sentimentalism-160

雾都孤儿的英文背景

男人的因素可能什么也补不回来。因为因素是人的一种性格。是他所处的生活环境所影响的。不影响这个人的脾气性格。这能说明他做事，为人处事比较严肃。比较严谨。当你喜欢他的时候，你就慢慢的会适应她的脾气性格。你也会慢慢的适应他的性格。久而久之，你们相互都会互相感化。也会慢慢的适应他。一个人的脾气因素。也不是什么坏事。只要他对你好，对你是真心的。真想就可以了，你不要斤斤计较。对他而言什么也不回来，这是他的一种人格魅力罢了。是硬的。明白一个脾气比较严肃的人，做事往往比较严谨。处事比较谨慎。一种优势，他的弱势就是别人难以接近，是一种弱点。对人与人之间的生活交流没有什么大的抱负，哎。作为同事和朋友，亲人不计斤斤计较。

16和17世纪英国文学特点，中英文都可以，谢谢。急。

Charles DIckens's Oliver Twist。

Oliver Twist: The Parish Boy抯 Progress。

Charles Dickens created an astonishing collection of literary masterpieces each of which tightly grasped the attention of the audience. Dickens was able to maintain a writing schedule that would have exhausted any other author. In slightly more than thirty years, Dickens published more than twenty novels, acted as editor for a variety of literary journals, created his own magazine, worked as a freelance reporter, and executed a series of charismatic public readings. His popularity established Dickens as one of the first 揷elebrities.?SPAN style="mso-spacerun: yes"> Crowds brimming with eager fans would accumulate as Dickens bellowed out the charming lines of his tantalizing novels. His significance and notoriety are still easily identified in contemporary literary cannons. Although his books sold and the audience waited on edge for the next installment of his works, Dickens was not given completely favorable reviews to every text. 。

Oliver Twist was begun in February 1837 and continued as monthly installments in Bentley抯 Miscellany until April of 1839. Dickens originally titled the novel Oliver Twist: The Parish Boy抯 Progress but it has since been shorten to simply Oliver Twist. Dickens finished writing the novel in the London of 1838 and the first edition of the novel was found on shelves in November of 1838. The novel falls into the genre of a children抯 detective story but the novel also contains an aspect of social protest as Dickens details the Poor Laws and workhouses. Dickens uses his hyperbolic irony and sentimentalism to create characters currently residing in the underworld of industrial London. The themes that appear within the text are the delineation between good and evil, the hypocritical attitudes and behaviors of public institutions, and the ultimately flawed theory of individualism. Dickens uses mistaken identities and familial ties to create a story, which closely details the journey of a virtuous orphan through the mean streets of poverty (Spark Notes: Oliver Twist).。

While Dickens was composing Oliver Twist, he was also working as editor of Bentleys Miscellany. As an author, Dickens rarely completely finished one work before beginning an entirely new project. For example, Pickwick Papers was not completed prior to his beginning of Oliver Twist. Nor was Oliver Twist completed before Dickens had moved on to Nicholas Nickleby. Master Humphrey抯 Clock and The Old Curiosity Shop were soon to follow. Dickens wrote at a fevered pace which would have been daunting to other authors. In addition to his rapid publication of novels, Dickens was also able to create strikingly differing works. His first serially published novel, Pickwick Papers, was fully of comic charisma; however, Gilbert Keith Chesterton states that Oliver Twist 搃s by far the most depressing of all his books?(Chesterton). 。

Oliver Twist is the story of an orphan who unwittingly stumbles upon his hidden fortune. The tale is one that vividly depicts the dismal prospects of one born into a workhouse without parents and is forced to survive on little or no compassion. Oliver is unloved and unwanted from the open of the novel. However, as the novel progresses, Oliver finds that his honest and kind disposition win him a variety of friends in high places. Although Fagin and the other street urchins continually seek to ruin Oliver抯 connections, Oliver抯 faithful heart find a home in the end. The novel demonstrates the benefits of a good will that may be found in the most unlikely of people. Oliver抯 merits carry him through life and away from the poverty that capture those with weaker morals. In the conclusion of the tale, Oliver finds himself among those with equally good manners and morals. His situation is only improved through the inevitable triumph of good over evil.。

Dickens initially published Oliver Twist in the format of serial publication. Dickens used the process of creating monthly installments to create a high level of suspense, leaving the audience eagerly awaiting the next installment in the series. Oliver Twist was reportedly 揳 part of everyday conversations, just as top rated television shows are for us today.?SPAN style="mso-spacerun: yes"> Dickens effectively used the publishing techniques to his benefit; he was able to work the system (Oliver Twist桾he Author and His Times).。

Interestingly, Dickens抯 personal environment was greatly shaken in both a happy manner and a sad one during the publishing of Oliver Twist. In May of 1837 Mary Hogarth died, devastating Dickens. Hogarth, his sister-in-law, was a dear friend and supporter of Dickens. Many critics speculate that the characters of Rose and Nancy were modeled after Dickens?companion Mary Hogarth. After Hogarth抯 death, Dickens feelings of abandonment seep into the world of Oliver. Oliver fears the loss of Rose as Dickens mourns the loss of Mary (Oliver Twist桾he Author and His Times). Catherine Dickens was also reported to have given birth to Charles, the first of ten children during this time (Victorian Web). The splendor of a new baby was contrasted with the great loss of a close friend. Dickens, in fact, was forced to take a break from his busy writing schedule to cope with the drastic changes that took place in his personal life at this time.。

The Poor Laws were established prior to the publication of the novel. The Poor Laws, according to The Victorian Web, were created to destroy the relief programs that were in play since 1601. The Poor Laws generated a system of workhouses. The workhouses allowed for a program of assistance that did not merely dole out money but rather doled out food, shelter, and clothing. The Poor Laws provided an answer to the declining laws that were supporting the impoverished. The problems were obvious: the current system left the aged uncared for, the children ignorant and uneducated, and the lower class population starving. King George III proposed a plan to:。

Stop the allowance system梩o deprive the magistracy of the power of ordering out-door relief梩o alter in certain case the constitution of parochial vestries梩o give large discretionary powers to the central commissioners梩o simplify the law of settlement and removal梩o render the mother of an illegitimate child liable to support it. Dickens[1] 366。

However, the workhouses proved to be yet another place to shove the poor. The theory may have been formed from noble ideals but the foundations were flawed.。

The boundaries and faults of the Poor Laws are blatantly exemplified in Oliver Twist. Oliver is forced to suffer the indignities of starvation, brutal treatment, and is damned to life in a workhouse. Dickens used his artistic talents to speak for the silent, to fight for the oppressed, and to champion those defeated. Dickens himself states: 揑t was my attempt, in my humble and far distant sphere, to dim the false glitter surrounding something which really did exist, by showing it in its unattractive and repulsive truth?(Dickens 6). Dickens used his literary engine to fuel the debate over the Poor Laws and to reveal the reality that so many unfortunate souls were forced to inhabit.。

The novel was received in a variety of ways. Many hailed the novel as a 搑unaway bestseller?and an encore to the highly prized Pickwick Papers. On the other hand, the Jewish population as well as other critics found the novel to be far too sentimental and lacking. One of the major issues raised by an entire community against the novels was the portrayal Fagin, the evil Jew. Milton Kerker in his article 揅harles Dickens, Fagin and Riah?states that Fagin may be the 搈ost grotesgue and villainous Jew in all of English literature.?SPAN style="mso-spacerun: yes"> Fagin was found by the Jewish community to be a ruffian with the devil dwelling within his cold heart. In 1854 the Jewish Chronicle was outraged and presented the public with this criticism of Dickens. Later in 1863, Eliza Davis writes Dickens to question his portrayal of Fagin. Dickens responds to Davis by stating:。

I must take leave to say, that if there be any general feeling on the part of the intelligent Jewish people, that I have done them what you describe as 揳 great wrong,?they are a far less sensible, a far less just, and a far less good-tempered people than I have always supposed them to be. Fagin, in Oliver Twist, is a Jew, because it unfortunately was true of the time to which that story refers, that that class of criminal almost invariably was a Jew. Dickens 378。

The public did not openly object to the portrayal of Fagin until several years after the novel was originally published. However, despite the fact that Dickens maintained his innocence, Dickens did attempt to make alterations in the next edition of the novel to correct this offensive implication. In the 1867 edition of chapter 38, Fagin is referred to as 搕he Jew?more than 250 times. However, in later chapters he is referred to as 搕he Jew?only 32 times. This is thought to have been Dickens抯 attempt to reconcile Fagin抯 character with the Jewish community. Despite this characterization of Fagin and Dickens抯 wording changes, Dickens never openly abused a Jewish person nor did he openly practice anti-Semitic opinions (Kerker).。

Likewise, the Monthly Review of January 1839 demanded that Dickens used characters that are so low that sympathy cannot be created. The reviewer feels that although there were comic pieces worth noting, the ending does not comply with the standard notion that the evil ones must face strict consequences while the just are rewarded. The reviewer does not go so far as to claim Dickens to be an immoral writer but he does not treat the characters with the morals that would classify Dickens with the 揾ighest rank of our moral fictionists.?Dickens is yet again commended for openly stating the plea of the downtrodden but in this reviewer抯 opinion, the downtrodden are not moral enough to place Dickens in a higher class of fiction novelists (Dickens 403-405).。

Just as the Monthly Review questions the worth of such characters as Nancy, William Makepeace Thackeray also claims that such characters are not worth the sympathy or the attention of the audience. Thackeray does allow for Dickens抯 popularity but questions his use of setting and characters. True, Dickens can charm an audience like none other. True, one must continually read Dickens to satisfy some strange need. Unfortunately, the fact remains that Thackeray does not believe there is much to be gained by closely examining the life of the poor and forgotten (Dickens 408-410). In the opinion of Thackeray, would it not be much more prudent to bestow such kind sympathies upon a worthier class of characters? Character such as Amelia Osborne and Becky Sharp are worthy of moral scrutiny but Oliver Twist and the like shall remain in the gutter, below the view of the mainstream population.。

Early reviews from The Examiner, September 10,1837, claim that this novel is an 揺xact painting?of the reality Dickens wished to present to the public. Dickens was praised for his capture of the emotions surrounding death of Nancy and the detailing of Oliver抯 life as an orphan. Although the reviewer is surprised to see Dickens making use of the Poor Law Debates in the first chapters of the novel, the reviewer understands the philanthropy that Dickens is attempting to inspire (Dickens 399-401). In conclusion of this review, the author states: 揥e leave him most reluctantly, and so will every read who has any capacity to see and feel whatsoever is most loveable, hateful, or laughable, in the character of the everyday life about him?(401).。

The Spectator states on November 24, 1838, that Dickens 揾as genius to vivify his observation.?SPAN style="mso-spacerun: yes"> Dickens is complimented for his powerful use of pathos and his description of truth. The reviewer admires Dickens抯 ability to find good in all humanity despite the dirty surroundings of unfortunates such as Oliver. Dickens抯 style is commended to be capable of an effective use of language while never sounding forced (Dickens 401-402).。

The Literary Gazette, and Journal of the Belles Lettres declares on November 24, 1838, that Dickens has 背ug deep into the human mind; and he has nobly directed his energies to the exposure of evils梩he workhouse, the starving school, the factory system, and many other things, at which blessed nature shudder and recoiled.?SPAN style="mso-spacerun: yes"> Dickens抯 ability to capture the suffering of Oliver intrigues the reading audience. Those who are far removed from the factories and the workhouses are suddenly acutely aware of the plea of the poor and the corruption of the Poor Laws. Dickens抯 has made a successful journey into social activism with the guidance of Oliver and his band of companions (Dickens 402-403).。

The Quarterly Review of 1839 published a glowing review of the novel. The reviewer believed Dickens to be 揳 sign of the times?and as such, he provoked 搈ore interest than that of Halley抯 comet.?SPAN style="mso-spacerun: yes"> The reviewer felt that not only did he write just enough and not too much, but also he wrote with enough vigor to demand that the public read the next installment. His popularity was unparalleled and his installments were always immediately read. Dickens manages to tell of 搑eal pain?while the novel lacks in false sentimentalism (Dickens 405-408). The reviewer states: 揌e deals truly with human nature, which never can degrade; he takes up everything, good, bad, or indifferent, which he works up into a rich alluvial deposit. He is natural, and that never can be ridiculous?(Dickens 406).。

Ironically, Oliver Twist, one of Dickens抯 earliest published works, returned to Dickens upon his death. During his career, Dickens performed public readings of his novels to large crowds of people. It was reported that such readings drew people from great distances to watch as Dickens reenacted his colorfully written scenes. During one of these readings, his last dramatic performance, Dickens suffered a collapse in April of 1869. Dickens was reading the portion of Oliver Twist where Sikes violently murders Nancy. The scene was 损hysically and emotionally exhausting?for the over-worked author. After this collapse, Dickens ceased to perform public readings of his novels. The stress on his body led to his death on June 8th of 1870. Dickens was working on The Mystery of Edwin Drood at the time of his death (Oliver Twist桾he Author and His Times). 。

Dickens has been criticized for his choice of characters and setting. At times the novel tends to shift to a sentimentality that leaves a sour taste in the mouth of the reading audience. The novel condemns the world of the Poor Laws by describing in great detail the life of a prostitute, orphan, gang of thieves, and other miscreants that grope their way along the underbelly of civilization. However, many of the reviewers felt that Dickens抯 ability to color realism with his pen was worth reading. Although Fagin may have been referred to as 搕he Jew?numerous times, Dickens was able to effectively shed light upon the suffering of the impoverished. After all, Dickens抯 goal was to pointedly describe the reality of where and how Oliver lived and survived the streets of a city that did not want him. The novel depicts the best of human nature in contrast with the worst of human nature. Couple the dynamic duo of good verse evil with the name of Charles Dickens and a best seller is a sure thing.。

急求查尔斯·狄更斯的作家情况，作品，写作特点，时期，历史地位，故事梗概

16和17世纪英国文学特点：

在诗歌中出现了以多恩为代表的玄学派诗和一些称为骑士派的贵族青年所写的爱情诗，前者用新奇的形像和节奏写怀疑与信念交替的复杂心情，显示出当时科学大进展冲击传统文化的影响，後者则表达了一种末世情调。

17世纪40年代，革命终于爆发。人民经过公开审判，处决了国王查理一世﹐并在打了一场激烈的内战之後建立了以克伦威尔为首的资产阶级政权。

在文学上﹐革命主要表现于两个方面﹕一是有大量的传单和小册子印行﹐各种集团特别是属于革命阵营左翼的平均派和掘地派通过它们来发表政见﹐其中李尔本﹑温斯坦利等人写得犀利有力﹔二是出现了一个革命的大诗人──弥尔顿。

弥尔顿对于革命的贡献﹐首先在于他的政论文。从1641年起﹐他搁下了早以优美著称的诗笔﹐而用英文和拉丁文写了许多政论小册子﹐为英国人民处死国王的革命行动辩护，也发表他的进步主张。

扩展资料：

20世纪英国文学特点：

20世纪文学的第一个成就是戏剧创作上的突破。首先是爱尔兰人萧伯纳来到伦敦﹐用泼辣的剧评为易卜生所代表的欧洲现实主义新戏剧打开局面﹐接著又在自己的创作里巧妙地把它同阿里斯托芬以来的欧洲古典喜剧传统结合起来。

写出了51个剧本﹐其中有《华伦夫人的职业》(1894)﹑《人与超人》(1903)﹑《英国佬的另一个岛》(1904)﹑《巴巴拉少校》(1905)﹑《皮格马利翁》(1913)﹑《圣女贞德》(1923)﹑《苹果车》(1929)等名作。

它们或是辩论社会问题﹐或是发表新颖思想﹐但都给观众以高尚的艺术享受。萧伯纳的出现使过去一百年英国戏剧不振的局面根本改观。

在小说方面，继续现实主义传统的更大有人在。老一辈作家中，威尔斯不止善写科学幻想小说﹐而且长于描绘伦敦小市民的职业生涯﹐高尔斯华绥用上层人士的语言写资产者福赛特的家史﹐本涅特和毛姆用法国式的现实主义手法写人们的情感生活﹐都拥有广大的读者。

对知识分子更有吸引力的是著重写人与人之间的交情的福斯特﹐他的名作《印度之行》(1924)表达了东西文化在精神上的隔膜。赫胥黎则利用他对于科学和文艺的广博知识﹐写知识分子在现代世界里的困惑。

20年代之末出现了普里斯特利的《好伙伴》(1929)﹐写一个民间剧团在各处演出时的遭遇﹐发扬了狄更斯的喜剧式的现实主义传统。

参考资料来源：百度百科—英国文学。

哪位可以帮帮忙，急求英国文学简史

查尔斯·狄更斯

查尔斯·约翰·赫芬姆·狄更斯，1812年2月7日生于朴次茅斯市郊，1870年6月9日卒于罗切斯特附近的盖茨山庄。19世纪英国批判现实主义小说家。狄更斯特别注意描写生活在英国社会底层的“小人物”的生活遭遇，深刻地反映了当时英国复杂的社会现实，为英国批判现实主义文学的开拓和发展做出了卓越的贡献。他的作品至今依然盛行，对英国文学发展起到了深远的影响。主要作品《匹克威克外传》、《雾都孤儿》 、《老古玩店》、《艰难时世》、《我们共同的朋友》、《双城记》等。

狄更斯是高产作家，他凭借勤奋和天赋创作出一大批经典著作。他又是一位幽默大师，常常用妙趣横生的语言在浪漫和现实中讲述人间真相，狄更斯是19世纪英国现实主义文学的主要代表。艺术上以妙趣横生的幽默、细致入微的心理分析，以及现实主义描写与浪漫主义气氛的有机结合著称。马克思把他和萨克雷等称誉为英国的“一批杰出的小说家”。

狄更斯早期的小说，气势宏伟、通俗流畅、幽默泼辣而又充满感伤情调，其中对社会的揭露批判，一般只限于局部的制度和领域。如《雾都孤儿》、《尼古拉斯·尼克尔贝》、《老古玩店》、《马丁·朱述尔维特》、《圣诞欢歌》等。从《董贝父子》以后，狄更斯的创作更为成熟。《大卫·科波菲尔》进一步深入探索人生的奋斗历程，具有自传性，是反映19世纪中叶英国中下层社会的长幅画卷。《荒凉山庄》、《艰难时世》、《小杜丽》是3部政治意识很强的重头作品。 《雾都孤儿》是英国作家狄更斯于1838年出版的写实小说。以雾都伦敦为背景，讲述了一个孤儿悲惨的身世及遭遇，主人公奥利弗在孤儿院长大，经历学徒生涯，艰苦逃难，误入贼窝，又被迫与狠毒的凶徒为伍，历尽无数辛酸，最后在善良人的帮助下，查明身世并获得了幸福。如同狄更斯的其他小说，本书揭露许多当时的社会问题，如救济院、童工、以及帮派吸收青少年参与犯罪等。

A Concise History of British Literature 。

Chapter 1 English Literature of Anglo-Saxon Period 。

I. Introduction 。

1. The historical background 。

(1) Before the Germanic invasion 。

(2) During the Germanic invasion 。

a. immigration; 。

b. Christianity; 。

c. heptarchy.

d. social classes structure: hide-hundred; eoldermen (lord) – thane - middle class (freemen) - lower class (slave or bondmen: theow); 。

e. social organization: clan or tribes. 。

f. military Organization; 。

g. Church function: spirit, civil service, education; 。

h. economy: coins, trade, slavery; 。

i. feasts and festival: Halloween, Easter; j. legal system. 。

2. The Overview of the culture 。

(1) The mixture of pagan and Christian spirit. 。

(2) Literature: a. poetry: two types; b. prose: two figures. 。

II. Beowulf.

1. A general introduction. 。

2. The content. 。

3. The literary features. 。

(1) the use of alliteration 。

(2) the use of metaphors and understatements 。

(3) the mixture of pagan and Christian elements 。

III. The Old English Prose 。

1. What is prose? 。

2. figures

(1) The Venerable Bede 。

(2) Alfred the Great 。

Chapter 2 English Literature of the Late Medieval Ages 。

I. Introduction 。

1. The Historical Background. 。

(1) The year 1066: Norman Conquest. 。

(2) The social situations soon after the conquest. 。

A. Norman nobles and serfs; 。

B. restoration of the church. 。

(3) The 11th century. 。

A. the crusade and knights. 。

B. dominance of French and Latin; 。

(4) The 12th century. 。

A. the centralized government; 。

B. kings and the church (Henry II and Thomas); 。

(5) The 13th century. 。

A. The legend of Robin Hood; 。

B. Magna Carta (1215); 。

C. the beginning of the Parliament 。

D. English and Latin: official languages (the end) 。

(6) The 14th century. 。

a. the House of Lords and the House of Commons—conflict between the Parliament and Kings; 。

b. the rise of towns. 。

c. the change of Church. 。

d. the role of women. 。

e. the Hundred Years’ War—starting. 。

f. the development of the trade: London. 。

g. the Black Death. 。

h. the Peasants’ Revolt—1381. 。

i. The translation of Bible by Wycliff. 。

(7) The 15th century. 。

a. The Peasants Revolt (1453) 。

b. The War of Roses between Lancasters and Yorks. 。

c. the printing-press—William Caxton. 。

d. the starting of Tudor Monarchy(1485) 。

2. The Overview of Literature. 。

(1) the stories from the Celtic lands of Wales and Brittany—great myths of the Middle Ages. 。

(2) Geoffrye of Monmouth—Historia Regum Britanniae—King Authur. 。

(3) Wace—Le Roman de Brut. 。

(4) The romance. 。

(5) the second half of the 14th century: Langland, Gawin poet, Chaucer. 。

II. Sir Gawin and Green Knight. 。

1. a general introduction. 。

2. the plot.

III. William Langland. 。

1. Life

2. Piers the Plowman 。

IV. Chaucer

1. Life

2. Literary Career: three periods 。

(1) French period 。

(2) Italian period 。

(3) master period 。

3. The Canterbury Tales 。

A. The Framework; 。

B. The General Prologue; 。

C. The Tale Proper. 。

4. His Contribution. 。

(1) He introduced from France the rhymed stanza of various types. 。

(2) He is the first great poet who wrote in the current English language. 。

(3) The spoken English of the time consisted of several dialects, and Chaucer did much in making the dialect of London the standard for the modern English speech. 。

V. Popular Ballads. 。

VI. Thomas Malory and English Prose 。

VII. The beginning of English Drama. 。

1. Miracle Plays. 。

Miracle play or mystery play is a form of medieval drama that came from dramatization of the liturgy of the Roman Catholic Church. It developed from the 10th to the 16th century, reaching its height in the 15th century. The simple lyric character of the early texts was enlarged by the addition of dialogue and dramatic action. Eventually the performance was moved to the churchyard and the marketplace. 。

2. Morality Plays. 。

A morality play is a play enforcing a moral truth or lesson by means of the speech and action of characters which are personified abstractions – figures representing vices and virtues, qualities of the human mind, or abstract conceptions in general. 。

3. Interlude.

The interlude, which grew out of the morality, was intended, as its name implies, to be used more as a filler than as the main part of an entertainment. As its best it was short, witty, simple in plot, suited for the diversion of guests at a banquet, or for the relaxation of the audience between the divisions of a serious play. It was essentially an indoors performance, and generally of an aristocratic nature. 。

Chapter 3 English Literature in the Renaissance 。

I. A Historical Background 。

II. The Overview of the Literature (1485-1660) 。

Printing press—readership—growth of middle class—trade-education for laypeople-centralization of power-intellectual life-exploration-new impetus and direction of literature. 。

Humanism-study of the literature of classical antiquity and reformed education. 。

Literary style-modeled on the ancients. 。

The effect of humanism-the dissemination of the cultivated, clear, and sensible attitude of its classically educated adherents. 。

1. poetry

The first tendency by Sidney and Spenser: ornate, florid, highly figured style. 。

The second tendency by Donne: metaphysical style—complexity and ingenuity. 。

The third tendency by Johnson: reaction--Classically pure and restrained style. 。

The fourth tendency by Milton: central Christian and Biblical tradition. 。

2. Drama

a. the native tradition and classical examples. 。

b. the drama stands highest in popular estimation: Marlowe – Shakespeare – Jonson. 。

3. Prose

a. translation of Bible; 。

b. More;

c. Bacon.

II. English poetry. 。

1. Sir Thomas Wyatt and Henry Howard (courtly makers) 。

(1) Wyatt: introducing sonnets. 。

(2) Howard: introducing sonnets and writing the first blank verse. 。

2. Sir Philip Sidney—poet, critic, prose writer 。

(1) Life:

a. English gentleman; 。

b. brilliant and fascinating personality; 。

c. courtier.

(2) works

a. Arcadia: pastoral romance; 。

b. Astrophel and Stella (108): sonnet sequence to Penelope Dvereux—platonic devotion. 。

Petrarchan conceits and original feelings-moving to creativeness—building of a narrative story; theme-love originality-act of writing. 。

c. Defense of Poesy: an apology for imaginative literature—beginning of literary criticism. 。

3. Edmund Spenser 。

(1) life: Cambridge - Sidney’s friend - “Areopagus” – Ireland - Westminster Abbey. 。

(2) works

a. The Shepherds Calendar: the budding of English poetry in Renaissance. 。

b. Amoretti and Epithalamion: sonnet sequence 。

c. Faerie Queene: 。

 The general end--A romantic and allegorical epic—steps to virtue. 。

 12 books and 12 virtues: Holiness, temperance, justice and courtesy. 。

 Two-level function: part of the story and part of allegory (symbolic meaning) 。

 Many allusions to classical writers. 。

 Themes: puritanism, nationalism, humanism and Renaissance Neoclassicism—a Christian humanist. 。

(3) Spenserian Stanza. 。

III. English Prose 。

1. Thomas More 。

(1) Life: “Renaissance man”, scholar, statesman, theorist, prose writer, diplomat, patron of arts 。

a. learned Greek at Canterbury College, Oxford; 。

b. studies law at Lincoln Inn; 。

c. Lord Chancellor; 。

d. beheaded.

(2) Utopia: the first English science fiction. 。

Written in Latin, two parts, the second—place of nowhere. 。

A philosophical mariner (Raphael Hythloday) tells his voyages in which he discovers a land-Utopia. 。

a. The part one is organized as dialogue with mariner depicting his philosophy. 。

b. The part two is a description of the island kingdom where gold and silver are worn by criminal, religious freedom is total and no one owns anything. 。

c. the nature of the book: attacking the chief political and social evils of his time. 。

d. the book and the Republic: an attempt to describe the Republic in a new way, but it possesses an modern character and the resemblance is in externals. 。

e. it played a key role in the Humanist awakening of the 16th century which moved away from the Medieval otherworldliness towards Renaissance secularism. 。

f. the Utopia

(3) the significance. 。

a. it was the first champion of national ideas and national languages; it created a national prose, equally adapted to handling scientific and artistic material. 。

b. a elegant Latin scholar and the father of English prose: he composed works in English, translated from Latin into English biography, wrote History of Richard III. 。

2. Francis Bacon: writer, philosopher and statesman 。

(1) life: Cambridge - humanism in Paris – knighted - Lord Chancellor – bribery - focusing on philosophy and literature. 。

(2) philosophical ideas: advancement of science—people:servants and interpreters of nature—method: a child before nature—facts and observations: experimental. 。

(3) “Essays”: 57. 。

a. he was a master of numerous and varied styles. 。

b. his method is to weigh and balance maters, indicating the ideal course of action and the practical one, pointing out the advantages and disadvantages of each, but leaving the reader to make the final decisions. (arguments) 。

IV. English Drama 。

1. A general survey. 。

(1) Everyman marks the beginning of modern drama. 。

(2) two influences. 。

a. the classics: classical in form and English in content; 。

b. native or popular drama. 。

(3) the University Wits. 。

2. Christopher Marlowe: greatest playwright before Shakespeare and most gifted of the Wits. 。

(1) Life: first interested in classical poetry—then in drama. 。

(2) Major works 。

a. Tamburlaine; 。

b. The Jew of Malta; 。

c. The Tragical History of Doctor Faustus. 。

(3) The significance of his plays. 。

V. William Shakespeare 。

1. Life

(1) 1564, Stratford-on-Avon; 。

(2) Grammar School; 。

(3) Queen visit to Castle; 。

(4) marriage to Anne Hathaway; 。

(5) London, the Globe Theatre: small part and proprietor; 。

(6) the 1st Folio, Quarto; 。

(7) Retired, son—Hamnet; H. 1616. 。

2. Dramatic career 。

3. Major plays-men-centered. 。

(1) Romeo and Juliet--tragic love and fate 。

(2) The Merchant of Venice. 。

Good over evil. 。

Anti-Semitism. 。

(3) Henry IV.

National unity. 。

Falstaff.

(4) Julius Caesar 。

Republicanism vs. dictatorship. 。

(5) Hamlet

Revenge

Good/evil.

(6) Othello

Diabolic character 。

jealousy

gap between appearance and reality. 。

(7) King Lear

Filial ingratitude 。

(8) Macbeth

Ambition vs. fate. 。

(9) Antony and Cleopatra. 。

Passion vs. reason 。

(10) The Tempest 。

Reconciliation; reality and illusion. 。

3. Non-dramatic poetry 。

(1) Venus and Adonis; The Rape of Lucrece. 。

(2) Sonnets:

a. theme: fair, true, kind. 。

b. two major parts: a handsome young man of noble birth; a lady in dark complexion. 。

c. the form: three quatrains and a couplet. 。

d. the rhyme scheme: abab, cdcd, efef, gg. 。

VI. Ben Jonson 。

1. life: poet, dramatist, a Latin and Greek scholar, the “literary king” (Sons of Ben) 。

2.contribution: 。

(1) the idea of “humour”. 。

(2) an advocate of classical drama and a forerunner of classicism in English literature. 。

3. Major plays 。

(1) Everyone in His Humour—”humour”; three unities. 。

(2) Volpone the Fox 。

Chapter 4 English Literature of the 17th Century 。

I. A Historical Background 。

II. The Overview of the Literature (1640-1688) 。

1. The revolution period 。

(1) The metaphysical poets; 。

(2) The Cavalier poets. 。

(3) Milton: the literary and philosophical heritage of the Renaissance merged with Protestant political and moral conviction 。

2. The restoration period. 。

(1) The restoration of Charles II ushered in a literature characterized by reason, moderation, good taste, deft management, and simplicity. (school of Ben Jonson) 。

(2) The ideals of impartial investigation and scientific experimentation promoted by the newly founded Royal Society of London for Improving Natural Knowledge (1662) were influential in the development of clear and simple prose as an instrument of rational communication. 。

(3) The great philosophical and political treatises of the time emphasize rationalism. 。

(4) The restoration drama. 。

(5) The Age of Dryden. 。

III. John Milton 。

1. Life: educated at Cambridge—visiting the continent—involved into the revolution—persecuted—writing epics. 。

2. Literary career. 。

(1) The 1st period was up to 1641, during which time he is to be seen chiefly as a son of the humanists and Elizabethans, although his Puritanism is not absent. L'Allegre and IL Pens eroso (1632) are his early masterpieces, in which we find Milton a true offspring of the Renaissance, a scholar of exquisite taste and rare culture. Next came Comus, a masque. The greatest of early creations was Lycidas, a pastoral elegy on the death of a college mate, Edward King. 。

(2) The second period is from 1641 to 1654, when the Puritan was in such complete ascendancy that he wrote almost no poetry. In 1641, he began a long period of pamphleteering for the puritan cause. For some 15 years, the Puritan in him alone ruled his writing. He sacrificed his poetic ambition to the call of the liberty for which Puritans were fighting. 。

(3) The third period is from 1655 to 1671, when humanist and Puritan have been fused into an exalted entity. This period is the greatest in his literary life, epics and some famous sonnets. The three long poems are the fruit of the long contest within Milton of Renaissance tradition and his Puritan faith. They form the greatest accomplishments of any English poet except Shakespeare. In Milton alone, it would seem, Puritanism could not extinguish the lover of beauty. In these works we find humanism and Puritanism merged in magnificence. 。

3. Major Works 。

(1) Paradise Lost 。

a. the plot.

b. characters. 。

c. theme: justify the ways of God to man. 。

(2) Paradise Regained. 。

(3) Samson Agonistes. 。

4. Features of Milton’s works. 。

(1) Milton is one of the very few truly great English writers who is also a prominent figure in politics, and who is both a great poet and an important prose writer. The two most essential things to be remembered about him are his Puritanism and his republicanism. 。

(2) Milton wrote many different types of poetry. He is especially a great master of blank verse. He learned much from Shakespeare and first used blank verse in non-dramatic works. 。

(3) Milton is a great stylist. He is famous for his grand style noted for its dignity and polish, which is the result of his life-long classical and biblical study. 。

(4) Milton has always been admired for his sublimity of thought and majesty of expression. 。

IV. John Bunyan 。

1. life:

(1) puritan age; 。

(2) poor family; 。

(3) parliamentary army; 。

(4) Baptist society, preacher; 。

(5) prison, writing the book. 。

2. The Pilgrim Progress 。

(1) The allegory in dream form. 。

(2) the plot.

(3) the theme. 。

V. Metaphysical Poets and Cavalier Poets. 。

1. Metaphysical Poets 。

The term “metaphysical poetry” is commonly used to designate the works of the 17th century writers who wrote under the influence of John Donne. Pressured by the harsh, uncomfortable and curious age, the metaphysical poets sought to shatter myths and replace them with new philosophies, new sciences, new words and new poetry. They tried to break away from the conventional fashion of Elizabethan love poetry, and favoured in poetry for a more colloquial language and tone, a tightness of expression and the single-minded working out of a theme or argument. 。

2. Cavalier Poets 。

The other group prevailing in this period was that of Cavalier poets. They were often courtiers who stood on the side of the king, and called themselves “sons” of Ben Jonson. The Cavalier poets wrote light poetry, polished and elegant, amorous and gay, but often superficial. Most of their verses were short songs, pretty madrigals, love fancies characterized by lightness of heart and of morals. Cavalier poems have the limpidity of the Elizabethan lyric without its imaginative flights. They are lighter and neater but less fresh than the Elizabethan’s. 。

VI. John Dryden. 。

1. Life:

(1) the representative of classicism in the Restoration. 。

(2) poet, dramatist, critic, prose writer, satirist. 。

(3) changeable in attitude. 。

(4) Literary career—four decades. 。

(5) Poet Laureate 。

2. His influences. 。

(1) He established the heroic couplet as the fashion for satiric, didactic, and descriptive poetry. 。

(2) He developed a direct and concise prose style. 。

(3) He developed the art of literary criticism in his essays and in the numerous prefaces to his poems. 。

Chapter 5 English Literature of the 18th Century 。

I. Introduction 。

1. The Historical Background. 。

2. The literary overview. 。

(1) The Enlightenment. 。

(2) The rise of English novels. 。

When the literary historian seeks to assign to each age its favourite form of literature, he finds no difficulty in dealing with our own time. As the Middle Ages delighted in long romantic narrative poems, the Elizabethans in drama, the Englishman of the reigns of Anne and the early Georges in didactic and satirical verse, so the public of our day is enamored of the novel. Almost all types of literary production continue to appear, but whether we judge from the lists of publishers, the statistics of public libraries, or general conversation, we find abundant evidence of the enormous preponderance of this kind of literary entertainment in popular favour. 。

(3) Neo-classicism: a revival in the seventeenth and eighteenth centuries of classical standards of order, balance, and harmony in literature. John Dryden and Alexander Pope were major exponents of the neo-classical school. 。

(4) Satiric literature. 。

(5) Sentimentalism 。

II. Neo-classicism. (a general description) 。

1. Alexander Pope 。

(1) Life:

a. Catholic family; 。

b. ill health; 。

c. taught himself by reading and translating; 。

d. friend of Addison, Steele and Swift. 。

(2) three groups of poems: 。

e. An Essay on Criticism (manifesto of neo-classicism); 。

f. The Rape of Lock; 。

g. Translation of two epics. 。

(3) His contribution: 。

h. the heroic couplet—finish, elegance, wit, pointedness; 。

i. satire.

(4) weakness: lack of imagination. 。

2. Addison and Steele 。

(1) Richard Steele: poet, playwright, essayist, publisher of newspaper. 。

(2) Joseph Addison: studies at Oxford, secretary of state, created a literary periodical “Spectator” (with Steele, 1711) 。

(3) Spectator Club. 。

(4) The significance of their essays. 。

a. Their writings in “The Tatler”, and “The Spectator” provide a new code of social morality for the rising bourgeoisie. 。

b. They give a true picture of the social life of England in the 18th century. 。

c. In their hands, the English essay completely established itself as a literary genre. Using it as a form of character sketching and story telling, they ushered in the dawn of the modern novel. 。

3. Samuel Johnson—poet, critic, essayist, lexicographer, editor. 。

(1) Life:

a. studies at Oxford; 。

b. made a living by writing and translating; 。

c. the great cham of literature. 。

(2) works: poem (The Vanity of Human Wishes, London); criticism (The Lives of great Poets); preface. 。

(3) The champion of neoclassical ideas. 。

III. Literature of Satire: Jonathan Swift. 。

1. Life:

(1) born in Ireland; 。

(2) studies at Trinity College; 。

(3) worked as a secretary; 。

(4) the chief editor of The Examiner; 。

(5) the Dean of St. Patrick’s in Dublin. 。

2. Works: The Battle of Books, A Tale of a Tub, A Modest Proposal, Gulliver’s Travels. 。

3. Gulliver’s Travels. 。

Part I. Satire—the Whig and the Tories, Anglican Church and Catholic Church. 。

Part II. Satire—the legal system; condemnation of war. 。

Part III. Satire—ridiculous scientific experiment. 。

Part IV. Satire—mankind.。

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