Key to Chapter 3British LiteratureWord下载.docx
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Key to Chapter 3British LiteratureWord下载.docx
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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"
isaproudandmysteriousrebelfigureofnobleorigin.Tosomeextent,suchaheroismodeledonthelifeandpersonalityofByronhimself.Withimmensesuperior?
ityinhispassionsandpowers,the"
wouldcar?
ryonhisshoulderstheburdenofrightingallthewrongsincorruptsociety,andwouldrisesingle-handedlyagainstanykindoftyrannicalruleseitheringovernment,inreligionorinmoralprincipleswithunconquerablewillsandinexhaustibleenergies.Theconflictisusuallyoneofrebelliousindividualsagainstoutwornsocialsystemsandconventions.
F.
A)
1.FromWilliamBlake'
s"
TheChimneySweeper"
(fromSongsofExperience).Thisstanzashowsthatthechurchplayedanevilpartincreatingthepoorchimneysweepers'
misery.
2.FromWilliamWordsworth'
IWanderedLonelyasaCloud"
.Thisstanzaisavividdescriptionofalongbeltofgolddaffodilstossingandreelinganddancingalongthewa?
terside.
3.FromWilliamWordsworth'
ComposeduponWestminsterBridge"
.ThispartdescribesavividpictureofabeautifulmorninginLondon.
4.FromWilliamWordsworth'
TheSolitaryReaper"
.Thispartshowsthatthegirl'
ssingingdeeplymovedthetravelerandkeptlingeringinhisheart.
5.FromSamuelTaylorCoeridge'
KublaKhan"
.Thispartisadescriptionofonepartofthepoet'
sdreaminwhichayounggirlisplayingadulcimerandsinging.Itrevealsthepoet'
slongingforapoeticworld.
6.FromGeorgeGordonByron'
SongfortheLuddities"
.Thisisthesecondstanza.Itshowstheworkers'
determinationtowagelife-or-deathstruggleagainstthecapitalists.
7.FromGeorgeGordonByron'
TheIslesofGreece"
(fromDonJuan).Thepoetshowsherethathewouldratherdiethanbeaslave,thusappealingtopeopletostruggleforliber?
ty-
8.FromPercyByssheShelley'
ASong:
MenofEngland"
.Thesetwostanzasareironicallyaddressedtothoseworkerswhosubmitpassivelytocapitalistexploitation.Theywarntheworkingpeoplethatiftheyshouldgiveuptheirstruggle,theywouldbedigginggravesforthemselveswiththeirownhands.
9.FromPercyByssheShelley'
OdetotheWestWind"
.ThispartillustratesShelley'
soptimisticbeliefinthefutureofmankind.
10.FromJohnKeats'
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
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