Key to Chapter 3British LiteratureWord下载.docx

Key to Chapter 3British LiteratureWord下载.docx

《Key to Chapter 3British LiteratureWord下载.docx》由会员分享，可在线阅读，更多相关《Key to Chapter 3British LiteratureWord下载.docx（6页珍藏版）》请在冰豆网上搜索。

3.JaneAusten4.JohnKeats

5.JohnKeats

6.PercyByssheShelley

7.PercyByssheShelley

8.PercyByssheShelley

9.GeorgeGordonByron

10.GeorgeGordonByron

11.GeorgeGordonByron12.SamuelTaylorColeridge

13.SamuelTaylorColeridge14.WilliamWordsworth

15.WilliamWordsworth16.WilliamWordsworth

17.WilliamWordsworth18.SamuelTaylorColeridge

E.

1.TheRomanticMovement:

Itexpressedamoreoflessnegativeattitudetowardtheexist?

ingsocialandpoliticalconditionsthatcamewithindustrial?

izationandthegrowingimportanceofthebourgeoisie.TheRomanticsfeltthattheexistingsocietydeniedpeopletheires?

sentialhumanneeds,sotheydemonstratedastrongreactionagainstthedominantmodesofthinkingofthe18th-centurywritersandphilosophers.Wheretheirpredecessorssawmanasasocialanimal,theRomanticssawhimessentiallyasanindividualinthesolitarystateandemphasizedthespecialqualitiesofeachindividual'

smind.Romanticismactuallycon?

stitutesachangeofdirectionfromattentiontotheouterworldofsocialcivilizationtotheinnerworldofthehumanspirit.Inessence,itdesignatesaliteraryandphilosophicaltheorywhichtendstoseetheindividualastheverycenterofalllifeandallexperience.Italsoplacestheindividualatthecenterofart,makingliteraturemostvaluableasanexpres?

sionofhisorheruniquefeelingsandparticularattitudes,andvaluingitsaccuracyinportrayingtheindividual'

sexperi?

ences.

2.The"

Byronichero"

:

A"

isaproudandmysteriousrebelfigureofnobleorigin.Tosomeextent,suchaheroismodeledonthelifeandpersonalityofByronhimself.Withimmensesuperior?

ityinhispassionsandpowers,the"

wouldcar?

ryonhisshoulderstheburdenofrightingallthewrongsincorruptsociety,andwouldrisesingle-handedlyagainstanykindoftyrannicalruleseitheringovernment,inreligionorinmoralprincipleswithunconquerablewillsandinexhaustibleenergies.Theconflictisusuallyoneofrebelliousindividualsagainstoutwornsocialsystemsandconventions.

F.

A）

1.FromWilliamBlake'

s"

TheChimneySweeper"

（fromSongsofExperience）.Thisstanzashowsthatthechurchplayedanevilpartincreatingthepoorchimneysweepers'

misery.

2.FromWilliamWordsworth'

IWanderedLonelyasaCloud"

.Thisstanzaisavividdescriptionofalongbeltofgolddaffodilstossingandreelinganddancingalongthewa?

terside.

3.FromWilliamWordsworth'

ComposeduponWestminsterBridge"

.ThispartdescribesavividpictureofabeautifulmorninginLondon.

4.FromWilliamWordsworth'

TheSolitaryReaper"

.Thispartshowsthatthegirl'

ssingingdeeplymovedthetravelerandkeptlingeringinhisheart.

5.FromSamuelTaylorCoeridge'

KublaKhan"

.Thispartisadescriptionofonepartofthepoet'

sdreaminwhichayounggirlisplayingadulcimerandsinging.Itrevealsthepoet'

slongingforapoeticworld.

6.FromGeorgeGordonByron'

SongfortheLuddities"

.Thisisthesecondstanza.Itshowstheworkers'

determinationtowagelife-or-deathstruggleagainstthecapitalists.

7.FromGeorgeGordonByron'

TheIslesofGreece"

（fromDonJuan）.Thepoetshowsherethathewouldratherdiethanbeaslave,thusappealingtopeopletostruggleforliber?

ty-

8.FromPercyByssheShelley'

ASong:

MenofEngland"

.Thesetwostanzasareironicallyaddressedtothoseworkerswhosubmitpassivelytocapitalistexploitation.Theywarntheworkingpeoplethatiftheyshouldgiveuptheirstruggle,theywouldbedigginggravesforthemselveswiththeirownhands.

9.FromPercyByssheShelley'

OdetotheWestWind"

.ThispartillustratesShelley'

soptimisticbeliefinthefutureofmankind.

10.FromJohnKeats'

OdeonaGrecianUrn"

.Thispartshowsthecontrastbetweenthepermanenceofartandthetransienceofhumanpassion.Unaffectedbytime,stilledinexpectation,theGrecianUrnandthebeautifulsceneryonitbecometimelesslybeautiful,whilehumanbeingsaresuffer?

ingandtheirpassionsaretransient.

B）

1.A.FromJaneAusten'

sPrideandPrejudice.

B.ItisadialoguebetweenMr.andMrs.Bennet.

C.IttellsusthatMrs.Bennetiseagertomarryoneofherdaughterstothementionedyoungman,butherhusbanddoesnotcaremuch.

G.

1.SongsofInnocence（1809）isalovelyvolumeofpoems,pre?

sentingahappyandinnocentworld,thoughnotwithoutitsevilsandsufferings.Inthisvolume,Blake,withhiseagerquestfornewpoeticformsandtechniques,brokecompletelywiththetraditionsofthe18thcentury.Heexperimentedinmeterandrhymeandintroducedboldmetricalinnovationswhichcouldnotbefoundinthepoetryofhiscontemporaries.SongsofExperience（1794）paintsadifferentworld,aworldofmisery,poverty,disease,warandrepressionwithamelancholytone.ThebenightedEnglandbecomestheworldofthedarkwoodandoftheweepingprophet.AnumberofpoemsfromSongsofInnocencecanfindacoun?

terpartinSongsofExperience.Thetwobooksholdthesimi?

larsubject-matter,butthetone,emphasisandconclusiondif?

fer.ChildhoodiscentraltoBlake'

sconcerninSongsofInno?

cenceandSongsofExperience,thisconcerngivesthetwobooksastrongsocialandhistoricalreference.ThepoemfromSongsofInnocenceindicatestheconditionswhichmakereli?

gionaconsolation,aprospectof"

illusoryhappiness;

"

thepoemfromSongsofExperiencerevealsthetruenatureofreli?

gionwhichhelpsbringmiserytothepoorchildren.

2.TheRomanticperiodisanageofpoetry.Blake,Wordsworth,Coleridge,Byron,ShelleyandKeatsarethemajorRomanticpoets.Theystartedarebellionagainsttheneoclassicalliterature,whichwaslaterregardedasthepoet?

icrevolution.WordsworthandColeridgewerethemajorrepresentativesofthismovement.Theyexplorednewtheo?

riesandinnovatednewtechniquesinpoetrywriting.Theysawpoetryasahealingenergy;

theybelievedthatpoetrycouldpurifybothindividualsoulsandthesociety.TheRo?

manticsnotonlyextolthefacultyofimagination,butalsostresstheconceptofspontaneityandinspiration,regardingthemassomethingcrucialfortruepoetry.Thenaturalworldcomestotheforefrontofthepoeticimagination.Na?

tureisnotonlythemajorsourceofpoeticimagery,butalsoprovidesthedominantsubjectmatter.Wordsworthistheclosesttonature.

Toescapefromaworldthathadbecomeexcessivelyratio?

nal,aswellasexcessivelymaterialisticandugly,theRo?

manticswouldturntoothertimesandplaces,wherethequalitiestheyvaluedcouldbeconvincinglydepicted.Ro?

manticsalsotendtobenationalistic,defendingthegreatpo?

etsanddramatistsoftheirownnationalheritageagainsttheadvocatesofclassicalruleswhotendedtoglorifyRomeandrationalItalianandFrenchneoclassicalartassuperiortothenativetraditions.TotheRomantics,poetryshouldbefreefromallrules.Theywouldturntothehumblepeopleandtheireverydaylifeforsubjects.RomanticwritersarealwaysseekingfortheAbsolute,theIdealthroughthetranscen?

denceoftheactual.Theyhavealsomadeboldexperimentsinpoeticlanguage,versificationanddesign,andconstructedavarietyofformsonoriginalprinciplesofstructureandstyle.

3.Coleridge'

sactualachievementasapoetcanbedividedintotworemarkablydiversegroups:

thedemonicandtheconver?

sational.Thedemonicgroupincludeshisthreemasterpieces;

"

TheRimeoftheAncientMariner,"

Christabel"

and"

KublaKhan."

Mysticismanddemonismwithstrongimagi?

nationarethedistinctivefeaturesofthisgroup.Generally,theconversationalgroupspeaksmoredirectlyofanalliedtheme:

thedesiretogohome,nottothepast,butto"

anim?

provedinfancy."

Eachofthesepoemsbearsakindofpurga?

torialatonement,inwhichColeridgemustfailorsuffersothatsomeonehelovesmaysucceedorexperiencejoy.Coleridgeisoneofthefirstcriticstogiveclosecriticalatten?

tiontolanguage,maintainingthattheaimofpoetryistogivepleasure"

throughthemediumofbeauty."

InanalyzingShakespeare,Coleridgeemphasizesthephilosophicimplica?

tion,readingmoreintothesubjectthanthetextandgoingdeeperintotheinnerrealitythanonlycaringfortheouterform.

4.AsaleadingRomanticist,Byron'

schiefcontributionishiscreationofthe"

Byronichero,"

aproudandmysteriousrebelfigureofnobleorigin.Withimmensesuperiorityinhispas?

sionsandpowers,theByronicherowouldcarryonhisshoul?

derstheburdenofrightingallthewrongsinanevilsociety,andwouldfightsingle-handedlyagainstanykindoftyranni?

calruleseitheringovernment,inreligionorinmoralprinci?

pleswithunconquerablewillsandinexhaustibleenergies.

Theconflictisusuallyoneofrebelliousindividualsagainstoutwornsocialsystemsandconventions.SuchaheroappearsfirstinChildeHarold'

sPilgrimage,andthenfurtherdevel?

opedinlaterworkssuchasOrientedTales,Manfred,andDonJuanindifferentguises.Thefigureis,tosomeextent,modeledonthelifeandpersonalityofByronhim