The-Romantic-Period浪漫主義時(shí)期

TheRomanticPeriod浪漫主義時(shí)期(1798-1832)theAgeofPoetryEnglishRomanticism,asahistoricalphaseofliterature,isgenerallysaidtohavebeganin1798withthepublicationofWordsworth&Coleridge'sLyricalBallads&tohaveendedin1832withSirWalterScott'sdeath.TheRomanticperiodisanageofpoetry.Blake,Wordsworth,Coleridge,Byron,Shelley&KeatsarethemajorRomanticpoets.Theystartedarebellionagainsttheneoclassicalliterature,whichwaslaterregardedasthepoeticrevolution.TheRomanticperiodisalsoagreatageofprose.ThetwomajornovelistsoftheRomanticperiodareJaneAusten&WalterScott.Differencesbetween18th-centuryand19th-century(betweenNeoclassicismandRomanticism)reasonvspassionreasonvsimaginationcommercialvsnaturalindustrialvspastoralpresentvspastsocietyvsindividualorderandstabilityvsfreedomdecorativeexpressionvssimpleandspontaneousexpressionNewpoeticfeatureslanguage:simple,everydaylifespeech,commonvocabularyandaccentdialect

e.g.Blake,Wordsworthform:lyrics(sonnet,ode),narrative(ballad)purpose:emotional,confessionalandvisionary/propheticprinciples:imaginationsubject:nature

therural/pastoralthepast/historicalthealien/exotic,orientalthesupernatural/mysterious(dreamsordream-like)thepersonalthecommon/lowclasstherevolutionarythepatrioticSchoolsofRomanticPoetsPre-romanticpoetsWilliamBlake:mysterious,philosophical,visionarySongsofInnocenceSongsofExperienceMarriageofHeavenandHellRobertBurns:Scottishdialect,balladsLakePoets:Wordsworth,Coleridge,Southey,2PoetLaureate:radicalyouth;conservativeoldage;longlifeWilliamWordsworth:nature,country,poorpeople,anti-industrialization

e.g.LyricalBallads(Prelude);NatureandcountrypoemsSamuelColeridge:mysterious/demonic,dreamy,oriental,visionary

e.g.TheRimeofAncientMarinerand"KublaKhan"Satanicschool:rebellious,revolutionary,romantic,shortlifeGeorgeGordonByron:romantic,revolutionary,satiric,proudandangry

e.g.DonDuan,ChildeHarold'sPilgrimageandManfredPercyByssheShelley:revolutionary,prophetic,optimistic

e.g.PrometheusUnboundand"OdetotheWestWind"JohnKeats:melancholy,ageniuspropoundingontruthandbeauty

e.g."OdetotheNightingale","OdeonaGrecianUrn","OdetoPsyche"and"OdetoMelancholy"Prosefamiliaressaysofjournalsandnewspapers

e.g.CharlesLamb,LeeHunt,deQuinceyliterarycriticism/reviewsasauthority

CharlesLamb,LeeHunt,deQuinceynovelists

e.g.JaneAusten,therealistandWalterScott,the1sthistoricalnovelist/romanticpoet1.威廉布萊克（WilliamBlake,1757-1827)VisualImages,symbolism代表作有《天真之歌》（SongsofInnocence,1789)《經(jīng)驗(yàn)之歌》(SongsofExperience,1794)兩部詩集Thesearetwocollectionsreflect“twocontrarystatesofhumansoul”.ThepoemscollectedinSongofInnocenceexpressthepoet’sdelightinlife,eveninthefaceofsorrowandsuffering.Theworldisseenthroughtheeyesofachild’simagination.

SongofInnocenceexpressisacollectionofpoemsandsongsinwhichtheatmosphereisnolongersunnybutsadandgloomy.Evilisfoundeverywhereintheworld.ManhaslosttheHeavenofInnocenceandgainedtheHellofExperience.Forinstance,the“l(fā)amb”ofInnocencehasbecomethe“Tiger”ofExperience.Lyric（抒情詩）（fromGreeklyra---“song”）AsitsGreeknameindicates,alyricwasoriginallyashortpoemwritteninarepeatingstanzaicform,oftendesignedtobesettomusic.Now,itusuallyreferstothepoemthatexpressesaspeaker’personalthoughts,perceptionsorfeelings.Theelegy,odeandsonnetareallformsofthelyric.2。威廉華茲華斯（WilliamWordsworth)湖畔派詩人LakePoetsWilliamWordsworth(1770-1850)RobertSouthey(騷塞，1774-1843)SamuelTaylorColeridge（柯勒律治，1772-1834）湖畔派LakePoets18～19世紀(jì)的英國浪漫主義詩歌流派。主要成員有華茲華斯、柯爾律治和騷塞。由于他們?nèi)嗽煌[居于英國西北部的昆布蘭湖區(qū)，先后在格拉斯米爾和文德美爾兩個(gè)湖畔居住，以詩贊美湖光山色，所以有“湖畔派詩人”之稱。

在詩歌題材上，他們主張寫下層人民的日常生活，強(qiáng)調(diào)詩人的內(nèi)心探索和感情的自然流露；在詩體方面，主張發(fā)展民間詩歌的藝術(shù)傳統(tǒng)，采用民間口語，發(fā)揮詩人的想象力。他們的理論和實(shí)踐結(jié)束了英國古典主義詩學(xué)的統(tǒng)治，對(duì)英國詩歌的改革和發(fā)展起了很大作用。但是他們否定詩歌的社會(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)行過激烈的批評(píng)。湖畔派詩人起初都同情法國革命，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托。當(dāng)湖畔派詩人的消極傾向日益明顯的時(shí)候，青年詩人拜倫、雪萊開始登上文壇，向湖畔派詩人展開論爭。拜倫在一八O九年完成的諷刺長詩《英格蘭詩人和蘇格蘭評(píng)論家》中，不僅回答了消極浪漫主義者操縱的刊物《愛丁堡評(píng)論》對(duì)拜倫詩作的攻擊，而且還嚴(yán)厲地譴責(zé)了湖畔派詩人的消極傾向。由于他們敢于向湖畔派詩人作斗爭，因而被英國紳土們斥之為撒旦(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，湖畔派詩人代表消極浪漫主義傾向，撒旦派代表積極浪漫主義精神。雖然湖畔派詩人在與古典主義的斗爭中有過貢獻(xiàn)，在詩歌的藝術(shù)上有較深的造詣，但其歷史地位遠(yuǎn)不及撒旦派重要。WilliamWordsworth代表作《序曲》（ThePrelude)是集抒情性，哲理性和趣味性一體的自傳體長詩其他作品有：《抒情歌謠集》，詩集《雙卷詩》(PoemsinTwoVolumes)，關(guān)于自然的短詩《致杜鵑》(TotheCuckoo)《我如行云獨(dú)自游》(IWanderedLonelyasaCloud）關(guān)于人類生活的短詩《露西》（LucyPoems）《孤獨(dú)的收割者》(TheSolitaryReaper)《致高地的姑娘》(ToaHighlandGirl)LucyPoems--

“SheDweltAmongtheUntroddenWays”《她住在人跡罕至的地方》她住在人跡罕至的地方,圣潔的小溪在身邊流淌,沒有誰把這少女贊頌,少有人為她掛肚牽腸。

她是紫羅蘭身影半露,生苔的墓碑將她遮擋;美麗如一顆孤星,在夜空里閃閃發(fā)亮。沒有誰了解她曾活在世上,少有人知道她何時(shí)夭亡;躺在墓中的露西啊,唯有我與別人都不一樣。（國際關(guān)系學(xué)院06考研題）Questions:(1)Whatistherhymeschemeofthepoem?(2)Arethereanyimagesinthispoem?Pleasepointthemout.(3)Canthesecondstanzabeomitted?Whatroledoesitplayinthispoem?(4)Pleaseparaphrasethepoeminlessthan100words.(1)Therhymeschemeisabab,cdcd,efef(2)Yes,thereareimagesinthispoem:“ahalfhiddenviolet”and“astarshininginthesky”.(3)No.theimageofthevioletshowsthatsheissomodest,shyandunknownthatnoonewillpayattentiontoher;theimageofthestarshiningintheskyindicatesthatinherlover’seyes,sheislikethesinglestarshiningbrightlyandbeautifullyinthesky.(4)ShelivedinanisolatedplacebesidethespringsofDove,Nobodypraisedherandfewpeoplelovedher.Sheislikeavioletbesideamossytone,unnoticedbypeople.Sheislikeastarshinninginthesky,fairandlovinginherlover’sheart.Whensheisalive,nobodyknowsher;thuswhenshedies,fewpeoplefeelsadabouther.Butformeitisdifferenttoknowherdeath(becauseIlovedhersomuchandIfeelsosad).3.塞泰柯勒律治（SamuelTaylorColeridge)Majorworks：《古舟子之歌》TheRimeoftheAncientMariner《克里斯貝爾》Christabel

《忽必烈汗》KublaKhan

對(duì)話詩（conversationalpoems)：《子夜寒霜》（FrostatMidnight《沮喪：一段頌歌》(Dejection:AnOde)凡是聆聽者都將目睹，大家都將高呼：“當(dāng)心！當(dāng)心！瞧他飄揚(yáng)的頭發(fā)，閃亮的眼睛！我們要繞他巡行三圈，在神圣的恐懼中閉上雙眼，因?yàn)樗麌L過蜜的露水，飲過樂園里的乳泉?！?1)identifytheauthor(2)Whatishistheoryofpoems?(3)Whatkindofphilosophyisbehindtheitalicwords“Hisflashingeyes….milkofparadise”?

（北航08考研題）Answer:(1)SamuelTaylorColeridge(2)Coleridgebelievedinthe“feelingheart,”inthespiritualpoweroftheindividualimagination,thecompletenessandharmoniousbeautyofGod’screation.thoughColeridgesharedwithWordsworthadesiretoreturnpoetrytotheordinary,theconcrete,andthelanguageofspeech,hewasalsodesirousofdiscoveringthespiritual,supernaturalandexotic.Coleridgeexpresseshisconceptionofpoetryintermsofasynthesisofimaginativevisionandofactualperception,of“outer”and“inner,”orof“object”and“subject.”apoemisagrowingunity,thepartsrelatedtooneanotherandallcomprisingawhole.The“end”ofpoetryispleasure,notinstruction,andyetapoemtellsahighertruth.(3)ThepoetsaysthatheoncesawanAbyssinianmaidwhoplayedherdulcimerandsangofMountAbora.ThesongoftheAbyssinianmaidcanbethepoet’ssourceofinspiration.Ifhecouldreceive“hersymphonyandsong”withinhim,hecouldrebuildhisowndomeofpleasureintheair.Andallwhosawhimwouldcry“Bewareof‘hisflashingeyes,hisfloatinghair!’”.Thelistenerswouldcirclehimandclosetheireyeswith“holydread”,knowingthathehadtastedhoneydew,and“drunkthemilkofParadise”.Thepoetwantstoexpressthatpeoplehavecertainaweandevenfearfornatureandenjoysitsbeautywithutmostpiety.注：《忽必烈汗》一詩中既無故事情節(jié)，也沒有明確的主旨，而只是傳達(dá)了一種幻覺或印象，雖然以忽必烈汗為題目，但并沒有刻意描寫或贊頌這位中國帝王的偉業(yè)，而是將這位傳奇人物當(dāng)作寄情表意的媒介充分發(fā)揮詩人的想象力。這里，詩人的情感與豪華的宮殿、仙女的愛情、少女的琴聲和中國的忽必烈汗交織在一起，創(chuàng)造了一種優(yōu)美的旋律和超凡的意境。初看起來，全詩的確缺乏一種邏輯統(tǒng)一性，但讀起來并不感到雜亂無章。倒是詩中所迸發(fā)的那種神秘的異國情調(diào)常常讓讀者遐思不已。另外，這首詩在敘述方面的確具有獨(dú)創(chuàng)性，開拓了西方詩歌的新視野。詩人在敘述過程中不斷出現(xiàn)語義斷裂和不連貫現(xiàn)象可以使讀者更加關(guān)注詩歌的形式，充分領(lǐng)略其神奇而優(yōu)美的韻律。今天，該詩與《古舟子詠》一樣已成為英國文學(xué)中的瑰寶。4.喬治戈登拜倫（GeorgeGordonByron)不，他不是神，他是凡人，比神更可怕更可愛的凡人，他生前在紅塵的狂濤中沐浴，洗滌他的遍體的斑點(diǎn)，最后他踏腳在浪花的頂尖，在陽光中呈露他的無瑕的肌膚，他的驕傲，他的力量，他的壯麗，是天上磋奕司與玖必德的憂愁。

他是一個(gè)美麗的惡魔，一個(gè)光榮的叛兒。

——徐志摩2009.10喬治戈登拜倫（GeorgeGordonByron)當(dāng)時(shí)對(duì)歐洲大陸最有影響的浪漫主義詩人，創(chuàng)造了拜倫式英雄（theByronichero)—高傲，反叛又帶有貴族血統(tǒng)代表作《唐璜》（DonJuan)長篇敘事詩《恰爾德哈羅德游記》（ChildHarold’sPilgrimage)第一，二章詩集《東方故事集》（OrientedTales),《哈羅德游記》第三四章，詩劇《曼佛雷德》（Manfred)《該隱》(Cain)政治諷刺詩《審判的幻景》(TheVisionofJudgment)chiefcontribution--“Byronichero”(拜倫式英雄)Byronichero--Byron’spoetryisbasedonhisownexperience.Hisheroisknownas“ByronicHero”,aproud,mysteriousrebelfigureofnobleorigin.Forsuchahero,theconflictisusuallyoneofrebelliousindividualagainstoutwornsocialsystemsandconventions.SuchaheroappearsfirstinChildeHarold’sPilgrimage,andthenfurtherdevelopedinlaterworkssuchastheOrientedTales《東方故事集》，Manfred,《曼弗雷德》andDanJuanindifferentguises.SheWalksinBeauty,LiketheNightByron’spoem“SheWalksinBeauty”isoneofhisbest-knownpoems.Itisnotnecessarilyalovepoem,butmoreofacelebrationofthewomen'sbeauty.SheWalksinBeauty,LiketheNightInJune,1814,severalmonthsbeforehemetandmarriedhisfirstwife,AnnaMilbanke,LordByronattendedapartyatLadySitwell’s.Whileattheparty,LordByronwasinspiredbythesightofhiscousin,thebeautifulMrs.Wilmot,whowaswearingablackspangledmourningdress.LordByronwasstruckbyhiscousin’sdarkhairandfairface,theminglingofvariouslightsandshades.Thisbecametheessenceofhispoemabouther.2009.10Shewalksinbeauty,likethenight

她走在美底光彩中，像夜晚Ofcloudlessclimesandstarryskies;

皎潔無云而且繁星滿天。climate2009.10Andallthat’sbestofdarkandbright

明與暗底最美妙的色澤Meetinheraspectandhereyes:

在她的儀容和秋波里呈現(xiàn)，appearance容顏

2009.10Thusmellowedtothattenderlight

仿佛是晨露映出的陽光，Whichheaventogaudydaydenies.

但比那光亮柔和而幽暗。becamelessbrightbright2009.10Oneshadethemore,oneraytheless,

增加或減少一分色澤Hadhalfimpairedthenamelessgrace

就會(huì)損害這難言的美，damagedindescribablebeauty增一分則太長,減一分則太短,著粉則太白,施朱則太赤.2009.10Whichwavesineveryraventress,

美波動(dòng)在她烏黑的發(fā)上Orsoftlylightenso’erherface;

或者散布淡淡的光輝long,blackhair2009.10Wherethoughtsserenelysweetexpress

在那臉龐，恬靜的思緒Howpure,howdeartheirdwellingplace.

指明它的來處純潔而珍貴。peacefully,calmly2009.10Andonthatcheek,ando’erthatbrow,

啊，那額際，那鮮艷的面頰，Sosoft,socalm,yeteloquent,

如此溫和，平靜，而又脈脈含情，2009.10Thesmilesthatwin,thetintsthatglow,

那迷人的微笑，那明眸的顧盼，Buttellofdaysingoodnessspent,

都在說明一個(gè)善良的生命：shadeofcolor2009.10Amindatpeacewithallbelow,她和藹地對(duì)待世間的一切，Aheartwhoseloveisinnocent!

她的心流溢著真純的愛情！everythinginthisworld5.PercyByssheShelley（雪萊）(1792-1822)IfWintercomes,canSpringbefarbehind?2009.10郭沫若論雪萊雪萊是我最敬愛的詩人中之一個(gè)。他是自然的寵子，泛神宗的信者，革命思想的健兒。他的詩便是他的生命。他的生命便是一首絕妙的好詩。雪萊的詩心如像一架鋼琴，大扣之則大鳴，小扣之則小鳴。他有時(shí)雄渾倜儻，突兀排空；他有時(shí)幽抑清沖，如泣如訴。他不是只能吹出一種單調(diào)的稻草。雪萊是真正的詩的作者，是一個(gè)真正的詩人。

雪萊（PercyByssheShelley)深受自由與激進(jìn)派思想的影響，詩作中總表現(xiàn)出對(duì)自由的渴望和對(duì)暴政的憎惡，詩歌語言清新，文化底蘊(yùn)深，含有豐富的典故，并多使用擬人與暗喻的修辭手法抒情詩《西風(fēng)頌》(OdetotheWestWind)是浪漫主義詩歌的杰出典范?！吨掠⒏裉m人民》（MenofEngland)是雪萊最著名的政治抒情詩其他作品：《麥布女王》(QueenMab:APhilosophicalPoem)詩歌《伊斯蘭的起義》(TheRevoltofIslam)《阿多納伊斯》(Adonais)《十四行詩：英格蘭1819》(Sonnet:Englandin1819)《云之歌》(TheCloud)《致云雀》(ToaSkylark),詩劇《解放了的普羅米修斯》(PrometheusUnbound),文學(xué)理論著作《詩辨》(ADefenseofPoetry)1822年12月雪萊的心臟和骨灰葬于羅馬新教徒墓地墓碑上刻有“波西·比?！ぱ┤R---眾心之心（CORCORDIUM）”的字樣以及莎士比亞的暴風(fēng)雨中的三句。他的一切并沒有消逝只是經(jīng)歷過海的變異已變得豐富而且神奇

《西風(fēng)頌》(1)Form:Thepoemisdividedinto5parts.Eachpartconsistsoffourstanzasofterzarimaandonecoupletlines,rhymedababcbcdcdedee(2)content:thepoetdescribesvividlytheactivitiesofthewestwindontheearth,intheskyandonthesea,andexpresseshisenvyfortheboundlessfreedomofthewestwind,andhiswishtobefreelikethewindandtoscatterhiswordsamongmankind.(3)Theme:Revolutionaryspirit.Wishtodestroytheoldandbuildupanew.(4)Inwhatwayisthewestwindbothadestroyerandapreserver?(南京大學(xué)07)Thewestwindisconsideredthe“destroyer”fordrivingthelastsignsoflifefromthetrees;itisconsideredthe“preserver”forscatteringtheseedswhichcometolifeinthespring.Definition:terzarima(三行體)—verseformconsistingofstanzasofthreelines