英语专业自学考试 英美文学 主要作品分析文档格式.docx
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EnglishLiterature
ChapterOneTheRenaissancePeriod
I.Shakespeare’ssonnets
1.Withafewexceptions,ShakespearewriteshissonnetsinthepopularEnglishformofthreequatrainsandacouplet.Thecoupletusuallytiesthesonnettooneofthegeneralthemes,leavingthequatrainsfreetodevelopthepoeticintensity.
2.Thesonnet’smostcommonthemesconcernthedestructiveeffectsoftime,thequicknessofphysicaldecay,andthelossofbeauty,vigor,andlove.Althoughthepoemscelebratelife,theyarealwayswithakeenawarenessofdeath.
3.Hissonnet18expressesthatbeautifulthingscanrelyontheforceofliteraturetoreacheternity.Literatureiscreatedbyman,thusitdeclaresman’seternity.Thepoemshowsthemightyself-confidenceofthenewlyclass.Thevivid,variableandrichimagesreflectthelivelyandadventurousspiritsofthosewhowereopeningnewworld.
II.Shakespeare’sAMerchantofVenice
1.Theme
(1)Justicevs.mercy:
Shakespearesuggeststhatallmenshouldbemerciful.Thereisafurtheraspectofjustice—theinjusticerevealedintheChristians’treatmentoftheJews.
(2)Appearancevs.reality:
e.g.superficialorexternalbeautyvs.moralorspiritualbeautyortruth(inthecaseofthreecaskets);
thelettersoflawvs.thespiritofthelaw.
(3)Commercialormaterialvaluesvs.love:
Trueloveismuchmoreworthwhilethanmoneyandmaterialvalues.AntonioepitomizestrueloveinhisfriendshipforBassanio.
2.ThecharacteranalysisofShylock
ShylockisaJewishusurer,andheisatragic-comiccharacter.
Heiscomicbecausehefinallybecomestheonepunishedbyhisownevildeed.Heisavaricious.Heaccumulatesasmuchwealthashecanandheevenequateshislostdaughterwithhislostmoney.Heisalsocruel.Inordertorevenge,hewouldratherclaimapoundoffleshfromhisenemyAntoniothangetbackhisloan.
Heistragic,becauseheisthevictimofthesociety.AsaJew,heisnottreatedequallybythesociety.Thelawisharshtohim.Hehastomakeasmuchmoneyashecaninordertoprotecthim.HeisabusedbyAntonio,sohewantstogetrevenge.
III.ThecharacteranalysisofHamlet
Hamletisascholarandawarrior.Hisfatherhasbeenkilledbyhisuncle,Claudius,whothentakethethroneandmarrieshismother.Hamletisinformedbytheghostofhisfathertotakerevenge,buttheweaknessofindecisivenessorindeterminationinhischaracteralwaysdelayhisaction,andfinallyleadstohistragicfallofdeath.Hamletisnotamanofaction,butamanofthinkingatfirst.Hehesitatesatsomecrucialmoments.Atlastwhenheisforcedtotakesomeactions,hedoeskillClaudiusgloriously,buthealsosacrificeshisownlife.
IV.Donneandhis“TheSunRising”
1.Metaphysicalpoet:
Hewrotepoemsbyusingunconventionalandsurprisingconceitsandfullofwitandhumor,butsometimesthelogicargumentandconceitsbecomepervasive.Thelanguageiscolloquialbutpowerful,creatingunorthodoximagesonthereader’smind.
2.His“TheSunRising”:
Inthispoem,thelove’sweddingroomhasbeenintrudedbysunandthemantakesoffenceattheintrusion.Heattackthesunasanunrulyservant,andfinallyheallowthesuntoentertheirchamberandwarmthem.Thepoem’struesubjectisthelady—histrueemotionallove.Everyinsulttothesunisacomplimenttothelady.
V.Milton’sParadiseLost:
1.Structure:
ThestoryistakenfromtheOldTestament.ItextendschronologicallyfromtheexaltationofChristbeforethecreatureofuniversetothesecondcomingofChrist.Geographically,itrangesovertheentireworld.
2.ThecharacteranalysisofSatan:
Hehasthestrength,thecourageandthecapacityforleadership,buthedevotedallthosequalitiestoevil.HisdefianceofGodshowshisegoisticpride,hisfalseconceptionoffreedom,andhisalienationfromallgood.Hisownevilanddamnationgivehimpotentiallytragicdimensions.Therefore,SatanisenvelopedindramaticironybecausehefightinignoranceoftheunshakablepowerofGodandgoodness.
3.Features:
Parallelandcontrast
Thecentralconflictandcontrastbetweengoodandevilareintensifiedbythecontrastbetweenheavenandhell,lightanddarkness,loveandhate,reasonandpassion,etc.
ChapterTwoTheNeo-classicalPeriod
I.Theallegoricalmeaningof“TheVanityFair”inJohnBunyan’sThePilgrim’sProgress
TheVanityFairreferstotherealworldwherepeoplehavebecomesodegeneratedthatalltheyareconcernedistobuyandselleverythingtheycan.Itallegoricallyrepresentsvanitybothinthesocietyandinpeople’sheart,sopeoplearespirituallylost.However,thepilgrimsrefusetobuyanyofthethingsintheVanityFair.ItspurposeistourgepeopletoabidebyChristiandoctrinesandseeksalvationthroughconstantstrugglewiththeirownweaknessandsocialevils.Christians’refusalshowsthattheyareonestepnearertheCelestialCity.
II.Pope’spointofviewonpoetrycriticismandthecharacteristicsofhisownpoetry
1.Pope’spointofviewonpoetrycriticismisbestshowninhisAnEssaysonCriticism.Heemphasizingthatliteraryworksshouldbejudgedbyclassicalrulesoforder,reason,logic,restrainedemotionandgoodtaste.HecallsonpeopletoturntotheoldGreekandRomanwritersforguidance.Headvisesthecriticsnottostresstoomuchtheartificialuseofconceitortheexternalbeautyoflanguage,buttopayspecialattentiontotruewitwhichisbestsetinaplainstyle.
2.Pope’spoemstrictlyfollowshisideaofneoclassicism.Hedevelopedasatiric,concise,smooth,gracefulandwell-balancedstyle,andfinallybroughttoitslastperfectionoftheheroiccouplet.
III.ThesocialsatireofJonathanSwift’sGulliver’sTravels
TheaccountofLilliputianlife,especiallythegamesforpeopleatcourt,alludestothesimilarridiculouspracticesortricksintheEnglishgovernment.ThedescriptionofthecompetitioninthegamesbeforetheroyalmembersleadstothefactthatthesuccessofthosegovernmentofficialssuchasthePrimeMinisterliesnotintheirbeinganywiserorbetterbutintheirbeingmoredexterousinthegame.ThisalludestothepracticesinEngland.AndthepompouswordssingingoftheLilliputianemperorridiculethearistocraticarroganceandvanity.
IV.HenryFieldingandhisTomJones
Itisagoodexampleof“comicepicinprose”.FieldingdescribesthefightbetweenMollyandthevillagersandherfistfightwithGoodyBrowninthegrandstyleoftheHomericepic.HefirstofallcallsontheMusestoassisthiminrecountingthefightasifitwereofgreathistoricalimportance.LikeHomerwhowouldlistnamesofgodsinvolvedinthebattle,heliststhenamesofthevillagers.HetreatsMollyasagreatheroatbattle,an“Amazonianheroine”.Besides,heusesamock-epictoneandseemsverysolemnaboutwhatheisdescribing.Heusesformalwordsandrefinedlanguage.Finally,hemakesuseofdifferentfiguresofspeech,particularly,ironyandhyperbole.
V.ThomasGrayandhis“ElegyWritteninaCountyChurch”
Inthepoem,Graypresentsapictureofthequietandsolitarycountyatduskthroughthesoundingofthecurfew,thehome-comingplowman,thetinklingofbellsunderthenecksofthecattle,themopingowl,thenarrowcell(grave),etc..Hebemoansthefateofthosecommonlaborerswhoarenowburiedinthegraves,triestoimaginehowtheyhadlivedaslovingparentsandhardworkingpeople,andpraisetheirhomelyjoys.Hethenexpresshiscontemptforthosenoblemenwhooncelivedapompouslife,anddespisedthepoor,buthaveendedupinawaynobetterthantheordinaryfolk.WecanseeGray’ssympathyforthepoorandcontemptfortherich.
ChapterThreeTheRomanticPeriod
I.Wordsworthandhis“Iwanderedlonelyasacloud”
Thepoemiscrystalclearandlucid.Belowtheimmediatesurface,wefindthatalltherealisticdetailsoftheflowers,thetrees,thewaves,thewind,andalltherealisticdetailsoftheactivejoy,areabsorbedintoanover-allconcretemetaphor,therecurrentimageofthedance.Theflowers,thestars,thewavesareunitsinthisdancingpatternoforderindiversity,oflinkedeternalharmonyandvitality.Throughtherevelationandrecognitionofhiskinshipwithnature,thepoethimselfbecomesasitwereapartofthewholecosmicdance.
II.Shelleyandhis“OdetotheWestWind”
Inthepoem,Shelleyeulogizesthewestwindasapowerfulphenomenonofnaturethatisbothdestroyerandpreserver.Thewindenjoysboundlessfreedomandhasthepowertospreadmessagesfarandwide.ThekeynoteinthepoemisShelley’sever-presentwishforhimselfandhisfellowmentosharethefreedomofthewestwind,rememberingmeanwhilehisownandcommonhumanmiseries.Andthedominantmoodisthatofhoperatherthandespair,asthepoetishopingfortherealizationofthefreedomandjoy.Theoptimismexpressedinthelasttwolinesshowthepoet’scriticalattitudetowardtheuglysocialrealityandhisfaithinabrightfutureforhumanity.
III.JohnKeatsandhis“OdeonaGrecianUrn”
InthepoemKeatsshowsthecontrastbetweenthepermanenceofartandthetransienceofhumanpassion.ThepoethasabsorbedhimselfintothetimelessbeautifulsceneryontheGrecianurn:
thelovers,musiciansandworshipperscarvedontheurn,andtheireverlastingjoys.Theyareunaffectedbytime,stilledinexpectation.Thisisthegloryandthelimitationoftheworldconjuredupbyandobjectofart.Theurncelebratesbutsimplifiesintuitionsofjoybydefyingourpainandsuffering.Butatlast,theurnpresentshisambivalenceabouttimeandthenatureofbeauty.
IV.