英國(guó)文學(xué)史及作品選讀課程教案（第4講）授課時(shí)間2017-2018學(xué)年第二學(xué)期03.04-03.010授課對(duì)象15-17級(jí)各專業(yè)選修生授課主題Chapter3TheGoldenAgeofEnglishDrama教學(xué)目的與要求HelpthestudentsknowsomeinformationaboutRenaissance.HelpthestudentsknowsomeinformationaboutoriginsofEnglishdramaHelpthestudentshaveagoodunderstandingofShakespeare.MakesurethestudentshaveabetterunderstandingofHamlet(Act3,Scene1,Lines55-86)教學(xué)重、難點(diǎn)1Renaissance2Shakespeare3Hamlet(Act3,Scene1,Lines55-86)主要教學(xué)方法Lecture;Discussion;Multi-media教學(xué)內(nèi)容的組織與設(shè)計(jì)DetailedTeachingPoints&ProcedureRenaissanceDefinitionofRenaissanceRenaissancereferstotheperiodbetweenthe14thandmid-17thcenturies.Itmakesatransitionfromthemedievaltothemodernworld.ItstartedinItalywiththefloweringofpainting,sculptureandliterature,andthenspreadtotherestofEurope.ThetermRenaissancemeansrebirthorrevival.TheRenaissanceperiodwasmarkedbyareawakeningofinterestinlearning,intheindividualandintheworldofnature.TherevivaloflearningledscholarsbacktothecultureofGreeceandRome.Therebirthofinterestintheindividualgaverisetoanewappreciationofbeauty,toadesireforself-expressioninvariedactivitiesandtothecreationofart.Therenewalofcuriosityaboutthenaturewordultimatelydrewmentodiscovernewlandsandnewscientifictruths.Inthisperiod,theEuropeanhumanistthinkersandscholarsmadeattemptstoabolisholdfeudalistideasinmedievalEurope,tointroducenewideasoftherisingbourgeoisie,andtocarryoutreligiousreformation.Ithadthemostfar-reachinginfluenceandpavedthewayforReligiousReformationandtheBourgeoisRevolution.HumanismBroadly,thistermsuggestsanyattitudewhichtendstoexaltthehumanelementorstresstheimportanceofhumaninterests,asopposedtothesupernatural,divineelements—orasopposedtothegrosser,animalelements.Inamorespecificsense,humanismsuggestsadevotiontothosestudiessupposedtopromotehumanculturemosteffectively-inparticular,thosedealingwiththelife,thought,language,andliteratureofancientGreeceandRome.Accordingtohumanists,manshouldmouldtheworldaccordingtohisowndesires,andattainhappinessbyremovingallexternalchecksbytheexercisesofthehumanintellect.Humanismwasoneofthemostimportantfactorsgivingrisetotherenaissance.1.3MaintraitsoftheRenaissanceliteratureItemphasizesthedignityofman,affirmsandeulogizesthevalueofman,whichoftenimpliesalesseninginthepowerofGod.Itdescribestheintellectualandphysical“virtues”ofthehumanbeing,andofitsplaceinthecreation.Itadvocatesthefullexpressionofindividualismandthefulfillmentofone,sabilities,againstthedespoticruleoffeudalism.Itdeclaresthatthepurposeoflifeistheunrestrainedandself-sufficientpracticeofone's“virtues”,thecompetentanddelightedexercisesofone,sskill.Itaffirmsthedelightofearthlyachievement,aswellasman,sdesireforhappinessandpleasure.Itspreoccupationiswiththislifeanditexposesthehypocrisyanddebaucheryoftheclergy.Nevertheless,atthesametime,thereisalsotheso-calledRenaissanceMelancholy.Existingsidebysidewiththeexaltationofman,spotentialitiesarethepuzzlingdoubtsandaprofoundmistrustofman,sownpowers.Man,smoralnatureisseenasnotonlymuchlowerthantheangles,butalsoscarcelyabovethebeasts.Ofcourse,therenaissancespiritisbestexpressedthroughtheworksofitsgreatestmaster,WilliamShakespeare.OriginsofEnglishdramaThreeplaysMiracleplaysThemiracleplayhadasitssubjecteitherastoryfromthebible,orelsethelifeandmartyrdomofasaint.Intheusageofsomehistorians,however,“miracleplay”denotesonlydramasbasedonsaints5lives,andterm“mysteryplay”.Moralityplays.MoralityplaysweredramatizedallegoriesofarepresentativeChristianlifeintheplotformofaquestforsalvation,inwhichthecrucialeventsaretemptations,sinning,andtheclimacticconfrontationwithdeath..TheusualprotagonistrepresentsMankind,orEveryman;amongtheothercharactersarepersonificationsofvirtues,vicesandDeath,aswellasangelsanddemonswhocontestfortheprizeofthesoulofMankind.AcharacterknownastheViceoftenplayedtheroleofthetempterinafashionbothsinisterandcomic;heisregardedasaprecursorbothofthecynical,ironicvillainandofsomeofthecomicfiguresinElizabethandrama,includingShakespeare'sFalstaff.InterludeInterludeisatermappliedtoavarietyofshortstageentertainments,suchassecularfarcesandwittydialogueswithareligiousorpoliticalpoint.Inthelatefifteenandearlysixteenthcenturies,theselittledramaswereperformedbybandsofprofessionalactors;it,sbelievedthattheywereoftenputonbetweenthecoursesofafeastorbetweentheactsofalongplay.TheElizabethandramatistswhoinfluencedShakespeareUniversityWits.Themysteryplays,themoralityplaysandtheinterludespavedthewayforthecomingofthegoldenageofEnglishdrama-theElizabethanAge..Atthebeginningofthisperiod,agroupofOxfordandCambridgegraduatescametoLondonwiththeambitiontobecomeprofessionalwriters.Theywereeagertoputwhattheyhadlearnedatuniversitiesbeforethepublic.Theyworkedaspoets,prose-writersandplaywrights.Thisgroup,laterknownasthe“UniversityWits,”consistsofagroupoftalentedyoungwriters,suchasRobertGreene,JohnLyly,ThomasNashe,ThomasLodge,ThomasKyd,GeorgePeele,andChristopherMarlowe..TheyhelpedtofreeEnglishtragedyfromartificialrestrictionsimposedbyclassicalauthorityandtheydevelopedacomedytraditionthatismoreclosetolife.TheirplayspavedthewayforthecreationofmanyofShakespeare,smasterpieces.TheirinfluenceonShakespeareiscertain:KydandMarloweinfluencedhisgreattragedies;Greene,Peel,LodgeandLylyinfluencedhiscomediesandromances.ChristopherMarlowe(1564-1593).ChristopherMarlowediedtheyoungestamongthe“universitywits.”However,heiswidelyacknowledgedasthegreatesttragedywriterbeforeWilliamShakespeare.Marlowe,stalentasaskillfulplaywrightwasfirstshownatCambridge,wherehecomposedTamburlaine(c.1587),adramainblankverse.Inthefollowingsixyears,hewrotefivemoreplays:Tamburlaine,PartII,TheMassacreatParis,EdwardII(1594),whichservedasamodelforShakespeare,sRichardIIandRichardIII;TheTragicalHistoryofDoctorFaustus(performedin1594;publishedin1604);andthetragedyTheJewofMalta(performedabout1592;Publishedin1633)..MarloweisoneofthefirstplaywrightstouseblankverseinEnglishdrama.HisinfluenceonShakespeareiscertainandhecouldevenhaveahandinthecompositionofsomeofShakespeare,splays.Marlowe,stragediesdemonstrateapassionandgrandeurthatonlyShakespeare'splayscanmatch.Buthewasoftensomuchcarriedawaybyemotionthatheneglectedthestructuralsmoothnessdemandedofafirstplaywright..TheTragicalHistoryofDoctorFaustusisaplaybasedontheGermanlegendofamagicalaspiringforknowledgeandfinallymeetinghistragicendasaresultofsellinghissoultothedevil.Theplay,sdominantmoralishumanratherthanreligious.Itcelebratesthehumanpassionforknowledge,powerandhappiness;italsorevealsman,sfrustrationinrealizingthehighaspirationsinahostilemoralorder.Andtheconfinementtotimeisthecruelestfactofman,scondition.Blankverse.Blankverseisunrhymedpoetry,typicallyiniambicpentameter,and,assuch,thedominantverseformofEnglishdramaticandnarrativepoetrysincethemid-16thcentury..BlankversewasadoptedbyItalianRenaissancewritersfromclassicalsources;itbecamethestandardformofdramatists.ChristopherMarlowusedblankversefordramaticverse;andEnglishplaywrightWilliamShakespearetransformedblankverseintoasuppleinstrument,uniquelycapableofconveyingspeechrhythmsandemotionalovertones.AccordingtotheEnglishpoetJohnMilton,onlyunrhymedversecouldgiveEnglishthedignityofaclassicallanguage.WilliamShakespeareShakespeare,slifeShakespearewasborninApril1564,onApril23,inStratford-upon-Avon,Warwickshire.Hewasaverytalentedpersonandstudiedinalocalgrammarschoolforsixyears.Helearnednotonlywritingandreading,butalsoLatinandGreek.Accordingtothelegend,hehadpoacheduponthelandsofacertainSirThomasLucy,arichlandlordandcountrymagistrateandwascaughtbyLucy,skeepersandseverelypunished.Shakespeareavengedhimselfbycomposingasatiricalballad;verysoonitbecamesopopularthroughoutthecountrysidethatwhereverSirThomasLucyappearedhewasmetwiththestrainsoftheballads.SirThomaswasenragedandredoubledhispersecutiontosuchadegreethatShakespearewascompelledtoleaveStratfordandseekrefugeinLondon.Whileathomeheoftenwenttowatchthetravelingcompanies,playssuchasmiracleplaysintheneighboringtownofCoventry.In1582hemarriedafarmer,sdaughterAnneHathaway,whowaseightyearshiselder.HearrivedinLondonin1586or1587.Fromthenonhebeganhiscareerasaplaywright.Shakespearediedonhisbirthday,April23,1616,andwasburiedinHolyTrinityChurch,Stratford.ThreemajorperiodsofShakespeare,sliterarylifeAsthegreatestEnglishpoetanddramatist,Shakespeareleftusagreatwealthof154sonnets,37plays,including14comedies,12tragedies,and11historicalplays,aswellastwolongpoems.Thefirstperiod:1590to1600,inwhichhewrotealtogether22plays:11comedies,threetragediesandeighthistoricalplays.Generallyspeaking,thisisaperiodmarkedbyyouthfulness,optimismandrichimagination.Shakespearelookedupontheworldasajustoneinwhichgoodcanalwaysovercomeevilinthelongrun,andjusticewouldeventuallywinitscauseintheend.Inthisperiodhecreatedhisbesthistoryplays:HenryIV,RichardH,andHenryV,andthebestcomedieshewroteinthisperiodareAMidsummerNightsDream,TheMerchantofVenice,MuchAdoaboutNothing,AsYouLikeIt;andTwelfthNight;aswellashisfirstmasterpiecesintragedy,RomeoandJulietandJuliusCaesar.Thesecondperiod:1601to1608,theperiodoftragedies.Thisperiodismarkedbygloomanddepressioncombinedwithmasterlyworkmanship.Duringtheseyears,themindandtheheartofthepoetwereconcernedwithdeepestmattersofhumanlifeandthisperiodreflectedhisgrowthinexperience,invision,andinsympathy.Inthisperiodheproducedhisfourgreattragedies:Hamlet,Othello,KingLear,andMacbeth,whichrepresenttheclimaxofhisdramaticpower.Ineachofthoseplaysthereisanintensemoralstruggle,alessjoyousviewoflife,andaprofoundviewofphilosophy.Hetouchesallthedepthofhumanpassionandhumantragedy,treachery,lust,jealousy,ingratitude,madnessofman,etc.DuringthisperiodShakespeare,sbeliefandtrustinmankindhadbeenshattered.Theworldnolongerseemedajustone,butaworldfilledwithhopelesspessimism,gloomanddepression.“Thetimeisoutofjoint:Ocursedspite,thateverIwasborntosetitright!”Thethirdperiod:1609to1612,theperiodofdramaticromances.Theplaysinthisperiodarefullofunrealisticcompromisesandfantasy.Itisaperiodofrestoredserenityandtolerantresignation.Henolongerhatedtheworldbutaccepteditwithasmileofresignation.Hewritesnomorehistoricalplaysfullofbloodyhorrors;nomoretragediesinwhichthewholeworldgoescrashingdownwiththehero;andnomorecomediesfilledwithsprightlywit.However,hefindslifeoncemoreworthliving,andtheworldbeautiful,enchanting,andfantasticallyattractive.ChiefachievementsandcharacteristicsofShakespeare,sdramaShakespeare,ssuccessasagreatplaywrightchieflyrestonthefollowingfiveaspects:1)Theprogressivesignificanceofhisthemes;2)Hissuccessfulcharacterportrayal;3)Hismaster-handinconstructingplays;4)Theingenuityofhispoetry;5)HismasteryofEnglishlanguage.Shakespeare,sthemesNootherwriterinEnglishhistoryhasdealtwithsuchavarietyofthemesasWilliamShakespeare.Throughhisplays,hetouchedalmosteveryaspectsofhumanlife,ofhumanpleasuresandhumantragedies.ShakespearepaintsinhisdramasafaithfulpanoramaofthedeclineofoldfeudalnobilityandtheriseoftheTudormonarchy,whichrepresentedtheinterestsoftheEnglishbourgeoisie.Moreover,heisperhapstheperfectexpressionofRenaissancehumanism.HedistilledintohisdramathehumanisticspiritoftheRenaissance,andhisdramabecomesanexpression,amonumentoftheEnglishRenaissance.Shakespeare,scharacterportrayalInhis37dramas,Shakespearecreatedalargegroupoflifelikecharacterswholiveandstruggle,sufferandrejoice-representingallthecomplexitiesandimplicationsofreallife.Hiskeeninsightintotheworkingsofhumanspiritenabledhimtopiercetotheverycoreofhischaractersandmadehismenandwomenunforgettablecreaturesoffleshandblood.Thoughhischaractersareoftenclothedinforeigndresses,thethoughtsandfeelingsofthecharactersbelongtotheageofShakespeare.Hewroteabouthisownpeopleandforhisownpeople.Shakespeare,splayconstructionShakespeareisamaster-handforeveryformofdrama-comedy,tragedy,andhistoricalplays.Moreover,histragediesmayhavecomicelements,andhiscomediesincludesardoniccommentariesonhumanfrailty.Heisskillfulatrecreationsthatunderhispeneveryoldstoryputsonanewlook,shineswithanewbeautyofitsown,andbecomesadramaticartwithanewsignificance.TheplotsofShakespeare,splaysarewell-arrangedaccordingtotherequirementofthethemeandcontent.Theactionisdevelopedfreely,withoutbeinghinderedbytherulesoftheclassicalunities(action,placeandtime).Shakespeare’sPoetryInhiscreationofdramas,hesucceededincombingthetwosidesofhistalent-ShakespearethepoetandShakespearethedramatist—intooneandproducedthemostremarkablepoeticdramasinEnglandorperhapsinthewholeworld.Thelinesinhisplaysarenotmeredecorationsbutallhavetheirownvalues.Theyserveasavehicleofutterancetoallthepossiblesentimentsofhischaracters.Shakespearenotonlyproducedwonderfulpoetryindifferentforms,likesongs,sonnets,rhymedcouplets,andespeciallydramaticblankverse,hewasalsoamasterofproseofvariousstyles,botheffectiveandpowerful.Shakespeare,sLanguageShakespeare,scommandofvocabularywasthelargestamongtheElizabethandramatists.Heusedmorethan16000differentwordsandenrichedtheEnglishlanguagewithhisowncoinage.Underhishand,wordsglowwithlife,whichvitalizetheprintedpageswithbeauty,melody,humor,pathos,tenderness,force,orwhatevereffecthechoosetoproduce.HeusestheEnglishlanguagethegreatestfreedomandease,sothatallthespeechesfitallthecharactersthatusethem.Shakespeare,sworksandthecommentsMajorcommentsonsomeofShakespeare,sworksRefertoTextbookANewConciseHistoryofEnglishLiterature(P79-89)TheMerchantofVenice.Adoubleplot:(1)thestorybetweenBassanioandPortia:(2)thestorybetweenAntonioandShylock.Thetheme:oneulogyofthetriumphofjusticeandloveoverinsatiablegreedandbrutality..TheimageofPortia:PortiaisawomanoftheRenaissance-beautiful,prudent,cultured,courteous,resourceful,decisive,independentandcapableofrisingtoanemergency.SheisoneofShakespeare,sidealwomen.Hamlet.ThestoryofHamlet(Askthestudenttoretellthestory)Hamletwaspublishedin1603.andwasconsideredtobethesummitofShakespeare,sart.ShakespearetookthesourcefromanoldstoryofPrinceAmlethofDenmark.Butthecontentoftheplayisinfactthereflectionofhistime.SotheplayistheprofoundexpressionofShakespeare,shumanismandhiscriticismofcontemporarylife.TheplayissetinElsinore.Hamlet,KingofDenmark,isdeadandhasbeensucceeded,notbyhisson,Hamlet,butbyhisbrother,Claudius.Soonafterthefuneral,Claudiusmarrieshisbrother,swidow,QueenGertrude.Theoldking'sghostappearstoanalreadydistraughtHamlettotellhimthathewasmurderedbyClaudius.TheGhostaskshissontorevengehisdeath.Hamletfeignsmadness.Polonius,theLordChamberlain,forbidshisdaughter,Ophelia,toseeHamlet;inpartbelievingthatthatHamlet,sunbalancedstateofmindistheresultofrepressedlove.SpiedonbyPoloniusandClaudius,OpheliareturnsHamlefslovelettersandisviolentlyrejectedbyhim.AcompanyoftravellingplayersarrivesattheDanishCourt.Hamletasksthemtoperformaplay,TheMurderofGonzago,hopingthatitsplot,whichcloselyechoeswhattheGhosthastoldhimofhisownmurder,willforceClaudiustobetrayhisguilt.Hamlefssuspicionsareconfirmed.Aftertheplay,Hamletissummonedtohismother'schamber,whereherevilesherforherhastymarriageandaccidentallykillsPolonius,whomhesupposedwasClaudius,hidingbehindacurtain.ClaudiussendsHamlettoEngland,planningtohavehimmurdered.Laertes,Polonius5son,returnstoDenmarkfromFrancedemandingrevengeforhisfathersdeath.Ophelia,maddenedbygrief,drownsherself.HamletreturnsfromEnglandandconfrontsLaertesandClaudiusatOphelia,sfuneral.ClaudiusplotswithLaertestokillHamletinafencingmatchinwhichLaerteswillhaveapoisonedsword.TheplotmiscarriesandLaertesdies.GertrudedrinksfromapoisonedcupintendedforHamletanddies.Hamlet,woundedbythepoisonedsword,killsClaudiusbeforehetoodies..Hamlet(Act3,Scene1,Lines55-86)(SelectedReadings,P8-9)ThisisoneofthemostfamoussoliloquiesofHamlet,s.Soliloquyistheactoftalkingtooneself,whethersilentlyoraloud.Indramaitdenotestheconventionbywhichacharacter,aloneonthestage,uttershisorherthoughtsaloud.

(DiscussthequestionsintheSelectedReadings).ThecharacterofHamlet▼HamletisPrinceofDenmarkandheisamanofRenaissancewithhumanist'sideal—asoldier,scholar,courtier,theglassoffashionandthemoldofform.▼Whenhefirstappearsintheplay,heisinthestateofdepression,because,firsthefoundtheevilandcorruptioninhiscountry:theworldtohimis“anun-weededgarden,thetimeisoutofjoint.Ocursedspite,ThateverIwasborntosetitright!”Secondly,he,fromtheghost,knowstherealcauseofhisfather'sdeath.Therefore,themostimportantproblemheisfacingnowistoavenginghisfather,sdeath.Butthesituationheisinisverydangerousinwhichhehadtofightagainstthatstrongholdoffeudalismwithhisuncleonthetop.Sohefeignedmadness.Herewecansayheisalittleresourcefulhimself.Besidesthis,heisamelancholy,hesitant,reasonableandphilosophicalmanaswellasagreatmoralizer,andaslowavengerofhisfather,sdeath.Atothertimeshedidhavechancetoactbutheremainspuzzled,undecided,andskeptical,dallieswithhispurposes,tilltheoccasionislost,andfindsoutsomepretens