英美文學(xué)簡(jiǎn)史及名篇選讀 英國(guó)文學(xué)課件 07 Lecture on English Literature、08 Lecture on English Literature since 1945

英國(guó)文學(xué)EnglishLiterature(intheearly20thCentury)ChapterVIII.TheRiseofModernism1.NewTheories1)ThetheoryofevolutionbyDarwinrevealsthathumanshadananimal,ratherthandivineorrational,nature2)ThetheoryofsocialismbyMarxshowsthathistorywasbasedonclassconflictandthatthevastmajorityofworkerswerecontrolledbyasmallgroupofpeoplewhoownedthemeansofproductionanddistribution3)TheoryofrelativitybyEinsteinprovidesnewideastoconceptsoftimeandspace4)Thetheoryofpsycho-analysisbyFreud(1)Levelsofmentallife(a)Conscious Speechlevel Pre-speechlevel(b)UnconsciousIndividualunconsciousCollectiveunconscious(2)StructuresofthemindEgoIdSuperegoII.GeneralViewofEnglishLiterature1.HistoryBackgroundForBritain,the20thcenturyhasbeengenerallyatimeofdecliningnationalfortuneandpower.Thecenturyhashadtofacetwowarsthathavecostmanylivesandthedestructionofmuchproperty.TheFirstWorldWartremendouslyweakenedtheBritishEmpire.TheSecondWorldWarmarkedthelaststageofthedisintegrationoftheBritishempire.Theoncesun-never-setEmpirefinallycollapsed.AllthesegaverisetoallkindsofphilosophicalideasinWesternEurope,suchasKarlMarxandEngels'theoryofscientificsocialism,Darwin'stheoryofevolution,Einstein'stheoryofrelativity,andFreud'sanalyticalpsychology.2.LiterarycharacteristicsTheEnglishnovelsofthe19thcenturywerewrittenatatimeofgreatconfidenceinBritishsociety,cultureandpoliticalorganization.Thewritersofthetwentiethcentury,however,couldnotsharethisconfidence.ThechangesinbeliefsandpoliticalideaswereinfluencedstronglybytheeventsoftheFirstWorldWarandbytheeventsacrosstheworldthatledtothedisappearanceoftheBritishEmpire.TheFrenchsymbolism,appearinginthelate19thcentury,proclaimedmodernism.AftertheFirstWorldWar,allkindsofliterarytrendsofmodernismappeared:DifferentschoolsofModernism(Therearedifferentopinions)-SymbolismExpressionismSurrealismFuturismDadaismImagismStreamsofConsciousnessTowards1920s,thesetrendsconvergedintoamightytorrentofmodernistmovement.ThemajorfiguresthatwereassociatedwiththismovementwereKafka,Pound,Eliot,JoyceandVirginiaWoolf.AftertheSecondWorldWar,avarietyofmodernism,orpost-modernism,likeexistentialistliteraturetheatreoftheabsurdnewnovelsandblackhumourrosewiththespuroftheexistentialistideathat"theworldwasabsurd,andthehumanlifewasanagony."Inpoetry,theshortlyricbecamepopular.ItflourishedinthepoetryofA.E.Housman,ThomasHardy,andYeats.Undertheinfluenceofimpressionism,writersdidnotseektointerpretlife,butfocusedonindividualmomentsofexperience.Thelanguagethattheyusediscommonspeech.LiterarysymbolismalsofounditsexpressioninEnglishpoetry.ModernismModernismisaculturalmovementwhichrebelledagainstthe19thcenturyideas.AlsotheprinciplesofaliteraryschoollastedfromroughlythebeginningofthetwentiethcenturyuntiltheendofWorldWarII.Modernismisdefinedbyitsrejectionoftheliteraryconventionsofthenineteenthcenturyandbyitsoppositiontoconventionalmorality,taste,traditions,andeconomicvalues.

Modernistliteratureischaracterizedchieflybyarejectionof19th-centurytraditionsandoftheirconsensusbetweenauthorandreader:conventionsofrealism...ortraditionalmeter.Modernistwriterstendedtoseethemselvesasanavant-gardedisengagedfrombourgeoisvalues,anddisturbedtheirreadersbyadoptingcomplexanddifficultnewformsandstyles.(M.H.Abrams)3)CharacteristicsofModernism(a)Theoreticalbase:Irrationalphilosophyandthetheoryofpsycho-analysis(b)Commonthemes:thedistorted,alienatedandillrelationshipsbetweenmanandnature,manandsociety,manandman,andmanandhimself(c)Astrongandconsciousbreakwiththepast,byrejectingthemoral,religiousandculturalvaluesofthepast.(d)Moveawayfromthepublictotheprivate,fromtheobjectivetothesubjective.(e)Emphasizethepsychictimeoverthechronologicalone,maintainingthatthepast,thepresentandthefutureareoneandexistatthesametimeintheconsciousnessofindividualasacontinuousflowratherthanaseriesofseparatemoments.(f)Apartialreactionagainstrealism.Majorworksofmodernistfictionsubvertthebasicconventionsofearlierprosefictionbybreakingupthenarrativecontinuity,departingfromthestandardwaysofrepresentingcharacters,andviolatingthetraditionalsyntaxandcoherenceofnarrativelanguagebytheuseofstreamofconsciousnessandotherinnovativemodesofnarration.TheyexperimentedwithautomaticwritingandothermodesthatachievedtheireffectsbyviolatingthenormsofstandardEnglishsyntaxandsentencestructure.2)MajormodernistBritishwritersD.H.LawrenceJamesJoyceVirginiaWoolfDramaoftheTwentiethCentury

1)Early20th-centurydramatistsGeorgeBernardShawJohnGalsworthyW.B.Yeats2)Mid-20thcenturydramatistsT.S.EliotChristopherFrySamuelBeckettJohnOsborneHaroldPinterGeorgeBernardShaw(1856-1950)

喬治·肖伯納2.GeorgeBernardShaw

(1856-1950)

喬治·肖伯納A.Hislife(seetextbook)B.HisworksHisfirstplayisWidowers'Houses.ThenhisfirstcycleofShaw'splays,"PlaysUnpleasant"madetheirappearance.Itcontains:

Widowers'Houses1892《鰥夫的房產(chǎn)》

Mrs.Warren'sProfession

1894《華倫夫人的職業(yè)》

ThePhilander1893《慈善家》G.B.Shaw--"PlaysPleasant"1894-1897,including:ArmsandMan,1894《武器與人》"ThreePlaysforPuritans"including：TheDevil'sDisciple，1897《魔鬼的門(mén)徒》During20thcentury:

ManandSuperman,1903《人與超人》

MajorBarbara,1905《巴巴拉上校》

Pygmalion,1912《皮克梅里恩》或譯《賣(mài)花女》

HeartbreakHouse，1919《傷心之家》TheAppleCart,1929《蘋(píng)果車(chē)》G.B.ShawHewrote51playsinall.SomeoftheLastplays:During1930s,hewrote10plays,and4playsin1940s.--IsGoodKingCharles’sGoldenDays?(1939)--FarfetchedFables(1948-1950)--WhySheWouldNot(1950)--unfinishedG.B.Shaw(1856-1950)--Animportantaimofhismanyplayswastofacehisaudiencewithcompletelynewpointsofviewandwaysoflookingatthemselvesandthesocietytheylivedin.--In1925,hereceivedtheNobelPrizeforliterature.--HevisitedChinain1932andwaswarmlyreceivedbytherevolutionarywritersrepresentedbyLuXun.In1950hediedattheageof95.G.B.ShawHisViewpoints

Shawcriticizesrelentlesslytheevilsofthebourgeoissociety,andtearstopiecesthemasksofgentlemenandladies.Withhisplaystheauthorexposesthehypocrisyanddegenerationinthecapitalistsociety.

Shawisthegreatestrealisticplaywrightinthe20th-centuryEngland.Hisradicalpoliticalattitudeplayedanimportantroleinforminghisartisticpointofview.G.B.Shaw--Shawwasstronglyagainst“artforart’ssake”anddeclared:“Iamnotanadherenttoartforart’ssake.Iwillnotevenliftafingertowriteartisticworksinwhichthereisnothingbutartisticquality.”Inhisopinion,theatreshouldtakeitselfseriously“asafactoryofthought,aprompterofconscience….”G.B.ShawShawontheEnglishlanguage--ShawmentionsthatspellingofEnglishlanguagedoesnothavemuchreasonablerelationshiptoitspronunciation.ThismakesEnglishpronunciationverydifficulttolearn.Thisdifficultyinturnhelpstoperpetuatethelowdialectswhichimmediatelyidentifythespeakersashumbleonesofpooreducation.Suchdialectsareanimportantfactorinthedivisionofpeopleintosocialclasses.G.B.ShawD.Characteristicsofhisplays

1)Problemsplays

Asarealisticdramatist,Shaw’sartisticpowerliesinhissearchfortruthinartandhismirrorofreality,byrevealingallsortsofconflictsinthecapitalistcountries.HestartedwritingplaysundertheinfluenceofIbsenandSamuelButler.Likethem,hetookthemodernsocialissuesashissubjectswiththeaimofdirectingsocialreforms.Mostofhisplaysareconcernedwithpolitical,economic,moral,orreligiousproblems,and,thus,canbetermedasproblemplays.

G.B.Shaw:problemsplaysAndhisplayshaveonlyonepassionagainstoppressionandexploitation,againsthypocrisyandlying,againstprostitutionandslavery,againstpoverty,dirtanddisorder.G.B.ShawShawattacksthewholecapitalistsystem—thesocialrootsofallevils,byexposingthecapitalists’ruthlesseconomicexploitationoftheworkingpeople,thegrosshypocrisyoftheexploitersandtheirshamelessactionstomakemoneyandgainpower.Pygmalion

《皮克梅里恩》/programs/view/Dqn9GG1qTJk//movie/642.htmlJohnGalsworthy(1867-1933)JohnGalsworthy

(1867-1933)

約翰·高爾斯華綏

1)

Hislifeandliteraryposition--JohnGalsworthywasoneofthemostprominentnovelistsandplaywrightsintheearly20thcenturyHestudiedlawatOxfordUniversity,butaftergraduationhebegantodevotehimselftoliterarywork.HisfirstfamousnovelisTheManofProperty.--HisnotableworksincludeTheForsyteSaga(1906–1921)anditssequels,AModernComedyandEndoftheChapter.HewontheNobelPrizeinLiteraturein1932.

HisWorksHisthreetrilogies

1)TheForsyteSaga

(1906-22)《福賽特世家》TheManofProperty（1906）《有產(chǎn)業(yè)的人》

InChancery（1920）《騎虎》

Tolet（1921）《出租》2)

AModernComedy

(1929)《現(xiàn)代喜劇》

TheWhiteMonkey

（1924）《白猿》

TheSilverSpoon（1926）《銀匙》

SwanSong（1928）《天鵝曲》

3)EndoftheChapter

(1934)《一章的結(jié)束》

MaidinWaiting

(1931)《姑娘在等待》

TheFloweringWilderness

(1932)《開(kāi)花的荒野》

OvertheRiver

(1933)《最后一條河》

JamesJoyce

(1882-1941)詹姆斯·喬伊斯JamesJoyce:LifeandPosition--JamesJoycewasbornandeducatedinIrelandandspentmostofhisadultlifeinEurope,mainlyinFrance,ItalyandSwitzerland.--FromeleventosixteenatBelvedereCollege,Dublin.--HethenstudiedmodernlanguagesatUniversityCollege,Dublin.--JamesJoycewasanIrishnovelistandpoet,consideredtobeoneofthemostinfluentialwritersinthemodernismoftheearly20thcentury.JamesJoyce:LifeandPosition--JoycewenttothecontinentalEuropeaftergraduationtoteachEnglish,livinginTrieste(cityinItaly),ParisandZurich.--Proud,obstinate,absolutelyconvincedofhisgenius,Joycewasnotalwaysaneasypersontogetalongwith,yetheneverlackedfriends.--OntheContinenthewasalwaysthecentreofaliterarycircle.JamesJoyce:LifeandPosition--JoyceisbestknownforUlysses(1922),alandmarkworkinwhichtheepisodesofHomer'sOdysseyareparalleled,perhapsmostprominentamongthesethestreamofcounsciousnesstechniqueheperfected.JamesJoyce:MainWorksHisNovelsTheHolyOffice(1905)

ChamberMusic(1907)

GasfromaBurner(1912)APortraitoftheArtistasaYoungMan(1916)

Exiles(1918)Ulysses(1922)FinnegansWake(1939)

StephenHero(1944),posthumouslypublishedJamesJoyce:MainWorksDubliners(1914)《都柏林人》--acollectionof15shortstoriesAPortraitoftheArtistasaYoungMan.(1916)《青年藝術(shù)家的肖像》--Hisfirstnovel,largelyautobiographical.FinnegansWake(1939)《為芬尼根守靈》

Itishislastnovel,evenmoredifficulttocomprehend.StreamofConsciousnessStreamofConsciousnessisaliterarystylethatisusedtorepresentacharacter’sfeelingsandthoughtsinlongcontinuouspiecesoftextthathavelittleobviousorganizationorstructure.Itwasfirstusedin1922bytheIrishnovelistJamesJoyce.JamesJoyce,VirginiaWoolf,andFaulknerarethreeofthemostdistinguishedexponentsofthestream-of-consciousness.StreamofConsciousnessStreamofconsciousnessisanarrativedevicethatattemptstogivethewrittenequivalentofthecharacter'sthoughtprocesses,eitherinalooseinteriormonologue,orinconnectiontohisorheractions.Stream-of-consciousnesswritingisusuallyregardedasaspecialformofinteriormonologueandischaracterizedbyassociativeleapsinthoughtandlackofsomeorallpunctuation.Thespeaker'sthoughtprocessesaremoreoftendepictedasoverheardinthemindoraddressedtooneself.(Wiki)StreamofConsciousness--Itisanarrativetechniquethatpresentsthoughtsasiftheywerecomingdirectlyfromacharacter’smind.Lackingchronologicalorder,theeventsinastreamofconsciousnessnarrativearepresentedfromthecharacter’spointofview,mixedwiththecharacter’songoingfeelingsandmemories.DevelopedbywriterssuchasJamesJoyce,VirginiaWoolf,streamofconsciousnesswritingisusedtorevealacharacter’scomplexpsychologyandtopresentitinrealisticdetail.

JamesJoyce:Ulysses

Ulysses

(1922)

《尤利西斯》--Itwaspublishedin1922.Thenoveltellsofwanderingsand“adventures”ofLeopoldBloom,amodernUlysses,duringthe24hoursofasingleday,July16,1904.--Threecharacters:LeopoldBloom,anordinaryJewishbusinessmaninDublin,hiswifeMolly,aconcertsinger,andStephenDedalusawriterlikeJoyce.JamesJoyce:Ulysses(1)Akidneyoozedbloodgoutsonthewillow-patterneddish:thelast.(2)Hestoodbythenext-doorgirlatthecounter.(3)Wouldshebuyittoo,callingtheitemsfromaslipinherhand.(4)Chapped:washingsoda.(5)AndapoundandahalfofDenny’ssausages.(6)Hiseyesrestedonhervigorouships.(7)Woodshisnameis.(8)Wonderwhathedoes.(9)Wifeisoldish.(10)NewBlood.(11)Nofollowersallowed.JamesJoyce:Ulysses（1）柳條盤(pán)內(nèi)血淋淋的腰子：

這該是最后一個(gè)了。（2）主人公挨著柜臺(tái)前的鄰居姑娘。（3）她正在念手中購(gòu)物單上的采購(gòu)項(xiàng)目，她也會(huì)買(mǎi)腰子嗎?（4）有些毛糙，肥皂。（5）還要一磅半的丹里斯香腸。（6）主人公的眼睛盯著姑娘豐滿(mǎn)的臀部。（7）名字叫WOODS。（8）想想他會(huì)干的事。（9）老婆已歲數(shù)不小。（10）又是一個(gè)血淋淋的腰子。（11）不讓別人追她。JamesJoyce:Ulysses(1)Akidneyoozedbloodgoutsonthewillow-patterneddish(observation):thelast(inneractivity).(2)Hestoodbythenextdoorgirlatthecounter(author’sobjectivedescription).(3)Wouldshebuyittoo(inneractivity),callingtheitemsfromaslipinherhand(observation).(4)Chapped(observation):washingsoda(inneractivity).(5)AndapoundandahalfofDenny’ssausages(observation).(6)Hiseyesrestedonhervigorouships(description).(7)Woodshisnameis(inneractivity).(8)Wonderwhathedoes(inneractivity,referringtoowningthegirl).(9)Wifeisoldish(inneractivity,soherbosswilllookforlover).(10)NewBlood(observation).(11)Nofollowersallowed(inneractivity:Thebosswillnotallowanybodytowoo(court)her).VirginiaWoolf

(1882-1941)VirginiaWoolf1882–1941.StampofRomania,2007

VirginiaWoolf

(1882-1941)

弗吉尼婭·伍爾芙---femalenovelist

HerLifeandLiteraryPosition-VirginiaWoolfwasborninLondon.-Shegrewupasamemberofalargeandtalentedfamily.-Afterherfather'sdeathin1904shesettledwithhersisterandtwobrothersinBloomsbury.-Theyentertainedtheirliteraryandartisticfriendsateveninggatherings,notablyonsexualtopics.-Virginiawasherselfbisexual.VirginiaWoolf:HerLife-ThenovelMrs.Dallowaymadeherreputationasanimportantpsychologicalwriter.-ShedrownedherselfinMarch1941,resultingfromherdreadofWorldWarIIandherfearthatshewasabouttolosehermindandbecomeaburdenonherhusband.（Woolf‘smentalillness）VirginiaWoolf:HerLiteraryPosition-VirginiaWoolfisoneoftheforemostmodernistsandoneofthegreatinnovativenovelistsofthetwentiethcentury.

-Sheattackedandrebelledagainstthetraditionalmethodofrealism.Shetriedherbesttoreducetheelementofplotinthenovel,toadoptthestream-of-consciousnessandtoexploreproblemsofhumanpersonalityandpersonalrelationships.

-Fromafeministstand,sheconstantlywrotearticleswhichappealedforwomen'srightsandshowedherconcernforthepositionofwomen,particularlycareerwomen,inEnglishsociety.

VirginiaWoolf:MainWorks

A.NovelsMrs.Dalloway(1925)《達(dá)洛威夫人》TotheLighthouse(1927)《到燈塔去》Orlando(1928)《奧蘭多》TheWaves(1931)《海浪》--Herclimaxofexperimentsinnovelform.

Jacob’sRoom(1922)

BetweentheActs(1941)《幕與幕之間》VirginiaWoolf:MainWorksB.Essays

ARoomofOne'sOwn

(1929)《自己的房間》--withitsfamousdictum,"Awomanmusthavemoneyandaroomofherownifsheistowritefiction.“

C.Shortstories

TheMarkontheWall《墻上的斑點(diǎn)》1921TheBloomsburyGroupTheBloomsburyGroupwasaninfluentialgroupofassociatedEnglishwriters,intellectuals,philosophersandartists,thebestknownmembersofwhichincludedVirginiaWoolf,JohnMaynardKeynes,E.M.ForsterandLyttonStrachey.Thisloosecollectiveoffriendsandrelativeslived,workedorstudiedtogethernearBloomsbury,London,duringthefirsthalfofthe20thcentury.Theirworksandoutlookdeeplyinfluencedliterature,aesthetics,criticism,andeconomicsaswellasmodernattitudestowardsfeminism,pacifism,andsexuality.VirginiaWoolfVirginiaWoolfinDreadnoughtHoax,thebeardedfigureonthefarleft

TheBloomsburyGroupDavidHerbertLawrence

(1885-1930)D.H.LawrenceHisLifeandLiteraryPosition--bornintheMidlandminingvillageofEst-wood,Nottinghamshire

--In1906heenteredNottinghamUniversityCollegetostudytherequiredcoursesforateacher'scertificate.--D.H.LawrenceisoneofthegreatestEnglishnovelistsofthe20thcentury.--HewasalsoanEnglishpoet,playwright,essayist,literarycriticandpainter.

D.H.Lawrence:HisMainWorksTheWhitePeacock(1911)

《白孔雀》

SonsandLovers(1913)《兒子與情人》

Rainbow(1915)《虹》WomeninLove(1920)《戀愛(ài)中的女人》LadyChatterley'sLover(1928)《查特萊夫人的情人》--Lawrencewasacontroversialfigurebecauseofhisfranktreatmentofsexandhisoutspokeninsistenceuponaneedforareadjustmentintherelationshipbetweenthesexes.D.H.Lawrence:HisMainWorksTheWhitePeacock(1911)

---firstfamousnovelSonsandLovers(1913)--Hismostpopularnovel.Itisanautobiographicalnovelaboutamother'sstultifyingandpossessiveloveforhersons.Rainbow(1915)--hisbestprobablynovel.Ittellsaboutthreegenerationsoffarmers,theirmarriagesandtherelationshipsbetweenthevariouspeopleofdifferentages.D.H.Lawrence:HisMainWorksWomeninLove(1920)Itisabouttwocouples,throughwhoselivesLawrencetriestoexplaintheproperbasisformarriage.Thewomenaresisters,themenareconnectedbyclosefriendship--tryingtounderstandthetruemeaningofloveandtoworktowardsarealclosenessofsouls.LadyChatterley'sLover(1928)--hismostcontroversialnovelwhichwasfirstpublishedintheUnitedStatesin1928.ItisaboutanEnglishnoblewoman'sloveaffairwithaservant.ThebookwasbannedfromEnglandandAmericauntil1960.ThefullunexpurgatededitionwaspublishedbyPenguinBooksinBritainin1960.

D.H.

LawrenceSonsandLovers--autobiographicalbook--ThethemeofSonsandLoversisusuallysaidtoconcerntheeffectofmother-loveuponthedevelopmentofson.--Modernistfictionputemphasisonthedescriptionofthecharacters’psychologicalactivities,andsohassometimesbeencalledmodernpsychologicalfiction.Lawrenceiswell-knownforhisnovelswrittenundertheinfluenceofFreud’stheoryofpsychologicalanalysis.D.H.

LawrenceLawrencewasrecognizedasaprominentnovelistonlyafterhepublishedhisthirdnovel,SonsandLovers.However,TheRainbowandWomeninLovearegenerallyregardedashismasterpieces.D.H.Lawrence:HisContributions1)Lawrencewasoneofthefirstnoveliststointroducethemesofpsychologyintohisworks.2)HewasthefirstpersontorevolutionizethemodernEnglishattitudetowardsex.3)Hedrewtheattentiontothepersonalrelationships.WilliamButlerYeats

(1865-1939)威廉·巴特勒·葉芝

W.B.Yeats

(1865-1939)--WilliamButlerYeatswasborninDublin.--YeatswaseducatedinDublinandLondon.--In1923hegotNobelPrizeforLiterature.--YeatsisgenerallyconsideredoneofthefewwriterswhocompletedtheirgreatestworksafterbeingawardedtheNobelPrize;suchworksinclude

TheTower(1928)andTheWindingStairandOtherPoems(1929).--YeatswasanIrishandBritishpoet,oneoftheforemostfiguresof20thcenturyliterature.

W.B.Yeats:MajorWorks1)PoemsResponsibilities

(1914)

《責(zé)任》TheTower

(1928)《塔》TheWinding

Stair

(1933)《盤(pán)旋的樓梯》

AVision(1925)

《視角》2)Plays:TheLandofHeart'sDesire(1904)《理想的國(guó)土》TheHourGlass

(1901)《時(shí)漏》WhenYouAreOld/v_show/id_XOTUxMDMzMTY=.html--WhenYouAreOldwaswrittenbyW.B.YeatsMaudGonne,ayoungladyheloved.MaudGonne(1866–1953)wasanEnglish-born

Irish

revolutionary,feminist

andactress,bestrememberedforherrelationshipwithpoet

WilliamButlerYeats.WhenYouAreOldIn1891,hevisitedGonneinIrelandandproposedmarriage,butsherejectedhim.HelaterproposedtoGonnethreemoretimes:in1899,1900and1901.Sherefusedeachproposal,WhenYouAreOld當(dāng)你年老時(shí)

(傅浩譯)當(dāng)你年老，鬢斑，睡意昏沉，在爐旁打盹時(shí)，取下這本書(shū)，慢慢誦讀，夢(mèng)憶從前你雙眸神色柔和，眼波中倒影深深；多少人愛(ài)你風(fēng)韻嫵媚的時(shí)光，愛(ài)你的美麗出自假意或真情，但唯有一人愛(ài)你靈魂的至誠(chéng)，愛(ài)你漸衰的臉上愁苦的風(fēng)霜；彎下身子，在熾紅的壁爐邊，憂(yōu)傷地低訴，愛(ài)神如何逃走，在頭頂上的群山巔漫步閑游，把他的面孔隱沒(méi)在繁星中間。WhenYouAreOld

當(dāng)你老了(袁可嘉譯)

當(dāng)你老了，頭白了，睡意昏沉，爐火旁打盹，請(qǐng)取下這部詩(shī)歌，慢慢讀，回想你過(guò)去眼神的柔和，回想它們昔日濃重的陰影；多少人愛(ài)你青春歡暢的時(shí)辰，愛(ài)慕你的美麗，假意或真心，只有一個(gè)人愛(ài)你那朝圣者的靈魂，愛(ài)你衰老了的臉上痛苦的皺紋；垂下頭來(lái)，在紅光閃耀的爐子旁，凄然地輕輕訴說(shuō)那愛(ài)情的消逝，在頭頂?shù)纳缴纤従忰庵阶?，在一群星星中間隱藏著臉龐。

WhenYouAreOld當(dāng)你年老陳黎（臺(tái)灣）譯當(dāng)你年老，花白，睡意正濃，在火爐邊打盹，取下這本書(shū)，慢慢閱讀，夢(mèng)見(jiàn)你眼中一度發(fā)出之柔光，以及深深暗影；多少人愛(ài)你愉悅豐采的時(shí)光，愛(ài)你的美，以或真或假之情，只一個(gè)人愛(ài)你朝圣者的心靈，愛(ài)你變化的容顏蘊(yùn)藏的憂(yōu)傷；并且俯身紅光閃閃的欄柵邊，帶點(diǎn)哀傷，喃喃低語(yǔ)，愛(ài)怎樣逃逸，逡巡於頭頂?shù)母呱缴锨覍⑺哪橂[匿於群星之間。T.S.Eliot

(1888-1965)

T.S.艾略特

T.S.Eliot

(1888-1965)--T.S.Eliotwasanessayist,publisher,playwright,literaryandsocialcriticand"oneofthetwentiethcentury'smajorpoets."BornintheUnitedStates,hemovedtotheUnitedKingdomin1914(atage25).HestudiedatOxfordandHarvard.--EliotstartedwritingliteraryandphilosophicalreviewssoonaftersettlinginLondon.In1922,TheWasteLand

appeared.--Hewonvariousawards,includingtheNobelPrizeforliteraturein1948.

T.S.Eliot:MainWorks

--Poems:

TheWasteLand

(1922)《荒原》

FourQuartets

(1944)《四個(gè)四重奏》

AshWednesday

(1930)《圣灰星期三》

TheHollowMen

(1925)《空心人》--

Plays:MurderintheCathedral

(1935)《大教堂里的謀殺案》TheFamilyReunion

(1939)《全家團(tuán)聚》NovelistsJosephConrad(1857-1924)

RudyardKipling(1865-1936):ImperialspiritH.G.Wells(1866-1946):ScienceFictionwriterE.M.

Forster(1879-1970)JosephConrad(1857-1924)

--HewaswellestablishedintheliteraryworldasoneoftheleadingModernists.--Oneofhisguidingbeliefswasthatamanmustalwaysbefaithfultohisfriends,hisfellowsandhisemployers.Ifthereisnofaithfulnessbetweenmanandman,ruiniscertaintofollow.

Conrad’sliteraryachievements

andmajorworks--Hewrote13novelsandsomenovellasandshortstories

--TheNiggeroftheNarcissus(1897):Itwashisfirstnovelofimportance.

--LordJim(1900):Itisoneofhisgreatestnovels.

--HeartofDarkness(1902):oneofthebestnovelsofthe20th-century.

D:HisContributions--HebridgedthegapbetweenthegreatVictorianwritersandthemodernwritersthroughhispursuitoftheperfectionofstyleandinnovationofthenarrativeforms,psychologicalexaminationofthehumannatureandthesymbolicuseoftheimpressionism.

--HeartofDarknessprovidesabridgebetweenVictorianvaluesandtheidealsofmodernism.--HeartofDarknessisanarrativeaboutthedifficultyofunderstandingtheworldbeyondtheself,abouttheabilityofonemantojudgeanother.--thenovella’scentralthemeofhypocrisyandabsurdity.RudyardKipling(1865-1936)

拉迪亞德·吉卜林--AdvocatoroftheImperialSpirit

A.Hislifeandhisachievements--KiplingwasborninBombay,India.--HereturnedtoEnglandin1902,settlingatBateman’s,a17thcenturyhouseinSussex.--In1907,hebecamethefirstEnglishmantowintheNobelPrizeforLiterature.-HismostpopularworksremainTheJungleBookwhichwaswrittenforchildrenandthenovelKim.TheJungleBook(1894,1895)Genre:Novel

Category:Animalfable

Time:19th-century

Place:IndiaFirstedition:1894-5MajorCharacters:

Mowgli:IndianboyFatherwolfMotherwolfC.HisImperialistIdeology1.Heputtheblameonthenativesthemselves.2.“theWhiteMan’sBurden”3.tobringcivilizationtothenatives4.Englishmen’sprejudiceH.G.Wells(1866-1946)HerbertG.Wells

(1866--1946)

Ｈ.Ｇ.威爾斯--ModernistA.HismainworksTheTimeMachine(1895)《時(shí)間機(jī)器》TheIslandofDrMoreau

(1896)《莫洛博士島》TheInvisibleMan

(1897)《隱形人》TheWaroftheWorlds

(1898)《世界之戰(zhàn)》

WhentheSleeperWakes

(1899)《當(dāng)睡眠者醒來(lái)的時(shí)候》H.G.WellsTheShapesofThingstoCome

(1933)《未來(lái)事物的面貌》

AnnVeronica

(1909)《安.維羅尼卡》

Kipps

(1905)《基普斯》H.G.WellsH.G.WellsH.G.WellsH.G.Wells:FlyingtoFutureIntheyear802701,asocietydividedintotwo