美國文學復習資料

Hawthorne’s霍桑MajorWorks

romanticnovelist(P1-22)Twocollectionsofshortworks:Twice-toldTules《故事重述》（1837）MossesFromanoldManse《古屋青苔》（1846）Hawthorne’sMajorWorksTheScarletLetter《紅字》Oneofhismasterpieces,whichmadehimtheleaderofAmericannativenovelistofthenineteenthcentury.Hawthorne’sMajorWorksTheHouseoftheSevenGables《七個尖角閣的房子》Shortstories:YoungGoodmanBrown《小伙子古德曼·布朗》Hawthorne’spointofviewHawthorneisinfluencedbyPuritanismdeeply.HewasnotaPuritanhimself,buthehadPuritanancestorswhoplayedanimportantroleinhislifeandworks.Hawthorne’spointofviewMelville:“霍桑描寫黑暗的巨大影響，是由于受到加爾文派關于與生俱來的墮落與罪惡思想的影響。沒有一位思想深邃的人能完全擺脫這種思想所發(fā)生的各種形式的影響?！盚awthorne評價Melville:“他既不肯相信宗教，又對自己的不相信感到惶恐不安。”對霍桑同樣適用。Hawthorne’spointofviewEvilisatthecoreofhumanliferejectsthetranscendentalism“black”visionoflifeandhumanEvilexistsinthehumanheart,humanheartisthesourceofevilDiscussessinandevilinalmosteverywork.（literarywork）Hawthorne’spointofviewWheneverthereissin,thereispunishment.Sinorevilcanbepassedfromonegenerationtogeneration.eg.TheHouseoftheSevenGablesColonelpuncheontakesthelandofMatthewMaulandbuildsahouseontheland,hisoffspringwitheranddieout.(Godwillgivehimbloodtodrink)Hawthorne’spointofviewEvileducatesAchievementisundertheimpactofandbyengagementwithevil.經(jīng)歷過犯罪，受到其影響，人們才能有所成就。Manisbetterforthecrimewhichbringsaboutthefall.人在犯罪后才能更好的完善自己。Hawthorne’spointofviewHehasdisgustinscience,onesourceofevilisoverwhelming(tooproudofoneself)intellect.Hisintellectualcharactersarevillains,dreadfulandcold-blooded.Style-typicalromanticwriter

amanofliterarycraftsmanship,extraordinaryintheuseof……

revelationof……theuseof……TheuseofsymbolThesymbolservesasaweapontoattackreality.Itcanbefoundeverywhereinhiswriting.Revelationofcharacter’spsychologyHeisgoodatexploringthecomplexionofhumanpsychology.Thereisn’tmuchpsychologymovementgoinginhisworks.TheuseofsupernaturalmixedwiththeactualItcanbefoundeverywhereinhiswriting.TheScarletLetterThemesFeaturesThemesLoveSinMoral,emotionalandpsychologicaleffectofthesinonthepeopleFeaturesCulturalallegoryStructurallycompactComplexpsychologiesonthepartofthemajorcharactersAmbiguity(multipleview)Strongfairy-taleelementFeaturesSupernaturalelementSymbolism“A”namesofcharacters,flowerattheprisondoor,wilderness.

Thedifferentmeaningsof“A”Adultery（象征通奸）Able（“能干”）Admirable（代表“可敬佩的”）Angel（代表“天使”）Amorous（還代表“愛情”）Art（代表“藝術”）Advanced（代表“前進”）American（“美國”）

AsymbolofsinAsymbolofaloneandalienationAsymbolofable,angelandadmirable.

Thethreechangesinthescarletletteraresignificant;theyshowtheprogressivepossessionofhersin,herlonelylife,andherability.Hesterisastrongadmirablewomanwhogoesthroughmoreemotionaltorturethatmostpeoplegothroughinalifetime.More：BiblicalArchetypeThescarletletter"A"alsocanbeseenthesymbolofAdam.IttellsusthatHester'ssinistheoriginalsinofhumanbeing,itisforgivable.Thewritershowshissympathybydescribingthescarletletter"A"onHester'sclothingasanornamentandadecoration.了不起的蓋茨比(23-39)F.ScottfifigeracdThisSideofParadise《這片樂土》(1920),TheGreatGatsby《了不起的蓋茨比》(1925)TenderIstheNight《溫柔的夜》(1934).

TheBeautifulandDamned《漂亮冤家》TheGreatGatsbyTheGreatGatsbyisfirstpublishedonApril10,1925,itissetonLongIsland‘sNorthShoreandinNewYorkCityduringthesummerof1922.Itisacritique（批判）oftheAmericanDream.It

hasbecomeastandardtextin

highschool

and

university

courses

on

Americanliterature

incountriesaroundtheworldandisrankedsecondinthe

ModernLibrary'slistsofthe

100BestNovelsofthe20thCentury.TomDaisyhusbandEx-loverGatsbycousinNickNeighbormistressMyrtleWifeWilsonCollegeclassmateRelationshipofMainCharactersAnalysisofGatsby

1、Daisy——淺薄和自私的Gatsby對于感情的忠貞vs他看待問題缺乏深度，缺乏應有的判斷力和洞察力，“沒有認識到上流社會極端卑劣、自私的本質(zhì)，”結(jié)果玩火自焚

她和蓋茨比也都是自私的，他們之間的“愛情”是一種相互利用的關系。

2、Tom——欲望和野心的Gatsby

擁有野心，想要霸占任何能夠勾起他欲望的東西，無論是在物質(zhì)層面還是在精神層面。

兩人命運不同的結(jié)局揭露了資本主義社會的“游戲規(guī)則”——明顯的階級對立，絕不允許有野心的下層社會的人加入到他們的“游戲”行列當中3、Myrtle——虛無和夢幻的Gatsby

她和蓋茨比一樣，擁有相同的出生背景，也是一個夢的追隨者。追求社會上層階級的身份。

不管怎么說，蓋茨比想要的也都不是黛西這個人，他想要追求的只是自己心目中的金色女郎，自己五年前的金色夢想。4、Wilson——浪漫和執(zhí)著的Gatsby

堅持崇尚名譽觀并真愛自己的妻子而走向了毀滅。在這道德的垃圾場上，他成為了浪漫和堅持理想的犧牲品”

這正說明了像蓋茨比和威爾遜這樣的人——那種有感情式理想的浪漫的人在現(xiàn)代美國這片垃圾場上只能是死路一條。5、Nick——理性和聰明的Gatsby

他既不是湯姆所代表的‘荒原時代’的精神世界的公民，也不是蓋茨比所代表的盲目崇拜黛西的脫離現(xiàn)實的夢幻時代的同路人，他代表著美國傳統(tǒng)道德規(guī)范。

追求舊愛的手段：第一點就是他必須要“顯富”。第二點是他善于利用尼克。Theanalysisofthechapter3A.Thesymbolizationofthecolorinchapter3

Ⅰ.yelloworangeandgolden1.(The6thlineofP219)Whilehisstationwagonscamperedlikeabriskyellowbugtomeetalltrains.2.(The11thlineofP219)EveryFridayfivecratesoforangeandlemonsarrivedfromafruiterer...3.(ThesecondparagraphofP220)andnowtheorchestraisplayingyellowcocktailmusic4.(The12thlineofP222)Sheheldmyhandimpersonally,asapromisethatshe’dtakecareofmeinaminute,andgaveeartotwogirlsintwinyellowdresses,whostoppedatthefootofthesteps.5.(ThelastbutsevenlineofP222)WithJordan’sslendergoldenarmrestinginmine,wedescendedthestepsandsaunteredaboutthegarden.

※Yellowisamajorsymboliccolorinthebook.※Italsoappearsthemosttimeasanimage.※Itrepresentsthewealthandluxury.ScottFitzgeraldsaid:”inJazzAge,moneyhasbecomethemeanstogetsuccess.”※Yellow,thecolorwhichstandsformoneyandblatancyperformthefateofthefeaturesoftheJazzAge.

1.(thelastbutonelineofP218)Inhisbluegardensmenandgirlscameandwentlikemothsamongthewhisperingsandthechampagneandthestars.2.(the6thlineofP221)Achauffeurinauniformofrobin’s-eggbluecrossedmylawnearlythatSaturdaymorningwithasurprisinglyformalnotefromhisemployer.※Bluestandsforcalmness,melancholy（憂郁)anddreams.※Fitzgeraldusebluetosymbolizedreamsandsecularfactorsinordertomakeacontrastwiththeyellowsymbolizingthestateofclamor.※Actuallytheholenovelisadream.IttellustheAmericandreaminJazzAge.Ⅱ.BlueHesmiledunderstandingly—muchmorethanunderstandingly.Itwasoneofthoseraresmileswithaqualityofeternalreassuranceinit,thatyoumaycomeacrossfourorfivetimesinlife.Itfaced—orseemedtoface—thewholeexternalworldforaninstant,andthenconcentratedonyouwithanirresistibleprejudiceinyourfavor.Itunderstoodyoujustsofarasyouwantedtobeunderstood,believedinyouasyouwouldliketobelieveinyourself,andassuredyouthatithadpreciselytheimpressionofyouthat,atyourbest,youhopedtoconvey.Preciselyatthatpointitvanished—andIwaslookingatanelegantyoungrough-neck,ayearortwooverthirty,whoseelaborateformalityofspeechjustmissedbeingabsurd.SometimebeforeheintroducedhimselfI’dgotastrongimpressionthathewaspickinghiswordswithcare.

他心神領會的一笑———還不止心領神會。這足極為罕見的笑容，其中寒有永久的善意的表情，這你一輩子也不過能遇見四二次。它面對——或者似乎面對——整個永恒的世界一剎那，然后就凝注在你身上，對你表現(xiàn)出不可抗拒的偏愛。他了解你恰恰到你本人希望被了解的程度，相信你如同你樂于相信你自己那樣，并且教你放心他對你的印象正是你最得意時希望給予別人的印象。恰好在這一刻他的笑容消失了——于是我看著的不過是一個風度翩翩的年輕漢子，三十一二歲年紀，說起話來文質(zhì)彬彬，幾乎有點可笑。在他作自我介紹之前不久，我有一個強烈的印象，覺得他說話字斟句酌。

B.ThewayofdescriptioninthenovelTheorderofdescription(thesecondparagraphonP224)差不多在蓋茨比先生說明自己身份的那一刻，一個男管家急急忙忙跑到他跟前報告他芝加哥有長途電話找他。他微微欠身道歉，把我們大家——包括在內(nèi)。

※ThisisthefirsttimewhenNickmeetGatsby.Theydon’thaveadeeptalkthistime,butinNick’sdescriptiontherearesomelyricalsentences,whichtheflavouroffeelingisextremelythickfromhissmiletopersonality.Itgivesadeepimpressiontothereader.

※ButhowcanNickknowsomanywhentheymeteachotheratthefirsttime?SothereaderwillnaturallymakepredictionsthatthesesentencesiswrittenwhenNickrecallsthethings.

※Thisnarrativeorderofinversionandinterlacingproducedsimilareffectwiththe"flashback”infilm.Thenovelisendowedwithstrongartisticappealbythiskindoforder.AlmostatthemomentwhenMr.Gatsbyidentifiedhimself,abutlerhurriedtowardhimwiththeinformationthatChicagowascallinghimonthewire.Heexcusedhimselfwithasmallbowthatincludedeachofusinturn.TheSimilaritiesofTheGreatGatsbyandTheStoryoftheStoneⅠ.Theme—thedisillusionofthedream.

InTheGreatGatsby,GatsbywaspursuinghisAmericanDream，inwhichtheremaybesweetlove，lotsofmoney，andahighposition.InTheStoryoftheStone,whichisalsotranslatedintoTheDreamoftheRedChamber,it’sdreamheremeanslove，happinessandprosperity.Bothofthethemesofthetwonovelsareaboutthedisillusion0fthedream．whichisjustthereflectionoflife．Ⅱ.Symbolism--TheSouloftheStoryInTheGreatGatsby,Fitzgeraldcleverlyusessymbolism.First,thereareseveralcolorsusedforsymbolisminthenovel.Second,theauthorusesymbolismtosome

images．Forexample，theimagegreenlampappearedthreetimesrespectivelyatthecrucialpointsofthedevelopment.Third,authoralsousessymbolisminchoosingthenameofthecharacters.E.g.Daisyisasmallwildflowerwithayellowcenterandwhitepetals．Wecanknowsheiscoldandruthless．InTheStoryoftheStone，symbolismisalsousedinit.First,isthecolorred.Theredhereinnovelsymbolizestheyouthandthebeauty．Fromthenovelwecanfindmanyexample，suchas“千紅一窟”，”怡紅公子”andsoon．Second,thesymbolismofthe

image.Forexample,jade(碧玉)isasymbolofbeingnobleandfortunateinChineseculture.Third,theauthoralsousessymbolisminnamingthecharacters.賈雨村（假語村言，假語存)，甄士隱（真事隱），元迎探惜（原應嘆息），卜士仁（不是人），秦可卿（情可輕，親），甄英蓮（真應憐），賈政、賈敬（假正經(jīng)）

Ⅲ．NarrativePointofView—theFirst—personNarrationInTheGreatGatsby，theauthoruseafirstperson“I”withthenameNick．InTheStoryoftheStone,theauthorusesafirstpersonnarration，andthenarratorhereisanomniscientnarrator--thestone．尤金，奧尼爾TheCopandTheAnthem(P40-58)ThecharacterSoapy,ishomeless,amemberofthesubstantialarmyofunderclassmenandwomenwhohadflockedtoNewYorkCityduringtheearliestyearsofthetwentiethcentury.Inanunstateddayinlatefall,Soapyfacestheurgentnecessityoffindingsomesortofshelterforthewinter.AswithmanyotherhomelesspeopleintheUnitedStates,Soapyispsychologicallyexperiencedinthinkingofthelocaljailasahomelessshelter.Hethereforedevelopsaseriesoftacticsintendedtoencouragethepolicetoclassifyhimasacriminalandarresthim.

Firstly,hetriedtogohavedinnerandnotpayandgetputinjailforthat.Theupper-classrestaurantlooksatSoapy‘sthreadbare（衣衫襤褸的）clothesandrefusestoservehim.Waiterthrewhimoutbecausehisclotheslookedlikeabum's.Thenhethrewabrickthroughawindow.Officerdidn'tbelievehediditbecausehehungaround.Thethirdtime,heatedinneratacheaprestaurant,andsaidthathecouldn'tpay.Thewaiterjusthadsomeguysthrowhimout.Hetriedtomolestawoman,butshedidn'tcallforthecopsbecauseshewasaprostitute.Thefifthtimeheacteddrunkbutthecopthoughthewasacollegestudentcelebratingawininafootballgame.Thenhetriedtostealanotherman'sumbrella.Butthevictimoftheumbrellatheftrelinquishestheitemwithoutastruggle.Becauseitisalsonothisumbrella.Hisattemptsfail,hepassedbyachurchandheardtheSabbath（安息日）anthem.Theinfluencesabouttheoldchurchwroughtasuddenandwonderfulchangeinhissoul.Heviewedwithswifthorrorthepitintowhichhehadtumbled,thedegradeddays,unworthydesires,deadhopes,wreckedfaculties,andbasemotivesthatmadeuphisexistence.Soapydecidesthatontheverynextdayhewillseekoutthispotentialmentorandapplyforemployment.AtthattimeSoapyfeltahandlaidonhisarm.Helookedquicklyroundintothebroadfaceofapoliceman.“Whatareyoudoingthere?”askedtheofficer.“Nothing’,”saidSoapy.“Thencomealong,”saidthepoliceman.“ThreemonthsontheIsland,”saidtheMagistrateinthePoliceCourtthenextmorning.TheBriefAnalysis

Conflictisthestrugglewhicheverystory,noveldevelopsaround.ItcontainsthattwotypesofconflictareExternalconflictandInternalconflict.Externalconflictmaytaketheformofabasicopposition,betweenmanandnature,betweenmanandsociety,betweenmanandman.Internalconflictincludebetweenmanandhimself.Thisshortstory’sconflictbelongstomanandsocietyofexternalconflict.

Characterisavitalandnecessaryelementofshortstory,withoutcharacter,therewouldbenoplotanhence,nostorywhenwespeakofcharacterinliteraryanalysis.Weareconcernedessentiallywiththreeseparate,butcloselyconnected,activities.Inthisshortstory,Soapyisprotagonist（主角）.Thecopandthewholesocietyisantagonist.Methodsofcharacterization（描述）includetwomethods,onemethodistelling,andtheothermethodistheindirectcharacterization.Directmethodsofrevealingcharacter-characterizationbytelling.1.characterizationthroughtheuseofnames.2.characterizationthroughappearance.3.Characterizationbytheauthor’scomment.Thereareessentiallytwomethodsofindirectcharacterizationbyshowing.1.characterizationthroughdialogue.2.Characterizationthroughaction.Settinginbroadestsense:encompasses（包含）boththephysicallocalethatframestheactionandthetimeofdayoryear,theclimaticconditionsandthehistoricalperiodduringwhichtheactiontakesplace.Thefunctionsofsetting:1.Settingasabackgroundforaction.2.Settingasantagonist.3.settingasmeansofcreatingappropriateatmosphere.4.Settingasameansofrevealingcharacter.5.settingasameansofreinforcingtheme.Forexample,Soapystoppedbeforeanoldchurch,throughonewindowasoftlightglowed,wherenodoubt,theorganistplayedaSundayanthem.FortherecametoSoapyearssweetmusicthatcaughtandheldhimattheironfence.Thisparagraphservesforillustratecharacter’sheart,andpurifySoapysoul.

Pointofviewisthemethodofnarrationthatdeterminestheposition,orangleofvision,fromwhichthestoryistold.Commonlyusedpointsofview:1.Omniscientpointofview全知敘事模式2.Limitedomniscientpointofview有限視角3.First-personpointofview第一人稱有限視角4.Dramaticpointofview.Thisshortstory’sthepointofviewisomniscientpointofview.Thegreatadvantageoftheomniscientpointofviewistheflexibilityitgivesits“all-knowing”narrator,whocandirectthereader’sattentionandcontrolthesourcesofinformation.TheThemeThethemeisthecentralideaorstatementaboutlifethatunifiesandcontrolsthetotalwork.Themeisnottheissue,orcommentorstatementtheauthormakesaboutthatissue,problem,orsubject.Thethemeofthisshortstoryispeoplearebornkindandequal.Butundertheevilcontrolfromthelocalgovernment,someofthepeoplebecomeevil.Thoughtheyarehopingtochangethemselves,theyarenotgivenanyopportunitiestodoso.《警察與贊美詩》評析《警察與贊美詩》是歐·亨利的代表作品之一。歐·亨利的作品曾被譽為“美國生活的幽默的百科全書”。幽默風趣、辛辣諷刺、構(gòu)思奇特情節(jié)曲折多變，是這篇小說的藝術特色。小說描寫一個窮因失業(yè)、無家可歸的流浪漢，為進監(jiān)獄得以安身而故意犯罪，幾次惹事生非都沒有達到目的，后來想改邪歸正，警察卻逮捕了他。歐·亨利的幽默舉世公認。在《警察和贊美詩》一文中，許多描寫都體現(xiàn)出了這一風格。但無論是在選詞造句、塑造人物性格或是情節(jié)構(gòu)思方面，他的幽默都緊緊抓住了托恢諧寄意這一要旨?？v觀全文．歐·亨利幽默的表現(xiàn)形式是多樣的。其中之一就是作者巧妙地運用了事物發(fā)展過程中的“不合理性”。蘇比曾幾次惹事生非，想進監(jiān)獄得以安身，可他總是“背運”。當蘇比受到贊美詩的感化，欲改邪歸正時，警察卻以“莫須有”的罪名將他投入了監(jiān)獄。主人公的反常心理，跌宕起伏的情節(jié)，出乎意料的結(jié)局，令人捧腹之余又辛酸不已，警察該抓他的時候不抓，不該抓的時候偏抓。這一系列與情理相悖的現(xiàn)象無不使人啞然失笑。事物發(fā)展過程中的“不合理性”常被人們巧妙地利用來表現(xiàn)幽默，而歐·亨利就很好地運用了這種方法，并借此深刻地反映社會現(xiàn)實。,這就是黑色幽默的效果?！昂谏哪笔敲绹敶膶W中的一股潮流。美國作家弗里德曼認為，“黑色幽默”是一種在思想感情上黑色的東西與幽默的東西的結(jié)合：它是幽默的，但包含著陰沉的東西；它是絕望的，但從中又會令人發(fā)笑。警察+贊美詩=人間地獄揭露資本主義社會善惡不分，是非顛倒的腐朽性，這種社會不僅給窮人帶來生活上的困苦和精神上的屈辱，而且也剝奪了他們做人的權利，對窮人來說只能是人間地獄indirectreflectthewholesociety’sdarknessandcrueltyASurveyofAmericanLiterature—EugeneO’NeillCommentonO’NeillO’NeillwasnodoubtthegreatestAmericandramatistofthefirsthalfofthe20thcenturyandatirelessexperimentalistindramaticart.O’Neillwasatirelessexperimentalistindramaticart.Hetookdramaawayfromtheoldtraditionsofthelastcenturyandrooteditdeeplyinlife.HesuccessfullyintroducedtheEuropeantheatricaltrendsofrealism,naturalism,andexpressionismtotheAmericanstageasdevicestoexpresshiscomprehensiveinterestinmodernlifeandhumanity.HeintroducedtherealisticoreventhenaturalisticaspectoflifeintotheAmericantheater.ASurveyofAmericanLiterature—EugeneO’NeillCommentonO’NeillHewasthefirstplaywrighttoexploreseriousthemesinthetheatreandtocarryouthiscontinual,vigorous,courageousexperimentswiththeatricalconventions.Hisplayshavebeentranslatedandstagedallovertheworld.HewonPulitzerPrizefourtimes(1920,1922,1928,1956)andtheNobelPrizein1936forhisachievementsinplays.Asthenation’sfirstplaywrightwith47publishedplays,hedidagreatdealtoestablishthemodesofthemoderntheatreinthecountry.O’Neill’sceaselessexperimentationenrichedAmericandramaandinfluencedlaterplaywrightsasTennesseeWilliamsandEdwardAlbee.愛默生RalphWaldoEmersonNature

(1803-1882)

P59-74Americanphilosophy,poet,essayist,anoutstandingrepresentativeofNewEnglandTranscendentalism.Hislife

Emerson

wasborninMassachusetts,Boston.HewasgraduatedfromHarvardDivinitySchool(哈佛神學院）andbeganpreachingChristianityin1829.

Threeyearslater,heresignedhispostaspreacherbecausehewasdoubtableabouttraditionalreligions.In1836,hefirstpublished“Nature”andelaboratedhisthesis.ThisbookinauguratedNewEnglandTranscendentalism.Soonhebecamealeaderofthismovement.HemadetheacquaintancewithHenryDavidThoreau(梭羅)whowasalsoanactiveTranscendentalist.ThoreauhelpedEmersontoedittheTranscendentalistjournal,theDialandwassusceptibletoOrientalinfluencessuchasHinduismandConfucianism.梭羅Transcendentalism（超驗主義）

Transcendentalism—itisaphilosophicandliterarymovementthatflourishinNewEngland,asareactionagainstrationalismandCalvinism（加爾文主義）

.Itstressedintuitiveunderstandingofgodwithoutthehelpofthechurch,andadvocatedindependenceofthemind.Calvinism

=salvationpredestination救贖預定論

=fatalism宿命論

超驗主義一詞“transcendentalism”來源于拉丁動詞“transcendere”意為超越極限。超驗主義被定義為人通過知覺獲取知識的能力。強調(diào)知覺的力量，相信人們可以通過感官認知外部世界。認為自然界中的一切事物都是精神的象征。精神高于物質(zhì)，且無處不在（Spiritispresenteverywhere）Emerson’stranscendentalism:

Theover-soul（超靈）—itisanall-pervadingpowergoodness,fromwhichallthingscomeandofwhichallareapart.Itisasupremerealityofmind,aspiritualunityofallbeingsandareligion.Itisacommunicationbetweenanindividualsoulandtheuniversalover-soul.Andhestronglybelieveinthedivinity（神學）andinfinityofmanasanindividual,somancantotallyrelyonhimself.

MainfeaturesItplacedemphasisonspirit,ortheover-soul.Itstressedtheimportanceoftheindividual.Itofferedafreshperceptionofnatureasasymbolicofthespiritofoverwhelmingpresence.Representativeworks《自然》(Nature,1836)《美國學者》(TheAmericanScholar,1837)《知識的自然歷史》(NaturalHistoryofIntellect,1893)《瓦爾登湖》(Waldon,orLifeintheWoods,1854)IntermsofAmericanliterature,Emerson’stranscendentalismnotonlyenrichedthecontentandthemeinAmericanwritingbutalsomadeabreakthroughinexpressionforms.InfluenceButbecauseofhisidealism（唯心主義）andover-stressonindividualism,histranscendentalismstillhasitslimitsanddemerits.Hisattitudetowardsnature:

Emersonlovesnature.Hisnatureisthegarmentoftheover-soul,symbolicandmoralbound.Natureisnotsomethingpurelyofthematter,butalivewithGod’spresence.Itexercisesahealthyandrestorativeinfluenceonhumanbeings.Childrencanseenaturebetterthanadult.Togointosolitude,amanneedstoretireasmuchfromhischamberasfromsociety.(para1)為了尋得孤身獨處，人有必要走出臥房，退出社會，回歸自然。Natureistheembodimentofhuman’smind.Joyfulnaturerepresentshappiness,whilesadnatureshowssorrow.(愛默生眼中的自然是人的精神化身，歡樂的自然呈現(xiàn)著歡樂，哀愁的自然則又顯得哀愁)theintegrityofimpressionmadebymanifoldnaturalobjects.(para2line10)大千世界中多種事物給予的完整的印象ItshowsEmerson’sromanticopinionofnature,heregardsthevariousthingsintheworldasaorganicwhole.(表明愛默生視大千世界為一個有機整體的浪漫主義自然觀)Standingonthebareground,myheadbathedbytheblitheairandupliftedintoinfinitespace,allmeanegotismvanishes.Ibecomeatransparenteyeball;Iamnothing;Iseeall;thecurrentsoftheUniversalBingcirculatethroughme;IampartofGod.(para2line45)當我佇足曠野，頭腦陶醉在宜人的空氣中，身體只覺得飄飄然騰空而起，所有卑微的私心雜念都蕩然無存了。我變成了一顆透明的眼球。我渺小至極，卻洞悉一切。世間生靈匯成一股洪流，在我周身循環(huán)，我成了上帝或大或小的一個部分。Emersonstressesthatmenareinharmonywiththenature.(愛默生強調(diào)人與自然界的和諧一致)Naturealwayswearsthecolorsofthespirit.(para4line6)大自然總是披著情感的外衣。InEmerson’sopinion,spiritinvolvesman’smindandthenature,materialisthesymbolofspirit.So,heholdstheviewthatman’stranscendenteffectshouldbeunleashed.(在他看來，精神滲透人的心靈和自然界，物質(zhì)為精神之象征。他主張發(fā)揮人的超驗作用)Moby-Dick白鯨HermanMelville:麥倫威爾LifeandWork

(P75-82)BorninNewYorkCityin1819.Fatherwentbankruptwhenhewas9.Fatherbecamecrazyanddiedwhenhewas11.Droppedoutofschoolandstartedtosupporthimself.At18shippedouttosea,onashortcargotrip.At21,3-yearSouthSeawhalingventure.Cannibals,personaladventures,exoticcustoms…(Thisexperiencecontributestohislife,hiswork,andworldliterature)Earlyworks:Typee(1846),Omoo(1847).Moby-DickorTheWhaleHawthorneandthisbook(dark,complex)“Intokenofmyadmirationforhisgenius,thisbookisinscribedtoNathanielHawthorne.”

TheReceptionofhisWorksold50copiesathistime.“Itisoneofthestrangestandmostwonderfulbooksintheworld.”---D.H.LawrenceMelville’spessimisticviews…PlotandmaincharactersRevengestory:acaptainhaslosthisrightlegtoawhaleandhewantstorevenge.Thecaptain:AhabThewhale:Moby-DickTheship:PequodNarrator:IshmaelOthercharactersQueequegStarbuck,Stubb,andFlask.FedallahPipSymbolisminthisstory

Theshiptheworld,America,humanlifeThewhalenature,God,man.Thewhitenessofthewhalemystery,perfection,evil,nothingness……Formandstructure:135chaptersChapter1–22:IshmaelandQueequeg;introductiontothemessuchaswhaling,brotherhood,andman'srelationshipwithGod(exploredingreaterdetailatsea).Chapter23–46:ThePequodsails.Ahabandthewhaleappear.Chapter47–105:whalesarehuntedandkilled;otherwhalingshipsmet.Ishmaelpondersthemeaningoftheseactivities.Chapter106–135:GettingclosertoMoby-Dickandthefinaldisaster.Eachchapterhasatitle!Toolooselyconnected!Styles:novel,encyclopedia,essay,drama,poetry,journal,diary,musicsymphony,oceanitself!Themes:thefateofaparticularperson,whaling,humanlife,Americansociety,thenature,theuniverse……StylesandThemes:themostambitiousworkHenryJames（1843-1916）P82-107AnAmericannovelistand

literarycriticTotaldepravity(originalsin)Unconditionalelection(God’selection)Limitedatonement(Particularredemption)Irresistiblegrace(effectualcalling)PerseveranceofthesaintsCalvinismTheInternationalTheme“Theinternationaltheme”referstothemoralandpsychologicalcomplicationswhentheAmericaninnocenceencounteredtheEuropeansophisticationThetypicalAmericansinJames:fresh,enthusiastic,eagertolearn,andbasically“good”,disregardoftheconventions,standformoralityTheEuropeansinJames:highlycultivated,elegantinmanners,butsophisticated.standformannersJames’spsychologicalnovelJameschangedthemethodofpresentationinanovel,shiftingthecentreofgravityfromactiontoitsintellectualandfantasticaspects:externalcircumstanceslosesignificancebeforetheinwardeventsthattakeplaceinasoul.Literarycareer:threestages

a.1865~1882:internationalthemeTheAmerican《美國人》DaisyMiller《黛西米勒》ThePortraitofaLady《貴婦畫像》b.1882~1895:inter-personal

relationshipsandsomeplaysThenovelsandplayswerepoorlyreceivedbuthegotabetterknowledgeofliterarytechniques.c.1895~1900:novelsandtalesdealingwithchildhoodandadolescence,thenbacktointernationalthemeTheTurnoftheScrew《螺絲在擰緊》WhatMaisieKnew《梅西所知道的》TheAmbassadors《奉使記》TheWingsoftheDove《鴿翼》TheGoldenBowl《金碗》Psychologicalnovel

Jameschangedthemethodofpresentationinanovel,shiftingthecentreofgravityfromactiontoitsintellectualandfantasticaspects:externalcircumstanceslosesignificancebeforetheinwardeventsthattakeplaceinasoul.Anewconceptoftheauthor

Jameseliminatestheauthorandgivesthereadertheillusionofbeingpresentatthesceneofaction.Hepresentseventsandthemindsofthecharactersdirectly,withoutcommentsorexplanations:Dramatize,onlydramatize,ishislesson.James’sinternationalthemearesetagainstalargeinternationalbackground,usuallybetweenEuropeandAmerica

focusontheconfrontationofthetwodifferentcultureswithtwodifferentgroupsofpeoplerepresentingtwodifferentvaluesystemshis

famerestsuponhisnovelswithnovelsAmericanpersonalitiesofEuropeanpersonalitiesofinnocence,enthusiasm,vulgarity,ignorance,unsophistication,freshness,freedom,individualityAmericanheroesandheroines,whoconfrontedEuropeansophistication,eithertriumphedoveritorwereoverwhelmed.over-refinement,degeneration,complexity,highcultivation,contrastwithJames’sliterarycriticis