Survey
* Your assessment is very important for improving the workof artificial intelligence, which forms the content of this project
* Your assessment is very important for improving the workof artificial intelligence, which forms the content of this project
文档下载 免费文档下载 http://doc.xuehai.net/ 英国文学史梗概 本文档下载自文档下载网,内容可能不完整,您可以复制以下网址继续阅读或下载: http://doc.xuehai.net/bc83beead6fb41964facffae4.html 英国文学史梗概 I. Anglo-Saxon period A. History a. 5th century B. C.: The earliest inhabitants of the British islands —Celtics, one tribe of which, Bretons, invaded the Great Britain and settled there for nearly 500 years. b. 55 B.C.: Roman conquest by Julius Caesar brought the ancient romantic culture. c. The Anglo-Saxons—a branch of the Germanic tribe expelled the Celtics to the remote areas of the north and the west. Their mother tongue was the prototype of the modern English. England means the dwellings of the Anglos. d. The latter half of the 7th century: The first poet of the Britain—Caedman was born. e. Around 8th century: The first well-preserved epic—Beowulf emerged. 文档下载 免费文档下载 http://doc.xuehai.net/ 9th century King Alfred?s reign greatly enhanced the development of the English culture. f 1057 Scottish king Macbeth died. Several hundreds years later, Shakespeare created the famous tragedy with him as the prohttp://doc.xuehai.net/bc83beead6fb41964facffae4.htmltagonist. g. 1066: Norman Conquest. As a result, French replaced English as the official language and dominated the literary creation. The resumption of the English as the mainly used language was after the English and French Centurial War 300 years later. B. Literature a. Epic: “Beowulf”—Beowulf, a hero, killed Grendel, a sea monster (thought to be the offspring of Cain, first murderer in the Genesis. Its artistic forms, such as kenning and alliteration had a great influence upon the poets that followed. b. Layamon?s “Brut” recorded the legends of King Arthur and it was also an important sign of the resumption of the English language. II. Medieval period. A. Geoffrey Chaucer: “The Canterbury Tales”, a collection of short stories depicting realistically the panorama of 14th century England. His style of writing 文档下载 免费文档下载 http://doc.xuehai.net/ was fluent and humorous, and his thhttp://doc.xuehai.net/bc83beead6fb41964facffae4.htmloughts even surpassed his contemporaries. His sharp perception of human nature is the basic cause of his permanent charm and popularity. B. Some major events in the 15th century contributing to the Renaissance: a. Religious reform led by Martin Luther in Germany and John Calvin in France broke the dark clouds of the medieval Europe and destroyed the manacles of religion on people?s thoughts and spirits. b. The demise of the Easter Roman Empire, as a result of the fall of the Constantinople, forced many Greek scholar flee to the Italy with the remnant antiques. These artistic treasures of the ancient Greece and Roman acted a vital role in the renaissance of the culture represented by them. c. Typography promoted the study of the classic literature in Italy and Germany. The then English businessman William Caxton brought this technique to England ahttp://doc.xuehai.net/bc83beead6fb41964facffae4.htmls he traded in Europe, and it also greatly speeded up the English renaissance. 文档下载 免费文档下载 http://doc.xuehai.net/ d. Henry 8th was a tyrant but his divorce with wife ended up in the split of the Anglican Church with the Roman Catholic Church and resulted in the religious reform of the Anglicanism. He killed Thomas Moore, the author of Utopia. (iambic pentameter III. Elizabethan period. A. Poetry initiated by 4men a. Thomas Wyatt: introduced the sonnets from Italy to England. b. Earl of Surrey: reformed the feet of sonnets and introduced the blank verse (with no rhyme). c. Philip Sidney: the first work on the theory of classic literary criticism “The Apologie for Poetrie” (诗辩) and romance “Arcadia”. d. Edmund Spenser: called “the poet?s poet”, spenserian stanza, “The Shepherd?s Calendar”(牧人日记), “The Faerie Queene”(仙后). B. Drama.://doc.xuehai.net/bc83beead6fb41964facffae4.htmlr a. University wits: John Lyly, “Euphues”, “Euphuism”(尤非依斯体), artificial and ornate. 文档下载 免费文档下载 http://doc.xuehai.net/ b. University wits: Robert Greene had a jealousy for Shakespeare. “Tamburlaine the Great” “Edward II” c. Christopher Marlowe: most gifted of the University wits. “Doctor Faustus” “The Jew of Malta” d. Shakespeare: master of drama. Keen perception of life. C. Prose. Francis Bacon: The founder of modern science. “Essays”, “New Instrument”(Novum Organum), “Advancement of learning”. D. Ben Jonson: prolific dramatist, “ Every Man in His Humor ”, “Volpone”. Poet Laureate of James I. IV. 17th Century (The Glorious Revolution, the Restoration) A. Drama: bold depiction of the extravagant life of the nobles. B. Poetry: John Dryden, Metaphysical poet John Donne, John Milton a. John Dryden: Poet Laureate, Founder of Englhttp://doc.xuehai.net/bc83beead6fb41964facffae4.htmlish literary criticism. Following the standards of classicism, he established the heroic couplet as the principal English 文档下载 免费文档下载 http://doc.xuehai.net/ verse forms, clarified the English prose and made it precise, concise, and flexible, and raised the English literary criticism to a new level. Poem, “Absalom and Achitophel”, Prose, “An Essay of Dramatic Poesy”. b. Metaphysical Poetry and John Donne. Characterized by mysticism in content and fantasticality in form. Called by Samuel Johnson. “ The Flea”, “Meditations”, imaginative, philosophical and meditative. c. John Milton: spokesman of the revolution. “Paradise Lost”, “Paradise Regained”, “Samson Agonistes”. C. John Bunyan: “The Pilgrim?s Progress”, a religious allegory criticizing the social trend of the restoration period and also a disclosure of the evilness of every society, with a popular speech thttp://doc.xuehai.net/bc83beead6fb41964facffae4.htmlhe ennobled solemn dignity by and simplicity of the language of the English Bible. Thackeray?s “Vanity Fair” named after a place mentioned in this book. V. 18th century (Age of Reason and Enlightenment) A. Theorist: John Locke: 文档下载 免费文档下载 http://doc.xuehai.net/ a. “Concerning Human Understanding”, emphasizing the importance of the sense as a means of gaining knowledge and the significance of reason in understanding the world. b. Men are born kind. They have the right to pursue happiness and the obligation to bring benefits to the society. Men are naturally equal and they can protect their right by social contract. Nation is a kind of social contract. B. Poetry: two trends: classicism (major) and pre-romanticism (minor). Classicism a. Alexander Pope: student of Dryden, inherited from John Dryden, advocated classicism and imitation of the work of ancient Greece and Rome, proposed that poets should depict graciohttp://doc.xuehai.net/bc83beead6fb41964facffae4.htmlus and beautiful things and have an elegant taste. “Essay on Criticism”, gave a detailed exposition of the principles of the classic poems. Culmination in classicism and heroic couplet. “Essay on Man”, “The Rape of the Lock”, full of reason without the expression of emotion. b. William Cowper: “The Task”, forerunner of the natural poems. with romantic feelings. c. George Crabbe: employing the classic forms to depict the miserable rural life. “The Village”. Pre-romanticism (paved the way for the romantic period) 文档下载 免费文档下载 http://doc.xuehai.net/ a. Edward Young: “The Complaints or Night Thoughts, on life, Death, and Immortality.” b. James Thomson: “The Seasons”, a pure love for nature. c. Thomas Gray: “An Elegy Written in a Country Churchyard”, sad in tone and refined in style. d. McPherson: “The Poems of Ossian” e. William Blake: “The Tiger”, “Songs of Innocence” and Experienceshttp://doc.xuehai.net/bc83beead6fb41964facffae4.html”. “Songs of mysticism, revolutionary passion. a strong likeness between Shelly and Blake in the imagery and symbolism. f. Robert Burns: using Scottish dialect to express his feelings. “Poems, Chiefly in the Scottish Dialect”, “A Red, Red Rose”, “For A? That and A? That”(穷得 有志气), “John Barley Corn”, “My Heart?s in the Highlands”. (including Goldsmith as the poet “sentimentalist”) C. Prose: Joseph Addison and Richard Steele: “The Tatler”, “The Spectator”, making a great contribution to the cultivation of good manners of the English nation. D. Fiction: a. Daniel Defoe: The father of the European and English fiction, vivid language. “Robinson Crusoe”, “Moll Flanders”, “Roxana”. b. Jonathan Swift: most ruthless in satirical and ironic writing. “Tale of a Tub”, 文档下载 免费文档下载 http://doc.xuehai.net/ lashing the deviation of the Bible by the Roman Catholic Church and Lutheranism and Calvinism. “A Modest Proposal”, disclosing the Bhttp://doc.xuehai.net/bc83beead6fb41964facffae4.htmlritish cruelty of government the toward Irish people. “Gulliver?s Travels”, masterpiece, giving an unparalleled satirical depiction of the vices of his age. c. Henry Fielding: systematically proposed the theory of realistic novel writing and put it into practice, presenting the true facts of the 18th century English society. as fiction writer, “Tom Jones”, “Joseph Andrews”, “Amelia”, “Jonathan Wild”, elevating the author, as the narrator to the level of God and also displaying optimism. as playwright, “Historical Register”. d. Samuel Richardson: father of the epistolary novel, “ Pamela”, based on “Arcadia”, “Clarissa”, and “Sir Charles Grandison”. e. Tobias George Smollett: “picaresque novels”, humorous and refined. “Roderick Random”, “Peregrine Pickle”,“Humphry Clinkper”. f. Laurence Sterne: “The Tristram Shandy”, mainly arguments and fantasies about philosophy and moral, original in that the technihttp://doc.xuehai.net/bc83beead6fb41964facffae4.htmlque author like used “steam a of consciousness”. E. Drama a. Oliver Goldsmith: though called “poor goldy” by peers, he had a romantic spirit which also earned him a name “sentimentalist”. poems, “The Deserted Village”, “The Traveller”. masterpiece novel, “The Vicar of Wakefield”, drama, “The Good-Natured Man”, “She Stoops to Conquer”. 文档下载 免费文档下载 http://doc.xuehai.net/ b. Richard Brinsley Sheridan: “The Rivals”, “The School for Scandal”, repudiating the high society for its vanity has been regarded as the best play since Shakespeare. F. Essay Samuel Johnson: lexicographer, poet and great critic. “A Dictionary of the English Language”. “London”, “The Vanities of Human Wishes”, “Life of Richard Savage”, “Irene”, “Rasselas”. edited two periodicals “The Rambler” and “The Idler”. became “the great cham of literature”, and founded the famous Literary Club. VI. Romantic period (French revolution, “Lyrical Ballads”抒情歌谣集 as the sign, utilitarianismhttp://doc.xuehai.net/bc83beead6fb41964facffae4.html 功利主义.) A. Poetry: a. William Wordsworth (Lake Poets): has a strong worship for nature, simplicity and purity of the language,“Lyrical Ballads” with Coleridge , “Intimations of Immortality”永生悟颂, “Tintern Abbey”, “The Daffodils”, “We Are Seven”, “The Excursion”, “The Prelude”, (autobiographical). b. Samuel Taylor Coleridge (Lake Poets): has made reforms in the form of English poems, in musicality and rhythm, “Christabel” “The Rime of the Ancient Mariner”, “Kubla Khan”. c. Robert Southey (Lake Poets): “The Inchcape Rock” ,“The Battle of Blenheim”, “My Days among the Dead are Passed”. d. George Gordon Byron: revolutionary zeal and democratic ideas, spirit of rebellion. “Childe Harold?s Pilgrimage”, “When We Two Parted”, “She Walks in Beauty”, “The Isles of Greece”, “Don Juan”(masterpiece). “Byronic Hero”. 文档下载 免费文档下载 http://doc.xuehai.net/ e. Percy Bysshe Shelley: revolutionary in ideas, philosophyhttp://doc.xuehai.net/bc83beead6fb41964facffae4.html. religion poems, and “Queen Mab”, “Alastor”, “The Revolt of Islam”, “Hellas”. “Prometheus Unbound”, “Cenci”, “A Defence of Poetry”. Single poems, “The Cloud”, “Ode to the West Wind”, “To a Skylark”. f. John Keats: exploits the ancient Greek heritage. “Ode on a Grecian Urn” ,proposed the principle of “truth beauty, beauty is truth. “Endymion”, “Hyperion”, “Ode on a Nightingale”, “To Autumn”, “On the Grasshopper and Cricket”, “The Eve of St. Agnes”. g. Walter Scott: poet, “Minstrel of the Scottish Border”, “The Lady of the Last Minstrel”, “Marmion”, “The lady of the lake”, “The Lord of the Isles”, “Rokeby”. B. novelist, a. Walter Scott the fountainhead of historical novel of the Europe, “Waverley”, “Ivanhoe”, “Woodstock”, “The Talisman”, “Count Robert of Paris”, “Quentin Durward”. b. Jane Austen: paved a way for the latter women writers, pre-realist. best at describing young girls. “Pride Prejudice”,http://doc.xuehai.net/bc83beead6fb41964facffae4.html and “Sense and Sensibility”, “Emma”, “Mansfield Park” “Persuasion”, “Northanger Abbey”. C. Essay: a. Charles Lamb: the romanticist of the city, “The Essay of the Elia” b. William 文档下载 免费文档下载 http://doc.xuehai.net/ Hazlitt, c. Leigh Hunt, d. De Quincey. VII. Victorian period [divided into three trends: Critical Realism; Aestheticism; Neo-Romanticism] and the beginning of the 20th century [Edwardian period and the Georgian poets] (industrial revolution, Darwinism, utilitarianism further, crisis of belief) A. Critical Realism a. Charles Dickens: a radical. The greatest literature was literature for the people. character portrayal. humor and satire, also powerful in painting pictures of pathos. “Pickwick Papers” “Oliver Twist”, “Dombey and Son”, “David Copperfield”, “Bleak House”, “Hard Times”, “Little Dorrit”, “A Tales of Two Cities”, “Great Expectations”, “Our Mutual Friend”. b. William Makepeace Thackeray: strict realihttp://doc.xuehai.net/bc83beead6fb41964facffae4.htmlsm. moralizing. making heroes occur in different novels and narrating their origin, thus adding a peculiar truthfulness to the story. “Vanity Fair” c. Bronte sisters: Charlotte Bronte: “Jane Eyre”, autobiographical. “Shirley”, “Villette”, “The Professor” Anne Bronte: “Agnes Grey”, “The Tenant of the Wildfell Hall”. Emily Bronte: “Wuthering Heights” against the moral standards of the Victorian period, surpasses her time to show the instinctive impulse of human being with consummate techniques. d. Mrs. Gaskell: “The Hungary Forties”, a first describing the class struggle between workers and capitalist. d. George Elliot: forerunner of psychological novel, believe in the “religion of humanity” and fatalism, “Adam Bede”, “The Mill on the Floss”, 文档下载 免费文档下载 http://doc.xuehai.net/ “Silas Marner”. e. George Meredith: “The Egoist”, further developing the skills of writing people?s mind. B. Aestheticism: Beginning at the middle of thhttp://doc.xuehai.net/bc83beead6fb41964facffae4.htmle 19th century. The French poet Theophile Gautier first put the theory of “art for art?s sake” (L?art pour L?art”) forward. Its gist is that art should be separated from any social needs. A cultural phenomenon of “fin de siecle” in Europe. It was a kind of escapism in essence. a. John Ruskin: forerunner of aestheticism, “Beauty should be a organic part of the whole life of human being”, “Modern Painters”, “The Seven Lamps of Architecture”, “Stone of Venice”, all express a disappoint for capitalist culture and a longing for the creating freedom of the medieval and pre-renaissance period. b. Walter Pater: Put forward the manifesto of “art for art?s sake” in his “Renaissance” and his belief is the pursuit of beauty as the sole “success of life”. “Marius the Epicurean”, “Imagery Portraits”, “Appreciation”. c. Oscar Wilde: decadent period. Declare that art does not reflect life but life imitates art, so that art should nhttp://doc.xuehai.net/bc83beead6fb41964facffae4.htmlot begin with the study of life but with what is untrue and does not exist. essay, “The Decay of Lying”, novel, “The Picture of Dorian Gray”, tragedy, “Salomé”, fairy stories, “Happy Prince and Other Tales”, “A House of Pomegranates”, 4 comedies, “Lady Windermere?s Fan”, “A Woman of No Importance”, “An Ideal Husband”, “The Importance of Being Earnest”. d. Algernon Charles Swinburne: A pious admirer of “pure beauty” at the early period. 文档下载 免费文档下载 http://doc.xuehai.net/ “Atlanta in Calydon”, “Poems and Ballads”, marked by free choice of subjects and frank treatment of passion, were meant to be a expression of defiance to the hypocrisy and philistinism(庸俗) of the Victorian England. Later he changed. C. Pre-Raphaelite Brotherhood: similar to Aestheticism, revolting against the material and spiritual ugliness. Dante Gabriel Rossettis: painter and poet, founder of P-R B. “the fleshy school of poetry”, “The Blessed Damozel”, “The House of Life”.://doc.xuehai.net/bc83beead6fb41964facffae4.htmlar D. Other important poets: a. William Morris: “The Defence of Guenevere and Other Poems” became a impetus to the Aesthetic movement. Poem, “The Earthly Paradise”. Since 70?s, he became a socialist poet, prose, “A Dream of John Ball”, “News from Nowhere”. b. Alfred Tennyson: poem as a means to express the principles of ethic and philosophy, and the handmaid of the bourgeois “duty and faith”, “two voices”, one echoes the social need, another echoes the personal emotion, “The Lady of Shalott”, “Lotus Eaters”(食忘忧果者), “In Memorial”, “Maud”, “The Princess”, “Locksley Hall”, “Idylls of the King”(masterpiece). c. Robert Browning: interested in the rare known anecdotes in the past and introduced the dramatic monologue into the English poetry. He is well known for buoyant optimism. Poem, “Paracelus”, “Pippa Passes”, “Fra Lippo Lippi”, “Abt Vogler”, “The Ring and the Book”, essay, “Parleyings”. d. Matthhttp://doc.xuehai.net/bc83beead6fb41964facffae4.htmlew Arnold: great literary critics and “the lonely Victorian poet”. Essay, “Essay in Criticism”, “Essay in Criticism, Second Series”, “Culture and Anarchy”, poem, “Lines Written 文档下载 免费文档下载 http://doc.xuehai.net/ in Kensington Gardens”, “Stanzas from the Grande Chartreuze”, “Dover Beach,” “Knowledge and truth, in the full sense of the words, are not attainable by the great mass of the human race at all”. He placed his hopes on “the thinking few”. e. Gerard Manley Hopkins: poet, “inner scene”, “inner response”, “jumping rhythm”, “The Wreck of the Deutschland”. E. Neo-Romanticism: laid emphasis on the invention of exciting adventures and fascinating stories to entertain the reading public and led the novel back to story-telling and to romance. Robert Louis Stevenson: “Treasure Island”(金银岛). He insisted upon skills in handling material rather than upon the value of ideas in literary creation. F. Playwright: George Bernahttp://doc.xuehai.net/bc83beead6fb41964facffae4.htmlrd Shaw: the creator of a new publicist drama. Exposure of the capitalist society and support the socialists. “Plays: Unpleasant”, “Plays: Pleasant”, “Three Plays for the Puritans”, “Man and Superman”, “Major Barbara”, “Pygmalion”, “Heartbreak House”, “Arms and Man”, “Mrs. Warren?s Profession”, “The Apple Cart”, “Too Good to be True”. G. Novelist: a. Anthony Trollope: his works reflect a spirit of “order and quietness”. “The Barset Series”, “The Warden”(教区委员), “The Last Chronicle of Barset”. 文档下载 免费文档下载 http://doc.xuehai.net/ b. Thomas Hardy: transitional novelist and poet, “Wessex Novels”, “Under the Greenwood Tree”, “Far From the Madding Crowd”, “The Return of the Native”, “Tess of D?urberviles”, “Jude the Obscure”, his novels, full of despair and pessimism, gave reader a feeling that “disaster is inevitable”. Poem, “Poems of the Past and the Present”, “The Dynasts”(列国). H. Edwardian period: a. Rudyard Kipling: born Indhttp://doc.xuehai.net/bc83beead6fb41964facffae4.htmlia, in imperialism and chauvinism in his works, mainly short stories, “The Jungle Book”, “The Second Jungle Book”, allegory of human life and full of imagination. b. John Galsworthy: heritor of the realistic tradition, “The Man of Property”, “The Forsyte Saga”, “In Chancery”, “To Let”. c. Joseph Conrad: born in Poland but written with excellent English. Writing technique and content of his works are modern: different narrators telling stories interwoven with each other; stories in stories; endless digressions. Similar to Impressionism. “Almayer?s Folly”, “The Outcast of the Islands”, “The Nigger of The ?Narcissus?”, “Lord Jim”, “The Heart of Darkness”. d. E. M. Forster: “Aspects of the Novel”, has a keen perception of the changes of the novels from a story-telling manner to a modern one but he is a transitional figure. His subjects chosen are modern, “Passage to India”, a reflection of nihilism; symbolic; intrihttp://doc.xuehai.net/bc83beead6fb41964facffae4.htmlcate plots. e. Herbert George Wells: science fiction writer successfully predicting the two World Wars, “The Time Machine”. 文档下载 免费文档下载 http://doc.xuehai.net/ f. Sommerset Maugham: exotic stories of the east colonies of the British Empire. “The Complete Short Stories”. g. Arnold Bennet: “The ?Five Town? Stories”, “The Old Wives? Tale”, was written in the manner of naturalism and laden with minute details. I. “Poets of George Period” (on nature, idyllic life and love) a. Edward Marsh: “Georgian Anthologies”, b. Robert Brooke: regarded war as purificant and death heroic; full of innocence. “Poems”, “1914 and Other Poems”, “The Soldier”. c. Edward Thomas: on the relieving effect of nature, “Adlestrop”, “The Owl”, “Rain”. d. Robert Graves: “The White Goddess”. e. Charles Sorley: “Such, Such is Death”, “Return”, “All the Hills and Vales Along”. f. David Jones: “In Parenthesis”. g. Wilfred Owenhttp://doc.xuehai.net/bc83beead6fb41964facffae4.html, h. Isaac Rosenberg, i. Siefried Sasson, j. T. E. Hulme. VIII. Novelists in 20’s of the 20th century (new concepts of time by Henri Bergson: a flow inner consciousness; Freud?s psychological analysis: unconsciousness) A. Stream of Consciousness: the flux of conscious and subconscious thoughts and 文档下载 免费文档下载 http://doc.xuehai.net/ impression moving in the mind at any given time independently of the person?s will, developed from interior monologue, “fleeting image”. a. VirginiaWoolf: good literary critic, “The Modern Novel”, an attack on the malady of the Edwardian novelist; an innovator of novel writing technique, depicting “experiences of moments” and eliminating the intervention of the author as narrator and commenter, “Mrs. Dalloway”, “The Waves”, “To the Lighthouse”, “The Years”. b. James Joyce: original in language and writing technique, “Dubliners”, “A Portrait of Artist as a Young Man”, autobiographical, “Fihttp://doc.xuehai.net/bc83beead6fb41964facffae4.htmlnnegans Wake”, greatest enigma in 20th century literature. “Ulysses”, a novel in which stream of consciousness is best employed. c. David. Herbert Lawrence: son of miner. novelist, poet and critic. He advocated the principle of saving the decaying civilization which he hated so much through a rearrangement of personal relationships, esp. between women and men, sex. “The White Peacock”, “Sons and Lovers”, autobiographical, “Oedipus Complex”, “The Rainbow”, “Women in Love”, “Aaron?s Rod”, “Kangaroo”, “Lady Chatterley?s Lover”, most controversial. IX. Poets in 20’s of the 20th century (same background) a. William Butler Yeats: symbolist poets, greatest of our age, “The Wild Swans at Coole”, “Michael Robartes and the Dancer”, “The Tower”, “The Winding Stair”. b. T. S. Eliot (as American peers) influenced by imagism in his later years. “The Waste Land”. 文档下载 免费文档下载 http://doc.xuehai.net/ (中古英语时期的名词解释) 1. Old English phttp://doc.xuehai.net/bc83beead6fb41964facffae4.htmleriod (the Anglo-Saxon period): The Old English Period, extended from the invasion of Celtic England by Germanic tribes (the Angles, Saxons, and Jutes) in the first half of the fifth century to the conquest of England in 1066 by the Norman French under the leadership of the seventh century did the Anglo-Saxons, whose earlier literature had been oral, begin to develop a written literature. 2. Alliteration: Alliteration is the repetition of a speech sound in a sequence of nearby words. The term is usually applied only to consonants, and only when the recurrent sound begins a word or a stressed syllable within a word. 3. Prose: Prose is an inclusive term for all discourse, spoken or written, which is not patterned into the lines either of metric verse or free verse. 4. Couplet: A couplet is a pair of rhymed lines that are equal in length. 5. Meter: Meter is the recurrence, in regular units, prominhttp://doc.xuehai.net/bc83beead6fb41964facffae4.htmlent feature of in a the sequence of speech-sounds of a language. 6. Foot: A foot is the combination of a strong stress and the associated weak stress or stresses which make up the recurrent metric unit of a line. The relatively stronger-stressed syllable is called, for short, “stressed”; the relatively weaker-stressed syllables are called “light,” or most commonly, “unstressed”. The four standard feet distinguished in English are: (1) Iambic (the noun is “iamb”): 文档下载 免费文档下载 http://doc.xuehai.net/ an unstressed syllable followed by a stressed syllable. (2) Anapestic (the noun is “anapest”): two unstressed syllables followed by a stressed syllable. (3)Trochaic (the noun is “trochee”): a stressed syllable. (4) Dactylic (the noun is “dactyl”): a stressed syllable followed by two unstressed syllables. A metric line is named according to the number of feet composing it: Monometer: one foot Dimeter: two feet Trimesterhttp://doc.xuehai.net/bc83beead6fb41964facffae4.html: three feet Tetrameter: four feet Pentameter: five feet Hexameter: six feet Heptameter: seven feet Octameter: eight feet 7. Ballad (popular ballad): Ballad is also known as the folk ballad or traditional ballad. It is a song, transmitted orally, which tells a story. Ballads are thus the narrative species of folk songs, which originate, and are communicated orally, among illiterate or only partly literate people. 8. Arthurian legend: It is a group of tales (in several languages) that developed in the Middle Ages concerning Arthur, semi-historical king of the Britons and his 文档下载 免费文档下载 http://doc.xuehai.net/ knights. The legend is a complex weaving of ancient Celtic mythology with later traditions around a core of possible historical authenticity. 9. Courtly love: It is a doctrine of love, together with an elaborate code governing the relations betwe4en aristocratic lovers, which was widely represehttp://doc.xuehai.net/bc83beead6fb41964facffae4.htmlnted in the lyric poems and chivalric romances of Western Europe during the Middle Ages. 10. Romance: It is a literary genre popular in the Middle Ages (5th century to 15th century), dealing, in verse or prose, with legendary, supernatural, or amorous subjects and characters. The name refers to Romance languages and originally denoted any lengthy composition in one of those languages. Later the term was applied to tales specifically concerned with knights, chivalry, and courtly love. Romances were written by court musicians, clerics, scribes, and aristocrats for the entertainment and moral edification of the nobility. Popular subjects for romances included the Macedonian King Alexander the Great, King Arthur Charlemagne. Later prose and verse narratives, particularly those in the 19th-century romantic tradition, are also referred to as romances; set in distant or mythological places and times, like most romances they ahttp://doc.xuehai.net/bc83beead6fb41964facffae4.htmldventure stress and supernatural elements. 课外拓展(伊利莎白时期的名词解释) 1. Renaissance: Renaissance (“rebirth”) is the name commonly applied to the period of European history following the Middle Ages; it is usually said to have begun in Italy in the late fourteenth century and to have continued, both in Italy and other countries. In this period the European arts of painting, sculpture, architecture, 文档下载 免费文档下载 http://doc.xuehai.net/ and literature reached an eminence not exceeded in any age. The development came late to England in the sixteenth century, and did not have its flowering until the Elizabethan and Jacobean periods. It also has been described as the birth of the modern world out of the ashes of the dark ages; as the discovery of the world and the discovery of man; and as the era of the emergence of untrammeled individualism in life, thought, religion, and art. 2. Elizabethan period (Elizabethan age): Strictly speaking, it refers to the http://doc.xuehai.net/bc83beead6fb41964facffae4.htmlperiod of the reign of Elizabeth I (1558~1603). The term “Elizabethan,” however, is often used loosely to refer to the late sixteenth and early seventeenth centuries, even after the death of Elizabeth. This was a time of rapid development in English commerce, maritime power, and nationalist feeling-the defeat of the Spanish armada occurred in 1588. It was a great (in drama the greatest) age of English literature—the age of Sir Philip Sidney, Christopher Marlowe, Edmund Spenser, Shakespeare, Sir Walter Raleigh, Francis Bacon, Ben Jonson, and many other extraordinary writers of prose and of dramatic, lyric, and narrative poetry. 3. Drama: It is the form of composition designed for performance in the theater, in which actors take the roles of the characters, perform the indicated action, and utter the written dialogue. (The common alternative name for a dramatic composition is a play.) In poetic drama the dialohttp://doc.xuehai.net/bc83beead6fb41964facffae4.htmlgue is written in verse, which in English is usually bland verse. Almost all the heroic dramas of the English restoration period, however, were written in heroic couplets (iambic pentameter lines rhyming in pairs). A closet drama is written in dramatic form, with dialogue, indicated settings, 文档下载 免费文档下载 http://doc.xuehai.net/ and stage directions, but is intended by the author to be read rather than to be performed. 4. Jacobean age: It is the reign of James I (1603~1625), which followed that of Queen Elizabeth. This was the period in prose writings of Francis bacon, John Donne’s sermons, Robert Burton’s anatomy of melancholy, and the King James’s translation of the Bible. It was also the time of Shakespeare’s greatest tragedies and tragicomedies, and of major writings by other notable poets and playwrights including john Donne, Ben Jonson, Michael Drayton, lady Mary wroth, sir Francis Beaumont and john Fletcher, john Webster, George Chapman, Thomas Mhttp://doc.xuehai.net/bc83beead6fb41964facffae4.htmliddleton, Philip Massinger, and Elizabeth Cary, whose notable biblical drama The Tragedy of Mariam, The Faire Queene of Jewry was the first long play by an Englishwoman to be published. 5. Sonnet: It is a lyric poem consisting of a single stanza of fourteen iambic pentameter lines linked by an intricate rhyme scheme. There are two major patterns of rhyme in sonnets written in the English language: (1) the Italian or Petrarchan sonnet (named after the fourteenth century Italian poet Petrarch) falls into two main parts: an octave (eight lines) rhyming abbaabba followed by a sestet (six lines) rhyming cdecde or some variant, such as cdccdc. (2) The earl of surrey and other English experimenters in the sixteenth century also developed a stanza form called the English sonnet, or else the Shakespearean sonnet, this sonnet falls into three quatrains and a concluding couplet: abab cdcd efef gg. There was one notable variant,http://doc.xuehai.net/bc83beead6fb41964facffae4.html the Spenserian sonnet, in which Edmund Spenser linked each quatrain to the next by a continuing rhyme: abab bcbc cdcd ee. 6. Essay: It is any short composition in prose that undertakes to discuss a matter, express a point of view, persuade us to accept a thesis on any subject, of simply 文档下载 免费文档下载 http://doc.xuehai.net/ entertain. The essay discusses its subject in nontechnical fashion, and often with a liberal use of such devices as anecdote, striking illustration, and humor to augment its appeal. A useful distinction is that between the formal and informal essay. The formal essay, or article, is relatively impersonal: the author writes as an authority, or at least as highly knowledgeable, and expounds the subject in an orderly way. In the informal essay(or “familiar” or “personal essay”), the author assumes a tone of intimacy with his audience, tends to deal with everyday things rather than with public affairs or specialized topics, and writes in s relaxedhttp://doc.xuehai.net/bc83beead6fb41964facffae4.html, self-revelatory, and sometimes whimsical fashion. 7. Soliloquy: Soliloquy is the act of talking to oneself, whether silently or aloud. In drama it denotes the convention by which a character, alone on the stage, utters his or her thoughts aloud. 8. Hymn: The term derives from the Greek Hymnos, which originally signified songs of praise that were for the most part addressed to the gods, but in some instances to human heroes or to abstract concepts. In current usage it denotes a song that celebrates god or expresses religious feelings and is intended primarily to be sung as part of a religious service. 9. Spenserian stanza: It is a longer form devised by Edmund Spenser for the Faerie Queene (1590~1996) —nine lines, in which the first eight lines are iambic pentameter and the last iambic hexameter, rhyming ababbcbcc. 10. Miracle play: The miracle play had as its subject either a story from thttp://doc.xuehai.net/bc83beead6fb41964facffae4.htmlhe bible, or else the life and martyrdom of a saint. In the usage of some historians, however, “miracle play” denotes only dramas based on saints’ lives, and the term “mystery play” is applied 文档下载 免费文档下载 http://doc.xuehai.net/ only to dramas based on the bible. 11. Morality play: Morality plays are medieval allegorical plays in which personified human qualities acted and disputed, mostly coming from the 15th century. They developed into the interludes, from which it is not always possible to distinguish them, and hence had a considerable influence on the development of Elizabethan drama 12. Interlude: Interlude (Latin, “between the play”) is a term applied to a variety of short stage entertainments, such as secular farces and witty dialogues with a religious or political point. In the late fifteenth and early sixteenth centuries, these little dramas were performed by bands of professional actors; it is believed that they were often put on between thehttp://doc.xuehai.net/bc83beead6fb41964facffae4.html courses of a feast or between the acts of a longer play. 13. Euphuism: Euphuism takes its name from the moralistic prose romance Euphues written by John Lyly in 1578. The style is sententious (that is, full of moral maxims), relies persistently on syntactical balance and antithesis, reinforces the structural parallels by heavy and elaborate patterns of alliteration and assonance, exploits the rhetorical question, and is addicted to long similes and learned allusions which are often drawn from mythology and the habits of legendary animals. 14. Revenge tragedy: Revenge tragedy is a dramatic genre that flourished in the late Elizabethan and Jacobean period, sometimes known as “the tragedy of blood”. Common ingredients include: the hero’s quest for vengeance, often at the prompting of the ghost of a murdered kinsman or loved one; scenes of real or feigned insanity; a play-within-a-play; scenes in graveyards, severed limhttp://doc.xuehai.net/bc83beead6fb41964facffae4.htmlbs, scenes of carnage and mutilation, etc. in revenge tragedy violence was not reported but took place on stage. 文档下载 免费文档下载 http://doc.xuehai.net/ 15. Comedy: In the most common literary application, a comedy is a fictional work in which the materials are selected and managed primarily in order to interest and amuse us: the characters and their discomfitures engage our pleasurable attention rather than our profound concern, we are made to feel confident that no great disaster will occur, and usually the action turns out happily for the chief characters. 16. Dirge: Dirge is a versified expression of grief on the occasion of a particular person’s death, but differs from the elegy in that it is short, is less formal, and is usually represented as a text to be sung. 17. Farce: Farce is a type of comedy designed to provoke the audience to simple, hearty laughter-”belly laughs,” in the parlance of the theater. to do so it commonly employshttp://doc.xuehai.net/bc83beead6fb41964facffae4.html highly exaggerated or caricatured types of characters, puts them into improbable and ludicrous situations, and makes free use of sexual mix-ups, broad verbal humor, and physical bustle and horseplay. Farce was a component in the comic episodes in medieval miracle plays. In the English drama, farce is usually an episode in a more complex form of comedy. 18. Tragedy: The term is broadly applied to literary, and especially to dramatic, representations of serious actions which eventuate in a disastrous conclusion for the protagonist (the chief character). 19. Tragicomedy: It is a type of Elizabethan and Jacobean drama which intermingled both the standard characters and subject matter and the standard plot-forms of tragedy and comedy. Tragicomedy represented a serious action which threatened a tragic disaster to the protagonist, yet, by an abrupt reversal of circumstance, turned out happily. 文档下载 免费文档下载 http://doc.xuehai.net/ 20. History play: Thhttp://doc.xuehai.net/bc83beead6fb41964facffae4.htmle Elizabethan chronicle plays are sometimes called history plays. This latter term, however, is often applied more broadly to any drama based mainly on historical materials, such as Shakespeare’s roman plays Julius Caesar and Antony and Cleopatra. 课外拓展(17 世纪的名词解释) 1. Elegy: In Greek and Roman times, the term elegy was used to refer to any poem composed in elegiac meter. Since the 17th century, elegy has typically been used to refer to reflective poems that lament the loss of something or someone, or loss or death more generally, although in Elizabethan times it was also use to refer to certain love poems. Elegies written in English frequently take the form of the pastoral elegy. 2. Pamphlet: Originally a pamphlet was a sort of treatise or tract. It then came to mean a short work written on a topical subject on which an author feels strongly. Many outstanding writers have used the pamphlet http://doc.xuehai.net/bc83beead6fb41964facffae4.htmlvigorous to express political or religious views. 3. Assonance: Assonance is the repetition of identical or similar vowels-especially in stressed syllables-in a sequence of nearby words. 4. Stanza: A stanza is a grouping of the verse lines in a poem, often set off by a space in the printed text. Usually the stanzas of a given poem are marked by a recurrent pattern of rhyme and are also uniform in the number and length of the component lines. 5. Folktale: Folktale, strictly defined, is a short narrative in prose of unknown authorship which has been transmitted orally; many of these tales eventually achieve 文档下载 免费文档下载 http://doc.xuehai.net/ written form. The term, however, is often extended to include stories invented by a known author which have been picked up and repeatedly narrated by word of mouth as well as in written form. 6. Hyperbole: It is bold overstatement, or the extravagant exaggeration of fact or possibility. 7. Phttp://doc.xuehai.net/bc83beead6fb41964facffae4.htmlrose poems: Prose poems are densely compact, pronouncedly rhythmic, and highly sonorous compositions which are written as a continuous sequence of sentences without line break. 8. Conceit: From the Italian concetto (meaning idea or concept), it refers to an unusually far-fetched or elaborate metaphor or simile presenting a surprisingly apt parallel between two apparently dissimilar things or feeling. Poetic conceits are prominent in Elizabethan love sonnets and metaphysical poetry. Conceits often employ the devices of hyperbole, paradox and oxymoron. 9. Pastoral: The originator of the pastoral was the Greek poet Theocritus, who in the third century B.C. wrote poems representing the life of Sicilian shepherds. (Pastor is Latin for “shepherd.”) It is a deliberately conventional poem expressing an urban poet?s nostalgic image of the peace and simplicity of the life of shepherds and other rural folk in an idealihttp://doc.xuehai.net/bc83beead6fb41964facffae4.htmlzed natural setting. 10. Diction: The term diction signifies the types of words, phrases, and sentence structures, and sometimes also of figurative language, that constitute any work of literature. A writer?s diction can be analyzed under a great variety of categories, such as the degree to which the vocabulary and phrasing is abstract or concrete, Latin 文档下载 免费文档下载 http://doc.xuehai.net/ or Anglo-Saxon in origin, colloquial of formal, technical or common. 11. Metaphysical poetry: It is a term that can be applied to any poetry that deals with philosophical or spiritual matters but that is generally limited to works written by a specific group of 17th century poets who are linked by style and modes of poetic organization. Common elements include the following: (1) an analytical approach to subject matter; (2) colloquial language ;( 3) rhythmic patterns that are often rough or irregular, and (4) the metaphysical conceit, a figurative device used to capthttp://doc.xuehai.net/bc83beead6fb41964facffae4.htmlure thought and emotion as accurately as possible. 12. Fable: A fable is also called an apologue. It is short narrative, in prose or verse, which exemplifies an abstract moral thesis or principle of human behavior; usually, at its conclusion, either the narrator or one of the characters states the moral in the form of an epigram. 13. Parable: A parable is a very short narrative about human beings presented so as to stress the tacit analogy, or parallel, with a general thesis or lesson that the narrator is trying to bring home to his audience. The parable was one of Jesus? favorite devices as a teacher. 14. Masques (or Masks): The masque was inaugurated in Renaissance Italy and flourished in England during the reigns of Elizabeth I. It was an elaborate form of court entertainment that combined poetic drama, music, song, dance, splendid costuming, and stage spectacle. A plot—often slight, and mythologichttp://doc.xuehai.net/bc83beead6fb41964facffae4.htmlal mainly and allegorical—served to hold together these diverse elements. The speaking characters, who wore masks (hence the title), were often played by amateurs who belonged to courtly society. The play concluded with a dance in which the players 文档下载 免费文档下载 http://doc.xuehai.net/ doffed their masks and were joined by the audience. 课外拓展(18 世纪名词解释) 1. Three unities: Principles of dramatic structure proposed by critics ththand dramatists of the 16 and the 17 centuries, claiming the authority of Aristotle’s Poetics. The three unities are the unity of action (all the action of the work must occur within one continuous plot without extraneous subplot), the unity of time (all the action of the work must occur within 24 hours, or one whole day), and the unity of place (all the action of the work must occur in one place or city). 2. Didactic literature: Literary works that are designed to expound a branch of knowledge,http://doc.xuehai.net/bc83beead6fb41964facffae4.html or else to embody, in imaginative or fictional form, a moral, religious, or philosophical doctrine or them. Alexander Pope’s Essay on Criticism and Edmund Spencer’s The Queene are good example of didactic poetry. 3. Satire: It is a literary art of diminishing or derogating a subject by making it ridiculous and evoking toward it attitudes of amusement, contempt, scorn, or indignation. Satire uses laughter as a weapon, and against a butt that exists outside the work itself. That butt may be an individual, or a type of person, a class, an institution, a nation or even the entire human race (as in much of Jonathan Swift’s Gulliver’s Travels). 4. Mock epic: It is a poem employing the lofty style and the conventions of epic poetry 文档下载 免费文档下载 http://doc.xuehai.net/ to describe a trivial or undignified series of events; thus a kind of satire that mocks its subject by treating it in an inappropriately grandiose manner, usually at some length. The outstandinghttp://doc.xuehai.net/bc83beead6fb41964facffae4.html examples in English literature are Alexander Pope’s The Rape of the Lock and Dunciad. 5. Farce: It is a type of low comedy that employs improbable or otherwise ridiculous situations and mix-ups, slapsticks and horseplay, and crude and even bawdy dialogue. It smacks the audience full-force in the face, aiming simply to entertain and evoke guffaws from the audience. 6. Picaresque novel: Derived from the Spanish word picara, meaning “rogue” or “rascal”, the term generally refers to a basically realistic and often satire work of fiction chronicling the career of an engaging, lower-class rogue-hero, who takes to the road for a sidekick. A well-known example of the picaresque novel is Cervantes’ Don Quixote (165). Mark Twain’s The Adventures of Huckleberry Finn is another classic example 7. Melodrama: Originally, any drama accompanied by music which was used to enhance the emotional impact and thhttp://doc.xuehai.net/bc83beead6fb41964facffae4.htmle mood performance. of The term derived from the Greek melos, which means “song”. In early nineteenth-century London, melodramas became increasingly popular, which came to emphasize the conflict between pure good and evil. Its heroes and heroines were inevitably completely moral and uypright, but terrorized, harassed, or otherwise troubled by thoroughly despicable villains. The chief concern of melodrama was to elicit the desired emotional response from the audience. 8. Persona: The assumed identity or fictional “I” (literary a “mask”) assumed 文档下载 免费文档下载 http://doc.xuehai.net/ by a writer in a literary work; thus the speaker in a lyric poem, or the narrator in a fictional narrative. Although the persona often serves as the “voice” of the writer, it nonetheless should not be confused with the writer, for the persona may not accurately reflect the writer’s personal opinions, feelings, or perspectives on a subject. 9. Epigram: The term is now used for http://doc.xuehai.net/bc83beead6fb41964facffae4.htmla statement, whether in verse or prose, which is terse, pointed and witty. The epigram may be on any subject, amatory, elegiac, meditative, complimentary, anecdotal, or most often satiric. 10. Gothic novel: An alternative term is Gothic romance. It is a story of terror and suspense, usually set in a gloomy old castle of monastery. Following the appearance of Horace Walpole’s The Castle of Otranto (1764), the Gothic novel flourished in Britain from the 1790s to the 1820s, dominated by Ann Radcliffe, whose The Mysteries of Udolpho had may imitators. 11. Graveyard school of poetry: It refers to a group of eighteen-century English poets who emphasized subjectivity, mystery, and melancholy. Death, mortality (immortality), and gloom were frequent subjects of elements of their meditative poem, which were often actually set in graveyards. Thomas Gray’s “Elegy Written in a Country Churchyard” is the most famous example.://doc.xuehai.net/bc83beead6fb41964facffae4.html 12. Neoclassicism: It is a style of Western literature that flourished from the mid-seventeenth until the end of the eighteenth century and the rise of Romanticism. The neoclassicists looked to the great classical writers for inspiration and guidance, considering them to have mastered the noblest literary forms, tragic epic and the epic. Neoclassical writers shared several beliefs. They believed that literature should both instruct and delight, and the proper subject of art was 文档下载 免费文档下载 http://doc.xuehai.net/ humanity. Neoclassicism stressed rules, reason, harmony, balance, restraint, decorum, order, serenity, realism, and form—above all, an appeal to the intellect rather than emotion. The Restoration in 1660 marked the beginning of the Neoclassical Period in England, whose writers included John Dryden, Alexander Pope, Samuel Johnson, etc. 13. Fiction: In an inclusive sense, fiction is any literary narrative, whether in prose or vershttp://doc.xuehai.net/bc83beead6fb41964facffae4.htmle, which is invented instead of being an account of events that in fact happened. In a narrow sense, however, fiction denotes only narratives that are written in prose (the novel and the short story). 14. Antihero: It is a protagonist in a modern work who does not exhibit the qualities of the tradition hero. Instead of being a grand and admirable figure—brave, honest, and magnanimous, for example—an antihero is all too ordinary and may even be petty or downright dishonest. The use of nonheroic protagonist occurs as early as the picaresque novel of the sixteenth century, and the heroine of Defoe’s Moll Flanders is a thief and a prostitute. 15. Foreshadowing: The use of hints or clues in a narrative to suggest what will happen later. Writers use foreshadowing to create interest and to build suspense. Sometimes foreshadowing also prepares the reader for the ending of the story. 课外拓展(浪漫主义时期名词解释) ://doc.xuehai.net/bc83beead6fb41964facffae4.htmlar 1. Romanticism: It is a term applied to literary and artistic movements of the late18th 文档下载 免费文档下载 http://doc.xuehai.net/ and early19th century. It can be seen as a rejection of the precepts of order, calm, harmony, balance, idealization, and rationality that typified classicism in general and late18th-century neoclassicism in particular. It was also to some extent a reaction against the Enlightenment and against 18th-century rationalism and physical materialism in general. Inspired in part by the libertarian ideals of the French Revolution, the romantics believed in a return to nature and in the innate goodness of humans, as expressed by Jean Jacques Rousseau. They emphasized the individual, the subjective, the irrational, the imaginative, the personal, the spontaneous, the emotional, the visionary, and the transcendental. They also showed interest in the medieval, exotic, primitive, and nationalistic. Critics date English rohttp://doc.xuehai.net/bc83beead6fb41964facffae4.htmlmanticism literary from the publication of William Wordsworth and S. T. Coleridge’s Lyrical Ballads in1798 to the death of Sir Walter Scott and the passage of the first reform bill in the Parliament in1832. 2. Ode: It is an elaborately formal lyric poem, often in the form of a lengthy ceremonious address to a person or abstract entity, always serious and elevated in tone. It aims at praising and glorifying an individual, commemorating an event, or describing nature intellectually rather than emotionally. Odes originally were songs performed to the accompaniment of a musical instrument. There are two different classical models: Pindar’s Greek choral odes devoted to public praise of athletes (5thcenturyBC), and Horace’s more privately reflective odes in Latin (c.23~13BC). John Keats wrote many celebrated odes such as “Ode on a Grecian Urn” and “Ode to a Nightingale” (both1820). 文档下载 免费文档下载 http://doc.xuehai.net/ 3. Byronic hero: It is a stereothttp://doc.xuehai.net/bc83beead6fb41964facffae4.htmlyped character created by Byron. This kind of hero is usually a proud, mysterious rebel figure of noble origin. With immense superiority in his passions and powers, he would carry on his shoulders the burden of righting all the wrongs in a corrupt society. He would rise single-handedly against any kind of tyrannical rules either in government, in religion, or in moral principles with unconquerable wills and inexhaustible energies. The conflict is usually one of rebellious individuals against outworn social systems and conventions. 4. Ottava rima: It is a form of verse stanza consisting of eight lines rhyming abababcc, usually employed for narrative verse but sometimes used in lyric poems. In its original Italian form (“eighth rhyme”), pioneered by Boccaccio in the14th century and perfected by Ariostointhe16th. version uses iambic It used hendecasyllables, but the English pentameters. It was introduced into English bhttp://doc.xuehai.net/bc83beead6fb41964facffae4.htmly Thomas Wyatt in the 16th century, and later used by Byron in Don Juan as well as by Keats, Shelley, and Yeats. 5. Terza rima: It is a verse form consisting of a sequence of interlinked tercets rhyming aba bcb cdc ded etc. Thus the second line of each tercet provides the rhyme for the first and third lines of the next, the sequence closes with one line (or in a few cases, two lines) rhyming with the middle line of the last tercet: yzy z (z). The form was invented by Dante Alighieri for his Divina Commedia (c.1320), using the Italian hendecasyllabic line. It has been adopted by several poets in English pentameters, notably by P. B. Shelley in his “Ode to the West Wind”. 6. Irony: It is a contrast or an incongruity between what is stated and what is really meant, or between what is expected to happen and what actually happens. Three kinds 文档下载 免费文档下载 http://doc.xuehai.net/ of irony are: (1) verbal irony, in which a writer or speaker says one thing and http://doc.xuehai.net/bc83beead6fb41964facffae4.htmlmeans something entirely different; (2) dramatic irony, in which a reader or an audience perceives something that a character in the story or play does not know; (3) irony of situation, in which the writer shows a discrepancy between the expected results of some action or situation and its actual results. 7. Lyric: It is a poem, usually a short one that expresses a speaker’s personal thoughts or feelings. The elegy, ode, and sonnet are all forms of the lyric. As its Greek name indicates, a lyric was originally a poem sung to the accompaniment of a lyre, and lyrics to this day have retained a melodic quality. Lyrics may express a range of emotions and reflections. Robert Herrick’s “To the Virgins, to Make Much of Time” reflects on the brevity of life and the need to live for the moment, while T. S. Eliot’s “Preludes” observes the sordidness and depression of modern life. 8. Motif: It is a recurring fhttp://doc.xuehai.net/bc83beead6fb41964facffae4.htmleature (such as a name, an image, or a phrase) in a work of literature. A motif generally contributes in someway to the theme of a short story, novel, poem, or play. For example, a motif used by D. H. Lawrence in his story “The Rocking-Horse Winner” is the word luck. The main character of the story, a boy named Paul, discovers that he has the power to predict the winner in a horse race. However, this becomes an ironic kind of luck, for Paul grows obsessed with his power and is finally destroyed by it. At times, motif is used to refer to some commonly used plot or character type in literature. The “ugly duckling motif” refers to a plot that involves the transformation of a 文档下载 免费文档下载 http://doc.xuehai.net/ plain-looking person into a beauty. Two other commonly used motifs are the “Romeo and Juliet motif” (about doomed lovers) and the “Horatio Alger motif” (about the office clerk who becomes the corporation president). 9. Theme: It is the general idea http://doc.xuehai.net/bc83beead6fb41964facffae4.htmlor insight about life that a writer wishes to express in literary work. All the elements of a literary work—plot, setting, characterization, and figurative language contribute to the development of its theme. A simple theme can often be stated in a single sentence. But sometimes a literary work is rich and complex, and a paragraph or even an essay is needed to state the theme. Not all literary works have a controlling theme. For example, the purpose of some simple ghost stories is to frighten the reader, and some detective stories seek only to thrill. 10. Symbol: It is any object, person, place, or action that has a meaning in itself and that also stands for something larger than itself, such as a quality, an attitude, a belief, or a value. A rose is often a symbol of love and beauty; a skull is often a symbol of death; spring and winter often symbolize youth and old age. 11. Imagery: It is a rather vague critical tehttp://doc.xuehai.net/bc83beead6fb41964facffae4.htmlrm covering those uses of language in a literary work that evoke sense-impressions by literal or figurative reference to perceptible or “concrete” objects, scenes, actions, or states as distinct from the language of abstract argument or exposition. The imagery of a literary work thus comprises the set of images that it uses; these need not be mental “pictures” but may appeal to senses other than sight. 12. Foil: It is a character whose qualities or actions serve to emphasize those of the protagonist (or of some other character) by providing a strong contrast with them. Thus in Charlotte Bronte’s Jane Eyre, the passive obedience of Jane’s school-friend 文档下载 免费文档下载 http://doc.xuehai.net/ Helen Burns makes her a foil to the rebellious heroine. 13. Synaesthesia: It is a blending or confusion of different kinds of sense-impression, in which one type of sensation is referred to in terms more appropriate to another. Common synaesthetic expressions include thhttp://doc.xuehai.net/bc83beead6fb41964facffae4.htmle descriptions of colours as “loud” or “warm”, and of sounds as “smooth”. This effect was cultivated consciously by the French Symbolists, but is often found in earlier poetry, notably in Keats. 14. Character: Characters are the persons represented in a dramatic or narrative work, who are interpreted by the reader as being endowed with particular moral, intellectual, and emotional qualities by inferences from what the persons say and their distinctive ways of saying it—the dialogue—and from what they do—the action. The grounds in the characters’ temperament, desires, and moral nature for their speech and actions are called their motivation. A character may remain essentially “stable”, or unchanged in outlook and disposition, from beginning to end of a work (Prospero in Shakespeare’s The Tempest, Micawber in Charles Dickens’ David Copperfield, or may undergo a radical change, either through http://doc.xuehai.net/bc83beead6fb41964facffae4.htmlof a gradual development (the process title character in Jane Austen’s Emma) or as the result of a crisis (Shakespeare’s King Lear, Pip in Dickens’ Great Expectations).Whether a character remains stable or changes, the reader of a traditional and realistic work expects “consistency”—the character should not suddenly break off and act in a way not plausibly grounded in his or her temperament as we have already come to know it. 15. Flat character: A flat character (also called a type, or 文档下载 免费文档下载 http://doc.xuehai.net/ “two-dimensional”) is built around “a single idea or quality” and is presented without much individualizing detail, and therefore can be fairly adequately described in a single phrase or sentence. 16. Round character: A round character is complex in temperament and motivation and is represented with subtle particularity; such a character therefore is as difficult to describe with any adequacy as a person in real life, and like real persons, is http://doc.xuehai.net/bc83beead6fb41964facffae4.htmlcapable of surprising us. 17. Negative capacity: It is the phrase used by the English poet John Keats to describe the quality of self lesser captivity necessary to a true poet. By negative capability, Keats seems to have meant a poetic capacity to efface one’s own mental identity by immersing it sympathetically and spontaneously within the subject described, as Shakespeare was thought to have done. 课外拓展(维多利亚时期名词解释) 1. English critical realism: English critical realism o f the 19th century flourished in the forties and in the early fifties. The critical realists described with much vividness and artistic skill the chief traits of the English society and criticized the capitalist system from a democratic view point. The greatest English realist of the time was Charles Dickens. With striking force and truthfulness, he pictures bourgeois civilization, showing the misery and sufferings http://doc.xuehai.net/bc83beead6fb41964facffae4.htmlcommon of people. the Another critical realist, William Makepeace Thackeray, was a no less severe exposer of 文档下载 免费文档下载 http://doc.xuehai.net/ contemporary society. Thackeray’s novels are mainly a satirical portrayal of the upper strata of society. Other adherents to the method of critical realism were Charlotte and Emily Bronte, and Elizabeth Gaskell. In the fifties and sixties the realistic novel as represented by Dickens and Thackeray entered a stage of decline. It found its reflection in the works of George Eliot. Though she described the life of the laboring people and criticized the privileged classes, the power of exposure became weaker in her works. She seemed to be more morally than socially minded. The English critical realists of the 19th century not only gave a satirical portrayal of the bourgeoisie and all the ruling classes, but also showed profound sympathy for the common people. 2. Victorian period: It refers to the era of Queen Victoria’s rhttp://doc.xuehai.net/bc83beead6fb41964facffae4.htmleign (1837~1901). The period is sometimes dated from 1832 (the passage of the first Reform Bill), a period of intense and prolific activity in literature, especially by novelists and poets, philosophers and essayists. Dramatists of any note are few. Much of the writing was concerned with contemporary social problems: for instance, the effects of the industrial revolution, the influence of the theory of evolution, and movements of political and social reform. The following are among the most not able British writers of the period: Thomas Carlyle, Elizabeth Barrett Browning, Alfred Tennyson, Charles Darwin, W. M. Thackeray, Robert Browning, Edward Lear, Charles Dickens, Anthory Trollope, Charlotte Bronte, Emily Bronte, Anne Bronte, George Eliot, John Ruskin, Matthew Arnold, George Meredith, Dante Gabriel Rossetti, Christina Rossetti, William Morris, Samuel Butler, Swinburne, Thomas Hardy, Robert Louis Stevenson, Henry Arthur Johttp://doc.xuehai.net/bc83beead6fb41964facffae4.htmlnes, Oscar Wilde. 3. Autobiography: It is an account of a person’s life by him or herself. The term 文档下载 免费文档下载 http://doc.xuehai.net/ appears to have been first used by Southey in 1809. In Dr. Johnson’s opinion no man was better qualified to write his life than himself, but this is debatable. Memory may be unreliable. Few can recall clear details of their early life and most are therefore dependent on other people’s impressions, of necessity equally unreliable. Moreover, everyone tends to remember what he or she wants to remember. Disagreeable facts are sometimes glossed over or repressed, truth may be distorted for the sake of convenience or harmony and the occlusions of time may obscure as much as they reveal. 4. Regional novel: A regional writer is one who concentrates much attention on a particular area and uses it and the people who inhabit it as the basis for his or her stories. Such a locale is likely to be rural or provinciahttp://doc.xuehai.net/bc83beead6fb41964facffae4.htmll. Once established, the regional novel began to interest a number of writers, and soon the regions described became smaller and more specifically defined. For example, the novels of Mrs. Gaskell (1810~1865) and George Eliot (1819~1880) centered on the Midlands, and those of the Bronte sisters were set in Yorkshire. There were also “urban” or “industrial” novels, set in a particular town or city, some of which had considerable fame in the 19th century. Notable instances are Mrs. Gaskell’s Mary Barton (1848), Charles Dickens’s Hard Times (1854) and George Eliot’s Middlemarch (1871~1872). 5. Dramatic monologue: Dramatic monologue is a kind of poem in which a single fictional or historical character other than the poet speaks to a silent “audience” of one or more persons. Such poems reveal not the poet’s own thoughts but the mind of the impersonated character, whose personality is revealed unwittingly; distinguishehttp://doc.xuehai.net/bc83beead6fb41964facffae4.htmls a this dramatic 文档下载 免费文档下载 http://doc.xuehai.net/ monologue from a lyric, while the implied presence of an auditor distinguishes it from a soliloquy. Major examples of this form in English are Tennyson’s “Ulysses” (1842), Browning’s “Fra Lippo Lippi” (1855), and T. S. Eliot’s “The Love Song of J. Alfred Prufrock” (1917). Some plays in which only one character speaks, in the form of a monologue or soliloquy, have also been called dramatic monologues; but to avoid confusion it is preferable to refer to these simply as monologues or as monodramas. 6. Psychological novel: It is a vague term to describe that kind of fiction which is for the most part concerned with the spiritual, emotional and mental lives of the characters and with the analysis of characters rather than with the plot and the action. Many novelists during the last two hundred years have written psychological novels. 7. Künstlerroman: It is a novel which has an artist (in any creativhttp://doc.xuehai.net/bc83beead6fb41964facffae4.htmle art) as the central character and which shows the development of the artist from childhood to maturity and later. In English literature the most famous example of a Künstlerroman is James Joyce’s A Portrait of the Artist as a Young Man. 8. Aestheticism: The term aesthetic has come to signify something which pertains to the criticism of the beautiful or to the theory of taste. An aesthete is one who pursues and is devoted to the “beautiful” in art, music and literature. And aestheticism is the term given to a movement, a cult, a mode of sensibility (a way of looking at and feeling about things) in the 19th century. Fundamentally, it entailed the point of view that art is self-sufficient and need serve no other purpose than its own ends. In other words, art is an end in itself and need not be (or should not be) didactic, politically committed, propagandist, moral or anything else but itself; and it should not be judged by anyhttp://doc.xuehai.net/bc83beead6fb41964facffae4.html non-aesthetic criteria (e.g. whether or not 文档下载 免费文档下载 http://doc.xuehai.net/ it is useful). 9. Naturalism: Naturalism is a post-Darwinian movement of the late 19th century that tried to apply the” laws” of scientific determinism to fiction. The naturalist went beyond the realist’s insistence on the objective presentation of the details of everyday life to insist that the materials of literature should be arranged to reflect a deterministic universe in which a person is a biological creature controlled by environment and heredity. Major writers include Crane, Dreiser, Norris, and O’Neill in America; Zola in France; and Hardy and Gissing in England. Crane’s “The Blue Hotel” (1898) is perhaps the best example in this text of a naturalistic short story. 课外拓展(现代主义时期名词解释) 1. Modernism: It is a general term applied retrospectively to the wide range of experimental and avant-garde trends in literature 20thhttp://doc.xuehai.net/bc83beead6fb41964facffae4.html of century, the early including Symbolism, Futurism, Expressionism, Imagism, Vorticism, Dada, and Surrealism, along with the innovations of the unaffiliated writers. Modernism takes the irrational philosophy and the theory of psycho-analysis as its theoretical base. It is a reaction against realism. It rejects rationalism which is the theoretical base of realism; it excludes from its major concern the external, objective, material world, which is the only creative source of realism; by advocating a free experimentation on new forms and new techniques in literary creation, it casts away almost all the traditional elements in literature such as story, plot, character, chronological narration, etc., which are essential to realism. As a result, the works created by the modernist writers can often be labeled as anti-novel, anti-poetry or anti-drama. 文档下载 免费文档下载 http://doc.xuehai.net/ 2. Epiphany: It is a moment of illumination, usually occurring at or near the end of a work. Ihttp://doc.xuehai.net/bc83beead6fb41964facffae4.htmln James Joyce’s story “Araby”, the epiphany occurs when the narrator realizes, with sudden clarity, that his dream of visioning the splendid bazaar has resulted only in frustration and disillusion. 3. Interior monologue: It refers to the written representation of a character’s inner thoughts, impressions, and memories as if directly “overheard” without the apparent intervention of a summarizing and selecting narrator. The term is often loosely used as a synonym for stream-of-consciousness. 4. Fragmentation: Not only is the world fragmented, falling apart, but also life. To depict a fragmented life modernists use fragmentation in their writings. The framework in its traditional sense is gone, usual connective patterns are missing, and coming in their place are unrelated pieces or dissociated fragments. Consequently, a sense of discontinuity or chaos is projected. The reader has to create meaning out of the chhttp://doc.xuehai.net/bc83beead6fb41964facffae4.htmlaos. 5. Non-linear, discontinuous narratives: Traditional or realist fiction usually follows the order of time and cause-and-effect in telling a story, but in modernist fiction we see less of this. Most modernists adopt a psychological view of time in which time is treated as “duration”. They come to see that time is not an object, something that can be described, reported and referred to in a constative utterance. One part of this “something other than itself” is stream-of-consciousness. Constant flashbacks into the past are a second, and story beginning where it ends is a third. 6. Feminist criticism: It is a development and movement in critical theory and in 文档下载 免费文档下载 http://doc.xuehai.net/ the evaluation of literature which was well underway by the late 1960s and which has burgeoned steadily since. It is an attempt to describe and interpret and reinterpret women’s experience as depicted in various kinds of literature-especially the novel; and, thttp://doc.xuehai.net/bc83beead6fb41964facffae4.htmlo a lesser extent, poetry and drama. It questions the long-standing, dominant, male, heliocentric ideologies, a patriarchal attitudes and male interpretations in literature. It attacks male notions of value in literature and challenges traditional and accepted male ideas about the nature of women and about how women feel, act and think, or are supposed to feel, act and think, and how in general they respond to life and living. It thus questions numerous prejudices and assumptions about women made by male writers, not least any tendency to cast women in stock character roles. 7. Reader-response criticism: It is a general term for those kinds of modern criticism and literary theory that focus on the response of readers to literary works, rather than on the works themselves considered as self-contained entities. It is not a single agreed theory so much as a shared concern with a set of problems involving the extent and http://doc.xuehai.net/bc83beead6fb41964facffae4.htmlnature of readers’ contribution to the meanings of literary works, approached from various positions including those of structuralism, psychoanalysis, phenomenology, and hermeneutics. The common factor is a shift from the description of texts in terms of their inherent properties to a discussion of the production of meanings within the reading process. 8. Epigraph: It is a quotation or motto at the beginning of a chapter, book, short story, or poem that makes some point about the work. One of the epigraphs preceding T. S. Eliot’s “The Hollow Men” is a reference to Guy Fawkes Day, when English children carry stuffed effigies, or likenesses, of the traitor Fawkes. The epigraph serves as a motif throughout the poem for the in effectuality Eliot identifies with his generation of “stuffed men”. 文档下载 免费文档下载 http://doc.xuehai.net/ 9. Epilogue: It is a short addition or conclusion at the end of a literary work. In the Epilogue to Pygmalion, tellshttp://doc.xuehai.net/bc83beead6fb41964facffae4.html Bernard Shaw his what readers happened to his characters after the conclusion of the play. 10. Post-modernism: It is a term referring to certain radically experimental works of literature and art produced after World War II. Post-modernism is distinguished from modernism, which generally refers to the revolution in art and literature that occurred during the period 1910-1930, particularly following the disillusioning experience of World War I. Much of post-modernist writing reveals and highlights the alienation of individuals and the meaninglessness of human existence. Postmodernists break away from traditions through experimentation with new literary devices, forms, and styles. 11. Post-structuralism: A term referring to the general attempt to contest and subvert structuralism and to formulate new theories regarding interpretation and meaning. It was initiated particularly by deconstructors but ahttp://doc.xuehai.net/bc83beead6fb41964facffae4.htmlssociated also with certain aspects and practitioners of psychoanalytic, Marxist, cultural, feminist, and gender criticism. Post-structuralists claim that in the grand scheme of signification, all “signifieds” are also signifiers, for each word exists in a complex web of language and has such a variety of denotation and connotations that no one meaning can be said to be final, stable, and invulnerable to reconsideration and substitution. Leading post-structuralists include French philosophers Derrida, Lacan, Foucault, etc. 文档下载 免费文档下载 http://doc.xuehai.net/ 12. Theatre of the absurd: Theatre of the absurd emerged around 1950, a name given by the critic Martin Esslin to describe the works of the dramatists, including Beckett, Pinter, etc. These authors have in common the sense that human existence is nihilistic. This vision is reflected in the form as well as the content of the plays, through rejecting logical construction, and creating meaningless speeches and silehttp://doc.xuehai.net/bc83beead6fb41964facffae4.htmlnces. 13. meta-fiction: A term applied to fictional writing which questioned the relationship between reality and fiction through deliberately and self-consciously drawing attention to its own status as a linguistic construct. Examples contain John Fowles’s The French Lieutenant’s Woman. 文档下载网是专业的免费文档搜索与下载网站,提供行业资料,考试资料,教 学课件,学术论文,技术资料,研究报告,工作范文,资格考试,word 文档, 专业文献,应用文书,行业论文等文档搜索与文档下载,是您文档写作和查找 参考资料的必备网站。 文档下载 http://doc.wendoc.com/ 亿万文档资料,等你来免费下载