刘炳善英国文学笔记

刘炳善英国文学笔记刘炳善英国文学笔记刘炳善英国文学笔记xxx公司刘炳善英国文学笔记文件编号：文件日期：修订次数：第1.0次更改批准审核制定方案设计，管理制度AConciseHistoryofBritishLiteratureChapter1EnglishLiteratureofAnglo-SaxonPeriodI.Introduction1.Thehistoricalbackground(1)BeforetheGermanicinvasion(2)DuringtheGermanicinvasiona.immigration;b.Christianity;c.heptarchy.d.socialclassesstructure:hide-hundred;eoldermen(lord)–thane-middleclass(freemen)-lowerclass(slaveorbondmen:theow);e.socialorganization:itaryOrganization;g.Churchfunction:spirit,civilservice,education;h.economy:coins,trade,slavery;i.feastsandfestival:Halloween,Easter;j.legalsystem.2.TheOverviewoftheculture(1)ThemixtureofpaganandChristianspirit.(2)Literature:a.poetry:twotypes;se:twofigures.II.Beowulf.1.Ageneralintroduction.2.Thecontent.3.Theliteraryfeatures.(1)theuseofalliteration(2)theuseofmetaphorsandunderstatements(3)themixtureofpaganandChristianelementsIII.TheOldEnglishProse1.Whatisprose2.figures(1)TheVenerableBede(2)AlfredtheGreatChapter2EnglishLiteratureoftheLateMedievalAgesI.Introduction1.TheHistoricalBackground.(1)Theyear1066:NormanConquest.(2)Thesocialsituationssoonaftertheconquest.A.Normannoblesandserfs;B.restorationofthechurch.(3)The11thcentury.A.thecrusadeandknights.B.dominanceofFrenchandLatin;(4)The12thcentury.A.thecentralizedgovernment;B.kingsandthechurch(HenryIIandThomas);(5)The13thcentury.A.ThelegendofRobinHood;B.MagnaCarta(1215);C.thebeginningoftheParliamentD.EnglishandLatin:officiallanguages(theend)(6)The14thcentury.a.theHouseofLordsandtheHouseofCommons—conflictbetweentheParliamentandKings;b.theriseoftowns.c.thechangeofChurch.d.theroleofwomen.e.theHundredYears’War—starting.f.thedevelopmentofthetrade:London.g.theBlackDeath.h.thePeasants’Revolt—1381.i.ThetranslationofBiblebyWycliff.(7)The15thcentury.a.ThePeasantsRevolt(1453)b.TheWarofRosesbetweenLancastersandYorks.c.theprinting-press—WilliamCaxton.d.thestartingofTudorMonarchy(1485)2.TheOverviewofLiterature.(1)thestoriesfromtheCelticlandsofWalesandBrittany—greatmythsoftheMiddleAges.(2)GeoffryeofMonmouth—HistoriaRegumBritanniae—KingAuthur.(3)Wace—LeRomandeBrut.(4)Theromance.(5)thesecondhalfofthe14thcentury:Langland,Gawinpoet,Chaucer.II.SirGawinandGreenKnight.1.ageneralintroduction.2.theplot.III.WilliamLangland.1.Life2.PiersthePlowmanIV.Chaucer1.Life2.LiteraryCareer:threeperiods(1)Frenchperiod(2)Italianperiod(3)masterperiod3.TheCanterburyTalesA.TheFramework;B.TheGeneralPrologue;C.TheTaleProper.4.HisContribution.(1)HeintroducedfromFrancetherhymedstanzaofvarioustypes.(2)HeisthefirstgreatpoetwhowroteinthecurrentEnglishlanguage.(3)ThespokenEnglishofthetimeconsistedofseveraldialects,andChaucerdidmuchinmakingthedialectofLondonthestandardforthemodernEnglishspeech.V.PopularBallads.VI.ThomasMaloryandEnglishProseVII.ThebeginningofEnglishDrama.1.MiraclePlays.MiracleplayormysteryplayisaformofmedievaldramathatcamefromdramatizationoftheliturgyoftheRomanCatholicChurch.Itdevelopedfromthe10thtothe16thcentury,reachingitsheightinthe15thcentury.Thesimplelyriccharacteroftheearlytextswasenlargedbytheadditionofdialogueanddramaticaction.Eventuallytheperformancewasmovedtothechurchyardandthemarketplace.2.MoralityPlays.Amoralityplayisaplayenforcingamoraltruthorlessonbymeansofthespeechandactionofcharacterswhicharepersonifiedabstractions–figuresrepresentingvicesandvirtues,qualitiesofthehumanmind,orabstractconceptionsingeneral.3.Interlude.Theinterlude,whichgrewoutofthemorality,wasintended,asitsnameimplies,tobeusedmoreasafillerthanasthemainpartofanentertainment.Asitsbestitwasshort,witty,simpleinplot,suitedforthediversionofguestsatabanquet,orfortherelaxationoftheaudiencebetweenthedivisionsofaseriousplay.Itwasessentiallyanindoorsperformance,andgenerallyofanaristocraticnature.Chapter3EnglishLiteratureintheRenaissanceI.AHistoricalBackgroundII.TheOverviewoftheLiterature(1485-1660)Printingpress—readership—growthofmiddleclass—trade-educationforlaypeople-centralizationofpower-intellectuallife-exploration-newimpetusanddirectionofliterature.Humanism-studyoftheliteratureofclassicalantiquityandreformededucation.Literarystyle-modeledontheancients.Theeffectofhumanism-thedisseminatiogogoibleattitudeofitsclassicallyeducatedadherents.1.poetryThefirsttendencybySidneyandSpenser:ornate,florid,highlyfiguredstyle.ThesecondtendencybyDonne:metaphysicalstyle—complexityandingenuity.ThethirdtendencybyJohgogotyle.ThefourthtendencybyMilton:centralChristianandBiblicaltradition.2.Dramaa.thegogoicalexamples.b.thedramastandshighestinpopularestimation:Marlowe–Shakespeare–Jonson.3.Prosea.translationofBible;b.More;c.Bacon.II.Englishpoetry.1.SirThomasWyattandHenryHoward(courtlymakers)(1)Wyatt:introducingsonnets.(2)Howard:introducingsonnetsandwritingthefirstblankverse.2.SirPhilipSidney—poet,critic,prosewriter(1)Life:a.Englishgentleman;b.brilliantandfascinatingpersonality;c.courtier.(2)worksa.Arcadia:pastoralromance;b.AstrophelandStella(108):sonnetsequencetoPenelopeDvereux—platonicdevotion.Petrarchanconceitsandoriginalfeelings-movingtocreativeness—buildingofanarrativestory;theme-loveoriginality-actofwriting.c.DefenseofPoesy:anapologyforimaginativeliterature—beginningofliterarycriticism.3.EdmundSpenser(1)life:Cambridge-Sidney’sfriend-“Areopagus”–Ireland-WestminsterAbbey.(2)worksa.TheShepherdsCalendar:thebuddingofEnglishpoetryinRenaissance.b.AmorettiandEpithalamion:sonnetsequencec.FaerieQueene:lThegeneralend--Aromanticandallegoricalepic—stepstovirtue.l12booksand12virtues:Holiness,temperance,justiceandcourtesy.lTwo-levelfunction:partofthestoryandpartofallegory(symbolicmeaning)lManyallusionstoclassicalwriters.lThemes:puritanism,nationalism,humanismandRenaissanceNeoclassicism—aChristianhumanist.(3)SpenserianStanza.III.EnglishProse1.ThomasMore(1)Life:“Renaissanceman”,scholar,statesman,theorist,prosewriter,diplomat,patronofartsa.learnedGreekatCanterburyCollege,Oxford;b.studieslawatLincolnInn;c.LordChancellor;d.beheaded.(2)Utopia:thefirstEnglishsciencefiction.WritteninLatin,twoparts,thesecond—placeofnowhere.Aphilosophicalmariner(RaphaelHythloday)tellshisvoyagesinwhichhediscoversaland-Utopia.a.Thepartoneisorganizedasdialoguewithmarinerdepictinghisphilosophy.b.Theparttwoisadescriptionoftheislandkingdomwheregoldandsilverarewornbycriminal,religiousfreedomistotalandnooneownsanything.c.thenatureofthebook:attackigogotime.d.thebookandtheRepublic:anattempttodescribetheRepublicinanewway,butitpossessesanmoderncharacterandtheresemblanceisinexternals.e.itplayedakeyroleintheHumanistawakeningofthe16thcenturywhichmovedawayfromtheMedievalotherworldlinesstowardsRenaissancesecularism.f.theUtopia(3)thesignificance.a.itwasthefirstchampionofnationalideasandnationallanguages;itcreatedanationalprose,equallyadaptedtohandlingscientificandartisticmaterial.b.aelegantLatinscholarandthefatherofEnglishprose:hecomposedworksinEnglish,translatedfromLatinintoEnglishbiography,wroteHistoryofRichardIII.2.FrancisBacon:writer,philosopherandstatesman(1)life:Cambridge-humanisminParis–knighted-LordChancellor–bribery-focusingonphilosophyandliterature.(2)philosophicalideas:advancementofscience—people:servantsandinterpretersofnature—method:achildbeforenature—factsandobservations:experimental.(3)“Essays”:57.a.hewasamasterofnumerousandvariedstyles.b.hismethodistoweighandbalancematers,indicatingtheidealcourseofactionandthepracticalone,pointingouttheadvantagesanddisadvantagesofeach,butleavingthereadertomakethefinaldecisions.(arguments)IV.EnglishDrama1.Ageneralsurvey.(1)Everymanmarksthebeginningofmoderndrama.(2)twoinfluences.a.theclassics:classicalinformandEnglishincontent;b.nativeorpopulardrama.(3)theUniversityWits.2.ChristopherMarlowe:greatestplaywrightbeforeShakespeareandmostgiftedoftheWits.(1)Life:firstigogoicalpoetry—thenindrama.(2)Majorworksa.Tamburlaine;b.TheJewofMalta;c.TheTragicalHistoryofDoctorFaustus.(3)Thesignificanceofhisplays.V.WilliamShakespeare1.Life(1)1564,Stratford-on-Avon;(2)GrammarSchool;(3)QueenvisittoCastle;(4)marriagetoAnneHathaway;(5)London,theGlobeTheatre:smallpartandproprietor;(6)the1stFolio,Quarto;(7)Retired,son—Hamnet;H.1616.2.Dramaticcareer3.Majorplays-men-centered.(1)RomeoandJuliet--tragicloveandfate(2)TheMerchantofVenice.Goodoverevil.Anti-Semitism.(3)HenryIV.Nationalunity.Falstaff.(4)JuliusCaesarRepublicanismvs.dictatorship.(5)HamletRevengeGood/evil.(6)OthelloDiaboliccharacterjealousygapbetweenappearanceandreality.(7)KingLearFilialingratitude(8)MacbethAmbitionvs.fate.(9)AntonyandCleopatra.Passionvs.reason(10)TheTempestReconciliation;realityandillusion.3.Non-dramaticpoetry(1)VenusandAdonis;TheRapeofLucrece.(2)Sonnets:a.theme:fair,true,kind.b.twomajorparts:ahandsomeyoungmanofnoblebirth;aladyindarkcomplexion.c.theform:threequatrainsandacouplet.d.therhymescheme:abab,cdcd,efef,gg.VI.BenJonson1.life:poet,dramatist,aLatinandGreekscholar,the“literaryking”(SonsofBen):(1)theideaof“humour”.(2)anadvocateofclassicaldramaandaforerunnerofclassicisminEnglishliterature.3.Majorplays(1)EveryoneinHisHumour—”humour”;threeunities.(2)VolponetheFoxChapter4EnglishLiteratureofthe17thCenturyI.AHistoricalBackgroundII.TheOverviewoftheLiterature(1640-1688)1.Therevolutionperiod(1)Themetaphysicalpoets;(2)TheCavalierpoets.(3)Milton:theliteraryandphilosophicalheritageoftheRenaissancemergedwithProtestantpoliticalandmoralconviction2.Therestorationperiod.(1)TherestorationofCharlesIIusheredinaliteraturecharacterizedbyreason,moderation,goodtaste,deftmanagement,andsimplicity.(schoolof(2)TheidealsofimpartialinvestigationandscientificexperimentationpromotedbythenewlyfoundedRoyalSocietyofLondonforImprovingNaturalKnowledge(1662)wereinfluentialigogoeasaninstrumentofrationalcommunication.(3)Thegreatphilosophicalandpoliticaltreatisesofthetimeemphasizerationalism.(4)Therestorationdrama.(5)TheAgeofDryden.III.JohnMilton1.Life:educatedatCambridge—visitingthecontinent—involvedintotherevolution—persecuted—writingepics.2.Literarycareer.(1)The1stperiodwasupto1641,duringwhichtimeheistobeseenchieflyasasonofthehumanistsandElizabethans,althoughhisPuritanismisnotabsent.L'AllegreandILPenseroso(1632)arehisearlymasterpieces,inwhichwefindMiltonatrueoffspringoftheRenaissance,ascholarofexquisitetasteandrareculture.NextcameComus,amasque.ThegreatestofearlycreationswasLycidas,apastoralelegyonthedeathofacollegemate,EdwardKing.(2)Thesecondperiodisfrom1641to1654,whenthePuritanwasinsuchcompleteascendancythathewrotealmostnopoetry.In1641,hebeganalongperiodofpamphleteeringforthepuritancause.Forsome15years,thePuritaninhimaloneruledhiswriting.HesacrificedhispoeticambitiontothecallofthelibertyforwhichPuritanswerefighting.(3)Thethirdperiodisfrom1655to1671,whenhumanistandPuritanhavebeenfusedintoanexaltedentity.Thisperiodisthegreatestinhisliterarylife,epicsandsomefamoussonnets.ThethreelongpoemsarethefruitofthelongcontestwithinMiltonofRenaissancetraditionandhisPuritanfaith.TheyformthegreatestaccomplishmentsofanyEnglishpoetexceptShakespeare.InMiltonalone,itwouldseem,Puritanismcouldnotextinguishtheloverofbeauty.IntheseworkswefindhumanismandPuritanismmergedinmagnificence.3.MajorWorks(1)ParadiseLosta.theplot.b.characters.c.theme:justifythewaysofGodtoman.(2)ParadiseRegained.(3)SamsonAgonistes.4.FeaturesofMilton’sworks.(1)MiltonisoneoftheveryfewtrulygreatEnglishwriterswhoisalsoaprominentfigureinpolitics,andwhoisbothagreatpoetandanimportantprosewriter.ThetwomostessentialthingstoberememberedabouthimarehisPuritanismandhisrepublicanism.(2)Miltonwrotemanydifferenttypesofpoetry.Heisespeciallyagreatmasterofblankverse.HelearnedmuchfromShakespeareandfirstusedblankverseinnon-dramaticworks.(3)Miltonisagreatstylist.Heisfamousforhisgrandstylenotedforitsdignityandpolish,whichistheresultofhislife-longclassicalandbiblicalstudy.(4)Miltonhasalwaysbeenadmiredforhissublimityofthoughtandmajestyofexpression.IV.JohnBunyan1.life:(1)puritanage;(2)poorfamily;(3)parliamentaryarmy;(4)Baptistsociety,preacher;(5)prison,writingthebook.2.ThePilgrimProgress(1)Theallegoryindreamform.(2)theplot.(3)thetheme.V.MetaphysicalPoetsandCavalierPoets.1.MetaphysicalPoetsTheterm“metaphysicalpoetry”iscommonlyusedtodesignatetheworksofthe17thcenturywriterswhowroteundertheinfluenceofJohnDonne.Pressuredbytheharsh,uncomfortableandcuriousage,themetaphysicalpoetssoughttoshattermythsandreplacethemwithnewphilosophies,newsciences,newwordsandnewpoetry.TheytriedtobreakawayfromtheconventionalfashionofElizabethanlovepoetry,andfavouredinpoetryforamorecolloquiallanguageandtone,atightnessofexpressionandthesingle-mindedworkingoutofathemeorargument.2.CavalierPoetsTheothergroupprevailinginthisperiodwasthatofCavalierpoets.Theywereoftencourtierswhostoodonthesideoftheking,andcalledthemselves“sons”ofBenJonson.TheCavalierpoetswrotelightpoetry,polishedandelegant,amorousandgay,butoftensuperficial.Mostoftheirverseswereshortsongs,prettymadrigals,lovefanciescharacterizedbylightnessofheartandofmorals.CavalierpoemshavethelimpidityoftheElizabethanlyricwithoutitsimaginativeflights.TheyarelighterandneaterbutlessfreshthantheElizabethan’s.VI.JohnDryden.1.Life:(1)therepresentativeofclassicismintheRestoration.(2)poet,dramatist,critic,prosewriter,satirist.(3)changeableinattitude.(4)Literarycareer—fourdecades.(5)PoetLaureate2.Hisinfluences.(1)Heestablishedtheheroiccoupletasthefashionforsatiric,didactic,anddescriptivepoetry.(2)Hedevelopedadirectandconciseprosestyle.(3)Hedevelopedtheartofliterarycriticisminhisessaysandinthenumerousprefacestohispoems.Chapter5EnglishLiteratureofthe18thCenturyI.Introduction1.TheHistoricalBackground.2.Theliteraryoverview.(1)TheEnlightenment.(2)TheriseofEnglishnovels.Whentheliteraryhistorianseekstoassigntoeachageitsfavouriteformofliterature,hefindsnodifficultyindealingwithourowntime.AstheMiddleAgesdelightedinlongromanticnarrativepoems,theElizabethansindrama,theEnglishmanofthereignsofAnneandtheearlyGeorgesindidacticandsatiricalverse,sothepublicofourdayisenamoredofthenovel.Almostalltypesofliteraryproductioncontinuetoappear,butwhetherwejudgefromthelistsofpublishers,thestatisticsofpubliclibraries,orgeneralconversation,wefindabundantevidenceoftheenormouspreponderanceofthiskindofliteraryentertainmentinpopularfavour.(3)Neo-classicism:arevivalintheseventeenthagogooforder,balance,andharmonyinliterature.JohnDrydenandAlexanderPopeweremajorexpogogochool.(4)Satiricliterature.(5)SentimentalismII.Neo-classicism.(ageneraldescription)1.AlexanderPope(1)Life:a.Catholicfamily;b.illhealth;c.taughthimselfbyreadingandtranslating;d.friendofAddison,SteeleandSwift.(2)threegroupsofpoems:e.AnEssayonCriticism(magogom);f.TheRapeofLock;g.Translationoftwoepics.(3)Hiscontribution:h.theheroiccouplet—finish,elegance,wit,pointedness;i.satire.(4)weakness:lackofimagination.2.AddisonandSteele(1)RichardSteele:poet,playwright,essayist,publisherofnewspaper.(2)JosephAddison:studiesatOxford,secretaryofstate,createdaliteraryperiodical“Spectator”(withSteele,1711)(3)SpectatorClub.(4)Thesignificanceoftheiressays.a.Theirwritingsin“TheTatler”,and“TheSpectator”provideanewcodeofsocialmoralityfortherisingbourgeoisie.b.TheygiveatruepictureofthesociallifeofEnglandinthe18thcentury.c.Intheirhands,theEnglishessaycompletelyestablisheditselfasaliterarygenre.Usingitasaformofcharactersketchingandstorytelling,theyusheredinthedawnofthemodernnovel.3.SamuelJohnson—poet,critic,essayist,lexicographer,editor.(1)Life:a.studiesatOxford;b.madealivingbywritingandtranslating;c.thegreatchamofliterature.(2)works:poem(TheVanityofHumanWishes,London);criticism(TheLivesofgreatPoets);preface.(3)Thechampionofneoclassicalideas.III.LiteratureofSatire:JonathanSwift.1.Life:(1)borninIreland;(2)studiesatTrinity(3)workedasasecretary;(4)thechiefeditorofTheExaminer;(5)theDeanofSt.Patrick’sinDublin.2.Works:TheBattleofBooks,ATaleofaTub,AModestProposal,Gulliver’sTravels.3.Gulliver’sTravels.PartI.PartII.Satire—thelegalsystem;condemnationofwar.PartIII.Satire—ridiculousscientificexperiment.PartIV.Satire—mankind.IV.EnglishNovelsofRealistictradition.1.TheRiseofnovels.(1)Earlyforms:folktale–fables–myths–epic–poetry–romances–fabliaux–novelle-imaginativenatureoftheirmaterial.(imaginativenarrative)(2)Theriseofthenovela.picaresquenovelinSpainandEngland(16thcentury):OforrelatingtoagenreofprosefictionthatoriginatedinSpainb.Sidney:Arcadia.c.AddisonandSteele:TheSpectator.(plotandcharacterizationandrealism)(3)novelanddrama(17thecentury)2.DanielDefoe—novelist,poet,pamphleteer,publisher,merchant,journalist.)(1)Life:a.businesscareer;b.writingcareer;erestedinpolitics.(2)RobinsonCusoe.a.thestory.b.thesignificanceofthecharacter.c.thefeaturesofhisnovels.d.thestyleoflanguage.3.HenryFielding—novelist.(1)Life:a.unsuccessfuldramaticcareer;b.legalcareer;writingcareer.(2)works.(3)TomJones.a.theplot;b.characters:Tom,Blifil,Sophia;c.significance.(4)thetheoryofrealism.(5)thestyleoflanguage.V.WritersofSentimentalism.1.Introduction2.SamuelRichardson—novelist,moralist(Onewhoisundulyconcernedwiththemoralsofothers.)(1)Life:a.printerbookseller;b.letterwriter.(2)Pamela,VirtueRewarded.a.thestoryb.thesignificancePamelawasanewthingintheseways:a)Itdiscardedthe“improbableandmarvelous”accomplishmentsoftheformerheroicromances,andpicturedthelifeandloveofordinarypeople.b)Itsintensionwastoaffordnotmerelyentertainmentbutalsomoralinstruction.c)Itdescribednotonlythesayingsanddoingsofcharactersbuttheiralsotheirsecretthoughtsandfeelings.Itwas,infact,thefirstEnglishpsycho-analyticalnovel.3.OliverGoldsmith—poetandnovelist.A.Life:a.borninIreland;b.asingerandtale-teller,alifeofvagabondage;c.bookseller;d.theLiteraryClub;e.amiserablelife;f.themostlovablecharacterinEnglishliterature.B.TheVicarofWakefield.a.story;b.thesignicance.VI.EnglishDramaofthe18thcentury1.Thedeclineofthedrama2.RichardBrinsleySheridenA.life.B.works:Rivals,TheSchoolforScandals.C.significanceofhisplays.a.TheRivalsandTheSchoolforScandalaregenerallyregardedasimportantlinksbetweenthemasterpiecesofShakespeareandthoseofBernardShaw,andastrueclassicsinEnglishcomedy.b.Inhisplays,moralityistheconstanttheme.Heismuchconcernedwiththecurrentmoralissuesandlashesharshlyatthesocialvicesoftheday.c.Sheridan’sgreatnessalsoliesigogotohaveinheritedfromhisparentsanaturalabilityandinbornknowledgeaboutthetheatre.Hisplaysaretheproductofadramaticgeniusaswellasofawell-versedtheatricalman.d.Hisplotsarewell-organized,hischaracters,eithermajororminor,areallsharplydrawn,andhismanipulationofsuchdevicesasdisguise,mistakenidentityanddramaticironyismasterly.Wittydialoguesandneatanddecentlanguagealsomakeacharacteristicofhisplays.Chapter6EnglishLiteratureoftheRomanticAgeI.Introduction1.HistoricalBackground2.LiteraryOverview:RomanticismCharacteristicsofRomanticism:(1)Thespontaneousoverflowofpowerfulfeelings(2)Thecreationofaworldofimagination(3)Thereturntonatureformaterial(4)Sympathywiththehumbleandglorificationofthecommonplace(5)Emphasisupontheexpressionofindividualgenius(6)ThereturntoMiltonandtheElizabethansforliterarymodels(7)Theinterestinoldstoriesandmedievalromances(8)Asenseofmelancholyandloneliness(9)TherebelliousspiritII.Pre-Romantics1.RobertBurns(1)Life:FrenchRevolution(2)Featuresofpoetrya.BurnsischieflyrememberedforhissongswrittenintheScottishdialect.b.Hispoemsareusuallydevoidofartificialornamentandhaveagreatcharmofsimplicity.c.Hispoemsareespeciallyappreciatedfortheirmusicaleffect.d.Hispoliticalandsatiricalpoemsarenotedforhispassionateloveforfreedomandfierysentimentsofhatredagainsttyranny.(3)SignificanceofhispoetryHispoetrymarksanepochinthehistoryofEnglishliterature.TheysuggestedthatthespiritoftheRomanticrevivalwasembodiedinthisobscureploughman.Love,humour,pathos,theresponsetonature–allthepoeticqualitiesthattouchthehumanheartareinhispoems,whichmarkedthesunriseofanotherday–thedayofRomanticism.2.WilliamBlake(1)life:FrenchRevolution(2)works.lSongsofInnocencelSongsofExperience(3)featuresa.sympathywiththeFrenchRevolutionb.hatredfor18thcenturyconformityandsocialinstitutionc.attitudeofrevoltagainstauthorityd.strongprotestagainstrestrictivecodes(4)hisinfluenceBlakeisoftenregardedasasymbolistandmystic,andhehasexertedagreatinfluenceontwentiethcenturywriters.Hispeculiaritiesofthoughtandimaginativevisionhaveinmanywaysprovedfarmorecongenialtothe20thcenturythantheyweretothe19th.III.RomanticPoetsofthefirstgeneration1.Introduction2.WilliamWordsworth:representativepoet,chiefspokesmanofRomanticpoetry(1)Life:a.lovenature;b.Cambridge;c.tourtoFrance;d.Frenchrevolution;e.Dorathy;f.TheLakeDistrict;g.friendofColeridge;h.conservativeafterrevolution.(2)works:a.theLyricalBallads(preface):significanceb.ThePrelude:abiographicalpoem.c.theotherpoems(3)Featuresofhispoems.a.ThemeAconstantthemeofhispoetrywasthegrowthofthehumanspiritthroughthenaturaldescriptionwithexpressionsofinwardstatesofmind.b.characteristicsofstyle.Hispoemsarecharacterizedbyasympathywiththepoor,simplepeasants,andapassionateloveofnature.3.SamuelTaylorColeridge:poetandcritic(1)Life:a.Cambridge;b.friendwithSoutheyandWordsworth;c.takingopium.(2)works.lThefallofRobespierrelTheRimeoftheAncientMarinerlKublaKhanlBiographiaLiteraria(3)BiographiaLiteraria.(4)HiscriticismHewasoneofthefirstcriticstogiveclosecriticalattentiontolanguage.Inbothpoetryandcriticism,hisworkisoutstanding,butitistypicalofhimthathiscriticalworkisveryscatteredanddisorganized.IV.RomanticPoetsoftheSecondGeneration.1.Introduction2.GeorgeGordonByron(1)Life:a.Cambridge,publishedpoemsandreviews;b.atourofEuropeandtheEast;c.leftEngland;d.friendwithShelley;e.workedinGreece:nationalhero;f.radicalandsympatheticwithFrenchRevolution.(2)Works.lDonJuanlWhenWeTwoPartedlSheWalksinBeauty(3)ByronicHero.ByronintroducedintoEnglishpoetryanewstyleofcharacter,whichasoftenbeenreferredtoas“ByronicHero”of“satanicspirit”.PeopleimaginedthattheysawsomethingofByronhimselfinthesestrangefiguresofrebels,pirates,anddesperateadventurers.(4)Poeticstyle:loose,fluentandvivid3.PercyByssheShelley:poetandcritic(1)Life:a.aristocraticfamily;b.rebelliousheart;c.Oxford;d.IrishnationalliberationMovement;e.discipleofWilliamGodwin;f.marriagewithHarriet,andMarry;g.leftEnglandandwanderedinEUrope,diedinItaly;h.radicalandsympatheticwiththeFrenchrevolution;i.FriendwithByron(2)works:two