刘炳善英国文学简史完整版笔记定稿版Word文档格式.docx
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i.feastsandfestival:
Halloween,Easter;
j.legalsystem.
2.TheOverviewoftheculture
（1）ThemixtureofpaganandChristianspirit.
（2）Literature:
a.Poetry:
twotypes;
b.prose:
twofigures.
II.Beowulf.
1.Ageneralintroduction.
2.Thecontent.
3.Theliteraryfeatures.
（1）theuseofalliteration
（2）theuseofmetaphorsandunderstatements
（3）themixtureofpaganandChristianelements
III.TheOldEnglishProse
1.Whatisprose?
2.figures
（1）TheVenerableBede
（2）AlfredtheGreat
Chapter2EnglishLiteratureoftheLateMedievalAgesI.Introduction
1.TheHistoricalBackground.
（1）Theyear1066:
NormanConquest.
（2）Thesocialsituationssoonaftertheconquest.
A.Normannoblesandserfs;
B.restorationofthechurch.
（3）The11thcentury.
A.thecrusadeandknights.
B.dominanceofFrenchandLatin;
（4）The12thcentury.
A.thecentralizedgovernment;
B.kingsandthechurch（HenryIIandThomas）;
（5）The13thcentury.
A.ThelegendofRobinHood;
B.MagnaCarta（1215）;
C.thebeginningoftheParliament
D.EnglishandLatin:
officiallanguages（theend）
（6）The14thcentury.
a.theHouseofLordsandtheHouseofCommons—conflictbetweentheParliamentandKings;
b.theriseoftowns.
c.thechangeofChurch.
d.theroleofwomen.
e.theHundredYears'
War—starting.
f.thedevelopmentofthetrade:
London.
g.theBlackDeath.
h.thePeasants'
Revolt—1381.
i.ThetranslationofBiblebyWycliffe.
（7）The15thcentury.
a.ThePeasantsRevolt（1453）
b.TheWarofRosesbetweenLancasterandYorks.
c.theprinting-press—WilliamCaxton.
d.thestartingofTudorMonarchy（1485）
2.TheOverviewofLiterature.
（1）thestoriesfromtheCelticlandsofWalesandBrittany—greatmythsoftheMiddleAges.
（2）GeoffryeofMonmouth—HistoriaRegumBritanniae—KingAuthur.
（3）Wace—LeRomandeBrut.
（4）Theromance.
（5）thesecondhalfofthe14thcentury:
Langland,Gawinpoet,Chaucer.
II.SirGawinandGreenKnight.
2.Theplot.
III.WilliamLangland.
1.Life
2.PiersthePlowman
IV.Chaucer
2.LiteraryCareer:
threeperiods
（1）Frenchperiod
（2）Italianperiod
（3）masterperiod
3.TheCanterburyTales
A.TheFramework;
B.TheGeneralPrologue;
C.TheTaleProper.
4.HisContribution.
（1）HeintroducedfromFrancetherhymedstanzaofvarioustypes.
（2）HeisthefirstgreatpoetwhowroteinthecurrentEnglishlanguage.
（3）ThespokenEnglishofthetimeconsistedofseveraldialects,andChaucerdidmuchinmakingthedialectofLondonthestandardforthemodernEnglishspeech.
V.PopularBallads.
VI.ThomasMaloryandEnglishProse
VII.ThebeginningofEnglishDrama.
1.MiraclePlays.
MiracleplayormysteryplayisaformofmedievaldramathatcamefromdramatizationoftheliturgyoftheRomanCatholicChurch.Itdevelopedfromthe10thtothe16thcentury,reachingitsheightinthe15thcentury.Thesimplelyriccharacteroftheearlytextswasenlargedbytheadditionofdialogueanddramaticaction.Eventuallytheperformancewasmovedtothechurchyardandthemarketplace.
2.MoralityPlays.
Amoralityplayisaplayenforcingamoraltruthorlessonbymeansofthespeechandactionofcharacterswhicharepersonifiedabstractions–figuresrepresentingvicesandvirtues,qualitiesofthehumanmind,orabstractconceptionsingeneral.
3.Interlude.
Theinterlude,whichgrewoutofthemorality,wasintended,asitsnameimplies,tobeusedmoreasfillerthanasthemainpartofanentertainment.Asitsbestitwasshort,witty,simpleinplot,suitedforthediversionofguestsatabanquet,orfortherelaxationoftheaudiencebetweenthedivisionsofaseriousplay.Itwasessentiallyanindoorsperformance,andgenerallyofanaristocraticnature.
Chapter3EnglishLiteratureintheRenaissanceI.AHistoricalBackground
II.TheOverviewoftheLiterature（1485-1660）
Printingpress—readership—growthofmiddleclass—trade-educationforlaypeople-centralizationofpower-intellectuallife-exploration-newimpetusanddirectionofliterature.
Humanism-studyoftheliteratureofclassicalantiquityandreformededucation.
Literarystyle-modeledontheancients.
Theeffectofhumanism-thedisseminationofthecultivated,clear,andsensibleattitudeofitsclassicallyeducatedadherents.
1.poetry
ThefirsttendencybySidneyandSpenser:
ornate,florid,highlyfiguredstyle.
ThesecondtendencybyDonne:
metaphysicalstyle—complexityandingenuity.
ThethirdtendencybyJohnson:
reaction——Classicallypureandrestrainedstyle.
ThefourthtendencybyMilton:
centralChristianandBiblicaltradition.
2.Drama
a.thenativetraditionandclassicalexamples.
b.thedramastandshighestinpopularestimation:
Marlowe–Shakespeare–Jonson.
3.Prose
a.translationofBible;
b.More;
c.Bacon.
II.Englishpoetry.
1.SirThomasWyattandHenryHoward（courtlymakers）
（1）Wyatt:
introducingsonnets.
（2）Howard:
introducingsonnetsandwritingthefirstblankverse.
2.SirPhilipSidney—poet,critic,prosewriter
（1）Life:
a.Englishgentleman;
b.brilliantandfascinatingpersonality;
c.courtier.
（2）works
a.Arcadia:
pastoralromance;
b.AstrophelandStella（108）:
sonnetsequencetoPenelopeDvereux—platonicdevotion.
Petrarchanconceitsandoriginalfeelings-movingtocreativeness—building?
ofanarrativestory;
theme-loveoriginality-actofwriting.
c.DefenseofPoesy:
anapologyforimaginativeliterature—beginning?
ofliterarycriticism.
3.EdmundSpenser
（1）life:
Cambridge-Sidney'
sfriend-“Areopagus”–Ireland-WestminsterAbbey.
a.TheShepherdsCalendar:
thebuddingofEnglishpoetryinRenaissance.
b.AmorettiandEpithalamion:
sonnetsequence
c.FaerieQueen:
lThegeneralend——Aromanticandallegoricalepic—stepstovirtue.
l12booksand12virtues:
Holiness,temperance,justiceandcourtesy.
lTwo-levelfunction:
partofthestoryandpartofallegory（symbolicmeaning）
lManyallusionstoclassicalwriters.
LThemes:
puritanism,nationalism,humanismandRenaissanceNeoclassicism—aChristianhumanist.
（3）SpenserianStanza.
III.EnglishProse
1.ThomasMore
“Renaissanceman”,scholar,statesman,theorist,prosewriter,diplomat,patronofarts
a.learnedGreekatCanterburyCollege,Oxford;
b.studieslawatLincolnInn;
c.LordChancellor;
d.beheaded.
（2）Utopia:
thefirstEnglishsciencefiction.
WritteninLatin,twoparts,thesecond—placeofnowhere.
Aphilosophicalmariner（RaphaelHythloday）tellshisvoyagesinwhichhediscoversaland-Utopia.
a.Thepartoneisorganizedasdialoguewithmarinerdepictinghisphilosophy.
b.Theparttwoisadescriptionoftheislandkingdomwheregoldandsilverarewornbycriminal,religiousfreedomistotalandnooneownsanything.
c.thenatureofthebook:
attackingthechiefpoliticalandsocialevilsofhistime.
d.thebookandtheRepublic:
anattempttodescribetheRepublicinanewway,butitpossessesanmoderncharacterandtheresemblanceisinexternals.
e.itplayedakeyroleintheHumanistawakeningofthe16thcenturywhichmovedawayfromtheMedievalotherworldlinesstowardsRenaissancesecularism.
f.theUtopia
（3）thesignificance.
a.itwasthefirstchampionofnationalideasandnationallanguages;
itcreatedanationalprose,equallyadaptedtohandlingscientificandartisticmaterial.
b.aelegantLatinscholarandthefatherofEnglishprose:
hecomposedworksinEnglish,translatedfromLatinintoEnglishbiography,wroteHistoryofRichardIII.
2.FrancisBacon:
writer,philosopherandstatesman
Cambridge-humanisminParis–knighted-LordChancellor–bribery-focusingonphilosophyandliterature.
（2）philosophicalideas:
advancementofscience—people:
servants
andinterpretersofnature—method:
achildbeforenature—factsandobservations:
experimental.
（3）“Essays”:
57.
a.hewasamasterofnumerousandvariedstyles.
b.hismethodistoweighandbalancematers,indicatingtheidealcourseofactionandthepracticalone,pointingouttheadvantagesanddisadvantagesofeach,butleavingthereadertomakethefinaldecisions.（arguments）
IV.EnglishDrama
1.Ageneralsurvey.
（1）Everymanmarksthebeginningofmoderndrama.
（2）twoinfluences.
a.theclassics:
classicalinformandEnglishincontent;
b.nativeorpopulardrama.
（3）theUniversityWits.
2.ChristopherMarlowe:
greatestplaywrightbeforeShakespeareandmostgiftedoftheWits.
firstinterestedinclassicalpoetry—thenindrama.
（2）Majorworks
a.Tamburlaine;
b.TheJewofMalta;
c.TheTragicalHistoryofDoctorFaustus.
（3）Thesignificanceofhisplays.
V.WilliamShakespeare
（1）1564,Stratford-on-Avon;
（2）GrammarSchool;
（3）QueenvisittoCastle;
（4）marriagetoAnneHathaway;
（5）London,theGlobeTheatre:
smallpartandproprietor;
（6）the1stFolio,Quarto;
（7）Retired,son—Hamlet;
H.1616.
2.Dramaticcareer
3.Majorplays-men-centered.
（1）RomeoandJuliet——tragicloveandfate
（2）TheMerchantofVenice.
Goodoverevil.
Anti-Semitism.
（3）HenryIV.
Nationalunity.
Falstaff.
（4）JuliusCaes
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