英國(guó)浪漫主義RomanticisminEnglandI.HistoricalBackgroundII.RomanticismIII.A.poets1.Escapistromanticists/LakePoets(湖畔派詩(shī)人)(WilliamWordsworth,SamuelTaylorColeridge,RobertSouthey)2.activeromanticists/demonicgroup/Satanicschool(撒旦派)(GeorgeGordonByron,PercyByssheShelley,JohnKeats)B.essayists(CharlesLamb,WilliamHazlitt,ThomasDeQuincey)C.novelist(WalterScott)I.HistoricalBackground(1)IndustrialRevolution—transformedBritainfromagriculturaltoindustrialcountry,responsibleforthechangeinthepatternofsociallifeandtheworseningofsocialcontradictions;?(2)Americanrevolutionin1775—theDeclarationofIndependence,writtenbyThomasJeffersonin1776,withitsemphasisonindividualrights;(3)TheFrenchrevolutionin1789—introducedthedemocraticideals:liberty,equalityandfraternityforeverybody;(4)theabolitionofslaveryintheBritishcolonies;(5)theintroductionofsystemofnationaleducation;(6)theFactoryActschildrenunderninewasforbiddenbythelaw.WilliamWordsworthandSamuelTaylorColeridge,publishedin1798,whichmarkedthestartofRomanticismasaliterarytrend.II.EnglishRomanticism1.definition—EnglishRomanticismisgenerallysaidtohavebeganin1798withthepublicationofWordsworth&Coleridge‘sLyricalBalladsandtohaveendedin1832withSirWalterScott’sdeathandthepassageofthefirstReformBill《改革法EnglishRomanticismisarevoltoftheEnglishimaginationagainsttheneoclassicalreason.TheFrenchRevolutionof1789-1794andtheEnglishIndustrialRevolutionexertgreatinfluenceonEnglishRomanticism.Romanticistsshowintheirworkstheirprofounddissatisfactionwiththesocialrealityandtheirdeephatredforanypoliticaltyranny,economicexploitationandanyformofoppression,feudalorbourgeois.Intherealmofliterature,theyrevoltagainstreason,rules,regulation,objectivity,commonsenses,etc.andemphasizethevalueoffeelings,intuition,freedom,nature,subjectivism,individuality,originality,imagination,etc.2.ThefeaturesoftheRomanticwritings:1)?Dissatisfactionwiththebourgeoissociety.2)Theirwritingsfilledwithstrong-willedheroesoreventitanicimages,formidableeventsandtragicsituations,powerfulconflictingpassionsandexoticpictures.3)payattentiontospiritualandemotionallifeofman.Mostworksaresupernaturalandfullofimagination.4)interestinthepast,theunusual,theunfamiliar,thebizarre5)strongdesiretoescapefromthereality.6)concernedmuchabouttheinfluenceofnature.7)Theirwritingsfreefromanyrules,theyfightagainstthetenureofnewclassicism:order,harmony,balance,reason.Theyaskforthefreedomofexpression.8)Afeelingofloneliness&anoteofmelancholy8)Theglorificationofthecommonplace---theaimofgoodpoetryis“tochooseincidentsandsituationsfromcommonlife”andtousea“selectionoflanguagereallyspokenbymen”,andtoawakeninthereader“freshnessofsensation”inthepresentationof“familiarobjects”.9)characterizedby5“I”s:Imagination,Intuition,Idealism,Inspiration,Individuality.3.TwoschoolsofRomanticismA.escapistromanticists,“theLakePoets”湖畔派,representedbyWilliamWordsworth華茲華斯,SamuelTaylorColeridge柯勒律治andRobertSouthey騷塞.B.activeromanticists,“theSatanicschool”撒旦派,withByron拜倫,Shelly雪萊andKeats濟(jì)慈asrepresentatives湖畔派LakePoets18～19世紀(jì)的英國(guó)浪漫主義詩(shī)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(guó)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(shī)贊美湖光山色，所以有“湖畔派詩(shī)人”之稱。在詩(shī)歌題材上，他們主張寫下層人民的日常生活，強(qiáng)調(diào)詩(shī)人的內(nèi)心探索和感情的自然流露；在詩(shī)體方面，主張發(fā)展民間詩(shī)歌的藝術(shù)傳統(tǒng)，采用民間口語(yǔ)，發(fā)揮詩(shī)人的想象力。他們的理論和實(shí)踐結(jié)束了英國(guó)古典和雪萊對(duì)此進(jìn)行過(guò)激烈的批評(píng)。湖畔派詩(shī)人起初都同情法國(guó)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(guò)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(shī)人的消極傾向日益明顯的時(shí)候，青年詩(shī)人拜倫、雪萊開始登上文壇，向湖畔派詩(shī)人展開論爭(zhēng)。拜倫在一八O九年完成的諷刺長(zhǎng)詩(shī)《英格蘭詩(shī)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(shī)作的攻擊，而且還嚴(yán)厲地譴責(zé)了湖畔派詩(shī)人的消極傾向。由于他們敢于向湖畔派詩(shī)人作斗爭(zhēng)，因而被英國(guó)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(shuō)，湖畔派詩(shī)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(shī)人在與古典主義的斗爭(zhēng)中有過(guò)貢獻(xiàn)，在詩(shī)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。III.poets—LakePoets1.WilliamWordsworth威廉·華茲華斯(重點(diǎn))TwoperiodsofhisliterarycareerArevolutionistwithliberalpoliticsideaandambiguousreligionAconservative,comingtobelievethatman’swildspiritisneededtamingbythechurchmajorworks:1)LyricalBallads《抒情歌謠集》followedby“ThePrefacetotheLyricalBallads”—servedasthemanifestooftheEnglishRomanticMovementinpoetry.2)famousshortpoems：Aboutnature:“IwonderedLonelyasaCloud”“獨(dú)自漫游似浮or“TheDaffodils”“詠水仙”“IntimationofImmortality”“不朽頌”“LinesComposedaFewMilesAboveTinternAbbey”“丁登寺”;“ToaButterfly”“致蝴蝶”“AnEveningWalk”“黃昏漫步”Abouthumanlife:--sympathyforthepoor者”“TheOldCumberlandBeggar”“康伯蘭的老乞丐”“Michael”“邁克爾”“WeareSeven”“我們七個(gè)”3)“ThePrelude”“序曲”--Wordsworth’sautobiographicalpoemin14bookspublishedafterhisdeath,aspiritualrecordofhismind,showinghisownthoughtandsentiment.CommentonWordsworthA.ThepoetofnatureNature---medium---revelation(啟示)Nature---entity---communicatingwithGod,learningmoreaboutGod,andenjoyingtheholyandawesomefeelingsNature---purest,mostuncorruptedform,amanifestationofGod’screationpowerB.Wordsworth’sdefinitiontopoetryGoodpoetrymustspeak“thereallanguageofman”andwriteaboutthelifeofcommonpeopleinanimaginativeway.Goodpoetryis“thespontaneousoverflowofpowerfulfeelings.”詩(shī)是強(qiáng)烈情感的自然流露。Poetry“takesitsoriginfromemotionrecollectedintranquility”.詩(shī)源于情感，但在平靜中回憶。Theobjectswhichexcitedtheseemotionsweretobeordinaryones.Thestyleselectedforthenewpoetrywasalsotobesimple.Apoetshouldgivepleasureandrevealuniversaltruth.Poetryis“themostphilosophicofallwriting”“IwonderedLonelyasaCloud”Thepoemcontains4six-linedstanzasofIambictetrameterwiththerhymeschemeofababccineachstanza.Theme:eulogyfortheharmonybetweenthingsinnatureandtheharmonybetweennatureandmanLucyPoems--“SheDweltAmongtheUntroddenWays”《她住在人跡罕至的地方》(2)Yes,thereareimagesinthispoem:“ahalfhiddenshyandunknownthatnoonewillpayattentiontoher;thebeautifullyinthesky.2.SamuelTaylorColeridge（了解）bornintoaclergyman’sfamily,agenius.At6,readtheBible,RobinsonCrusoeandArabianNights.fulloffantasyanddreams.madefriendswithCharlesLamb,thegreatessayistofEnglishRomanticisminhisCambridgeyears.ranawayfromtheuniversityandenlistedinthearmy;majorworks:DemonicPoems:魔幻詩(shī)TheRimeoftheAncientMarine《古舟子詠》Conversationalpoems對(duì)話詩(shī)FrostatMorning《午夜寒霜》EssaysLecturesonShakespearebetween1808and1815artisticfeatures：(1)Mysticism神秘主義anddemonism魔鬼信仰withstrongimagination;(2)Depictionofunusualandsupernaturalimages.(3)paycloseattentiontolanguageofpoetry.Hemaintainsthatthetrueendofpoetryistogivepleasure“throughthemediumofbeauty”,nottoinstruct.3.RobertSouthey羅伯特·騷塞(了解)Oneofthe“LakePoets”ExpelledfromWestminsterSchoolforhisoutspokencompositionagainstcorporalpunishmentInOxford,madeacquaintanceofColeridgeandWordsworth,andsharedtheirrevolutionaryardorinthe1790sRadicalismfadedattheturnofthecentury,changedfromarevolutionisttoaTory,madePoetLaureatemajorWorksShortpoems—TheInchcapeRock《因尺角之石》TheBattleofBlenheim《布萊尼姆之戰(zhàn)》MyDaysamongtheDeadArePassed《我與死者做伴的日子已結(jié)束》Prose—TheLifeofNelson《納爾遜傳》Poeticalromances--Madoc《麥道克》TheCurseofKehama《克哈馬的詛咒》Roderick,theLastoftheGoths《羅德里克，最后的高斯人》theSatanicschool—1.GeorgeGordonByron(1788-1824)“Forward!Forward!Followme!”BorninanaristocraticfamilyBecameLordByronafterinheritingthetitleandestateofhisgrand-unclearadicalsupporterofworker’smovement.In1811,tookseatintheHouseofLords(貴族院/上議院).HemadevehementspeechestoattackEnglishgovernment’spolicyfortheLuddites(workerswhodestroymachinery).ByronleftEnglandforeverin1816.HefirstvisitedSwitzerland,wherehemadeacquaintancewithShelley.ThenhemovedtoItaly,wherehefinishedChildeHarold’sUponhearingthenewsoftheGreekrevoltagainsttheTurks,Byronplungedhimselfintothestruggle.TheGreeksmadehimcommanderinchief(總司令)oftmonths’hardworkunderbadweather,hefellillanddied.April19,1824,Byrondiedwith“Forward!Forward!Followme!”TheGreekpeoplemournedoverhisprematuredeath.Byronwasregardedasthe“satanicpoet”bytheEnglishgovernmentwhenhedied.Itwasnotuntil1969thatawhitemarblememorialtoByronwaserectedinWestminsterAbbey.NowadayshisnameisputinthePoets’Corner.majorworks:poemscomposedincollegedealingwithchildishrecollectionsandearlyfriendship,butwasmercilesslycriticizedbyEdinburghReview,ablowtotheyoungman,butdidn’tdiscouragehim;(2).EnglishBardsandScotchReviewers《英國(guó)詩(shī)人和蘇格蘭評(píng)論家》--asatiricalpoemagainstEdinburghReview,inwhichWordsworth,Southeyandsomeothercelebritiesofthedayweresatirized;anautobiographicalnarrativepoemwritteninSpenserianstanzas.Ittellsthetravelsandthereflectionsofapilgrim,ChildeHarold,whoistiredoftheemptylifeofpleasureandisnowseekingspiritualrebirth.(4)DonJuan《唐·璜》Byron’smasterpiece,anepicsatireinottavarima(八行體),Astanzaofpoemconsistingof8linesiniambicpentameterrhymingabababcc.16,000lineslongin16cantos.唐璜》是拜倫后期最重要的一部長(zhǎng)詩(shī)。唐璜原是一名西班牙家傳戶曉的一名傳說(shuō)人物，他并不是一個(gè)英雄，相反他卻是一個(gè)因?yàn)檎T騙了某貴族少婦而被驅(qū)逐并到處流亡的青年無(wú)賴式的人物。但在拜倫的筆下得以重新塑造，成為一個(gè)“極美貌、驕傲、大膽而又運(yùn)氣好的人”。雖然他屢次身陷險(xiǎn)境，但又每次都能從死神的身邊安全逃開；雖然他經(jīng)受過(guò)無(wú)數(shù)與情人生離死別的痛苦煎熬，但總有新的愛情給他帶來(lái)新的幸福。他熱情沖動(dòng)、敏感正直，在遭遇饑餓的恐怖和沉船的厄運(yùn)后，遇見了美麗的希臘少女海蒂。正陶醉于愛情和大自然時(shí)，一個(gè)游吟詩(shī)人的吟唱將唐璜帶到了殘酷的現(xiàn)實(shí)。這塊如海蒂一般美麗的土地正飽受著土耳其的侵?jǐn)_，并面臨著即將滅亡的噩運(yùn)。這段吟唱帶給唐璜以巨大的震撼，詩(shī)人拜倫對(duì)這一切當(dāng)然也感同身受。因?yàn)榉N種原因，作為希臘異族人的拜倫在他后來(lái)的生命歲月里選擇了與希臘人民站在一起、并共同抵御外辱。而這段在《唐璜》中并不太起眼的第三章中的一節(jié)就在詩(shī)內(nèi)和詩(shī)外的世界里也因此具有了特殊的意義Contribution:chiefcontribution--“Byronichero”(拜倫式英雄)thenfurtherdevelopedinlaterworkssuchastheOrienteddifferentguises.IfWintercomes,canSpringbefarbehindborninSussex;fatheraconservativenarrow-mindedcountrygentleman;thoughgentlebynature,hecouldnotstandanyinjusticeIn1811,expelledfromOxfordforananti-religionpamphletTheNecessityofAtheism《無(wú)神論的必然》at19,aloneinLondon,homeless.marrieda16-year-oldschoolgirlHarriet蘭人民書》in1813,backinEnglandwroteQueenMab《麥布女王》in1814,brokewithHarrietin1816,marriedMaryGodwin,daughterofradicalphilosopherGodwinin1818,Shelley’shappymarriagewasbrokenbythesuddendeathofHarrietwhojumpedintoariver.in1822.July8th,asuddentempeststruckhisboat,drowned.Inscriptiononhistombstone:“P.B.Shelley.CORCORDIUM”=theheartofhearts眾心之心他的一切并沒有消逝只是經(jīng)歷過(guò)海的變異已變得豐富而且神奇majorworksArevolutionarypoemcondemningtyrannyandexploitationandtheunjustwarwagedbytherichtoplunderwealthrevolutionaryepiclyricaldramain4acts.Greekmyth--PrometheusisreconciledtoZeus.ButShelleyreinterpretedit.Prometheusissupportedbypublic.Expressionofpoet’senvyoftheboundlessfreedomofthewestwindMelancholyintuneButoptimisticandresoluteinthemePoet’sconviction---thegoodwillcertainlydefeattheevilfrequentlyquotedepigram:“IfWintercomes,canSpringbefarbehind”Thepoemisdividedinto5parts.Eachpartconsistsoffourstanzasofterzarimaandonecoupletlines,rhymedababcbcdcRevolutionaryspirit.Wishtodestroytheoldandbuildupanew.(4)InwhatwayisthewestwindbothadestroyerandaThewestwindisconsideredthe“destroyer”fordrivingthe“preserver”forscatteringtheseedswhichcometolifeinDefinition:terzarima(三行體)—verseformconsistingofstanzasofthreelines(tercets);thefirstandthirdlinesrhymingwithoneanotherandthesecondrhymingwiththefirstandthirdofthefollowingtercet.《西風(fēng)頌》采用象征手法《西風(fēng)歌》不是風(fēng)景詩(shī)，而是政治抒情詩(shī)，雖然沒有一句直接描寫革命，但整首詩(shī)都是在反映革命。五個(gè)小節(jié)格律完整，可以獨(dú)立成篇。從內(nèi)容來(lái)看，它們又熔為一體，貫穿著一個(gè)中心描寫西風(fēng)攪動(dòng)天上的濃云密霧，呼喚著暴雨雷電的到來(lái)。（天空）第三節(jié)描寫西風(fēng)掀起大海的洶涌波濤，摧毀海底花樹。（海上）三節(jié)詩(shī)三個(gè)意境，詩(shī)人幻想的翅膀飛翔在樹林、天空和大海之間，飛翔在現(xiàn)實(shí)和理想之間，形象鮮明，想象豐富，但中心思想只有一個(gè)，就是歌唱西風(fēng)掃除腐朽、鼓舞新生的強(qiáng)大威力。從第四節(jié)開始，由寫景轉(zhuǎn)向抒情，由描寫西風(fēng)的氣勢(shì)轉(zhuǎn)向直抒詩(shī)人的胸臆，抒發(fā)詩(shī)人對(duì)西風(fēng)的熱愛和向往，達(dá)到情景交融的境界，而中心思想仍然是歌唱西風(fēng)。因此，結(jié)構(gòu)嚴(yán)謹(jǐn)，層次清晰，主題集中，是《西風(fēng)頌》一個(gè)突出的藝術(shù)特點(diǎn)。JaneAustin1775–1817)Becomingawoman.BecEnglishwriter,whofirstgavethenovelitsmoderncharacterthroughthetreatmentofeverydaylife.AboutherlifeBorn:on16December,1775attherectoryinthevillageofSteventon,inEnglandFamily:theseventhofeightchildren(sixbrosister)Education:mainlyathomebyherfatherHobbies:reading,dancing,writingMarriage:neverAttheageof14:wroteherfirstnovel---LoveandFreindshipandthenAHistoryofEnglandInherearlytwenties:wrotethenovelsthatwerelatertobere-workedandpublishedThenextfouryears:movedtoBathin1801firstly,andthenmovedtoSouthamptonin1805(afterherfather’sdead),wrotelittleinBathandnothingatallinSouthamptonIn1809-1816:revisedSenseandSensibilityandPrideandembarkedon(著手)aperiodofintenseproductivity.MansfieldParkcameoutin1814,followedbyEmmain1815andcompletedPersuasion(whichwaspublishedtogeth