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/AmericanLiterature

Chapterone:Theromanticperiod

I.Emerson’stranscendentalismandhisattitudetowardnature:ﻫ1。Transcendentalism—itisaphilosophicandliterarymovementthatflourishinNewEngland,asareactionagainstrationalismandCalvinism。Itstressedintuitiveunderstandingofgodwithoutthehelpofthechurch,andadvocatedindependenceofthemind.ﻫ2.Emerson'stranscendentalism:

Theover-soul—itisanall-pervadingpowergoodness,fromwhichallthingscomeandofwhichallareapart。Itisasupremerealityofmind,aspiritualunityofallbeingsandareligion。Itisacommunicationbetweenanindividualsoulandtheuniversalover-soul.Andhestronglybelieveinthedivinityandinfinityofmanasanindividual,somancantotallyrelyonhimself.ﻫ3.Histowardnature:

Emersonlovesnature。Hisnatureisthegarmentoftheover-soul,symbolicandmoralbound。Natureisnotsomethingpurelyofthematter,butalivewithGod’spresence.Itexerciseahealthyandrestorativeinfluenceonhumanbeings.Childrencanseenaturebetterthanadult。II.Hawthorne’sPuritanismandhisblackvisionofman:ﻫ1.Puritanism—itisthereligiousbeliefofthePuristans,whohadintendedtopurifyandsimplifythereligiousritualofthechurchofEngland.

2.hisblackvisionofman—bytheCalvinisticconceptoforiginalsin,hebelievedthathumanbeingareevilnaturedandsinful,andthissiniseverpresentinhumanheartandwillpassonegenerationtoanother。

3.YoungGoodmanBrown—itshowsthateveryonehassomeevilsecrets。TheinnocentandnaïveBrownisconfrontedwiththevisionofhumanevilinoneterriblenight,andthenhebecomesdistrustfulanddoubtful.Brownstandsforeveryone,whoisbornpureandhasnocontactwiththerealworld,andtheprominentpeopleofthevillageandchurch.Theycovertheirsecretsduringdailylives,andundersomecircumstancessuchasthewitch'sSabbath,theybecomewhattheyare.Evenhisclosedwife,Faith,isnoexception。SoBrownisagedinthatnight.ﻫﻫﻫIII。ThesymbolismofMelville’sMobby-Dick

1.Thevoyagetocatchthewhitewhaleistheoneofthemindinquestofthetruthandknowledgeofuniverse.ﻫ2.ToAhab,thewhaleisanevilcreatureortheagentofanevilforcethatcontroltheuniverse。Astoreaders,thewhaleisasymbolofphysicallimits,orasymbolofnature.Italsocanstandfortheultimatemysteryoftheuniverseandthewallbehindwhichunknownmaliciousthingsarehiding.IV。WhitmanandhisLeavesofGrass:ﻫ1.Theme:singofthe“en—mass"andtheself/pursuitoflove,happiness,and***uallove/sometimesaboutpolitics(Drumtaps)ﻫ2.Whitman'soriginalityfirstinhisuseofthepoeticformfreeverse(i.e.poetrywithoutafixedbeatorregularrhymescheme),bymeansofwhichhebecomesconversationalandcasual.ﻫ3.Heusesthefirstpersonpronoun“I”tostressindividualism,andorallanguagetoacquiresympathyfromthecommonreader。ﻫ

ﻫChaptertwo:TherealisticperiodﻫI。ThecharacteranalysisandsocialmeaningofHuckFinninAdventureofHuckleberryFinnbyMarkTwain

HuckisatypicalAmericanboywith“asoundheartandadeformedconscience”.Heappearstobevulgarinlanguageandinmanner,butheishonestanddecentinessence。Hisremarkableraft’sjourneydownontheMississippirivercanberegardedashisprocessofeducationandhiswaytogrowup。Atfirst,hestandsbyslavery,forheclingstotheideathatifheletsgotheslave,hewillbedamnedtogotohell.Andwhenthe“King”sellsJimformoney,HuckdecidestoinformJim’smaster.AfterhethinksofthepastgoodtimewhenJimandheareontheraftwhereJimshowsgreatcareanddeepaffectionforhim,hedecidetorescueJim。AndHuckstillthinksheiswrongwhileheisdoingtherightthing.

Huckisthesonofnatureandasymbolforfreedomandearthlypragmatism。ThroughtheeyeofHuck,theinnocentandreluctantrebel,weseethepre-CivilWarAmericansocietyfullyexposed.Twaincontraststhelifeontheriverandthelifeonthebanks,theinnocenceandtheexperience,thenatureandtheculture,thewildernessandthecivilization。ﻫ

ﻫII。DaisyMillerbyHenryJamesﻫ1。Theme:ThenovelisastoryaboutAmericaninnocencedefeatedbythestiff,traditionalvaluesofEurope.JamescondemnstheAmericanfailuretoadoptexpressivemannersintelligentlyandpointoutthefalsebelievingthatagoodheartisreadilyvisibletoall.ThedeathofDaisyresultsfromthemisunderstandingbetweenpeoplewithdifferentculturalbackgrounds。

2。ThecharacteranalysisofDaisy:SherepresentstypicalAmericangirl,whoisuninformedandwithoutthematureguidance.Ignoranceandparentalindulgencecombinetofosterheassertiveself-confidenceandfiercewillfulness.ShebehavesinthesamedaringnaivewayinEuropeasshedoesathome。Whensomeoneisagainsther,shebecomesmorecontrary.Sheknowsthatshemeansnoharmandisamazedthatanyoneshouldthinkshedoes.ShedoesnotcompromisetotheEuropeanmanners。ﻫ3。ThecharacteranalysisofWinterbourne:HeisaEuropeanizedAmerican,whohaslivetoolonginforeignparts.HeisveryexperienceandhasaproblemunderstandingDaisy。Heendeavorstoputherinsortofformula,i.e.toclassifyher.

III.SisterCarriebyTheodoreDreiser:ﻫ1。Theme:TheauthorinventedthesuccessofCarrieandthedownfallofHurstwoodoutofaninevitableandnaturaljudgment,becausethefittestcansurviveinacompetitive,amoralsocietyaccordingtothesocialDarwinism。

2.ThecharacteranalysisofCarrie:ShefollowstherightdirectiontoapursuitoftheAmericandream,andthecircumstancesandherdesireforabetterlifedirecttothesuccessfulgoal.Butsheisnotcontented,becausewithwealthandfame,shestillfindsherselflonely.Sheisaproductofthesociety,arealizationofthetheoryofthesurvivalofthefittest.ﻫ3。ThecharacteranalysisofHurstwood:Heisanegativeevidenceofthetheoryofthesurvivalofthefittest。Becauseheisstillconventionalandcannotthrowawaythesocialmorals,heisnotfittedtoliveinNewYork.

Chapterthree:TheModernPeriodﻫI.EzraPoundandhistheoryofImagismﻫ1。Theprinciples:a.directtreatmentofthething;b.touseabsolutelynowordthatdoesnotcontributetothepresentation;c.tocomposeinthesequenceofthemusical;d.tousethelanguageofcommonspeechandtheexactword;e。tocreatenewrhythms;f.absolutelyfreedominthechoiceofsubject。ﻫ2。Imagismistopresentanintellectualandemotionalcomplexinaninstantoftime.Animagisticpoemmustpresenttheobjectexactlythewaythethingisseen.Andthereadercanformtheimageoftheobjectthroughtheprocessofreadingtheabstractandconcretewords。ﻫII.Frostandhispoetryonnature:

Frostisdeeplyinterestedinnatureandinmen’srelationshiptonature。Natureappearsasanexplicatorandamediatorformanandserveasthecenterofreferenceofhisbehavior。PeaceandordercanbefoundinFrost'spoeticalnaturalworld.Withsurfacesimplicityofhispoems,thethematicconcernsarealwayspresentedinrichsymbols.Thereforehisworkresistseasyinterpretation。ﻫIII.F。ScottFitzgeraldandhisTheGreatGatsbyﻫ1.Theme:GatsbyisAmericanEveryman.Hisextraordinaryenergyandwealthmakehimpursuethedream。HisdeathintheendpointsatthetruthaboutthewitheringoftheAmericanDream。ThespiritualandmoralsterilitythathasresultedfromthewitheredAmericanDreamisfullyrevealedinthearticle.However,althoughheisdefeated,thedreamhasgaveGatsbyadignityandasetofqualities.HishopeandbeliefinthepromiseoffuturemakeshimtheembodimentofthevaluesoftheincorruptibleAmericanDream.

2。ThecharacteranalysisofGatsby:Gatsbyisgreat,becauseheisdignifiedandennobledbyhisdreamandhismythicvisionoflife.Hehasthedesiretorepeatthepast,thedesireformoney,andthedesireforincarnationofunutterablevisiononthismaterialearth.ForGatsby,Daisyisthesoulofhisdreams.HebelievehecanregainDaisyandromanticallyrebelsoftime.Althoughhehasthewealththatcanmatchwiththeleisuredclass,hedoesnothavetheirmanners。Histragedyliesinhispossessionofanaivesenseandchivalry.ﻫﻫIV。ErnestHemingway’sartisticfeatures:ﻫ1。TheHemingwaycodeheroesandgraceunderpressure:

Theyhaveseenthecoldworld,andforonecause,theyboldlyandcourageouslyfacethereality。Theyhasanindestructiblespiritforhisoptimisticviewoflife.Whateveristheresultis,thearereadytolivewithgraceunderpressure.Nomatterhowtragictheendingis,theywillneverbedefeated。Finally,theywillbeprevailbecauseoftheirindestructiblespiritandcourage.

2。Theicebergtechnique:

Hemingwaybelievethatagoodwriterdoesnotneedtorevealeverydetailofacharacteroraction。Theone-eighththeispresentedwillsuggestallothermeaningfuldimensionsofthestory.Thus,Hemingway'slanguageissymbolicandsuggestive.V.ThecharacteranalysisofEmilyinARoseforEmily:

Emilyisasymbolofoldvalues,standingfortradition,dutyandpastglory。Butsheisalsoavictimtoallthoseshecaresandembrace.ThesourceofEmily’sstrangenessisfromherbornprideandself-esteem,thedomineeringbehaviorofherfatherandthebetrayalofherlover.Barricadedinherhouse,shehasfrozenthepasttoprotectherdreams.Herlifeistragicbecausethedefianceofthecommunity,herrefusaltoacceptthechangeandherextremepridehavepushedhertoabnormalityandinsanity。

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ﻫI.Shakespeare’ssonnets

ﻫ1.Withafewexceptions,ShakespearewriteshissonnetsinthepopularEnglishformofthreequatrainsandacouplet。Thecoupletusuallytiesthesonnettooneofthegeneralthemes,leavingthequatrainsfreetodevelopthepoeticintensity。

2.Thesonnet'smostcommonthemesconcernthedestructiveeffectsoftime,thequicknessofphysicaldecay,andthelossofbeauty,vigor,andlove。Althoughthepoemscelebratelife,theyarealwayswithakeenawarenessofdeath.ﻫﻫﻫﻫ3.Hissonnet18expressesthatbeautifulthingscanrelyontheforceofliteraturetoreacheternity.Literatureiscreatedbyman,thusitdeclaresman’seternity.Thepoemshowsthemightyself-confidenceofthenewlyclass。Thevivid,variableandrichimagesreflectthelivelyandadventurousspiritsofthosewhowereopeningnewworld。ﻫﻫ

[/font]ﻫ

II。Shakespeare’sAMerchantofVeniceﻫ

1.Themeﻫ

ﻫ(1)Justicevs。mercy:Shakespearesuggeststhatallmenshouldbemerciful.Thereisafurtheraspectofjustice—theinjusticerevealedintheChristians’treatmentoftheJews.ﻫﻫ

(2)Appearancevs。reality:e.g。superficialorexternalbeautyvs。moralorspiritualbeautyortruth(inthecaseofthreecaskets);thelettersoflawvs。thespiritofthelaw.

ﻫ(3)Commercialormaterialvaluesvs。love:Trueloveismuchmoreworthwhilethanmoneyandmaterialvalues.AntonioepitomizestrueloveinhisfriendshipforBassanio.

2.ThecharacteranalysisofShylockﻫﻫ

ﻫShylockisaJewishusurer,andheisatragic—comiccharacter.ﻫﻫ

ﻫHeiscomicbecausehefinallybecomestheonepunishedbyhisownevildeed.Heisavaricious.Heaccumulatesasmuchwealthashecanandheevenequateshislostdaughterwithhislostmoney.Heisalsocruel。Inordertorevenge,hewouldratherclaimapoundoffleshfromhisenemyAntoniothangetbackhisloan.

ﻫHeistragic,becauseheisthevictimofthesociety.AsaJew,heisnottreatedequallybythesociety.Thelawisharshtohim.Hehastomakeasmuchmoneyashecaninordertoprotecthim。HeisabusedbyAntonio,sohewantstogetrevenge。

ﻫIII。ThecharacteranalysisofHamletﻫﻫ

Hamletisascholarandawarrior.Hisfatherhasbeenkilledbyhisuncle,Claudius,whothentakethethroneandmarrieshismother.Hamletisinformedbytheghostofhisfathertotakerevenge,buttheweaknessofindecisivenessorindeterminationinhischaracteralwaysdelayhisaction,andfinallyleadstohistragicfallofdeath。Hamletisnotamanofaction,butamanofthinkingatfirst.Hehesitatesatsomecrucialmoments.Atlastwhenheisforcedtotakesomeactions,hedoeskillClaudiusgloriously,buthealsosacrificeshisownlife。

ﻫﻫ

IV.Donneandhis“TheSunRising”ﻫﻫ

ﻫ1.Metaphysicalpoet:Hewrotepoemsbyusingunconventionalandsurprisingconceitsandfullofwitandhumor,butsometimesthelogicargumentandconceitsbecomepervasive。Thelanguageiscolloquialbutpowerful,creatingunorthodoximagesonthereader'smind.

ﻫ2.His“TheSunRising”:Inthispoem,thelove'sweddingroomhasbeenintrudedbysunandthemantakesoffenceattheintrusion.Heattackthesunasanunrulyservant,andfinallyheallowthesuntoentertheirchamberandwarmthem.Thepoem’struesubjectisthelady—histrueemotionallove。Everyinsulttothesunisacomplimenttothelady.

ﻫ[font=TimesNewRoman]V。Milton'sParadiseLost:

ﻫ1.Structure:ThestoryistakenfromtheOldTestament。ItextendschronologicallyfromtheexaltationofChristbeforethecreatureofuniversetothesecondcomingofChrist.Geographically,itrangesovertheentireworld.ﻫﻫﻫﻫ2.ThecharacteranalysisofSatan:ﻫ

Hehasthestrength,thecourageandthecapacityforleadership,buthedevotedallthosequalitiestoevil.HisdefianceofGodshowshisegoisticpride,hisfalseconceptionoffreedom,andhisalienationfromallgood.Hisownevilanddamnationgivehimpotentiallytragicdimensions。Therefore,SatanisenvelopedindramaticironybecausehefightinignoranceoftheunshakablepowerofGodandgoodness.

ﻫﻫ3.Features:Parallelandcontrastﻫ

Thecentralconflictandcontrastbetweengoodandevilareintensifiedbythecontrastbetweenheavenandhell,lightanddarkness,loveandhate,reasonandpassion,etc.ﻫﻫ

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LiteratureChapterOne

TheRenaissancePeriodI。Shakespeare’ssonnets1。Withafewexceptions,ShakespearewriteshissonnetsinthepopularEnglishformofthreequatrainsandacouplet.Thecoupletusuallytiesthesonnettooneofthegeneralthemes,leavingthequatrainsfreetodevelopthepoeticintensity.2.Thesonnet'smostcommonthemesconcernthedestructiveeffectsoftime,thequicknessofphysicaldecay,andthelossofbeauty,vigor,andlove。Althoughthepoemscelebratelife,theyarealwayswithakeenawarenessofdeath.3.Hissonnet18expressesthatbeautifulthingscanrelyontheforceofliteraturetoreacheternity.Literatureiscreatedbyman,thusitdeclaresman’seternity.Thepoemshowsthemightyself-confidenceofthenewlyclass。Thevivid,variableandrichimagesreflectthelivelyandadventurousspiritsofthosewhowereopeningnewworld.II.Shakespeare’sAMerchantofVenice1.Theme

(1)Justicevs.mercy:

Shakespearesuggeststhatallmenshouldbemerciful。Thereisafurtheraspectofjustice-theinjusticerevealedintheChristians’treatmentoftheJews.(2)Appearancevs。reality:

e.g.superficialorexternalbeautyvs.moralorspiritualbeautyortruth(inthecaseofthreecaskets);thelettersoflawvs.thespiritofthelaw.(3)Commercialormaterialvaluesvs.love:Trueloveismuchmoreworthwhilethanmoneyandmaterialvalues.AntonioepitomizestrueloveinhisfriendshipforBassanio。2。ThecharacteranalysisofShylock

ShylockisaJewishusurer,andheisatragic—comiccharacter。Heiscomicbecausehefinallybecomestheonepunishedbyhisownevildeed.Heisavaricious.Heaccumulatesasmuchwealthashecanandheevenequateshislostdaughterwithhislostmoney.Heisalsocruel.Inordertorevenge,hewouldratherclaimapoundoffleshfromhisenemyAntoniothangetbackhisloan.Heistragic,becauseheisthevictimofthesociety。AsaJew,heisnottreatedequallybythesociety.Thelawisharshtohim。Hehastomakeasmuchmoneyashecaninordertoprotecthim.HeisabusedbyAntonio,sohewantstogetrevenge.III.ThecharacteranalysisofHamletHamletisascholarandawarrior。Hisfatherhasbeenkilledbyhisuncle,Claudius,whothentakethethroneandmarrieshismother.Hamletisinformedbytheghostofhisfathertotakerevenge,buttheweaknessofindecisivenessorindeterminationinhischaracteralwaysdelayhisaction,andfinallyleadstohistragicfallofdeath。Hamletisnotamanofaction,butamanofthinkingatfirst.Hehesitatesatsomecrucialmoments.Atlastwhenheisforcedtotakesomeactions,hedoeskillClaudiusgloriously,buthealsosacrificeshisownlife.IV.Donneandhis“TheSunRising”1。Metaphysicalpoet:Hewrotepoemsbyusingunconventionalandsurprisingconceitsandfullofwitandhumor,butsometimesthelogicargumentandconceitsbecomepervasive.Thelanguageiscolloquialbutpowerful,creatingunorthodoximagesonthereader’smind.2.His“TheSunRising”:Inthispoem,thelove'sweddingroomhasbeenintrudedbysunandthemantakesoffenceattheintrusion。Heattackthesunasanunrulyservant,andfinallyheallowthesuntoentertheirchamberandwarmthem.Thepoem'struesubjectisthelady-histrueemotionallove.Everyinsulttothesunisacomplimenttothelady.V.Milton'sParadiseLost:1.Structure:ThestoryistakenfromtheOldTestament。ItextendschronologicallyfromtheexaltationofChristbeforethecreatureofuniversetothesecondcomingofChrist.Geographically,itrangesovertheentireworld.2.ThecharacteranalysisofSatan:Hehasthestrength,thecourageandthecapacityforleadership,buthedevotedallthosequalitiestoevil。HisdefianceofGodshowshisegoisticpride,hisfalseconceptionoffreedom,andhisalienationfromallgood。Hisownevilanddamnationgivehimpotentiallytragicdimensions。Therefore,SatanisenvelopedindramaticironybecausehefightinignoranceoftheunshakablepowerofGodandgoodness.3。Features:ParallelandcontrastThecentralconflictandcontrastbetweengoodandevilareintensifiedbythecontrastbetweenheavenandhell,lightanddarkness,loveandhate,reasonandpassion,etc.

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TheNeo-classicalPeriodI。Theallegoricalmeaningof“TheVanityFair”inJohnBunyan'sThePilgrim’sProgressTheVanityFairreferstotherealworldwherepeoplehavebecomesodegeneratedthatalltheyareconcernedistobuyandselleverythingtheycan.Itallegoricallyrepresentsvanitybothinthesocietyandinpeople’sheart,sopeoplearespirituallylost.However,thepilgrimsrefusetobuyanyofthethingsintheVanityFair.ItspurposeistourgepeopletoabidebyChristiandoctrinesandseeksalvationthroughconstantstrugglewiththeirownweaknessandsocialevils.Christians’refusalshowsthattheyareonestepnearertheCelestialCity。II.Pope’spointofviewonpoetrycriticismandthecharacteristicsofhisownpoetry1.Pope’spointofviewonpoetrycriticismisbestshowninhisAnEssaysonCriticism.Heemphasizingthatliteraryworksshouldbejudgedbyclassicalrulesoforder,reason,logic,restrainedemotionandgoodtaste。HecallsonpeopletoturntotheoldGreekandRomanwritersforguidance。Headvisesthecriticsnottostresstoomuchtheartificialuseofconceitortheexternalbeautyoflanguage,buttopayspecialattentiontotruewitwhichisbestsetinaplainstyle.2.Pope’spoemstrictlyfollowshisideaofneoclassicism。Hedevelopedasatiric,concise,smooth,gracefulandwell-balancedstyle,andfinallybroughttoitslastperfectionoftheheroiccouplet.III。ThesocialsatireofJonathanSwift’sGulliver’sTravelsTheaccountofLilliputianlife,especiallythegamesforpeopleatcourt,alludestothesimilarridiculouspracticesortricksintheEnglishgovernment。ThedescriptionofthecompetitioninthegamesbeforetheroyalmembersleadstothefactthatthesuccessofthosegovernmentofficialssuchasthePrimeMinisterliesnotintheirbeinganywiserorbetterbutintheirbeingmoredexterousinthegame。ThisalludestothepracticesinEngland。AndthepompouswordssingingoftheLilliputianemperorridiculethearistocraticarroganceandvanity。IV.HenryFieldingandhisTomJonesItisagoodexampleof“comicepicinprose”.FieldingdescribesthefightbetweenMollyandthevillagersandherfistfightwithGoodyBrowninthegrandstyleoftheHomericepic。HefirstofallcallsontheMusestoassisthiminrecountingthefightasifitwereofgreathistoricalimportance。LikeHomerwhowouldlistnamesofgodsinvolvedinthebattle,heliststhenamesofthevillagers.HetreatsMollyasagreatheroatbattle,an“Amazonianheroine”.Besides,heusesamock-epictoneandseemsverysolemnaboutwhatheisdescribing.Heusesformalwordsandrefinedlanguage.Finally,hemakesuseofdifferentfiguresofspeech,particularly,ironyandhyperbole.V。ThomasGrayandhis“ElegyWritteninaCountyChurch”Inthepoem,Graypresentsapictureofthequietandsolitarycountyatduskthroughthesoundingofthecurfew,thehome—comingplowman,thetinklingofbellsunderthenecksofthecattle,themopingowl,thenarrowcell(grave),etc..Hebemoansthefateofthosecommonlaborerswhoarenowburiedinthegraves,triestoimaginehowtheyhadlivedaslovingparentsandhardworkingpeople,andpraisetheirhomelyjoys.Hethenexpresshiscontemptforthosenoblemenwhooncelivedapompouslife,anddespisedthepoor,buthaveendedupinawaynobetterthantheordinaryfolk.WecanseeGray’ssympathyforthepoorandcontemptfortherich.ChapterThree

TheRomanticPeriodI.Wordsworthandhis“Iwanderedlonelyasacloud"Thepoemiscrystalclearandlucid.Belowtheimmediatesurface,wefindthatalltherealisticdetailsoftheflowers,thetrees,thewaves,thewind,andalltherealisticdetailsoftheactivejoy,areabsorbedintoanover-allconcretemetaphor,therecurrentimageofthedance.Theflowers,thestars,thewavesareunitsinthisdancingpatternoforderindiversity,oflinkedeternalharmonyandvitality。Throughtherevelationandrecognitionofhiskinshipwithnature,thepoethimselfbecomesasitwereapartofthewholecosmicdance.II。Shelleyandhis“OdetotheWestWind”Inthepoem,Shelleyeulogizesthewestwindasapowerfulphenomenonofnaturethatisbothdestroyerandpreserver.Thewindenjoysboundlessfreedomandhasthepowertospreadmessagesfarandwide。ThekeynoteinthepoemisShelley’sever—presentwishforhimselfandhisfellowmentosharethefreedomofthewestwind,rememberingmeanwhilehisownandcommonhumanmiseries.Andthedominantmoodisthatofhoperatherthandespair,asthepoetishopingfortherealizationofthefreedomandjoy.Theoptimismexpressedinthelasttwolinesshowthepoet'scriticalattitudetowardtheuglysocialrealityandhisfaithinabrightfutureforhumanity.III.JohnKeatsandhis“OdeonaGrecianUrn”InthepoemKeatsshowsthecontrastbetweenthepermanenceofartandthetransienceofhumanpassion.ThepoethasabsorbedhimselfintothetimelessbeautifulsceneryontheGrecianurn:thelovers,musiciansandworshipperscarvedontheurn,andtheireverlastingjoys.Theyareunaffectedbytime,stilledinexpectation.Thisisthegloryandthelimitationoftheworldconjuredupbyandobjectofart.Theurncelebratesbutsimplifiesintuitionsofjoybydefyingourpainandsuffering。Butatlast,theurnpresentshisambivalenceabouttimeandthenatureofbeauty.IV.ThecharacteranalysisofElizabethinJaneAusten’sPrideandPrejudiceElizabethisabeautifulyoungladyintheBennets.Sheisintelligent,contrastingherempty—minded,snobbishandvulgarmother。Sheisawomenofdistinctcharacter。Sheisnotpassive,butpursuehertruelovebravely.SheturnsdownMr。Collin’smarriageproposalandseekingherhappinesswithDarcy,theoneshepossessestrueaffectionforher。Sheisalsocourageous.WhenDarcy'sauntladycomestoforceherintoapromiseofneverconsentingtomarryDarcy,sheboldlychallengesherauthority,contemptandarrogance.Onthewhole,Elizabethisatypicalimageofthegood,attractiveladyinthe19thcentury。

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TheNeo—classicalPeriodI。Theallegoricalmeaningof“TheVanityFair"inJohnBunyan’sThePilgrim’sProgressTheVanityFairreferstotherealworldwherepeoplehavebecomesodegeneratedthatalltheyareconcernedistobuyandselleverythingtheycan。Itallegoricallyrepresentsvanitybothinthesocietyandinpeople’sheart,sopeoplearespirituallylost。However,thepilgrimsrefusetobuyanyofthethingsintheVanityFair.ItspurposeistourgepeopletoabidebyChristiandoctrinesandseeksalvationthroughconstantstrugglewiththeirownweaknessandsocialevils.Christians’refusalshowsthattheyareonestepnearertheCelestialCity.II.Pope’spointofviewonpoetrycriticismandthecharacteristicsofhisownpoetry1。Pope’spointofviewonpoetrycriticismisbestshowninhisAnEssaysonCriticism。Heemphasizingthatliteraryworksshouldbejudgedbyclassicalrulesoforder,reason,logic,restrainedemotionandgoodtaste.HecallsonpeopletoturntotheoldGreekandRomanwritersforguidance。Headvisesthecriticsnottostresstoomuchtheartificialuseofconceitortheexternalbeautyoflanguage,buttopayspecialattentiontotruewitwhichisbestsetinaplainstyle.2.Pope’spoemstrictlyfollowshisideaofneoclassicism.Hedevelopedasatiric,concise,smooth,gracefulandwell-balancedstyle,andfinallybroughttoitslastperfectionoftheheroiccouplet.III。ThesocialsatireofJonathanSwift’sGulliver’sTravelsTheaccountofLilliputianlife,especiallythegamesforpeopleatcourt,alludestothesimilarridiculouspracticesortricksintheEnglishgovernment。Thedescriptionofthecompetitioninthegamesbeforetheroyalme

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