英國(guó)浪漫主義

1、歡迎下載歡迎下載 RomanticisminEnglandHistoricalBackgroundRomanticismA.poetsEscapistromanticists/LakePoets(湖畔派詩(shī)人)(WilliamWordsworth,SamuelTaylorColeridge,RobertSouthey)activeromanticists/demonicgroup/Satanicschool(撒旦派)(GeorgeGordonByron,PercyByssheShelley,JohnKeats)essayists(CharlesLamb,WilliamHazlitt,Thomas

2、DeQuincey)novelist(WalterScott)HistoricalBackgroundIndustrialRevolution一transformedBritainfromagriculturaltoindustrialcountry,responsibleforthechangeinthepatternofsociallifeandtheworseningofsocialcontradictions;Americanrevolutionin1775theDeclarationofIndependence,writtenbyThomasJeffersonin1776,withi

3、tsemphasisonindividualrights;TheFrenchrevolutionin1789introducedthedemocraticideals:liberty,equalityandfraternityforeverybody;theabolitionofslaveryintheBritishcolonies;theintroductionofsystemofnationaleducation;theFactoryActs工廠法案bywhichtheemploymentofchildrenunderninewasforbiddenbythelaw.LyricalBall

4、ads,抒情歌謠集acollectionofpoembyWilliamWordsworthandSamuelTaylorColeridge,publishedin1798,whichmarkedthestartofRomanticismasaliterarytrend.EnglishRomanticismdefinition一EnglishRomanticismisgenerallysaidtohavebeganin1798withthepublicationofWordsworth&ColeridgesLyricalBalladsandtohaveendedin1832withSirWalt

5、erScottsdeathandthepassageofthefirstReformBill改革法案intheParliament.EnglishRomanticismisarevoltoftheEnglishimaginationagainsttheneoclassicalreason.TheFrenchRevolutionof1789-1794andtheEnglishIndustrialRevolutionexertgreatinfluenceonEnglishRomanticism.Romanticistsshowintheirworkstheirprofounddissatisfac

6、tionwiththesocialrealityandtheirdeephatredforanypoliticaltyranny,economicexploitationandanyformofoppression,feudalorbourgeois.Intherealmofliterature,theyrevoltagainstreason,rules,regulation,objectivity,commonsenses,etc.andemphasizethevalueoffeelings,intuition,freedom,nature,subjectivism,individualit

7、y,originality,imagination,etc.ThefeaturesoftheRomanticwritings:Dissatisfactionwiththebourgeoissociety.Theirwritingsfilledwithstrong-willedheroesoreventitanicimages,formidableeventsandtragicsituations,powerfulconflictingpassionsandexoticpictures.payattentiontospiritualandemotionallifeofman.Merestinth

8、epast,theunusual,theunfamiliar,thebizarrestrongdesiretoescapefromthereality.concernedmuchabouttheinfluenceofnature.Theirwritingsfreefromanyrules,theyfightagainstthetenureofnewclassicism:order,harmony,balance,reason.Theyaskforthefreedomofexpression.Afeelingofloneliness&anoteofmelancholyTheglorificati

9、onofthecommonplacetheaimofgoodpoetryis“tochooseincidentsandsituationsfromcommonlifeandtouseauselectionoflanguagereallyspokenbymen,andtoawakeninthereaderufreshnessofsensationinthepresentationof“familiarobjects.characterizedby5“I”s:Imagination,Intuition,Idealism,Inspiration,Individuality.TwoschoolsofR

10、omanticismescapistromanticists,theLakePoets”湖畔派,representedbyWilliamWordsworth華茲華斯,SamuelTaylorColeridge柯勒律治andRobertSouthey騷塞.activeromanticists,theSatanicschool”撒旦派,withByron拜倫,Shelly雪萊andKeats濟(jì)慈asrepresentatives湖畔派LakePoets1819世紀(jì)的英國(guó)浪漫主義詩(shī)歌流派。主要成員有華茲華斯、柯?tīng)柭芍魏万}塞。由于他們?nèi)嗽煌[居于英國(guó)西北部的昆布蘭湖區(qū)，先后在格拉斯米爾和文德美爾兩

11、個(gè)湖畔居住，以詩(shī)贊美湖光山色，所以有“湖畔派詩(shī)人”之稱。在詩(shī)歌題材上，他們主張寫(xiě)下層人民的日常生活，強(qiáng)調(diào)詩(shī)人的內(nèi)心探索和感情的自然流露；在詩(shī)體方面，主張發(fā)展民間詩(shī)歌的藝術(shù)傳統(tǒng)，采用民間口語(yǔ)，發(fā)揮詩(shī)人的想象力。他們的理論和實(shí)踐結(jié)束了英國(guó)古典主義詩(shī)學(xué)的統(tǒng)治，對(duì)英國(guó)詩(shī)歌的改革和發(fā)展起了很大作用。但是他們否定詩(shī)歌的社會(huì)作用，美化中世紀(jì)的田園生活，提倡唯心主義、唯靈主義、神秘主義；把“聽(tīng)天由命”看成是人的“天性的永恒部分”；拜倫和雪萊對(duì)此進(jìn)行過(guò)激烈的批評(píng)。湖畔派詩(shī)人起初都同情法國(guó)革命，隨著革命的深入，由害怕革命而退卻，進(jìn)而逃避現(xiàn)實(shí)，迷戀過(guò)去，美化中世紀(jì)的宗法制，幻想從古老的封建社會(huì)中去尋找精神的安慰與寄

12、托。當(dāng)湖畔派詩(shī)人的消極傾向日益明顯的時(shí)候，青年詩(shī)人拜倫、雪萊開(kāi)始登上文壇，向湖畔派詩(shī)人展開(kāi)論爭(zhēng)。拜倫在一八0九年完成的諷刺長(zhǎng)詩(shī)英格蘭詩(shī)人和蘇格蘭評(píng)論家中，不僅回答了消極浪漫主義者操縱的刊物愛(ài)丁堡評(píng)論對(duì)拜倫詩(shī)作的攻擊，而且還嚴(yán)厲地譴責(zé)了湖畔派詩(shī)人的消極傾向。由于他們敢于向湖畔派詩(shī)人作斗爭(zhēng)，因而被英國(guó)紳土們斥之為撒旦(惡魔)，所以文學(xué)史上稱拜倫、雪萊和濟(jì)慈為“撒旦派”。一般說(shuō)，湖畔派詩(shī)人代表消極浪漫主義傾向，撒旦派代表積極浪漫主義精神。雖然湖畔派詩(shī)人在與古典主義的斗爭(zhēng)中有過(guò)貢獻(xiàn)，在詩(shī)歌的藝術(shù)上有較深的造詣，但其歷史地位遠(yuǎn)不及撒旦派重要。poetsLakePoetsWilliamWordsworth

13、威廉.華茲華斯(重點(diǎn))TwoperiodsofhisliterarycareerArevolutionistwithliberalpoliticsideaandambiguousreligionAconservative,comingtobelievethatmanswildspiritisneededtamingbythechurchmajorworks:LyricalBallads抒情歌謠集followedby“ThePrefacetotheLyricalBalladsservedasthemanifestooftheEnglishRomanticMovementinpoetry.famo

14、usshortpoems:Aboutnature:“IwonderedLonelyasaCloud”“獨(dú)自漫游似浮云,or“TheDaffodils“詠水仙“IntimationofImmortality”“不朽頌“LinesComposedaFewMilesAboveTinternAbbey“丁登寺；“TotheCuckoo“致布谷鳥(niǎo)；“MyHeartLeapsupWhenIBehold“我心雀躍；“ToaButterfly“致蝴蝶“AnEveningWalk“黃昏漫步”Abouthumanlife:-sympathyforthepoorLucyPoems露西組詩(shī)“TheSolitaryRe

15、aper“孤獨(dú)的收割者“TheOldCumberlandBeggar“康伯蘭的老乞丐“Michael“邁克爾“WeareSeven“我們七個(gè)“ThePrelude“序曲”-Wordsworthsautobiographicalpoemin14bookspublishedafterhisdeath,aspiritualrecordofhismind,showinghisownthoughtandsentiment.CommentonWordsworthThepoetofnatureNaturemediumrevelation(啟示)NatureentitycommunicatingwithGod

16、,learningmoreaboutGod,andenjoyingtheholyandawesomefeelingsNaturepurest,mostuncorruptedform,amanifestationofGodscreationpowerWordsworthsdefinitiontopoetryGoodpoetrymustspeak“thereallanguageofmanandwriteaboutthelifeofcommonpeopleinanimaginativeway.Goodpoetryis“thespontaneousoverflowofpowerfulfeelings.

17、”詩(shī)是強(qiáng)烈情感的自然流露。Poetry“takesitsoriginfromemotionrecollectedintranquility.詩(shī)源于情感，但在平靜中回憶。Theobjectswhichexcitedtheseemotionsweretobeordinaryones.Thestyleselectedforthenewpoetrywasalsotobesimple.Apoetshouldgivepleasureandrevealuniversaltruth.Poetryis“themostphilosophicofallwriting”“IwonderedLonelyasaCloud

18、”Thepoemcontains4six-linedstanzasofIambictetrameterwiththerhymeschemeofababccineachstanza.Theme:eulogyfortheharmonybetweenthingsinnatureandtheharmonybetweennatureandmanLucyPoems-“SheDweltAmongtheUntroddenWays她住在人跡罕至的地方Therhymeschemeisabab,cdcd,efefYes,thereareimagesinthispoem:“ahalfhiddenvioletand“a

19、starshininginthesky.No.theimageofthevioletshowsthatsheissomodest,shyandunknownthatnoonewillpayattentiontoher;theimageofthestarshiningintheskyindicatesthatinherloverseyes,sheislikethesinglestarshiningbrightlyandbeautifullyinthesky.SamuelTaylorColeridge(了解)lifebornintoaclergymansfamily,agenius.At6,rea

20、dtheBible,RobinsonCrusoeandArabianNights.fulloffantasyanddreams.madefriendswithCharlesLamb,thegreatessayistofEnglishRomanticisminhisCambridgeyears.ranawayfromtheuniversityandenlistedinthearmy;majorworks:DemonicPoems:魔幻詩(shī)TheRimeoftheAncientMarine古舟子詠KublaKhan忽必烈汗Christabel克里斯塔貝爾Conversationalpoems對(duì)話詩(shī)F

21、rostatMorning午夜寒霜Dejection:AnOde沮喪：一首頌歌EssaysBiographiaLiteraria文學(xué)傳記LecturesonShakespearebetween1808and1815artisticfeatures：Mysticism神秘主義anddemonism魔鬼信仰withstrongimagination;Depictionofunusualandsupernaturalimages.paycloseattentiontolanguageofpoetry.Hemaintainsthatthetrueendofpoetryistogivepleasureu

22、throughthemediumofbeauty,nottoinstruct.RobertSouthey羅伯特騷塞(了解)Oneofthe“LakePoetsExpelledfromWestminsterSchoolforhisoutspokencompositionagainstcorporalpunishmentInOxford,madeacquaintanceofColeridgeandWordsworth,andsharedtheirrevolutionaryardorinthe1790sRadicalismfadedattheturnofthecentury,changedfroma

23、revolutionisttoaTory,madePoetLaureatemajorWorksepic一JoanofArc圣女貞德Drama-WatTyler瓦特泰勒Shortpoems一TheInchcapeRock因尺角之石TheBattleofBlenheim布萊尼姆之戰(zhàn)MyDaysamongtheDeadArePassed我與死者做伴的日子已結(jié)束Prose一TheLifeofNelson納爾遜傳Poeticalromances-ThalabatheDestroyer薩拉巴Madoc麥道克TheCurseofKehama克哈馬的詛咒Roderick,theLastoftheGoths羅德

24、里克，最后的高斯人theSatanicschool一1.GeorgeGordonByron(1788-1824)“Forward!Forward!Followme!”lifeBorninanaristocraticfamilyBecameLordByronafterinheritingthetitleandestateofhisgrand-unclearadicalsupporterofworkersmovement.In1811,tookseatintheHouseofLords(貴族院/上議院).HemadevehementspeechestoattackEnglishgovernment

25、spolicyfortheLuddites(workerswhodestroymachinery).ByronleftEnglandforeverin1816.HefirstvisitedSwitzerland,wherehemadeacquaintancewithShelley.ThenhemovedtoItaly,wherehefinishedChildeHarold，sPilgrimage恰爾德哈羅德游記andwrotehismasterpieceDonJuan唐璜UponhearingthenewsoftheGreekrevoltagainsttheTurks,Byronplunged

26、himselfintothestruggle.TheGreeksmadehimcommanderinchief(總司令)oftheirforcesin1824.Duetomonthshardworkunderbadweather,hefellillanddied.April19,1824,Byrondiedwith“Forward!Forward!Followme!TheGreekpeoplemournedoverhisprematuredeath.ByronwasregardedasthesatanicpoetbytheEnglishgovernmentwhenhedied.Itwasnot

27、until1969thatawhitemarblememorialtoByronwaserectedinWestminsterAbbey.NowadayshisnameisputinthePoetsCorner.majorworks:.HoursofIdleness閑散的時(shí)亥V-hisfirstcollectionofpoemscomposedincollegedealingwithchildishrecollectionsandearlyfriendship,butwasmercilesslycriticizedbyEdinburghReview,ablowtotheyoungman,but

28、didntdiscouragehim;.EnglishBardsandScotchReviewers英國(guó)詩(shī)人和蘇格蘭評(píng)論家-asatiricalpoemagainstEdinburghReview,inwhichWordsworth,Southeyandsomeothercelebritiesofthedayweresatirized;ChildeHaroldsPilgrimage恰爾德哈羅德游記anautobiographicalnarrativepoemwritteninSpenserianstanzas.Ittellsthetravelsandthereflectionsofapilgr

29、im,ChildeHarold,whoistiredoftheemptylifeofpleasureandisnowseekingspiritualrebirth.DonJuan唐璜Byronsmasterpiece,anepicsatireinottavarima(八行體)，Astanzaofpoemconsistingof8linesiniambicpentameterrhymingabababcc.16,000lineslongin16cantos.唐璜是拜倫后期最重要的一部長(zhǎng)詩(shī)。唐璜原是一名西班牙家傳戶曉的一名傳說(shuō)人物，他并不是一個(gè)英雄，相反他卻是一個(gè)因?yàn)檎T騙了某貴族少婦而被驅(qū)逐并到處

30、流亡的青年無(wú)賴式的人物。但在拜倫的筆下得以重新塑造，成為一個(gè)“極美貌、驕傲、大膽而又運(yùn)氣好的人”。雖然他屢次身陷險(xiǎn)境，但又每次都能從死神的身邊安全逃開(kāi)；雖然他經(jīng)受過(guò)無(wú)數(shù)與情人生離死別的痛苦煎熬，但總有新的愛(ài)情給他帶來(lái)新的幸福。他熱情沖動(dòng)、敏感正直，在遭遇饑餓的恐怖和沉船的厄運(yùn)后，遇見(jiàn)了美麗的希臘少女海蒂。正陶醉于愛(ài)情和大自然時(shí)，一個(gè)游吟詩(shī)人的吟唱將唐璜帶到了殘酷的現(xiàn)實(shí)。這塊如海蒂一般美麗的土地正飽受著土耳其的侵?jǐn)_，并面臨著即將滅亡的噩運(yùn)。這段吟唱帶給唐璜以巨大的震撼，詩(shī)人拜倫對(duì)這一切當(dāng)然也感同身受。因?yàn)榉N種原因，作為希臘異族人的拜倫在他后來(lái)的生命歲月里選擇了與希臘人民站在一起、并共同抵御外辱。

31、而這段在唐璜中并不太起眼的第三章中的一節(jié)就在詩(shī)內(nèi)和詩(shī)外的世界里也因此具有了特殊的意義Contribution:chiefcontribution-“Byronichero”（拜倫式英雄）thenfurtherdevelopedinlaterworkssuchastheOrientedTales東方故事集，Manfred,曼弗雷德andDanJuanindifferentguises.PercyByssheShelley（雪萊）（1792-1822）IfWintercomes,canSpringbefarbehind?lifeborninSussex;fatheraconservativenar

32、row-mindedcountrygentleman;thoughgentlebynature,hecouldnotstandanyinjusticeIn1811,expelledfromOxfordforananti-religionpamphletTheNecessityofAtheism無(wú)神論的必然at19,aloneinLondon,homeless.marrieda16-year-oldschoolgirlHarrietin1812,wenttoIreland,AddresstotheIrishPeople告愛(ài)爾蘭人民書(shū)in1813,backinEnglandwroteQueenMa

33、b麥布女王in1814,brokewithHarrietin1816,marriedMaryGodwin,daughterofradicalphilosopherGodwinin1818,ShelleyshappymarriagewasbrokenbythesuddendeathofHarrietwhojumpedintoariver.in1816metByronIn1818TheRevoltofIslam伊斯蘭的反叛in1819,PrometheusUnbound解放了的普羅米修斯，OdetotheWestWind西風(fēng)頌MasqueofAnarchy專制魔王的化妝旅行,TheCenci欽契A

34、DefenseofPoetry詩(shī)辯In1820,ToaSkylark致云雀in1822.July8th,asuddentempeststruckhisboat,drowned.Inscriptiononhistombstone:“P.B.Shelley.CORCORDIUM=theheartofhearts眾心之心他的一切并沒(méi)有消逝只是經(jīng)歷過(guò)海的變異已變得豐富而且神奇majorworksA.“QueenMab1813麥布女王Arevolutionarypoemcondemningtyrannyandexploitationandtheunjustwarwagedbytherichtoplund

35、erwealth“TheRevoltofIslam1818伊斯蘭的反叛a(bǔ)revolutionaryepic“PrometheusUnbound解放了的普羅米修斯1820lyricaldramain4acts.Greekmyth-PrometheusisreconciledtoZeus.ButShelleyreinterpretedit.Prometheusissupportedbypublic.D.OdetotheWestWind西風(fēng)頌（重點(diǎn)）bestofShelleyslyricsExpressionofpoetsenvyoftheboundlessfreedomofthewestwindM

36、elancholyintuneButoptimisticandresoluteinthemePoetsconvictionthegoodwillcertainlydefeattheevilfrequentlyquotedepigram:“IfWintercomes,canSpringbefarbehind?Selectivereading:西風(fēng)頌（1）Form:Thepoemisdividedinto5parts.Eachpartconsistsoffourstanzasofterzarimaandonecoupletlines,rhymedababcbcdcdedee（3）Theme:Rev

37、olutionaryspirit.Wishtodestroytheoldandbuildupanew.（4）Inwhatwayisthewestwindbothadestroyerandapreserver?（南京大學(xué)07）Thewestwindisconsideredthe“destroyerfordrivingthelastsignsoflifefromthetrees;itisconsideredtheupreserverforscatteringtheseedswhichcometolifeinthespring.Definition:terzarima（三行體）一verseformc

38、onsistingofstanzasofthreelines（tercets）;thefirstandthirdlinesrhymingwithoneanotherandthesecondrhymingwiththefirstandthirdofthefollowingtercet.西風(fēng)頌采用象征手法西風(fēng)歌不是風(fēng)景詩(shī)，而是政治抒情詩(shī)，雖然沒(méi)有一句直接描寫(xiě)革命，但整首詩(shī)都是在反映革命。五個(gè)小節(jié)格律完整，可以獨(dú)立成篇。從內(nèi)容來(lái)看，它們又熔為一體，貫穿著一個(gè)中心思想。第一節(jié)描寫(xiě)西風(fēng)掃除林中殘葉，吹送生命的種籽。（大地）第二節(jié)描寫(xiě)西風(fēng)攪動(dòng)天上的濃云密霧，呼喚著暴雨雷電的到來(lái)。（天空）第三節(jié)描寫(xiě)西風(fēng)掀起

39、大海的洶涌波濤，摧毀海底花樹(shù)。（海上）三節(jié)詩(shī)三個(gè)意境，詩(shī)人幻想的翅膀飛翔在樹(shù)林、天空和大海之間，飛翔在現(xiàn)實(shí)和理想之間，形象鮮明，想象豐富，但中心思想只有一個(gè)，就是歌唱西風(fēng)掃除腐朽、鼓舞新生的強(qiáng)大威力。從第四節(jié)開(kāi)始，由寫(xiě)景轉(zhuǎn)向抒情，由描寫(xiě)西風(fēng)的氣勢(shì)轉(zhuǎn)向直抒詩(shī)人的胸臆，抒發(fā)詩(shī)人對(duì)西風(fēng)的熱愛(ài)和向往，達(dá)到情景交融的境界，而中心思想仍然是歌唱西風(fēng)。因此，結(jié)構(gòu)嚴(yán)謹(jǐn)，層次清晰，主題集中，是西風(fēng)頌一個(gè)突出的藝術(shù)特點(diǎn)。JaneAustin1775-1817）Becomingawoman.BecomingalegendEnglishwriter,whofirstgavethenovelitsmodernchara

40、cterthroughthetreatmentofeverydaylife.AboutherlifeBorn:on16December,1775attherectoryinthevillageofSteventon,inEnglandFamily:theseventhofeightchildren（sixbrothersandasister）Education:mainlyathomebyherfatherHobbies:reading,dancing,writingMarriage:neverAttheageof14:wroteherfirstnovelLoveandFreindshipan

41、dthenAHistoryofEnglandInherearlytwenties:wrotethenovelsthatwerelatertobere-workedandpublishedThenextfouryears:movedtoBathin1801firstly,andthenmovedtoSouthamptonin1805（afterherfathersdead）,wrotelittleinBathandnothingatallinSouthamptonIn1809-1816:revisedSenseandSensibilityandPrideandPrejudiceandpublis

42、hedthem（in1811and1813）andthenembarkedon（著手）aperiodofintenseproductivity.MansfieldParkcameoutin1814,followedbyEmmain1815andcompletedPersuasion（whichwaspublishedtogetherwithNorthangerAbbeyin1818.）In1816,shestartedSanditon,butillnesspreventeditscompletion.（Noneofherbookspublishedinherlife-timehadhernameonthem一theyweredescribedasbeingwritten“Byalady”）senseandsensibility1811理智與情感PrideandPrejudice1813傲慢與偏見(jiàn)