英国文学笔记.docx
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英国文学笔记.docx
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英国文学笔记
AConciseHistoryofBritishLiterature
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
Chapter2EnglishLiteratureoftheLateMedievalAges
I. 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.ThetranslationofBiblebyWycliff.
(7)The15thcentury.
a.ThePeasantsRevolt(1453)
b.TheWarofRosesbetweenLancastersandYorks.
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.Life2.PiersthePlowman
IV. Chaucer
1.Life2.LiteraryCareer:
threeperiods
(1)Frenchperiod
(2)Italianperiod(3)masterperiod
3.TheCanterburyTalesA.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,tobeusedmoreasafillerthanasthemainpartofanentertainment.Asitsbestitwasshort,witty,simpleinplot,suitedforthediversionofguestsatabanquet,orfortherelaxationoftheaudiencebetweenthedivisionsofaseriousplay.Itwasessentiallyanindoorsperformance,andgenerallyofanaristocraticnature.
Chapter3EnglishLiteratureintheRenaissance
I. AHistoricalBackground
II. TheOverviewoftheLiterature(1485-1660)
Printingpress—readership—growthofmiddleclass—trade-educationforlaypeople-centralizationofpower-intellectuallife-exploration-newimpetusanddirectionofliterature.
Humanism-studyoftheliteratureofclassicalantiquityandreformededucation.
Literarystyle-modeledontheancients.
Theeffectofhumanism-thedisseminatiogogoibleattitudeofitsclassicallyeducatedadherents.
1.poetry
ThefirsttendencybySidneyandSpenser:
ornate,florid,highlyfiguredstyle.
ThesecondtendencybyDonne:
metaphysicalstyle—complexityandingenuity.
ThethirdtendencybyJohgogotyle.
ThefourthtendencybyMilton:
centralChristianandBiblicaltradition.
2.Dramaa.thegogoicalexamples.
b.thedramastandshighestinpopularestimation:
Marlowe–Shakespeare–Jonson.
3.Prosea.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.FaerieQueene:
l Thegeneralend--Aromanticandallegoricalepic—stepstovirtue.
l 12booksand12virtues:
Holiness,temperance,justiceandcourtesy.
l Two-levelfunction:
partofthestoryandpartofallegory(symbolicmeaning)
l Manyallusionstoclassicalwriters.
l Themes:
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:
attackigogotime.
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:
firstigogoicalpoetry—thenindrama.
(2)Majorworksa.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—Hamnet;H.1616.
2.Dramaticcareer
3.Majorplays-men-centered.
(1)RomeoandJuliet--tragicloveandfate
(2)TheMerchantofVenice.
Goodoverevil.
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