Key to Chapter 3British Literature.docx

Key to Chapter 3British Literature.docx

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KeytoChapter3BritishLiterature

KeytoChapter3,BritishLiterature

AnswerstoChapter3

A.

l.B2.B3,C4.B5.A6.B7.C8.A9.B10.A11.B12.B13.D14.C15.B

B.

I.rebellion2.humble,ordinary3.imagination4.historical5.Gothic6.humanspirit

7.nature,humanlife8.commonlife9.simplicity,profound10.modern,course,return

11.demonic,conversational12.comicepic13.appearance,reality14.rebel,noble15.odes

16.permanence,transience17.neoclassicism18.personal19.maturity20.political

C.

l.T2.T3.F4.T5.F6.T7.F8.F9.F10.T11.T12.F13.T14.F15.T16.T17.T18.F19.F20.T

D.

1.WilliamBlake2.WilliamBlake

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"Byronichero"isaproudandmysteriousrebelfigureofnobleorigin.Tosomeextent,suchaheroismodeledonthelifeandpersonalityofByronhimself.Withimmensesuperior?

ityinhispassionsandpowers,the"Byronichero"wouldcar?

ryonhisshoulderstheburdenofrightingallthewrongsincorruptsociety,andwouldrisesingle-handedlyagainstanykindoftyrannicalruleseitheringovernment,inreligionorinmoralprincipleswithunconquerablewillsandinexhaustibleenergies.Theconflictisusuallyoneofrebelliousindividualsagainstoutwornsocialsystemsandconventions.

F.

A）

1.FromWilliamBlake's"TheChimneySweeper"（fromSongsofExperience）.Thisstanzashowsthatthechurchplayedanevilpartincreatingthepoorchimneysweepers'misery.

2.FromWilliamWordsworth's"IWanderedLonelyasaCloud".Thisstanzaisavividdescriptionofalongbeltofgolddaffodilstossingandreelinganddancingalongthewa?

terside.

3.FromWilliamWordsworth's"ComposeduponWestminsterBridge".ThispartdescribesavividpictureofabeautifulmorninginLondon.

4.FromWilliamWordsworth's"TheSolitaryReaper".Thispartshowsthatthegirl'ssingingdeeplymovedthetravelerandkeptlingeringinhisheart.

5.FromSamuelTaylorCoeridge's"KublaKhan".Thispartisadescriptionofonepartofthepoet'sdreaminwhichayounggirlisplayingadulcimerandsinging.Itrevealsthepoet'slongingforapoeticworld.

6.FromGeorgeGordonByron's"SongfortheLuddities".Thisisthesecondstanza.Itshowstheworkers'determinationtowagelife-or-deathstruggleagainstthecapitalists.

7.FromGeorgeGordonByron's"TheIslesofGreece"（fromDonJuan）.Thepoetshowsherethathewouldratherdiethanbeaslave,thusappealingtopeopletostruggleforliber?

ty-

8.FromPercyByssheShelley's"ASong:

MenofEngland".Thesetwostanzasareironicallyaddressedtothoseworkerswhosubmitpassivelytocapitalistexploitation.Theywarntheworkingpeoplethatiftheyshouldgiveuptheirstruggle,theywouldbedigginggravesforthemselveswiththeirownhands.

9.FromPercyByssheShelley's"OdetotheWestWind".ThispartillustratesShelley'soptimisticbeliefinthefutureofmankind.

10.FromJohnKeats's"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