刘炳善《英国文学简史》完整版笔记免费.docx

刘炳善《英国文学简史》完整版笔记免费.docx

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刘炳善《英国文学简史》完整版笔记免费

英国文学简史完全版

AConciseHistoryofBritishLiterature

Chapter1EnglishLiteratureofAnglo-SaxonPeriod

I.Introduction

1.Thehistoricalbackground

（1）BeforetheGermanicinvasion

（2）DuringtheGermanicinvasion

a.immigration;

b.Christianity;

c.heptarchy.

d.socialclassesstructure:

hide-hundred;eoldermen（lord）–thane-middleclass（freemen）-lowerclass（slaveorbondmen:

theow）;

e.socialorganization:

clanortribes.

f.militaryOrganization;

g.Churchfunction:

spirit,civilservice,education;

h.economy:

coins,trade,slavery;

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.

1.Ageneralintroduction.

2.Theplot.

III.WilliamLangland.

1.Life

2.PiersthePlowman

IV.Chaucer

1.Life

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.

（2）works

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

（1）Life:

“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

（1）life:

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,butleavingthereader tomakethefinaldecisions.（arguments）

IV.EnglishDrama

1.Ageneralsurvey.

（1）Everymanmarksthebeginningofmoderndrama.

（2）twoinfluences.

a.theclassics:

classicalinformandEnglishincontent;

b.nativeorpopulardrama.

（3）theUniversityWits.

2.ChristopherMarlowe:

greatestplaywrightbeforeShakespeareandmostgiftedoftheWits.

（1）Life:

firstinterestedinclassicalpoetry—thenindrama.

（2）Majorworks

a.Tamburlaine;

b.TheJewofMalta;

c.TheTragicalHistoryofDoctorFaustus.

（3）Thesignificanceofhisplays.

V.WilliamShakespeare

1.Life

（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）JuliusCaesar

Republicanismvs.dictatorship.

（5）Hamlet

Revenge

Good/evil.

（6）Othell