大學英文學第二課

PartIII.RenaissanceRenaissanceinEuropeanhistory,referstotheperiodbetween14thcenturyto17thcentury.“Renaissance”means“revival”,therevivalofinterestinAncientGreekandRomancultureandgettingridofconservatisminfeudalistEuropeandintroducingnewideasthatexpresstheinterestsoftherisingbourgeoisie.ItstartedinItalyandendedinEnglandandSpain.HistoricalBackground

Thebreakingupoffeudalrelationsandtheestablishingofthefoundationsofcapitalism;Theenclosure;thewaroftheRoses;thestrengtheningoftheabsolutemonarchy;theriseofthebourgeoisie;thedefeatoftheSpanishArmada.Newsocialandeconomicconditionsbroughtaboutgreatchangesinthedevelopmentofscienceandart.Sowiththestrengtheningofnewbourgeoisnationalstate,thisperiodismarkedbyaflourishingofnationalcultureknownastheRenaissance.

TwoStrikingFeaturesoftheRenaissance

1)Athirstingcuriosityfortheclassicalliterature;2)Thekeeninterestintheactivitiesofhumanity(PeopleceasedtolookuponthemselvesaslivingonlyforGodandafutureworldandturnedtoadmirationforhumanbeautyandhumanachievement)Renaissancemarksthetransitionfrommedievaltomodernworld,fromfeudaltocapitalist,fromreligioustosecularsociety.InthisperiodtheEuropeanhumanistthinkersandscholarsmadeattemptstoabolisholdfeudalideasinmedievalEurope(thechurch-centeredculturewhichwerecharacterizedbyGod-centeredness,otherworldlinessandasceticism.)andtointroducenewideasoftherisingbourgeoisie(humanism,theman-centeredcultureinwhichmanisthemeasureofallthings.),andtocarryoutreligiousreformation.RenaissancedidnotbegintoshowitseffectinEnglanduntilthereignofHenryVIII(1509-1547)owingtoEngland’sseparationfromtheContinentanditsdomesticunrest.EncouragedbyHenryVIII,theOxfordreformers,scholarsandhumanistsintroducedclassicalliteraturetoEngland.Educationwasrevitalizedandliteraturebecamemorepopular.Fromthebeginningofthe16thc,theEnglishRenaissancewitnessedthebriskdevelopmentofliterature:thetranslationofancientEnglish,ItalianandFrenchworks,aswellasclassicalworksofGreeceandRome;booksofdiscoveriesandadventures;thefloweringofsonnets;thehighestgloryoftheEnglishrenaissanceisitsdrama(theElizabethandrama).ThiswasEngland’sgoldenageinliterature.ThereappearedmanyliterarygiantssuchasShakespeare,Spenser,Jonson,Sidney,Marlowe,BaconandDonne.Humanism

TheRenaissancewasmarkedbythespreadofhumanism,thekeynote(thegreatspirit)ofRenaissance.ItsprangasaresultofrediscoveryandrestudyoftheGreekandRomancivilizationwhichisbasedontheconceptionthatthemanisthemeasureofallthings,theman-centeredculture.Itstandsfordevotiontothehumanevaluesrepresentedinclassicalliterature.WhilethemedievalCatholicteachings(thechurch-centeredculture)werecharacterizedbyGod-centeredness,otherworldlinessandasceticism,theRenaissancehumanistsemphasizedthedignityofhumanbeingsandtheimportanceofthepresentlife;theybelievedhumanbeingsweregloriouscreatures;mancanliveahappyandmeaningfullifeonearth;mancanimprovehisconditionwitheffortandchangetheworldaccordingtohisdesire.Manhastherighttopursuepersonalhappiness,knowledgeandwealth.Humanismhelpedtocivilizeman,tomakehimrealizehispotentialpowersandgifts.Itcontributedagreatdealtotheprogressofhumansociety.Itrepresentedthenewideasoftherisingbourgeoisie.ThomasMore,MarloweandShakespearearethebestrepresentativesoftheEnglishhumanists.Thehumanisticideasandbeliefpermeatedtheliteratureofthisperiod.PartIII.RenaissanceRenaissanceinEngland:Thetime:mainlyfromthereignofHenryVIII,Edward,MaryandthentoQueenElizabethandJacobeanEraCharacteristicsoftheElizabethanAge:1.Anageofcomparativereligioustolerance;2.Anageofcomparativesocialcontentment;3.Anageofdreams,ofadventuresofunboundedenthusiasm;4.Anageofintellectualliberty,ofgrowingintelligenceandcomfortamongallclassesandofunboundedpatriotism.ChristopherMarloweChristopherMarlowe-------thegreatestofthepioneersofEnglishdramaLiteraryachievement:blankverse(unrhymediambicpentameter)III.Majorplays:

Tamburlaine(貼木耳大帝)

TheJewofMalta(馬爾他島的猶太人)DoctorFaustus(浮士德博士)WilliamShakespeare(1564-1616)Shakespeare’sBirthplaceGlobeTheatreinLondonGlobeTheatreinLondonMeetWilliamShakespeareNearlyfourcenturiesafterhisdeath,theworksofWilliamShakespearecontinuetodelightreadersandaudiencesaroundtheworld.Infact,Shakespeare’writingsaremorewidelyreadandmoreoftenquotedthananyotherworkeverwritten,asidefromtheBible.Yet,whilehisliteratureendures,weknowverylittleaboutthemanhimself—themostcelebratedandtalentedEnglishpoetanddramatistofalltime.Thelittleinformationwedohaveabouthislifehasbeenpiecedtogetherfromanecdotes,gossip,cluesfoundinhispoemsandplays,legaldocuments,entriesinthepublicrecord,andthememorialsandreminiscenceofhisfellowwriters.HisLifeWilliamShakespearewasbornprobablyonApril23,1564,intoamerchant’sfamilyinStratford-on-Avon.Hisfather,JohnShakespeare,whowasvariouslydescribedasglover,wool-dealer,farmer,andbutcher,wasamanofsomeimportanceinthetown,repeatedlyservingasamemberofthetowncouncil.ShakespearespenthischildhoodinthatbeautifulmarkettownandattendedtheStratfordGrammarSchool.Hisrealteacherswerenatureanditspeoplethatsurroundedhim.In1582,hemarriedAnneHathaway,awomanseveralyearshissenior.Shegavebirthtothreechildren.ItwasprobablybecausehehadtosupporthisgrowingfamilythatShakespeareleftStratfordforLondonin1586or1587.ShakespearewenttoaLondonwhichaffordedawonderfulenvironmentforthedevelopmentofdrama.Shakespeareworkedbothasactorandplaywright.HeactedwithandwrotefortheLordChamberlain’Men,whichwaslaterrenamedtheKing’sMen.ShakespeareestablishedhimselfsowellasaplaywrightthatRobertGreene,oneofthe“UniversityWits,”resentfullydeclaredhimtobe“an

upstartcrow.”“Hewasnotofanage,butforalltime!”----BenJohnsonDuringhis22yearsofliterarycareerheproduced37plays,Twonarrativepoems,154sonnets.DramaticCareerThefirstperiod----Earlyperiod(1590-1594)2historicalplays:HenryVI(亨利六世)RichardIII(理查德三世),4comedies:TheComedyofErrors(錯誤的喜劇)（錯中錯）

TheTwoGentlemenofVerona(維洛那二紳士)

TheTamingoftheShrew(訓悍記)

Love’sLabour’sLost(愛的徒勞)1tragedy:RomeoandJuliet

Thesecondperiod----matureperiod(1595-1600)Aperiodofgreatcomediesandmaturehistoricalplays6comedies:AMidsummerNight’sDream(仲夏夜之夢)

TheMerchantofVenice(威尼斯商人)

TheMerryWivesofWindsor（溫莎的風流娘兒們）MuchAdoaboutNothing（無事生非）AsYouLikeIt（皆大歡喜）TwelfthNight（第十二夜）5historicalplays:RichardIIHenryIV(Parts1and2)HenryVKingJohn1Romantragedy:JuliusCaesar（尤利烏斯·愷撒）Thethirdperiod-----Flourishingperiod(Tragicperiod)(1601-1607)Aperiodofgreattragediesanddarkcomedies5tragedies:Hamlet,Othello,KingLear,Macbeth,TimonofAthens3comedies:TroilusandCressida(特洛伊洛斯與克瑞西達)

All’sWellThatEndsWell（終成眷屬）

MeasureforMeasure(一報還一報)2RomanTragedies:AntonyandCleopatra(安東尼和克莉奧佩特拉)

Coriolanus(科里奧拉魯斯)Thefourthperiod----Lateperiod(1608-1612)4romanticdrama(romancesortragicomedies):Theseplaysportrayawiderangeoftragiceventsanddifficultconditions,buttheyallendinreconciliationandreunion.Pericles(佩里克利斯)，Cymbeline（辛白林）TheTempest（暴風雨）,TheWinter’sTale（冬天的故事）1historicalplay:HenryVIIIFourgreatcomediesAMidsummerNight’sDream(仲夏夜之夢)TheMerchantofVenice(威尼斯商人)AsYouLikeIt（皆大歡喜）TwelfthNight（第十二夜）Sonnet18ShallIcomparetheetoasummer'sday?Thouartmorelovelyandmoretemperate.RoughwindsdoshakethedarlingbudsofMay,Andsummer'sleasehathalltooshortadate.Sometimetoohottheeyeofheavenshines,Andoftenishisgoldcomplexiondimmed;Andeveryfairfromfairsometimedeclines,Bychanceornature'schangingcourseuntrimmed.Butthyeternalsummershallnotfade,Norlosepossessionofthatfairthouow'st,NorshallDeathbragthouwand'restinhisshade,Whenineternallinestotimethougrow'st.Solongasmencanbreatheoreyescansee,Solonglivesthis,andthisgiveslifetothee.sonnet我可以將你比作夏日嗎？

你卻更可愛也更溫婉。

狂風肆虐著五月的花蕾，

夏日的美麗卻來得如此短暫。

有時候太陽之眼照耀的太過強烈，

卻時常掩蓋了她金色的容顏。

美好的事物有時會凋零，

偶爾的遭受命運抑或時序的摧殘。

但夏日的永恒不會消失，

你的嬌顏也不會褪色，

死神也會夸耀你掩蓋住他的陰影。

只要人類尚可呼吸，眼睛尚可凝視

此詩將不朽

并賜予你永生！

我怎么能夠把你來比作夏天？

你不獨比它可愛也比它溫婉：

狂風把五月寵愛的嫩蕊作踐，

夏天出賃的期限又未免太短；

天上的眼睛有時照得太酷烈，

它那炳耀的金顏又常遭掩蔽：

被機緣或無常的天道所摧折，

沒有芳艷不終于凋殘或銷毀。

但是你的長夏永遠不會凋落，

也不會損失你這皎潔的紅芳，

或死神夸口你在他影里漂泊，

當你在不朽的詩里與時同長。

只要一天有人類．或人有眼睛，

這詩將長存，并且賜給你生命。

FourgreattragediesHamlet,Othello,KingLear,Macbeth,TragedyClassicaltragedians:Aeschylus(埃斯庫羅斯PremetheusBound),Sophocles（索福克勒斯OedipusTyrannus）,Euripites（歐里庇得斯）Thetragichero—asignificantperson,usuallyamemberofthenobility,aleader,awise,justandgoodmanTragicflaw—acharacterdefectwhichcausesthedownfallofthetragicheroTragedy

Tragedieswereconcernedwiththeharshnessandapparentinjusticeinlife.Theyinvolvedthetrialsandeventfuldeathofaherowhowasanimportantpersonandwhosedeathledtothedownfallofothers.Thecentralcharactersarealwayspeopleofimportance,likekings,queens,prince,general,noblesAtragicheroisoftenaflawedgoodman;oftenthehero’sfallfromhappinesswasduetoaweaknessinhischaracter,bysomegreaterrorinhispartsupernaturalbeingsareofteninvolvedintheconflictofhumanbeings,likegods,spirits,witches,ghostsSadnessismixedwithhorror,murder,treacheryandbloodsheddingCatharsis（凈化）—purgationofaudienceemotionssuchaspity,anger,fear;theaudiencefeelrelievedorpurgedwhentheyleavethetheatre.Catharsisorcatharticeffectoftragedies:Tragediesgiveanoutletforsuchemotionsasgreed,hatred,lust,fearandpity.Thetragicactionarousesfeelingsofaweintheaudience,whooftenleavethetheaterwitharenewedsenseoftheseriousnessandsignificanceofhumanlife.Thewordcatharsisisoftenusedtodescribetheaudience’sfeelings.Itmeansthepurgingfromthemindofthefeelingsofpityandfeartheplayhasarousedwhentheyleavethetheater.Hamlet

HamletHamlet,isgenerallyregardedasShakespeare’smostpopularplayonthestage,forithasthequalitiesofa“bloodandthunder”thrillerandaphilosophicalexplorationoflifeanddeath.TheplayopenswithHamlet,PrinceofDenmark,appearinginamoodofworld-wearinessoccasionedbyhisfather’srecentdeathandbyhismother’shastyremarriagewithClaudius,hisfather’sbrother.Thestoryisnotcomplicated,butowingtothehesitationofHamletinrevenge,severalinnocentpeoplegetkilled.First,Ophelia’sfatheriskilledbyHamlet,mistakenforClaudius.Opheliagoesinsane,whichiscausedbyHamlet’srejectionofherandherfather’sdeath.Shegetsdrowned.Finally,HamletalsodiesfromthewoundinaduelwithOphelia’sbrotherLaertesafterhehasfatallywoundedtheyoungman.Butbeforehisdeathhesucceedsinkillingthevillainousuncle.HismotherisalsokilledbydrinkingapoisoneddrinkpreparedbyClaudiusforHamlet.Withalmostalldead,DenmarkisgoingtohavetheprinceofNorwayastheirking.Hamlethasbeendescribedasmelancholicandneurotic,ashavinganOedipuscomplex,asbeingafailureandindecisive,aswellasbeingahero,andaperfectRenaissanceprince.Forsuchafigure,soliloquyisanaturalmedium,anecessaryreleaseofhisanguish;andsomeofhisquestioningmonologuespossesssurpassingpowerandinsight,whichhavesurvivedcenturiesofbeingtornfromtheircontext.‘Tobeornottobe’isthecenterofHamlet’squestioning.soliloquySoliloquyistheactoftalkingtooneself,whethersilentlyoraloud.Indramaitdenotestheconventionbywhichacharacter,aloneonthestage,uttershisorherthoughtsaloud.Playwrightshaveusedthisdeviceasaconvenientwaytoconveyinformationaboutacharacter’smotivesandstateofmind,forpurposeofexposition,andsometimesinordertoguidethejudgmentsandresponsesoftheaudience.Hamletasatypicaltragichero:aherooftheRenaissanceperiodandarepresentativeofhumanismGoodqualities:noble-minded,brave,intelligent,learned,withastrongsenseofjustice,lovedandrespectedbyhispeople;Weaknesses:rash,impulsive,indecisive,sometimescanbecruel,harshandcoarseHistragicflawislackofemotionalbalance;eitheractsrashly,withoutthinking,ordoesn’tactquicklyandfirmlyenough.Hisindecisiveness,hisinabilitytoactwhenactionisneeded,isoneofthemajorcausesforhisdownfall.SituationHamlet'sendurancehasreachedthebreakingpoint.Hisfatherhasbeenmurdered.Hismother,whohelovesdearly,hasmarriedherdeadhusband'sbrother.Moreoverhissweetheart,Ophelia,hasbeenactingverystrangely.Hesensesthatshedoesnotlovehimanymore.Now,he'sallalone.Theworldthatheknewisshattered.Hisblackmoodofdespairisdeepenedbyhisinabilitytoact-todosomethingtochangethesituation.Nowheponderswhethertocontinueliving-ortotakehisownlife.生存還是毀滅,這是個必須回答的問題:是否應默默的忍受坎坷命運之無情打擊,還是應與深如大海之無涯苦難奮然為敵,并將其克服。此二抉擇,就竟是哪個較崇高?死即睡眠,它不過如此!倘若一眠能了結(jié)心靈之苦楚與肉體之百患,那么,此結(jié)局是可盼的!死去,睡去...但在睡眠中可能有夢,啊,這就是個阻礙:當我們擺脫了此垂死之皮囊,在死之長眠中會有何夢來臨?它令我們躊躇,使我們心甘情愿的承受長年之災,否則誰肯容忍人間之百般折磨,如暴君之政、驕者之傲、失戀之痛、法章之慢、貪官之侮、或庸民之辱,假如他能簡單的一刃了之?還有誰會肯去做牛做馬,終生疲於操勞,默默的忍受其苦其難,而不遠走高飛,飄於渺茫之境,倘若他不是因恐懼身後之事而使他猶豫不前?此境乃無人知曉之邦,自古無返者。所以，理智就使我們都變成了懦夫，使得那果斷的本色蒙上了一層思慮的慘白的容顏，本來可以做出偉大的事業(yè)，由于思慮就化為烏有了，喪失了行動的能力。美麗的歐菲利亞,可愛的小姐,在你的祈禱中可別忘了我的罪孽。WhatHamletismusingonisthecomparisonbetweenthepainoflife,whichheseesasinevitable(theseaoftroubles-theslingsandarrows-theheart-ache-thethousandnaturalshocks)andthefearoftheuncertaintyofdeathandofpossibledamnationofsuicide.Isitbettertoenduresilentlytheblowsandagonythatlifeinflictsonmanwithoutlogicorreason,ortoriseupagainstamassoftroublesandendthembyfightingback?Whowouldbeartheinsultsandmiseriesofthisworld,thecrueltiesandtyrannyoftheoppressors,thehumiliationandcontemptfromthearrogantpeople,theheart-breakingpaincausedbyrejectedlove,theinevitableslownessoftheworkingoflaw,thearroganceandrudenessofthosewhoholdofficialpositions,theinsultswhichgoodpatientpeoplesufferfromthosewhoaremeanandunworthy,ifameredaggermightfreehimfromallthesetroubles?Hamletathinker,aphilosopher,ponderingonbothhispersonalconsiderationsandsocialproblemsamanwithasenseofjusticepessimisticandgloomyviewaboutlife,cynicalattitudetowardssocietywiderangeofknowledgebeliefintheChristiandoctrineaboutheavenandhellPartIII.RenaissanceShakespeare’sfourgreattragedies:

Hamlet:thehero’sweaknessmakeshimvulnerableinfightingagainsttheoutwardevil.Othelloshowshowanoutwardevilmakesuseofthehero’sweaknessandcauseshisfall.KingLeardemonstrateshowman’smistakesetsfreetheevilsoftreachery,hypocrisy,flattery,selfishnessanddistrust.

Macbethrevealshowtheoutwardevilstirsupthewickednessinmananddestroyshim.Allanalyzingthehumanwickedness.ComedyComedy—inmostways,theoppositeoftragedy.Broadlydefined,itreferstoanyliteraryworkdesignedtoamuse;Andspecifically,itisusuallyreservedforplayswhosetoneislightheartedandhumourous,thatareamusing,andthathaveahappyending.Comedy(merry-making),dealingwithordinarypeopleineverydaysituations,ordinarypeople,humblestyle,beginningwithmisfortuneandendingwithjoy.Plot—frombadtogood,beginningwithmisfortuneandendingwithjoyCharacters--ordinarypeople,(humbleandprivatepeople)inrathereverydaysituations;themaincharactersremainoptimisticnomatterwhatfatebringsthem,believingthatintheendtheywilltriumph.Stereotypes—thecharacterstendtobestereotypical,whichmeanstheyarerecognizabletypesofpeopleratherthanfullydevelopedcharacterslikethetragichero.Thedumbblond,themanwhothinksheisGod’sgifttowomen,themiser,thefickleyounglover,thelazyslob,therichspoiledchild,thesocialsnob-----Dramaticspirit—optimism;thereisalwaysasensethateverythingwillturnoutwell,despitethehorriblepredicamentsthecharactersfindthemselvesin.Style—humble,light-hearted(asagainstthesolemn,serious,lofty,sublimestyleintragedies)Purpose--toentertainandeducatepeople,toridiculeandsatirizehumanweaknesses,butsomehavemoralandcorrectivepurposesDifferenttypesofcomedies—comediesofhumour,ofmanners,burlesque(滑稽戲),farce（鬧?。?satiricalcomedy,romancecomedy,tragicomedyTheMerchantofVeniceAromanticcomedy,thestoryofthreecasketsandstoryofapoundofflesh;Antonio—themerchantBassanio—thefortune-hunterShylock—theJewishusurer,thevillainPortia—theidealizedwoman,thedaughteroftheRenaissanceTheme:praisingtruefriendship,truelove,exposingsocialevils:greed,malice,racialprejudice,money-worship,injusticeShylock:mean,greedy,cunning,cruel,vengeful,merciless;asophist,anavariciousmoney-lender,aJewofprideanddeepreligiousinstincts;butalsoavictimofracialdiscriminationandreligiouspersecutionPortia:beautiful,cultured,learned,witty,courageous,prudent;FeaturesofShakespeare’sDramafaithfullyandvividlyreflectsthemajorsocialcontradictionsofhistime;Oneofthefoundersofrealisminworldliterature;Hisdramaticcreationoftenusedthemethodofadoptation.Herewroteoldplaysorborrowedhisplotswidelyfromothersources;Amasterhandforplaywriting.Inhisplays,actionsdevelopfreely,withoutbeinghinderedbytheclassicalrules;Usuallycombiningthemajesticwiththefunny,thepoeticwiththeprosaic,andthetragicwiththecomic,reproducingthevariousaspectsofreallife;4.Employingdifferentmeansofexpressiontoutterallpossiblethoughtsandfeelingsofhischaracters;Skilledinmanypoeticforms:thesong,thesonnet,thecouplet,andthedramaticblankverse,especially,thelastone;AgreatmasteroftheEnglishlanguage,alargevocabularyinhiswork:commandedavocabularylargerthananyotherEnglishwritersandusedabout16000words.ManyofhiscoinagesandexpressionshavebecomeeverydayusageinEnglishlife.ShakespeareandtheAuthorizedVersionoftheEnglishBible(in1611,JamesI)arethe2greattreasuriesoftheEnglishlanguage(e.g.eyeforeye,toothfortooth;theshadowofdeath;peacemaker;alaboroflove;All’swellthatendswell,tomentionjustafew).OtherremarkablewritersbesidesShakespeare

ThomasMoreandhisUtopia:ForerunnerofutopiansocialismAnimaginativetravelnarrativewrittenintheformofconversationbetweenMoreandHythloday,areturnedvoyagerdescribinganidealstategovernedbyreason,influencedbyPlato’sRepublicThesubjectisthesearchforthebestpossibleformofgovernment:Utopia---acommunityofproperty---apure,pre-Marxformofcommunism.OtherremarkablewritersbesidesShakespeareSidney----apoetandcriticofpoetry,ApologyforPoetry----apieceofliterarycriticismoftheRenaissance;OtherremarkablewritersbesidesShakespeareEdmundSpenser—ThePoet’spoet,theauthorofthegreatestepicpoemofthetime

TheFaerieQueeneModernEnglish:ThepublicationofSpenser’sfirstworkTheShepherd’sCalendarmarkedthebuddingoftheRenaissanceflower,thelanguagethentobecalledModernEnglish,todistinguishfromtheMiddleEnglishofChaucer’sday.SpenserianStanza----aspecialformofpoetrywhichconsistsof8iambicpentameterlinesfollowedbyaninthlineofsixiambicfeet(analexandrine),withtherhymeschemeababbcbcc(Thefirst8linesareiniambicpentameter,andtheninth,iambichexameter,withtherhymeschemeababbcbcc).OtherremarkablewritersbesidesShakespeareBenJonson-----aprolificdramatist,alsoapoetandacritic.Volpone《福爾蓬奈》TheAlchemist《煉金士》/view/673548.htm?subLemmaId=673548&fromenter=Ben+JonsonHetookafirmstandforthe“threeunities”,soisaforerunnerofclassicisminEnglishliterature.“Threeunities”:Theunitiesoftime,placeandaction.Itrequiredthattheeventsofaplaynotexceedasingleday(time),beconfinedtoasinglelocationortoseverallocationswithinasmallarea(place),andnothavesubplots(action).ItistermgivenbyAristotleandstrictlyadheredin17thFranceandthenoverEurope.OtherremarkablewritersbesidesShakespeareFrancisBacon----thefirstEnglisnessayist,thefounderofEnglishmaterialistphilosophy,thefounderofmodernscienceinEnglandToappreciateOfStudiesStudiesservefordelight,forornament,andforability.Theirchiefusefordelight,isinprivatenessandretiring;forornament,isindiscourse;andforability,isinthejudgementanddispositionofbusiness.讀書足以怡情，足以傅彩，足以長才。其怡情也，最見于獨處幽居之時；其傅彩也，最見于高談闊論之中；其長才也，最見于處世判事之際。Forecpertandexecute,andperhapsjudgeofparticulars,onebyone;butthegeneralcounsels,andtheplotsandmarshallingofaffairs,comebestformthosethatarelearned.Tospendtoomuchtimeinstudiesissloth;tousethemtoomuchforornament,isaffectation;tomakejudgementwhollybytheirrules,isthehumourofascholar.練達之士雖能分別處理細事或一一判別枝節(jié)，然縱觀統(tǒng)籌，全局策劃，則舍好學深思者莫屬。讀書費時過多易惰，文采藻飾太盛則矯，全憑條文斷事乃學究故態(tài)。Theyperfectnature,andareperfectedbyexperience:fornaturalabilitiesarelikenaturalplants,thatneedproyningbystudy;andstudiesthemselvesdogiveforthdirectionstoomuchatlarge,excepttheybeboundedinbyexperience.讀書補天然之不足，經(jīng)驗又補讀書之不足，蓋天生才干猶如自然花草，讀書然后知如何修剪移接，而書中所示，如不以經(jīng)驗范之，則又大而無當。Craftymencontemnstudies,simplemenadmirethem,andwisemenusethem;fortheyteachnottheirownuse;butthatisawisdomwithoutthem,andabovethem,wonbyobservation.有一技之長者鄙讀書，無知者羨讀書，唯明智之士用讀書，然書并不以用處告人，用書之智不在書中，而在書外，全憑觀察得之。Readnottocontradictandconfute;nortobelieveandtakeforgranted;nortofindtalkanddiscourse;buttoweighandconsider.讀書時不可存心詰難讀者，不可盡信書上所言，亦不可只為尋章摘句，而應推敲細思。Somebooksaretobetasted,otherstobeswallowed,andsomefewtobechewedanddigested;thatis,somebooksaretobereadonlyinparts;otherstoberead,butnotcuriously;andsomefewtobereadwholly,andwithdiligenceandattention.Somebooksalsomaybereadbydeputy,andextractsmadeofthembyothers;butthatwouldbeonlyinthelessimportantarguments,andthemeanersortofbooks;elsedistilledbooksare,likecommondistilledwaters,flashythings.書有可淺嘗者，有可吞食者，少數(shù)則須咀嚼消化。換言之，有只需讀其部分者，有只須大體涉獵者，少數(shù)則須全讀，讀時須全神貫注，孜孜不倦。書亦可請人代讀，取其所作摘要，但只限題材較次或價值不高者，否則書經(jīng)提煉猶如水經(jīng)蒸餾，淡而無味。Readingmakethafullman；conferenceareadyman;andwritinganexactman.Andtherefore,ifamanwritelittle，hehadneedhaveagreatmemory;ifheconferlittle,hehadneedhaveapresentwit;andifhereadlittle,hehadneedhavemuchcunning,toseemtoknowthathedothnot.讀書使人充實，討論使人機智，筆記使人準確。因此不常做筆記者須記憶力特強，不常討論者須天生聰穎，不常讀書者須欺世有術(shù)，始能無知而顯有知。Historiesmakemenwise;poetswitty;themathematicssubtile;naturalphilosophydeep;moralgrave;logicandrhetoricabletocontend.Abeuntstudiainmorse.讀史使人明智，讀詩使人靈秀，數(shù)學使人周密，科學使人深刻，倫理學使人莊重，邏輯修辭之學使人善辯；凡有所學，皆成性格。Naythereisnostandorimpendimentinthewit,butmaybewroughtoutbyfitstudies:likeasdiseasesofthebodymayhaveappropriateexercises.Bowlingisgoodforthestoneandreins;shootingforthelungsandbreast;gentlewalkingforthestomach;ridingforthehead;andthelike.Soifaman''switbewandering,lethimstudythemathematics;forindemonstrations,ifhiswitbecalledawayneversolittle,hemustbeginagain.Ifhiswitbenotapttodistinguishorfinddifferences,lethimstudytheschoolmen;fortheyarecyminisectores.Ifhebenotapttobeatovermatters,andtocalluponethingtoproveandillustrateanother,lethimstudythelawyers''cases.Soeverydefectofthemindmayhaveaspecialreceipt.人之才智但有滯礙，無不可讀適當之書使之順暢，一如身體百病，皆可借相宜之運動除之。滾球利睪腎，射箭利胸肺，慢步利腸胃，騎術(shù)利頭腦，諸如此類。如智力不集中，可令讀數(shù)學，蓋演題需全神貫注，稍有分散即須重演；如不能辯異，可令讀經(jīng)院哲學，蓋是輩皆吹毛求疵之人；如不善求同，不善以一物闡證另一物，可令讀律師之案卷。如此頭腦中凡有缺陷，皆有特效可醫(yī)君子曰：學不可以已。青，取之于藍，而青于藍；冰，水為之，而寒于水。木直中繩，揉以為輪，其曲中規(guī)，雖有槁暴，不復挺者，輮使之然也。故木受繩則直，金就礫則利。君子博學而日參省乎己，則知明而行無過矣。吾嘗終日而思矣，不如須臾之所學也。吾嘗跂而望矣，不如登高之博見也。登高而招，臂非加長也，而見者遠。順風而呼，聲非加疾也，而聞者彰。假輿馬者，非利足也，而致千里。假舟輯者，非能水也，而絕江河。君子生非異也，善假于物也。積土成山，風雨興焉。積水成淵，蛟龍生焉。積善成德，而神明自得，圣心備焉。故不積跬步，無以至千里；不積小流，無以成江海。騏驥一躍，不能十步；駑馬十駕，功在不舍。鍥而舍之，朽木不折；鍥而不舍，金石可鏤。蚓無爪牙之利,筋骨之強，上食埃土，下飲黃泉，用心一也。蟹六跪而二螯，非蛇蟺之穴無可寄托者，用心躁也。荀子·勸學SignificanceItanalyzeswhatstudieschieflyservefor,thedifferentwaysadoptedbydifferentpeopletopursuestudies,howstudiesexertinfluenceoverhumancharacter.Forcefulandpersuasive,compactandprecise,OfStudiesrevealstousBacon’smatureattitudetowardlearning.Parallelism

Theuseofworks,phrases,orsentencesthathavesimilargrammaticalstructuresiscalledparallelism.Parallelismshowstherelationshipsbetweenideasandhelpsemphasizethoughts.Forexample,Baconwrites:Studiesservefordelight,forornament,andforability.Theirchiefusefordelightisinprivatenessandretiring;forornament,isindiscourse;andforability,isinjudgmentanddispositionofbusiness.Craftymencontemnstudies,simplemenadmirethem,andwisemenusethem,fortheyteachnottheirownuse.Somebooksaretobetasted,otherstobeswallowed,andsomefewtobechewedanddigested.Readingmakethafullman,conferenceareadyman,andwritinganexactman.Historiesmakemenwise,poets,witty;themathematic