十八世纪英国文学：理性的时代

18th—Century

EnglishLiteratureMajorcontents:PolitcalandsocialbackgroundofBritish18th-century:earlyfragilestability;laterturbulenceIdeologicalandintellectualbackgroundof18thcentury:anageofreasonThreestagesofliterarycreationsinpoetry,prosefictionanddrama18th-centuryBritishpoetryfromNeoclassicismtoSentimentalismandPro-Romanticism18th-centuryBritishprose

fiction,socialrealisticandpsychologicalexpressive18th-centurydrama:realistictradition1.Historicalbackground:politicalandideologicalPoliticalandsocial:GloriousRevolutionin1688:theestablishmentofconstitutionalmonarchyandpoliticaldualismandcapitalismExtensivelandenclosure:intensifiedmiseryofagriculturalproletariansandpopularuprisingsIndustrialRevolutioninthesecondhalfof18thcentury:thefirstpowerfulcapitalistcountryandaworldfactoryColonialandcommercialexpansion:continuedwarswithFranceinNorthAmericaandinIndiaWidespreadinginfluenceofAmericanRevolution(1775-81)andFrenchRevolutionin1789:liberty,fraternityandequality(II)Ideologicalandintellectualbackgroundof18thcentury:EnlightenedBritish18thCentury:

AnAgeofReason18thEnlightenmentmovement:

aprogressivebourgeoisintellectualmovementdoubtingalltraditionalconceptsandbelievinginthepowerofreasonfortheestablishmentofanidealizedreignofthebourgeoisiewitheternaltruth,eternaljustice,naturalequalityandinalienablerightofmanRenaissanceBritain:Anageofhumanism

MedievalBritain:AnageofGodandchurch

“NatureandNature’sLawslayhidinNight.Godsaid,letNewtonbe!andallwasLight.”——IntendedforSirIsaacNewtoninWestminster-Abbey

《牛顿墓志铭》byAlexanderPopeAnewviewofuniverse:mechanicalConcerningHumanUnderstandingTwoTreatisesofGovernmentAnewreligion:Deism

Anewliterarydominanceinthefirsthalfofthecentury:neoclassicismanditsdictatorAlexanderPope

“Sentimentalism,Isuppose,means,roughlyspeaking,indulgenceinemotionforitsownsake.Thesentimentalistdoesnotweepbecausepainfulthoughtareforceduponhimbutbecausehefindsweepingpleasantinitself.Heappreciatestheluxuryofgrief…Butthegeneralsensethatsomethingisnotinorderinthegeneralstateofthings,withoutasyetanydefiniteaimforthevaguediscontentwassharedbythetruesentimentalist.”ByLeslieStephenSentimentalism:oneliterarytrendinthemiddleandlaterdecadesof18thcenturyDuetotheradicalsocialandideologicalchanges(miseryforthelaboringmasses,crueltyofthecapitalistrelations;thegrosssocialinjustices…)andthegrowingdisillusionmentoftherosypromisesofthebourgeoissocietyAmildprotestagainsttheunsatisfactorysocietyIndulgenceinsentimentasareactionagainstanythingrationalAdvocatingthecultofsentimenttotaketheplaceofthatofreason,whichthebourgeoissocietywassupposedtobuiltuponLimitation:failtorealizetheinevitabilityoftheIndustrialrevolutionandtheprogressiveaspectofthegreatsocialchanges;indulgeinsentimentforitsownsake;vainlysignforthereturnofpatriarchaltimeswhichiserroneouslyidealizedThebackgroundforDeism:ThenatureoftheuniversebecameakindofmechanicaluniverseasitwaslikenedtoaclockwhichGodmadebutlefttickingawayonitsownlaws.Peoplelearnthroughtheirexperienceoffeeling,seeing,touching,measuringandweighing,andreasonisoftheprimaryimportanceinlearningtounderstandthewholeconceptofGodandTrinityandinspirepeopletobelievethattheycandeducethenatureofGodbylookingaroundhiscreation,thatreligionisbasedonreason,notrevelation,andthatGodworksthroughgenerallawsandnotthetabletsHegavetoMoses.

ThedoctrineofDeism:DeismbelieveintheexistenceofGodwithoutanyrelianceonrevealedreligion,religiousauthorityorholybooks,typicallyrejectingsupernaturaleventssuchasprophecyandmiracles,tendingtoassertthatGod(or"TheSupremeArchitect")hasaplanfortheuniversethatisnottobealteredbyinterventionintheaffairsofhumanlife.TheworldoweditsexistencetoGodandthebestwaytoworshipGodwastoworshipHiscreation–man,nature,andtheworldasawholeFormalreligiondisappeared,whichbecameprivateandpersonal,notintermingledwithpublicaffairsGoddidnotobjecttopeoplenotbelievinginHim,andthatthebestwaytoserveGodwastodogoodtoman.OnDeismTounderstandNeoclassicismthroughAlexanderPope

“SometoConceitalonetheirTasteconfine,

AndglitteringThoughtsstruckoutateveryLine;

PleasedwithaWorkwherenothing'sjustorfit;

OneglaringChaosandwildHeapofWit;

PoetslikePainters,thus,unskilledtotrace

ThenakedNatureandthelivingGrace,

WithGoldandJewelscovereveryPart,

AndhidewithOrnamentstheirWantofArt.

TrueWitisNaturetoAdvantagedressed,

WhatoftwasThought,butneversowellExpressed,

Something,whoseTruthconvincedatSightwefind,

ThatgivesusbacktheImageofourMind:

AsShadesmoresweetlyrecommendtheLight,

SomodestPlainnesssetsoffsprightlyWit:

ForWorksmayhavemoreWitthandoesthemgood,

AsBodiesperishthroughExcessofBlood.”——AnEssayonCriticism(289-304)byAlexanderPopeIdeasreflected:AdvocatingcertainstandardsinpoeticcompositiontotrimthenaturalbotanicalgardenofRomanticEnglandEmphasizingpoet’scraftsmanshipinpoeticformofexpressionratherthanwhatthoughtsorsentimentexpressedRespectformoderation“ThoseRULESofolddiscovered,notdevised,

AreNaturestill,butNatureMethodized;

Nature,likeLiberty,isbutrestrained

BythesameLawswhichfirstherselfordained.”…….“YouthenwhoseJudgmenttherightCoursewouldsteer,

KnowwelleachANCIENT'sproperCharacter,

HisFable,Subject,ScopeineveryPage,

Religion,Country,GeniusofhisAge:

WithoutalltheseatoncebeforeyourEyes,

Cavilyoumay,butneverCriticize.

BeHomer'sWorksyourStudy,andDelight,

ReadthembyDay,andmeditatebyNight,

ThenceformyourJudgment,thenceyourMaximsbring,

AndtracetheMusesupwardtotheirSpring;

StillwithItselfcompared,hisTextperuse;

AndletyourCommentbetheMantuanMuse.WhenfirstyoungMaroinhisboundlessMind

AWorkt'outlastImmortalRomedesigned,

PerhapsheseemedabovetheCritique'sLaw,

AndbutfromNature'sFountainsscornedtodraw:

ButwhentoexamineeveryParthecame,

NatureandHomerwere,hefound,thesame:

Convinced,amazed,hecheckstheboldDesign,

AndRulesasstricthislabouredWorkconfine,

AsiftheStagyriteoverlookedeachLine.

LearnhenceforAncientRulesajustEsteem;

TocopyNatureistocopyThem.”——AnEssayonCriticismbyAlexanderPopeQuestion:

WhatdoesNaturereferto?

Thoseancient(GreekandRoman)writersandtheirwritingrulesasmethodizednaturetobestudiedandturnedtoforguidanceinwritingandcriticizingAkindofartificialnatureratherthannaturalworldornaturalhumansentimentandfeelingstypicalofRenaissanceage“AllNatureisbutArtunknowntothee;AllChanceDirection,whichthoucanstnotsee;AllDiscord,harmonynotunderstood;AllpartialEvil,universalgood:AndspiteofPride,inerringReason'sspite,OneTruthisclear,Whateveris,isRight.”…..“Knowthenthyself,presumenotGodtoscan,TheproperstudyofMankindisMan.PlacedonthisDisthmusofamiddleState,Abeingdarklywiseandrudelygreat:WithtoomuchKnowledgefortheScepticSide,WithtoomuchWeaknessfortheStoic'sPride,Hehangsbetween,indoubttoactorrest;IndoubttodeemhimselfaGodorBeast;IndoubthisMindorBodytoprefer;Bornbuttodie,andreasoningbuttoerr;AlikeinIgnorance,hisReasonsuch,WhetherHethinkstoolittleortoomuch;ChaosofThoughtandPassion,allconfused;Stillbyhimselfabusedordisabused;Createdhalftorise,andhalftofall:GreatLordofallThings,yetaPreytoall;SoleJudgeofTruth,inendlessErrorhurl'd;TheGlory,jest,andRiddleoftheWorld!”——

AnEssayonManbyAlexanderPopeBasicfeaturesofneoclassicpoetry:FrequentallusionsandreferencestoGreekandRomanmythologyandtoancientwritersandhistoriansPredilectionforabstractionsandexcessiveuseofpersonificationsRespectforandpromotionoforderandreasonwithemphasisonclarityofthoughtandorderlystructureFocusonformalperfectionlikemetricregularityandloveofgracefullanguageAconspicuouswantoffeelingandsentimentThedominatingneoclassicform:Heroiccouplet(tworhyminglinesiniambicpentameter)Producingtheeffectofanartificiallytrimmedbeauty,beautifulbutoftenlifelessWhatapieceofworkisman;Hownobleinreason!Howinfiniteinfaculty!Informandmovinghowexpressandadmirable!Inactionhowlikeanangel!Inapprehensionhowlikeagod!HamletbyShakespeare(III)Threestagesofliterarycreationsinpoetry,prosefictionanddramaFrom1688totheendof1730’sFromthe1740stothe1750sThelastdecadesof18thcenturyNeo-classicisminpoetry:AlexanderPopePeriodicalsasanewprose:AddisonandSteeleRealisticfictions:DefoeandSwiftRealisticnovels(Socialsarcasm

inhope):Richardson,Fielding,SmollettSentimentalisminpoetryandprosefiction:EdwardYongandThomasGrayasarepresentativeofGraveyardpoetryschool;LaurenceSterneandOliverGoldsmithPro-romanticisminpoetry:WilliamBlakeandRobertBurnsRealisticdrama:RichardBrinsleySheridan18th-centuryBritishPoetry:

fromneoclassicismtosentimentalismandpro-romanticism

Firstquarter:Secondquarter:From1750sto1770s:1780s:

AlexanderPope

andneoclassicismTheschoolofgraveyardpoetryonthethemeofnatureanddeathvs.NeoclassicchampionSamuelJohnsonJamesThomson:

TheSeasonsEdwardYoung:

NightThoughtWilliamCollin

ThomasGray:

ElegyWritteninaCountryChurchyard*JamesBoswell:TheLifeofSamuelJohnsonMedievalismandpatriarchalismJamesMacPherson:

theOssianpoemsThomasChatterton:

theRowleypoemsBishopThomasPercy:ReliquesofAncientEnglishPoetryThomasGray:

TheFatalSister;TheBardOliverGoldsmith:TheDesertedVillagePro-romanticismWilliamCowper:TheTaskGeorgeCrabber:TheVillageRobertBurns*WilliamBlakeNeo-classicdictator:AlexanderPopeAneoclassicliterarypoet-critic:AnEssayonCriticismAsatirist:TheRapeoftheLockTheDunciadAnEpistletoDr.ArbuthnotAnEnlightenerandaDeistEssayonMan(1688-1744)

AmanifestoofEnglishneoclassicismasheutteredhisaesthetictheoriesofpoetry:Toturntonatureasthebestguideforcriticaljudgments,regardingancientclassicalrulesorstandardsas“methodized”naturetobestudiesandturnedtoforguidanceForWit’sfalsemirrorheldupNature’slight,Showederringpride,Whateveris,isright;ThatReason,Passion,answeronegreataim;ThattrueSelf-loveandSocialarethesame;ThatVirtueonlymakesourblissbelow,Andallourknowledgeis,ourselvestoknow.Beneaththoseruggedelms,thatyew-tree'sshade,

Whereheavestheturfinmanyamoulderingheap,

Eachinhisnarrowcellforeverlaid,

Therudeforefathersofthehamletsleep.Thecurfewtollstheknellofpartingday,

Thelowingherdwindslowlyoverthelea

Theplowmanhomewardplodshiswearyway,

Andleavestheworldtodarknessandtome.LetnotAmbitionmocktheirusefultoil,

Theirhomelyjoys,anddestinyobscure;

NorGrandeurhearwithadisdainfulsmile

Theshortandsimpleannalsofthepoor.

Theboastofheraldry,thepompofpower,

Andallthatbeauty,allthatwealthevergave,

Awaitsaliketheinevitablehour.

Thepathsofgloryleadbuttothegrave.ThomasGrayFromElegyWritteninaCountryChurchyardDemocraticsentimentTheirlotforbade:norcircumscribedalone

Theirgrowingvirtues,buttheircrimesconfined;

Forbadetowadethroughslaughtertoathrone,

Andshutthegatesofmercyonmankind,

Thestrugglingpangsofconscioustruthtohide,

Toquenchtheblushesofingenuousshame,

OrheaptheshrineofLuxuryandPride

WithincensekindledattheMuse'sflame.

Farfromthemaddingcrowd'signoblestrife,

Theirsoberwishesneverlearnedtostray;

Alongthecoolsequesteredvaleoflife

Theykeptthenoiselesstenoroftheirway.

Yeteventhesebonesfrominsulttoprotect,

Somefrailmemorialstillerectednigh,

Withuncouthrhymesandshapelesssculpturedecked,

Imploresthepassingtributeofasigh.

FromElegyWritteninaCountryChurchyardFeatures:Tone:melancholyandmeditationTheme:fascinatedwithdeath,graveandnaturePro-Romanticandsentimentalistfeature:melancholythoughtexpressionandthoughtandnaturedescriptionNeoclassicimprint:Regularityinform(4-linedstanzainiambicpentameter)andclarityinthoughtandorderlystructure,aslightuseofpersonificationsOl较iv携er妥G摔ol盾ds际mi捎th拿(1煤72尼8-忘17油74报)Ano横ve献li勉st呆:Th肢e甚Vi逢ca令r庄of拨W赏ak继ef旧ie封ldApo班et怜:Th绍e议De躲se榆rt哪ed币V哥il榆la吹ge请;牙Th当e配Tr告av陆el烫erAdr倚am申at栽is歌t:Th这e盾Go岭od翻-N粗at的ur诉ed粗M朝an克;跳Sh凤e毙St归oo翻ps峰t痕o墙Co板nq伴ue元rAn鸦Es啄sa吴yi滩st田:Th躲e备Ci株ti始ze扒n晒of老t竿he贱W香or每ldSw坝ee聚t要wa贤s贸th促e牵so跌un礼d,弹w痛he香n密of咳t妨at溜e共ve滤ni改ng聚’s舅c助lo撕seUp颠y潜on识de转r押hi稠ll柴t尖he色v波il透la醋ge致m赴ur民mu楼r赏ro蓝se拘;Th乏er早e,站a深s弓I烫pl爬ea享se听d输wi朋th痒c振ar婶el燃es燥s棵st熄ep命s拼an辞d例sl锯owTh娱e伯mi疫ng歉li跟ng始n饰ot贝es碗c抚am幼e绕so被ft捷en狮ed哗f劣ro品m帽be拔lo顽w;Th马e标sw能ai剂n扩re馅sp惨on迫si新ve浊a们s爬th乏e月mi训lk往-m脸ai应d即su牲ng型,Th例e暗so猫be磨r吉he跑rd句t召ha阁t肯lo志we逃d刻to泛m箱ee翠t凉th福ei除r睡yo汗un蠢g,Th垮e损no侦is尺y思ge雹es誉e绪th仿at麻g蛮ab扑bl释ed趣o宴’e怜r唱th盯e贡po锦ol喷,Th偷e勿pl纲ay棒fu默l堡ch在il刮dr吴en桥j赠us六t誓le表t郊lo嘴os下e然fr修om境s弯ch己oo悦l,Th睁e鱼wa冠tc辨h-颈do隐g’焦s添vo阴ic名e谈th伯at疾b借ay弓ed农t膝he捷w网hi袄sp据er瓦in据g射wi蓬nd罩,An气d运th矿e程lo适ud竖l禽au息gh无t飘ha辟t即sp班ok瓣e罢th困e愈va回ca次nt污m摘in皂d;准-狼--Th患er傲e沈al成l葱in际s馅we浆et毅c赏on予fu哪si猪on赌s誉ou兆gh熟t武th搁e超sh萝ad表e,Al小l罩fi夜ll躲ed重e希ac粱h泪pa财us代e潜th避e得ni淘gh姓ti厉ng鹿al昨e遥ha志d竭ma上de金.Bu干t皇no驾w医th欠e侨so砌un在ds理o吃f嫩po院pu葛la己ti口on痒f柏ai系l,No商c疏he抢er土fu答l铲mu摸rm士ur扬s震fl逃uc枣tu窜at睡e杜in犁t互he泪g库al茅e,No偷b萍us腿y院st粒ep帮s柳th娇e敲gr模as翼s-层gr脸ow国n答fo惭ot窗wa每y菌tr吵ea作d,Fo抱r依al裳l害th挪e仪bl府oo躺my秆f侨lu招sh敞o睬f泼li更fe订i施s参fl她ed项.--柜-F患ro乓mTh煌e逆De筛se孙rt劳ed肆V毫il镜la蕉geFa虽ls猜e赏id姜ea务li采za淘ti赵on青o锄f挠pa鉴st尊v晕il痕la麦ge柏l奥if未eUn皂he梢al加th运y筒ye躺ar尾ni抖ng歇f匠or励t弯he庆r咳et播ur蓄n荣of脆t角he宗p箱at斩ri钩ar丹ch劲al剂s蓬oc序ie顽ty理o闯f雾lo腾ng鹊a高goFa剥il岁in贞g午to极r远ea净li枯ze讲t随he偷p韵ro法gr惧es凳si市ve轨a蹲sp羊ec价ts除o义f魄th睡e刻in慢ev展it疫ab顷le垫c逼ha撒ng尊es鲜i杜n肚co篇un壁tr居ys螺id姨eGo梢t妻he西n!茶A通nd幅s控ee栗t旺he辞m饼ri炸si羞ng童w艘it渔h破th铃e漆su业n,Th衔ro捞ug乞h怜a顺lo奸ng各c伐ou辈rs津e耀of轧d坐ai失ly率t型oi变l真to马r朋un乒;Se贸e洽th自em纤b该en偷ea苹th纽奉t责he机d斤og浑-s腥ta符r’龄s意ra弄gi纯ng萍h躁ea掏t,Wh肢en镇t在he呼k舍ne察es分t副re款mb叶le哥a醒nd隆t惧he蚕t斤em午pl泻es辛b错ea到t;Be叮ho棒ld擦t石he挂m,套l旷ea古ni念ng烧o乔n忍th龄ei管r辟sc皇yt舱he隐s,欠l域oo宣k哗o’狼erTh眠e岂la右bo锤rs史p盼as蜂t,她a绸nd誉t蜡oi擦ls戚t搞o亿co亡me耕e驰xp场lo艳re边;Se桥e骨th脾em甘a窄lt度er醒na神te草s谈un臣s财an新d聪sh陈ow方er距s肢en佣ga虑ge贫,An业d妻ho纹ar幅d缓up等a侮ch闭es叙a凝nd绸a帅ng寒ui若sh藏f址or坝t耽he众ir缩慧a棍ge换;Th雾ro剃ug皇h抹fe乓ns文a邪nd蜘m弃ar岔sh李y样mo尘or孟s诱th扑ei宇r贱st杰ep巴s隔pu枪rs爪ue狂,Wh克en恢t捧he携ir贼w缸ar池m丝式po胶re隐s旗im资bi植be陆t野he誓e贸ve通ni荒ng亿d盐ew--焰-f刑ro姜mTh吴e帖Vi赴ll张ag备eby进G述eo捡rg勿e僻Cr鲜ab饶be某rA规Re残d,刺R疗ed膏R损os烫eO鉴myLu兽ve升'sli嫩ke甘a家r更ed迟,淘re德d泽ro鞭se乡丰T贫ha似t’狭s将ne终wl如y乌sp坊ru点ng暮i穴n顺Ju塞ne监;辱O畏myLu刊ve畜'sli建ke礼t陷heme旨lo嗓di轧eTh题at夜’s珍s居we胀et扣lypl壶ay懂'din框t恨un染e.夕As腐f万ai赞r魄ar网t冷th废ou灾,恋my伟b紧on转ni脸e适la阔ss糠,凝So纠d蹦ee咽p润inlu殃veam各I瞎:歌An樱d为I傲wi倚lllu晌veth芹ee右s悄ti获ll逐,匙my淡d始ea镰r,刃T涝il献l挤a’芒t阵he委s难ea帐s午ga调ng纠d散ry垃:扬T鱼il如l捆a’赢t随he黑s紫ea主s祥ga千ng夏d神ry痕,压my忙d喂ea渠r,烦A奥nd地t喜he喉r唯oc桐ks浅m典el菌twi’闭th峰e福su尖n:各I肝w轧il奋llu页veth冈ee揭s鸣ti债ll烦,吹my习d柜ea舅r,烂W等hi累le垒t姨he霞s殃an誓ds海o滔’沃li觉fe换s擦ha谎ll醒r兆un邮.月A爹nd萌f她ar码e夏th训eewe灵el,卷my侮o滤nl对yLu近veAn宽d规fa待re徒t痛he厌ewe原el,屡a叙wh术il旅e!副A届nd眼I上w困il辨l派co叹me颤a状ga泛in何,测myLu市ve,Th饭o’栏it哭w凶er痒e航te靠n肺th敞ou室sa愁nd俭m篇il收e.上邪茂！我欲肾与君四相知孤，长命巧无绝译衰！山无罢陵，江水稍为竭太，冬雷升阵阵起，夏雨认雪，天地殊合，乃敢第与君磁绝。So侦ng果s叮of近I睡nn刻oc级en勾ce副S投on芒gs霉o绑f隶Ex饭pe魔ri页en柱ceTh骂e扩La踏mbLi眼tt茂le狼L蛮am凑b,渡w垦ho趴m秩ad陆e伐th厦ee简?若D屑os晚t城th疤ou叶k姥no然w贺wh犁o贯ma狐de复t鄙he弄e?休Ga绩ve陶t颠he排e语li谋fe湿,孟an施d即bi森d馒th兼ee奔f葛ee猪d,孩By驱t束he捏s赏tr旅ea抬m陕an面d愿o'回er透t阴he挂m歼ea箭d;码Ga押ve摄t脆he池e写cl矿ot哲hi溉ng间o榨f抖de诉li倦gh衣t,批So旗ft晨es慌t忙cl疲ot恋hi岭ng幼,妻wo诱ol抛ly息,圆br