon.Hewouldwanderinthewood,smilingatonemoment,mutteringtohimselfatthenext,sadandpale,likeone“inhopelesslove”.Thenforacoupleofdayshedidnotshowup,andonthethirddayhewasburiedinthechurchyard.Section7Asheshowssympathyforthepoor,hegainsthefriendshipofmanandGod.Heasksthepassers-bynottogettoknowanymoreabouthismeritsandweaknessesashewaitsinhisgraveforGod’sjudgment.ThepoemtouchesthereaderstothequickwithitsnotablesadnessOliverGoldsmith’s《TheVicarofWakefield》Pre-RomanticPoems(I)WilliamBlakeTheSongsofExperience；THELAMB；TheTyger；TheSickRoseRobertBurns1)Politicalpoems---TheTreeofLiberty;2)Satiricalpoems---HolyWillie’sPrayer,TwoDogs3)Lyrics---MyHeart’sintheHighlands,ARed,RedRose,AuldLangSyneBurns’spositionandhisfeaturesAgreatScottishpeasantpoet;anationalpoetofScotlandNumerousareBurns’ssongsofloveandfriendship.Hisgreatsuccesswaslargelyduetohiscomprehensiveknowledgeandexcellentmasteryoftheoldsongtraditions.HispoetryhaveamusicalqualitythathelpstoperpetuatethesentimentBurnsusheredatendencythatprevailedduringthehightimeofRomanticismTheRomanticPeriod(I)“TheLakers”：湖畔诗人WilliamWordsworthSamuelColeridgeRobertSoutheyWilliamWordsworthLyricalBallads；LinesWritteninEarlySpring；TotheCuckoo；TheDaffodilsIWanderedLonelyasaCloud；MyHeartLeapsUp；IntimationsofImmortality不朽颂LinesComposedaFewMilesAboveTinternAbbeyCommentsonWordsworthWordsworth’spoetryisdistinguishedbysimplicityandpurityofhislanguagewhichwasspokenbythepeasantswhoconveytheirfeelingsandemotionsinsimpleandunelaboratedexpressions.GeorgeGordonByronChildeHarold’sPilgrimage；DonJuan；SheWalksinBeautyWhatisByronichero?Byron’schiefcontributiontoEnglishpoetry.Suchaheroisaproud,rebelliousfigureofnobleorigin.Passionateandpowerful,heisrighttoallthewrongsinacorruptedsociety,andhewouldfightsingle--handedlyagainstallthemisdoings.ThusthisfigureisarebelliousindividualagainstoutwornsocialsystemsandconventionsByronicheroesheroicofnoblebirthpassionaterebelliousindividualSummeryThisisalovepoemaboutabeautifulwomanandallofherfeatures.Throughoutthepoem,Byronexplainsthedepthofthiswoman’sbeauty.Eveninthedarknessofdeathandmourning,herbeautyshinesthrough.Herinnocenceshowsherpurenessinheartandinlove.ThetwoforcesinvolvedinByron’spoemsaredarknessandlight---atworkinthewoman’sbeautyandalsothetwoareasofherbeauty---theinternalandtheexternalThethemeThispoemshowsthatmourningdoesnotnecessarilyimplymelancholyorextremesadness.RhetoricsByronusesmanyantonymstodescribethiswoman---face,eye,hair,cheek,brow,etc.toportrayaperfectbalancewithinher.Heoftenusesoppositeslikedarknessandlighttocreatethisbalance.Asimilewasshowninlineonewhichstated:“Shewalksinbeauty,likethenight”,whichisalsothebasisofthepoem.RhymeandmeterThepoemfollowsabasiciambictetrameter,withan“abababcdcdcdefefef”rhyme.PercyByssheShelleyCommentsonShelley1.ShelleyisoneofthefirstpoetsinEuropewhosangfortheworkingpeople.HispoliticallyricsareamongthebestoftheirkindinthewholesphereofEuropeanromanticpoetry.AndheisalsooneoftheleadingRomanticpoets,anintenseandoriginallyricalpoetintheEnglishlanguage.2.Shelleylovedthepeopleandhatedtheiroppressorsandexploiters.Hecalledonthepeopletooverthrowtheruleoftyrannyandinjusticeandprophesiedahappyandfreelifeformankind.3.OneofthefirstpoetsinEuropewhosangfortheworkingpeople.HispoliticallyricsareamongthebestoftheirkindinthewholesphereofEuropeanromanticpoetry.4.Hestoodforthissocialandpoliticalidealallhislife.5.HeandByronarejustifiably(justly,rightly)regardedasthetwogreatpoetsoftherevolutionaryromanticisminEngland.6.Byron,hisbestfriend,saidofShelley“thebestandleastselfishmanIeverknew”.7.Wordsworthsaid,“Shelleyisoneofthebestartistsofusall”.OdetotheWestWindStanza1Itdescribesthepowerofthewestwindanditsdoubleroleasbothdestroyer(ll.2-5)andpreserver(ll.6-12).Line14sumsupthewind’stwobasiccharacteristics,whichalsoconstitutethethematicfocusofthepoemStanza2Itfocusesontheadumbrationofthewind’spowerdrivingcloudsbeforeitandbringingstormswithit(ll.15-23)withlightning,rain,fireandhail(ll.23-28).Italsodescribesitsdestructiveaspectof“closingnight”envelopingallunderitsdomeofavasttomb(ll.24-25).Stanza3Ittalksaboutthewind’simpactuponthesea,itsfirsttouchingonthecalmoftheMediterranean(ll.29-36),andthenontheturbulenceoftheAtlantic(ll.36-42).TheMediterraneansleepsinserenityinthesummerbutiswakenupbythewindtoseethequiveringoftheshadowsofancientpalacesandtowers(ll.29-35)andtheAtlanticcleavingasunderintogiganticchasms(ll.35-38).Eventhevegetationatthebottomofthesea“growgraywithfear./trembleanddespoilthemselves”.Stanza4Itexpressesthepoet’semotionalresponsetothewestwind.Thepoetsaystothewind(ll.43-47)thathewishestobespiritedawayliketheleaves,todanceliketheclouds,tobreathelikethewaves,andenjoyashareofthewind’sstrengthlikethestormthoughwithalesserdegreeoffreedomofmovement.Thepoettakesanostalgicbackwardglanceathisfree,uncontrollableboyhoodwhenhecouldflylikeaswiftcouldlikethewind,andevenoutstripitinspeed(ll.47-51),andwishesforthewindtolifthimuplikealeaforwaveoracloud(l.54).Butitisonlyafigmentofhisimagination.Hehastoface“thehornsoflife”thathehasfallenupon,chainedandweigheddown,andnolonger“tameless,swift,andproud”likethewind(ll.54-56).Stanza5Itexpressesboththepoet’srequestforthewindtohelpspreadthewordsofhispoem“amongmankind”andwakeitupfromitsdeepstupor(ll.66-69)andhisprophecythatspringwillcomeinthewakeofwinter(ll.69-70).Thepoemendsuponanoteofconfidenceandhope.JohnKeatsoneofthegreatestEnglishpoetsandamajorfigureintheRomanticmovementOdeonaGrecianUrnTheEveofSt.AgnesToaNightingaleWalterScottHeisthecreatorandagreatmasterofthehistoricalnovelJaneAustenPrideandPrejudice；SenseandSensibility；MansfieldPark；Emma；NorthangerAbbey；PersuasionCriticalRealismVictorianPeriodCharlesDickensFeaturesofDickens’snovelsCharlesDickens’snovelsofferamostcompleteandrealisticpictureoftheEnglishbourgeoissocietyofhisage.Theyreflecttheprotestofthepeopleagainstcapitalistexploitation;criticizethevicesofcapitalistsociety.CharlesDickensisapettybourgeoisintellectual.Hecouldnotoverstepthelimitsofhisclass.Hebelievedinthemoralself-perfectionofthewickedpropertiedclasses.Hefailedtoseethenecessityofabitterstruggleoftheoppressedagainsttheiroppressors.ThereisadefinitetendencyforareconciliationofthecontradictionsofcapitalistsocietyCharlesDickensisagreathumorist.Hisnovelsarefullofhumorandlaughterandtellmuchoftheexperiencesofhischildhood.Almostallhisnovelshavehappyendings.ThestoryofsomemajornovelsOliverTwistDavidCopperfieldGreatExpectationATaleofTwoCitiesWilliamMakepeaceThackerayVanityFairTheBrontësistersCharlotteJaneeyre(1847)Shirley(1849)Villette(1853)Theprofessor(1857)EmilyWutheringHeights(1847)AnneAgnesGrey(1847)ThetenantofWildfellHall(1848)《怀德菲尔庄园的房客》AlfredLordTennysonthepoetlaureateafterthedeathofWordsworthin1850ThePrinces(1847),InMemoriam(1850),Maud(1855),EnochArden(1864),TheIdyllsoftheKing(1869-1872)Break,Break,Break；Ulysses；CrossingtheBarRobertBrowningMyLastDuchessadramaticmonologueThetransitionfrom19thto20thcenturyinEnglishliteratureThomasHardyUndertheGreenwoodTr