英国文学Literary Terms文档格式.docx
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英国文学Literary Terms文档格式.docx
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Couplet['
kʌplɪt]对句,对联
Twoconsecutivelinesofpoetrythatrhyme.ThecouplethasbeenwidelyusedsincetheMiddleAges,especiallytoprovideasenseofclosure.Acoupletthatpresentsacompletedthoughtiscalledaclosedcouplet.Shakespeareusedclosedcoupletstoendhissonnets,asinSonnet18.
Acoupletwritteniniambicpentameteriscalledaheroiccouplet.AlthoughtheheroiccouplethasbeenusedinEnglishliteraturesinceChaucer,itwasperfectedduringtheeighteenthcentury.
Character
Anindividualinastoryorplay.Acharacteralwayshashumantraits,evenifthecharacterisananimal,liketheMarchHareinLewisCarroll’sAlice’sAdventuresinwonderland;
oragod,asintheGreekandRomanmyths;
oramonster,asinBeowulf.Acharactermayalsobeagodlikehuman,likeSuperman.Butmostcharactersareordinaryhumanbeings,likeGeoffreyChaucer’scolorfulpilgrimsinTheCanterburyTales.
Characterization[‚kæ
rəktəraɪ'
zeɪʃn]特性描述;
性格描述
Theprocessbywhichthewriterrevealsthepersonalityofacharacteriscalledcharacterization.Awritercanrevealacharacterinthefollowingways:
1.Bytellingusdirectlywhatthecharacterislike:
humble,ambitious,impetuous,easilymanipulated,andsoon
2.Bydescribinghowthecharacterlooksanddresses
3.Bylettingushearthecharacterspeak
4.Byrevealingthecharacter’sprivatethoughtsandfeelings
5.Byrevealingthecharacter’seffectonotherpeople–showinghowothercharactersfeelorbehavetowardthecharacter
6.Byshowingthecharacter’sactions
Thefirstmethodofrevealingacharacteriscalleddirectcharacterization.Theotherfivemethodsofrevealingacharacterareknownasindirectcharacterization.
ClassificationofCharacters
Characterscanbeclassifiedasstaticordynamic.Astaticcharacterisonewhodoesnotchangemuchinthecourseofastory.Adynamiccharacter,ontheotherhand,changesinsomeimportantwayasaresultofthestory’saction.Characterscanalsobeclassifiedasflatorround.Flatcharactershaveonlyoneortwopersonalitytraits.Theyareone-dimensional–theycanbesummedupbyasinglephrase.Incontrast,roundcharactershavemoredimensionstotheirpersonalities–theyarecomplex,solid,andmultifaceted,likerealpeople.
End-stoppedandRun-onLines
Anend-stoppedlineisoneinwhichthegrammaticalunit,beitclauseorsentence,iscoterminouswiththeline.Thus,thereisthesatisfactionoffindingthelineandthesenseendingtogether.
Arun-online(sometimescalledanenjambedline)iswherethegrammar,andthusthesense,isleftunfinishedattheendoftheline.
Run-onlinescreatepleasurablefeelingsofexpectation,asthereaderhastolookfurtherforthefullsenseofwhatisbeingsaid.
Oxymoron['
ɒksɪ'
mɔːrɒn]矛盾修饰法
Afigureofspeechthatcombinesapparentlycontradictoryorincongruousideas.
“Bittersweet,”“cruelkindness,”and“eloquentsilence”areoxymorons.Theclassicoxymoron“wisefool”isalmostaliteraltranslationofthetermfromtheGreek–oxysmeans“sharp”or“keen,”andmorosmeans“foolish.”
AfamousoxymoroninliteratureisJohnMilton’sdescriptionofHellinParadiseLost:
Adungeonhorrible,onallsidesround
Asonegreatfurnaceflamed;
yetfromthoseflame
Nolight,butratherdarknessvisible...
Soliloquy[sə'
lɪləkwɪ]独白
Alongspeechinwhichacharacterwhoisusuallyaloneonstageexpresseshisorherprivatethoughtsorfeelings.
ThesoliloquyisanolddramaticconventionthatwasparticularlypopularinShakespeare’sday.Perhapsthemostfamoussoliloquyisthe“Tobeornottobe”speechinShakespeare’splayHamlet.
Asoliloquycanbepublic,inwhichcasethecharacterdirectlyaddressestheaudience,orprivate,inwhichcasetheaudienceoverhearsthecharactertalkingtohimselforherself.
InShakespeare,soliloquiesareusuallyonlygiventoimportantcharacter.
Forinstance,Hamlethasanumberofprivatesoliloquies,andIagoanumberofpublicones.
Charactersveryrarelytellliesinsoliloquies,soyoushouldpayparticularattentiontothem.
"
Obrawlinglove,Olovinghate,
Oanythingofnothingfirstcreate!
Oheavylightness,seriousvanity,
Misshapenchaosofwell-seemingforms,
Featheroflead,brightsmoke,coldfire,sickhealth,
Still-wakingsleep,thatisnotwhatitis!
—ThislovefeelI,thatfeelnoloveinthis.Romeo,ActISceneI
PoeticComparisons
Poeticcomparisonsmaytakeavarietyofforms:
simile,metaphor,conceit,synecdoche,metonymy,andjuxtaposition.
Eachformofcomparison,however,servesthesamebasicsetofpurposes.
Poetsgenerallyusecomparisonstoexpressabstractideasinimagisticlanguage,therebystimulatingthereader’simagination,providingadditionalinformation,andopeningupendlessopportunitiesforentertainmentandpersuasion.
Inthepoem“TheFlea”thespeakertriestoseduceayoungwomanbycomparingtheconsequencesoftheirlovemakingwiththoseofaninsignificantflea-bite.
Conceit
Afancifulandelaboratefigureofspeechthatmakesasurprisingconnectionbetweentwoseeminglydissimilarthings.
Althoughaconceitmaybeabriefmetaphor,itusuallyformstheframeworkofanentirepoem.
Oneofthemostimportantkindsofconceitsisthemetaphysicalconceit,socalledbecauseitwaswidelyusedbytheseventeenthcenturymetaphysicalpoets.
Eg.《金缕衣》(TheGold-ThreadedRobe)
TotheVirgins,toMakeMuchofTime
UnfortunateCoincidence
OnMyFirstSon_byBenJonson-----Background:
ThispoemisaboutJonson’sson,Benjamin,whodiedoftheplagueonhisseventhbirthday.(Jonsonandhiswifealsolostadaughter,Mary,ininfancy.)
ThenameBenjamininHebrewmeans“achildoftherighthand”and,ironically,connotes“alucky,cleverchild.”
Dr.JohnsonandDrydenontheMetaphysicalPoets
Johnson:
“Theircourtshipwasvoidoffondnessandtheirlamentationofsorrow.”(他们的求婚缺乏爱情,他们的悼亡缺少悲伤。
)“Theirwishwasonlytosaywhattheyhopedhadbeenneversaidbefore.”(他们一心只想说前人所未说。
)
DrydenonDonne:
“Heaffectsthemetaphysics,notonlyinhissatires,butinhisamorousverses,wherenatureonlyshouldreign;
andperplexesthemindsofthefairsexwithnicespeculationsofphilosophy,whenheshouldengagetheirhearts,andentertainthemwiththesoftnessoflove.
他喜弄玄学,不仅在他的讽刺诗中如此,在爱情诗中也如此。
爱情诗本应言情,他却用哲学的微妙的思辨,把女性们的头脑弄糊涂了。
(爱略特)Eliot:
TheMetaphysicalPoets
Johnson,whoemployedtheterm“metaphysicalpoets,”apparentlyhavingDonne,Cleveland,andCowleychieflyinmind,remarksofthemthat“themostheterogeneousideasareyokedbyviolencetogether.”(“将杂七杂八的思想硬拉一处,全凭蛮力”。
Theforceofthisimpeachmentliesinthefailureoftheconjunction,thefactthatoftentheideasareyokedbutnotunited;
andifwearetojudgeofstylesofpoetrybytheirabuse,enoughexamplesmaybefoundinClevelandtojustifyJohnson’scondemnation.
Butadegreeofheterogeneityofmaterialcompelledintounitybytheoperationofthepoet’smindisomnipresentinpoetry.ThedifferenceissomethingwhichhadhappenedtothemindofEnglandbetweenthetimeofDonneorLordHerbertofCherburyandthetimeofTennysonandBrowning;
itisthedifferencebetweentheintellectualpoetandthereflectivepoet.
TennysonandBrowningarepoets,andtheythink;
buttheydonotfeeltheirthoughtasimmediatelyastheodorofarose.AthoughttoDonnewasanexperience;
itmodifiedhissensibility.
Whenapoet’smindisperfectlyequippedforitswork,itisconstantlyamalgamatingdisparateexperience;
theordinaryman’sexperienceischaotic,irregular,andfragmentary.Thelatterfallsinlove,orreadsSpinoza,andthesetwoexperienceshavenothingtodowitheachother,orwiththenoiseofthetypewriterorthesmellofcooking;
inthemindofthepoettheseexperiencesarealwaysformingnewwholes.
爱略特反对的是dissociationofsensibility(思想与情感分离),欣赏的是邓恩的unifiedsensibility(思想与情感溶为一体)。
TheMetaphysicalPoets
Thepoetswhobelongtothisgroupare:
JohnDonne(1572–1631),GeorgeHerbert(1593–1633),AndrewMarvell(1621–1678),RichardCrashaw(1612–1649),HenryVaughan(1622–1695),AbrahamCowley(1618–1667),JohnCleveland(1613–1658).
TheCavalierPoets
TheothergroupprevailinginthisperiodwasthatofCavalierpoets.Theywereoftencourtierswhostoodonthesideoftheking,andcalledthemselves“sons”ofBenJohnson.
TheCavalierpoetswrotelightpoetry,polishedandelegant,amorousandgay,butoftensuperficial.Mostoftheirverseswereshortsongs,prettymadrigals,andlovefanciescharacterizedbylightnessofheartandofmorals.
CavalierpoemshavethelimpidityoftheElizabethanlyricwithoutitsimaginativeflights.Theyarelighterandneaterbutlessfreshtha
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