自考英美文學(xué)選讀要點(diǎn)總結(jié)精心整理

自考英美文學(xué)選讀要點(diǎn)總結(jié)精心整理英美文學(xué)選讀要點(diǎn)總結(jié)精心整理［英國(guó)JChapterlTheRenaissanceperiod(14世紀(jì)至十七世紀(jì)中葉)文藝復(fù)興HumanismistheessenceoftheRenaissance.人文主義是文藝復(fù)興的核心。theGreekandRomancivilizationwasbasedonsuchaconceptionthatmanisthemeasureofallthings.人文主義作為文藝復(fù)興的起源是因?yàn)楣畔ＥD羅馬文明的基礎(chǔ)是以“人”為中心，人是萬(wàn)物之靈。Renaissancehumanistsfoundinthenclassicsajustificationtoexalthumannatureandcametoseethathumanbeingsweregloriouscreaturescapableofindividualdevelopmentinthedirectionofperfection,andthattheworldtheyinhabitedwastheirsnottodespisebuttoquestion,explore,andenjoy人文主義者們卻從古代文化遺產(chǎn)中找到充分的論據(jù)，來(lái)贊美人性，并開(kāi)始注意到人類是崇高的生命，人能夠不斷發(fā)展完善自己，而且世界是屬于她們的，供她們懷疑，探索以及享受。ThomasMore,ChristopherMarloweandWilliamShakespearearethebestrepresentativesoftheEnglishhumanists?托馬斯.摩爾，克利斯朵夫.馬洛和威廉.莎士比亞是英國(guó)人文主義的代表。WyattintroducedthePetrarchansonnetintoEngland.懷亞特將彼特拉克的十四行詩(shī)引進(jìn)英國(guó)。ThefirstperiodoftheEnglishRenaissancewasoneofimitationandassimilation.英國(guó)文藝復(fù)興初期只是一個(gè)學(xué)習(xí)模仿與同化的階段。Thegoalsofhumanisticpoetryare:skillfulhandlingofconventions,forceofking1970uage,and,aboveall,thedevelopmentofarhetoricalplaninwhichmeter,rhyme,scheme,imageryandargumentshouldallbecombinedtoframetheemotionalthemeandthrowitintohighrelief.人文主義詩(shī)歌的主要目標(biāo)是對(duì)傳統(tǒng)習(xí)俗的熟練運(yùn)用，語(yǔ)言的力度與氣概，而最重要的是發(fā)展了修辭模式，即將格律，韻腳(式)，組織結(jié)構(gòu)，意象(比喻，描述)與議論都結(jié)合起來(lái)勾畫出情感主題，并將其極為鮮明生動(dòng)的表現(xiàn)出來(lái)。ThemostfamousdramatistsintheRenaissanceEnglandareChristopherMarlowe,WilliamShakespeare,andBenJonson.文藝復(fù)興時(shí)期英國(guó)最著名的戲劇家有克利斯朵夫.馬洛，威廉.莎士比亞與本.約翰遜。FrancisBacon(1561-1626),thefirstimportantEnglishessayist.費(fèi)蘭西斯?培根是英國(guó)歷史上最重要的散文家。EdmundSpenser埃德蒙.斯賓塞thethemeofRedcrosseisnot"Armsandtheman,"butsomethingmoreromantic“Fiercewarsandfaithfulloves."《仙后》的主題并非“男人與武器”，而是更富浪漫色彩的“殘酷戰(zhàn)爭(zhēng)與忠貞愛(ài)情”。ItisSpenser’sidealism,hisloveofbeauty,andhisexquisitemelodythatmakehimknownas“thepoets’poet.”正是斯賓塞的理想主義，對(duì)美的熱愛(ài)以及精美優(yōu)雅的詩(shī)文韻律是她成為“詩(shī)人中的詩(shī)人”。ChristopherMarlowe克利斯朵夫.馬洛Asthemostgiftedofthe“UniversityWits,"Marlowecomposedsixplayswithinhisshortlifetime.Amongthemthemostimportantare:Tamburlaine,PartsI&II,Dr.Faustus,TheJewofMaltaandEdwardII.馬洛是當(dāng)時(shí)“大學(xué)才子”中最富才華的人，在她短暫的一生中，她完成了六部劇本的創(chuàng)作。其中最負(fù)盛名的是：《帖木爾》，《浮士德博士的悲劇》，《馬耳她島的猶太人》以及《愛(ài)德華二世》。Marlowe’sgreatestachievementliesinthatheperfectedtheblankverseandmadeittheprincipalmediumofEnglishdrama.馬洛的藝術(shù)成就在于她完善了無(wú)韻體詩(shī)，并使之成為英國(guó)戲劇中最重要的文體形式。Marlowe’ssecondachievementishiscreationoftheRenaissanceheroforEnglishdrama.馬洛的第二項(xiàng)貢獻(xiàn)是她創(chuàng)造了文藝復(fù)興時(shí)期的英雄形象。HisbrilliantachievementasawholeraisedhimtoaneminenceasthepioneerofEnglishdrama.她對(duì)戲劇發(fā)展的貢獻(xiàn)是不可磨滅的，為此，它被后世尊為英國(guó)戲劇的先驅(qū)。Thepassionateshepherdtohislove激情的牧人致心愛(ài)的姑娘ThisshortpoemisconsideredtobeoneofthemostbeautifullyricsinEnglishliterature.這首短詩(shī)是英國(guó)文學(xué)詩(shī)中最優(yōu)美的抒情詩(shī)。WilliamShakespeare威廉.莎士比亞Thefirstperiodofhisdramaticcareer,hewrotefivehistoryplays:HenryVI,PartsI,II,andIII,RichardIII,andTitusAndronicus;andfourcomedies:TheComedyofErrors,TheTwoGentlemenofVerona,TheTamingoftheShrew,andLove’sLabour’sLost.在她戲劇創(chuàng)作生涯的第一個(gè)階段,她創(chuàng)作了五部歷史?。骸逗嗬馈罚独聿槿馈?，《泰托斯.安東尼》以及四部喜?。骸跺e(cuò)誤的戲劇》，《維洛那二紳士》，《馴悍記》和《愛(ài)的徒勞》。Inthesecondperiod,hewrotefivehistories:RichardII,KingJohn,HenryIV,PartsIandII,andHenryV;sixcomedies:AMidsummerNight’sDream,TheMerchantofVenice,MuchAdoAboutNothing,AsYouLikeIt,TwelfthNight,andTheMerryWivesofWindsor;andtwotragedies:RomeoandJulietandJuliusCaesar在第二階段，她寫了五部歷史?。骸独聿槿馈?，《約翰王》，《亨利四世》，《亨利五世》以及六部喜劇《仲夏夜之夢(mèng)》，《威尼斯商人》，《無(wú)事生非》，《皆大歡喜》，《第十二夜》，《溫莎的風(fēng)流娘兒們》，還有兩部悲?。骸读_密歐與朱麗葉》和《裘利斯.凱撒》。Shakespeare’sthirdperiodincludeshisgreatesttragediesandhisso-calleddarkcomedies.ThetragediesofthisperiodareHamlet,Othello,KingLear,Macbeth,AntonyandCleopatra,TroilusandCressida,andCoriolanus.ThetwocomediesareAll’sWellThatEndsandMeasureforMeasure.第三階段誕生了莎翁最偉大的悲劇和她自稱的黑色喜劇(或悲喜劇)，悲劇有：《哈姆雷特》，《奧賽羅》，《李爾王》《麥克白》《安東尼與克利奧佩特拉》《特羅伊勒斯與克利西達(dá)》及《克里奧拉那斯》。兩部喜劇是《終成眷屬》和《一報(bào)還一報(bào)》。ThelastperiodofShakespeare'sworkincludeshisprincipleromantictragicomedies:Pericles,Cymbeline,TheWinter’sTaleandTheTempest;andhistwoplays:HenryVIIIandTheTwoNobleKinsmen.最后一個(gè)時(shí)期的作品主要有浪漫悲喜?。骸恫锟死贰缎涟琢帧贰抖斓墓适隆放c《暴風(fēng)雨》。她最后兩部劇是《亨利八世》與《魯克里斯受辱記》。 _Shakespeare’ssonnetsaretheonlydirectexpressionofthepoet’sownfeelings.這些十四行詩(shī)都是莎翁直抒胸臆的成果。Shakespeare’shistoryplaysaremainlywrittenundertheprinciplethatnationalunityunderamightyandjustsovereignisanecessity.莎翁的歷史劇都有這樣一個(gè)主題:在一個(gè)強(qiáng)大英明的君主統(tǒng)領(lǐng)下的國(guó)家，統(tǒng)一是非常必要的。Inhisromanticcomedies,Shakespearetakesanoptimisticattitudetowardloveandyouth,andtheromanticelementsarebroughtintofullplay.在她的浪漫喜劇中，莎士比亞以樂(lè)觀的態(tài)度對(duì)待愛(ài)情與青春，并將浪漫色彩渲染到極致。ThesuccessfulromantictragedyisRomeoandJuliet,whicheulogizesthefaithfulnessofloveandthespiritofpursuinghappiness.莎翁在其成功的浪漫主義悲劇《羅密歐與朱麗葉》，頌揚(yáng)了對(duì)愛(ài)的忠貞及對(duì)幸福的追求。Shakespeare’sgreatesttragediesare:Hamlet,Othello,KingLear,andMacbeth.Theyhavesomecharacteristicsincommon.Eachportrayssomenoblehero.莎士比亞的四大悲劇是：《哈姆雷特》《奧賽羅》《李爾王》《麥克白》“TheKing’sgovernmentmustbecarriedon”一butcarriedonforthegoodofthenation,notforthepleasureoftheking.“國(guó)王的統(tǒng)治一定要萬(wàn)古不變”----可是這種流傳百世萬(wàn)古不變的統(tǒng)治是有利于國(guó)家利益的，而不是只為國(guó)王自己服務(wù)。Thus,hefindsnowaytosolvethesocialproblems.Intheend,theonlythinghecandoasahumanististoescapefromtherealitytoseekcomfortinhisdream.正因如此，她才無(wú)力尋求到醫(yī)治各種社會(huì)痼疾的靈丹妙藥，最后，她作為人文主義所能做的唯一事情便是逃避現(xiàn)實(shí)，從夢(mèng)幻中找安慰。Heholdsthatliteratureshouldbeacombinationofbeauty,kindnessandtruth,andshouldreflectnatureandreality.她認(rèn)為文學(xué)應(yīng)該是真善美的結(jié)合，應(yīng)該反映天性與現(xiàn)實(shí)。Shakespeareisaboveallwritersinthepastandinthepresenttime.古往今來(lái)，沒(méi)有一個(gè)作家能與莎士比亞媲美，她對(duì)后世文學(xué)家的潛移默化也是無(wú)可估量的。AlmostallEnglishwritersafterhimhavebeeninfluencedbyhimeitherinartisticpointofview,inliteraryformorinking1970uage.在她之后幾乎所有的英國(guó)文學(xué)家都在藝術(shù)觀點(diǎn)，文學(xué)形式及語(yǔ)言技巧方面受到她的影響。Sonnet18isoneofthemostbeautifulsonnetswrittenbyShakespeare.十四行詩(shī)第十八首詩(shī)莎翁最出眾的十四行詩(shī)。FrancisBacon弗蘭西斯.培根ThemostimportworksofhisfirstgroupincludeTheAdvancementofLearning,WritteninEnglish;NovumOrganum,anenlargedLatinversionofTheAdvancementofLearning.培根的作品可分為三類：第一類中最重要的作品有《學(xué)術(shù)的進(jìn)展》(用英文著述)《新工具》(是《學(xué)術(shù)的進(jìn)展》的拉丁文增補(bǔ)版)OneistheknowledgeobtainedfromtheDivineRevelation,theotheristheknowledgefromtheworkingsofhumanmind.她將知識(shí)分為兩種：一種是經(jīng)過(guò)神的啟示獲得的知識(shí)，另一種是經(jīng)過(guò)人類用腦思考而獲得的知識(shí)。AccordingtoBacon,man’sunderstandingconsistsofthreeparts:historytoman’smemory,poetrytoman’simaginationandcreation,andphilosophytoman’sreason.培根認(rèn)為，人類的認(rèn)識(shí)與學(xué)問(wèn)分為三部分：基于人類回憶的歷史學(xué)，基于人類想象力創(chuàng)造力的詩(shī)歌與基于人類理性的哲學(xué)。Bacon,asahumanistintellect,showsthenewempiricalattitudestowardtruthaboutnatureandbravelychallengesthemedievalscholasticist.作為人文主義者的培根展示了自己對(duì)于自然界真理的實(shí)驗(yàn)主義態(tài)度，并向中世紀(jì)的經(jīng)院哲學(xué)家們提出挑戰(zhàn)。Bacon’sessaysarefamousfortheirbrevity,compactnessandpowerfulness.培根的散文以簡(jiǎn)潔，緊湊，有力度而著名。Theessaysarewell-arrangedandenrichedbybiblicalallusions,metaphorsandcadence.這些散文不但結(jié)構(gòu)巧妙還大量使用了《圣經(jīng)》的典故，隱喻和基調(diào)。OfStudies論學(xué)習(xí)Readingmakethafullman,conferenceareadyman,andwritinganexactman.讀書使人充實(shí)，討論使人機(jī)智。JohnDonne約翰.鄧恩Theimageryisdrawnfromtheactuallife.詩(shī)中的意象都是從現(xiàn)實(shí)生活中提取的。Hispoemsgiveamoreinherentlytheatricalimpressionbyexhibitingaseeminglyunfocuseddiversityofexperiencesandattitudes,andafreerangeoffeelingsandmoods.她的詩(shī)歌給人一種固有的戲劇性，展示了看上去零散多樣的經(jīng)歷與觀念，以及漫無(wú)邊際的情感與心境。TheSonsandSonnets,bywhichDonneisprobablybestknown,containsmostofhisearlylyrics.《歌與短歌》是鄧恩最有名的詩(shī)集，囊括了她早期大多數(shù)愛(ài)情詩(shī)作。Inhisgloomypoem“Farewelltolove,”wecanseehisdisillusionment.在憂傷的詩(shī)作《告別愛(ài)情》中，我們就能夠感受到她對(duì)愛(ài)情幻想的破滅。Withthebrief,simpleking1970uage,theargumentiscontinuousthroughoutthepoem.議論依附于一種簡(jiǎn)潔平白的語(yǔ)言，并貫穿于整首詩(shī)作。JohnMilton約翰.彌爾頓hewasentirelyoccupiedwiththethoughtsoffightingforhumanfreedom.她頭腦中充滿了為人類自由而戰(zhàn)的思想。Milton’sliteraryachievementscanbedividedintothreegroups:theearlypoeticworks,themiddleprosepamphletsandthegreatpoem.彌爾頓的文學(xué)作品可分為三類：早期詩(shī)作，中期的散文小冊(cè)子和后期的偉大詩(shī)作。Miltonwrotehisthreemajorpoeticalworks:ParadiseLost,ParadiseRegained,andSamsonAgonistes.她的三部偉大詩(shī)作：《失樂(lè)園》《復(fù)樂(lè)園》和《力士參孫》。ThethemeofParadiseLostisthe“FallofMan”.InthefallofmanAdamdiscoveredhisfullhumanity.失樂(lè)園的主題是人類的沉淪。在沉淪之中，亞當(dāng)發(fā)現(xiàn)了自己身上的人性。MiltonheldthatGodcreatedallthingsoutofHimself,includingevil.她認(rèn)為上帝是按照她自己的樣子造出的世界，其中也包括罪惡。ItopensthewayforthevoluntarysacrificeofChristwhichshowedthemercyofGodinbringinggoodoutofevil.^基督自愿獻(xiàn)身開(kāi)辟了道路，這也顯示出上帝欲將人類從罪惡與苦難中拯救出來(lái)的同情心。InSamsonAgonistes,thewholepoemstronglysuggestsMilton’spassionatelongingthathetoocouldbringdestructiondownupontheenemyatthecostofhisownlife.在力士參孫中，整首詩(shī)都強(qiáng)烈暗示著彌爾頓渴望她自己也能像參孫一樣，以生命為代價(jià)，與敵人同歸于盡。Inhislife,Miltonshowshimselfarealrevolutionary,amasterpoetandagreatprosewriter.彌爾頓畢生都展現(xiàn)了真正的革命精神和非凡的詩(shī)歌才華。aradiseLost:人類由于理性不強(qiáng)，意志薄弱，經(jīng)不起考驗(yàn)，暗示英國(guó)自產(chǎn)主義革命失敗的原因。［英國(guó)］Chapter2TheNeoclassicalPeriod（1660-1798）新古典主義Inshort,itwasanagefullofconflictsanddivergenceofvalues.總之，這一時(shí)期是矛盾與價(jià)值觀分歧的時(shí)期。Theeighteenth-centuryEnglandisalsoknownastheAgeofEnlightenmentortheAgeofReason.英國(guó)的十八世紀(jì)也同時(shí)是啟蒙主義時(shí)代，或曰理性時(shí)代。Itspurposewastoenlightenthewholeworldwiththelightofmodernphilosophicalandartisticideas.運(yùn)動(dòng)的主旨便是用當(dāng)代哲學(xué)與藝術(shù)思想的晨光啟迪整個(gè)世界。Enlightenersheldthatrationalityorreasonshouldbetheonly,thefinalcauseofanyhumanthoughtandactivities.Theycalledforareferencetoorder,reasonandrules啟蒙者主張理性是任何人思想與行動(dòng)的唯一緣由。她們大力提倡秩序，理性及法律。Asamatteroffact,literatureatthetime,heavilydidacticandmoralizing,becameaverypopularmeansofpubliceducation.其實(shí)，當(dāng)時(shí)的文學(xué)作品種充滿了說(shuō)教與道德理念，就已經(jīng)成為大眾教育的良好工具。FamousamongthegreatenlightenersinEnglandwerethosegreatwriterslikeJohnDryden,AlexanderPope,JosephAddisonandSirRichardSteele,thetwopioneersoffamiliaressays,JonathanSwift,DanielDefoe,RichardBrinsleySheridan,HenryFieldingandSamuelJohnson.英國(guó)著名的啟蒙主義文學(xué)家有約翰.德萊頓，亞歷山大.蒲柏，約瑟夫.艾迪森與理查.斯蒂爾（這兩位是現(xiàn)代散文的先驅(qū)），喬納森.斯威夫特，丹尼爾.迪福，理查?B.謝立丹，亨利.費(fèi)爾丁和塞繆爾.約翰遜。Inthefieldofliterature,theEnlightenmentMovementbroughtaboutarevivalofinterestintheoldclassicalworks.在文學(xué)領(lǐng)域，啟蒙主義運(yùn)動(dòng)還使人們重新對(duì)古典時(shí)代的著作產(chǎn)生興趣。Theybelievedthattheartisticidealsshouldbeorder,logic,restrainedemotionandaccuracy,andthatliteratureshouldbejudgedintermsofitsservicetohumanity.她們認(rèn)為理想的藝術(shù)應(yīng)基于秩序，邏輯，確切及情感控制的基礎(chǔ)上，而文學(xué)作品的價(jià)值評(píng)判標(biāo)準(zhǔn)應(yīng)該看它是否為人文主義服務(wù)。Thusapolite,urbane,witty,andintellectualartdeveloped.由此一種溫文爾雅，充滿靈性的知識(shí)分子文學(xué)藝術(shù)發(fā)展起來(lái)。Neoclass