Marlowe

合集下载

英国文学简史复习资料

A SHORT HISTORY OF ENGLISH LITERATURE1. the Angles, Saxons and Jutes were three tribes from Northern Europe.2.English literature began with the Anglo-Saxon settlement in England. It is Beowulf, the national epic of the English people.3.Features of Beowulf 贝奥武普: the most striking feature in its poetical form is the use of alliteration头韵.（definition）In alliterative verse, certain accented words in a line begin with the same consonant sound. Other features of Beowulf are the use of metaphors and of understatements.4. The French-speaking Normans under Duke William came in 1066.(the Norman Conquest)5. The Romance 罗曼司---the most prevailing kind of literature in feudal England. It was a long composition, sometimes in prose, describing the life and a adventures of a noble hero.Adventures of King Arthur and his Knights of the Round Table6. The Class Nature of the RomanceThe theme of loyalty to king and lord was repeatedly emphasized in romance , as loyalty was the corner-stone of feudal morality, without which the whole structure of feudalism would collapse.They were composed for the noble, of the noble, and in most cases by the poets patronized by the noble.7.the Ballads 民谣The most important department of English folk literature is the ballad. A ballad is a story told in song; usually in 4-line, with the second and fourth lines rhymed.8. The Robin Hood Ballad --- the various ballads of Robin Hood are gathered into a collection called The Geste of Robin Hood.绿林好汉罗宾汉的故事9. The founder of English poetry is Geoffrey Chaucer. 乔叟The Canterbury Tales ---(1) a collection of 24 stories (2)close links---stories are closely connected to each other (3)stories into groups on different subjects -- story-tellers, from ranks, professions, religions (4)variation in form三大著名教堂：Westminster Cathedral 西敏寺大教堂Saint Pail’s Cathedral 圣保罗大教堂Canterbury Cathedral 坎特布雷大教堂10.The Renaissance and HumanismThe rise of the bourgeoisie soon showed its influence in the sphere of cultural life. The result is an intellectual movement known as the Renaissance, or, the rebirth of letters. It spang first in Italy in the 14th century and gradually spread all over Europe. Two features are striking of this movement. The one is a thirsting curiosity for the classical literature. Old manuscripts were dug out. There arose a current for the study of Greek and Latin authors. While people learned to admire the Greek and Latin works as models of literary form, they caught something in spirit very different from the medieval Catholic dogma. So the love of classics was but an expression of the generation dissatisfaction at the Catholic and feudal ideas.Another feature of the Renaissance is the keen interest in the activities of humanity. Humanism is the key-note of the Renaissance.Humanism reflected the new outlook of the rising bourgeois class. According to the humanists, both man and world are hindered onlyby external checks from infinite improvement. Man could mould the world according to his desires, and attain happiness by removing all external checks by the exercise of reason.11.Edmund Spenser 斯宾塞The poet’s poet of the period was Edmund Spenser.The Faerie Queene : nationalism, humanism , puritanismThe Faerie Queene (definition)i s written in a special verse form that consists of eight iambic pentameter lines followed by a ninth line of six iambic feet(an alexandrine), with the rhyme scheme ababbcbcc. This form has since been called the Spenserian Stanza.12.Drama 戏剧: the Miracle Play 奇迹剧, The Morality Play 道德剧, The Interlude 幕间剧, The Classical Drama 古典剧12.Marlowe（马洛）’s best includes three of his plays, Tamburlaine 帖木耳(1587), The Jes of Malta马耳他的犹太人(1592), and Doctor Faustus浮士德博士(1588).13.Social significance of Marlowe’s Plays:These plays show, in various ways, the spirit of the rising bourgeoisie , its eager curiosity for knowledge, its towering pride, its insatiable, appetite for power whether that be won by military might, knowledge, or gold.In Tamburlaine, it is ambition; in Doctor Faustus, desire for knowledge; in The Jew of Malta, greed for wealth. They were typical images of the era of the primitive accumulation of capital.14.William Shakespeare莎士比亚was born on April 23, 1564, died on April 23, the anniversary of his birth, in 1616.A Chronological List of Shakespeare’s Plays: 四大悲剧Hamlet 哈姆雷特,Macbeth麦克白,Othello 奥赛罗,King Lear 李尔王.The reasons of the Melancholy（忧郁）of Hamlet: (1)he seems to understand that his mere revenge upon his uncle would in no way solve the problems that trouble and upset him.(2)he does not want to include the Britain into the chaos.(3)the crisis of humanism---the root of the murder is the political system.ton米尔顿--Paradise Lost 失乐园，Samson Agonistes 力士参孙16.Bunyan 班扬---the Pilgrim’s Progress 天路历程17.Metaphysical玄学派PoetsThe works of the Metaphysical Poets are characterized, generally speaking, by mysticism in content and fantasticality in form.John DonneAnother school of poetry prevailing in the period was that of Cavalier Poets.18.The Enlightenment 启蒙运动in Europe:The 18th century marked the beginning of an intellectual movement in Europe, known as the Enlightenment, which was, on the whole, an expression of struggle of the bourgeoisie against feudalism. The enlighteners fought against class inequality, stagnation, prejudices and other survivals of feudalism. They attempted to place al branches of science at the service of mankind by by connecting them with the actual needs and requirements of people.Steele and The Tatler闲话者Addison and The Spectator观察家To sum up Steele’s and Addison’s contribution to the English literature:1. Their writings afford a new code of social morality for the rising bourgeoisie/2. They give a true picture of the social life of England in the 18th century.3. In the hands of Addison and Steele, the English essay had completely established itself as a literary genre. Using it as a form of character sketching and story -telling, they ushered in the dawn of modern English novel.19.Jonathan Swift 乔纳森斯威夫特---Gulliver’s Travels 格列佛游记Pamphlets on Ireland 关于爱尔兰问题的小册子--A Modest Proposal 一个温柔的建议20.Richardson--he was noted as a storyteller, letter writer and moralizer.Pamela:Pamela was a new thing in three ways,firstly,it discarded the “improbable and marvelous”accomplishments of the former heroic romances, and pictured the life and love of ordinary people. Secondly,its intention was to afford not merely entertainment but also moral instruction. Thirdly, it described not only the sayings and doings of the characters but also their secret thoughts and feelings.22. Fielding 菲尔丁---Joseph Andrews(a parody 戏仿to Pamela)23.（约翰逊）Johnson’s Dictionary:(1)it marked an epoch in the study of the English language.(2)also marked the end of English writers’reliance on the patronage of noblemen for support.24.Sentimentalism感伤主义: it came into being as the result of a bitter discontent among the enlightened people with social reality. The representatives of Sentimentalism continued to struggle against feudalism, but they sensed st the same time the contradictions in the process of capitalist development. Dissatisfied with reason, which classicists appealed to, sentimentalists appealed to sentiment, “to the huamn heart.”25.Blake 布莱克----Songs of Innocence contains poems which were apparently written for children, using a language which even little babies can learn by heart, and in Songs of Experience, a much maturer work,entirely different themes are to be found, for in this collection of poems the poet drew pictures of neediness and distress and showed the sufferings of the miserable.The contrast between Songs of Innocence and Songs of Experience is of great significance. It marks a progress in the poet’s outlook on life.26.Burns 彭斯peasant poet 农民诗人（前浪漫主义诗人）27.Romanticism 浪漫主义prevailed in England during the period 1798-1832. Generally speaking, the romanticists expressed the ideology and sentiment of those classes and social strata who were discontent with, and opposed to, the development of capitalism. But owing to difference in social and political attitudes, they split into two schools. Some romantic writers reflected the thinking of classes ruined by the bourgeoisie, and by way of protest against capitalist development turned to the feudal past, i.e. The “”merry Old England,”as their ideal, or “frightened by the coming of industrialism and the nightmare towns of industry, they were turning to nature of protection.”These were the elder generation of romanticists, sometimes called escapist romanticists, including Wordsworth, Coleridge and Southey, who have also benne called the Lake Poets because they had lived in the Lake District in the northwest of England and shared acommunity of literary and social outlook in their work. Other expressed the aspirations of the classes created by capitalism and held out an ideal, though a vague one, of a future society free from oppression and exploitation. These were the younger generation of romanticists and sometimes called active romanticists represented by Byron, Shelley and Keats.So the general feature if the works of the romanticists is a dissatisfaction with the bourgeois society, which finds expression in a revolt against or an escape from the prosaic, sordid daily life, the “prison of the actual”under capitalism. Their writings are filled with strong-willed heroes, formidable events, tragic situations, powerful conflicting passions, and exotic pictures. Sometimes they resort to symbolic methods. With the active romanticists, symbolic pictures represent a vague idea of some future society, while with the escapist romanticists, these often take on a mystic color. In contrast to the rationalism of the enlighteners and classicists in the 18th century, the romanticists paid great attention to the spiritual and emotional life of man. Nature, often personified, also plays an important role in their works. The passions of man and the beauties of nature appealed strongly to the imagination of the Romantic writer, and the glory of the lakes and mountains, the little joys or sorrows of children, the weal and woe of ordinary, uncultured peasants, the wonder of the fairy world, and the splendor of the Greek art all because the fountain-heads of the writer’s inspiration. Poetry, of course, is the best medium to express all these sentiments. In fact, all the romanticists mentioned above were poets. The Romantic Period was one of poetical revival.28.Wordsworth: in 1798 Wordsworth and Coleridge jointly published the Lyrical Ballads. The publication marked the break with the conventional poetical tradition of the 18th century, i.e. With classicism, and the beginning of the Romantic revival in England. “all good poetry is the spontaneous overflow of powerful feeling.”His “Lucy” poems are a series of short pathetic lyrics on the theme of harmony between humanity and nature.29.Shelley 雪莱: Queen Mab 麦布女王The Revolt of Islam 伊斯兰暴动Prometheus Unbound 解放了的普罗米修斯30.Keats济慈: ode 颂Ode to Autumn, Ode on Melancholy, Ode on a Grecian Urn 古瓮颂, Ode to a Nightingale 夜莺颂An Analysis of Jane EyreThe novel is rich in poetry, symbolism and metaphor. It does not fit easily into a definite pattern, being neither a novel of "manners" in the tradition of Austen, or a straightforward Gothic Romance in the style of Mrs Radcliffe. What Charlotte Bronte did was to create a work which cleverly blends elements of the two styles, and which remains uniquely independent of them at the same time, since it addresses issues which were at the time rather controversial.The novel is written in the first person, and thus magnifies the central character - the reader enters the world of Jane Eyre and is transported through her experiences at first hand. This at once makes the work subjective, especially since we know that Charlottes Brontes own life and experiences were so closely interwoven with the heroine's. As well as this we learn only at the end of the novel that the events are being related to us ten years after the reconciliation with Rochester - thus the narrative is RETROSPECTIVE (looking back). CB is clever in blending the narrative so that at times Jane seems to be speaking as an adult with adult hindsight , while at others she she is "in the middle" of them, as a child or young woman. The indecision which is a central issue in the book, is heightened by this device. We never know, as readers, whether to be entirely trustful of Janes actions and thoughts, because we are never sure wheher she is speaking impulsively or maturely.This intensifies the readers dilemma as to what is "right" and "wrong" in the dramatic relationships which are part of JE's life. Can we believe what the heroine says, or is she deceiving herself? The novel is primarily a love story and a "romance" where wishes come true but only after trials and suffering. The supernatural has its place, as do dreams, portents and prophesies. The heroine begins poor and lonely and ends up rich and loved; the orphan finds a good family to replace the wicked one; all the basic ingredients of classic romantic fairytale are present.The romantic element is present in two forms in Jane Eyre; the "family" aspect is dealt with in the Gateshead, Lowood and Moor House episodes, which involve the exchanging of the wicked Reed family for the benevolent Rivers one; and the Love romance is dealt with in the Thornfield and Ferndean episodes. Both aspects are, of course linked and interwoven throughout the novel.There is also a strong element of realism in the novel, which, married to the romantic aspect, enhances the novel's strength.The sense of place is very strong; we are able to experience both exterior and interior settings with startling clarity throughout the story, in a series of vivid deive passages. The central characters are also realistic and their confrontations and sufferings change them in a believable way.Even the unlikely is made plausible, with a unique blend of high drama and perceptive low comedy (the attack on Mason, for instance)The more fantastic romantic aspects; the coincidences; the secrets; the supernatural occurrences, are balanced by the realism, and this is of course a major strength.The Gothic influence cannot be ignored, although CB has refined the technique considerably from the "authentic" Gothic of the 1790's. In the original genre, the heroine would typically be abductedand threatened with seduction, or worse!. There would be a lover - a respectable, well-bred young man - who would endeavor to rescue the heroine and would succeed after many trial. the seducer would be a brigand "Know that I adore Corsairs!" and he would lock the girl up in a remote castle.There was little freedom for middle class women during the period of the Gothic novel, and this was still the case in the time of CB. Marriage especially was often a bargain, whereby fortunes were secured by using the female as a pawn. A woman's value largely depended therefore on her sexual purity and she was guarded and secured as a result. Men, on the contrary, were potent and free; lovers and mistresses were common. Ironically the women who provided their services were social outcasts as a result.In Jane Eyre we see elements of the Gothic romance, in that Thornfield Hall and Rochester are described very much in the brigand/castle style BUT Jane Eyre is not abducted by R. On the contrary she chooses to go there of her own free will. AND she is clear in her determination to have Rochester as a husband. Neither is there a gentleman rescuer; St John Rivers may look like a Greek God, but he is neither kind nor benevolent; driving Jane back to Ferndean, not rescuing her from it.The trials which the hero is supposed to undergo in a Gothic romance are in fact undergone by the heroine in Jane Eyre. The bandit Rochester is only skin-deep. Underneath the brooding exterior is a sensitive soul, which a WOMAN frees. In this way we see that CB created rather a daring departure from conventional fiction, although there are still many aspects of the novel which remain true to Victorian convention.!3. The Joys of Writing (by Winston Churchill)【导读】温斯顿·丘吉尔(Winston Churchill), 英国首相、保守党领袖。

马洛-克罗恩社会认同性量表

马洛-克罗恩社会认同性量表简介马洛-克罗恩社会认同性量表（The Marlowe-Crowne Social Desirability Scale）是一种常用的心理测量工具，用于评估被试的社会认同性。

该量表由马尔洛和克罗恩于1960年开发，旨在测量被试在评估中对社会期望的回答倾向。

测量内容马洛-克罗恩社会认同性量表是一套自陈式问卷，其中包含一系列与个人价值观、社交行为和社会期望有关的问题。

测量内容主要涉及以下几个方面：1. 自我宣称的社会行为：通过询问被试对某些道德、伦理或社会规范行为的立场，来评估被试在回答中是否倾向于符合社会期望。

2. 社会期望的态度：通过对被试对某些社交行为的态度进行评估，来推断其与社会期望的关系。

3. 反社会行为倾向：通过探究被试对社会期望的态度以及其行为倾向，来分析其对社会规范的遵守程度。

使用方法使用马洛-克罗恩社会认同性量表进行测量时，可以采用以下步骤：1. 将问卷分发给被试，确保能够在合适的环境下填写。

2. 引导被试阅读每个问题，并根据其真实观点进行回答。

被试需要尽量真实地回答问题，而不是为了符合社会期望而给出虚假答案。

3. 收集被试填写完毕的问卷，并确保保密性和匿名性。

4. 对问卷进行整理和统计分析，以便进行数据解读和结果报告。

应用领域马洛-克罗恩社会认同性量表在心理学和社会科学领域广泛应用。

它可以用于以下方面的研究和实践：1. 人格特点和社会适应性的评估：通过测量被试的社会认同性，可以了解其对社会规范和价值观的态度，进而推断其在社交互动和社会适应方面的表现。

2. 社会心理研究：通过分析大量被试的社会认同性量表结果，可以揭示某些特定群体或文化中普遍存在的社会期望和价值观念。

3. 人际关系和沟通研究：通过了解个体的社会认同性，可以更好地理解人际关系中的行为和沟通方式，有助于改进人际交往和沟通技巧。

总结马洛-克罗恩社会认同性量表是一种常用的心理测量工具，可用于评估个体的社会认同性。

扬州大学2016年英国文学简史考点

Three conquests（时间+意义）:1)The Roman conquest, 55 BC, civilized, Christianized2)The English conquest, 5th century, old English, starting point of English literature3)The Norman conquest, 1066, Mid-English, establishment of feudalism.2.P3选择，填空，判断Beowulf, the national epic of English people.3.P4 诗歌翻译“Thus made their mourning the men of Geatland, 坟墓周围，勇士们骑着战马，For their hero’s passing, his hearth-companions 为逝去的国王唱起挽歌，Quoth that of all the kings of earth, 高赞你的懿德，分享你的恩泽，哀叹你的陨落，Of men he was the mildest and most beloved, 人们称你为最可亲最可敬的国王，To his kin the kindest,keenest to praise.” 你对人们总是最仁爱最热心，你最渴望的就是人们对你的赞扬。

4.P5 名词解释，问答Features of Beowulf:1)The use of alliteration. (头韵)(定义：in alliterative verse, certain accented words in a line begin with the same consonant sound.)2)The use of metaphors and of understatements（隐喻）(Grendel represents forest, she-monster represents water, fire-dragon represents sky)5.P8 选择填空判断英国Romance代表作: adventures of King Arthur and his Knights of the Round Table（《亚瑟王和他的圆桌骑士》，同时也是骑士文学代表作）The class nature of the romance：1)The theme of loyalty to king and lord was repeatedly emphasized in romances, as loyalty wasthe corner-stone of feudal morality, without which the whole structure of feudalism would collapse.2)They were composed for the noble, of the noble, and in most cases by the poets patronized bythe noble.7.P17 选择填空名词解释The Ballads(民谣): the most important department of English folk literature.1)定义：①A ballad is a story told in song, usually in four-line stanzas, with the second and forthlines rhymed. ②They are mainly the literature of peasants, and in them one is able to understand the outlook of the English common people in feudal society.2)代表作：The Robin Hood Ballads (罗宾汉民谣)8.P19 选择填空判断1)Geoffrey Chaucer, the founder of English poetry, was born about 1340 in London.2)The Canterbury Tales (坎特伯雷故事集) is Chaucer’s masterpiece and one of the monumentalworks in English literature.9.P25 问答Chaucer’s language and contribution:1)Chaucer’s language, now called Middle English, is vivid and exact. He is master of word-pictures.2)He introduced from France the rhymed stanza of various types, especially the rhymed coupletof 5 accents in iambic meter (the heroic couplet) to English poetry, instead of the old Anglo-Saxon alliterative verse.3)Chaucer did much in making the dialect of London standard for the modern English speech.Preparation for the English Renaissance:1)The establishment of the new monarchy2)Religious Reformation: the appearance of Protestantism3)Language and cultural preparation: the publish of English Bible11.P28 名词解释选择判断King James Bible: the authorized version of English Bible, which was made in 1611 under the auspices of James.12.P30-31名词解释问答(文艺复兴：全答；人文主义：第三点)1)Renaissance 定义：The rise of the bourgeoisie soon showed its influence in the sphere of culturallife. The result is an intellectual movement known as the Renaissance, or, the rebirth of letters. It sprang first in Italy in the 14th century and gradually spread all over Europe.2)Features of Renaissance:①The one is the thirsting curiosity for the classical literature.②The Renaissance is the keen interests in the activities of humanity.3)Humanism 定义：Humanism is the keynote of the Renaissance. It reflected the new outlook ofthe rising bourgeois class, which saw the world opening before it. According to the humanists, both men and the world are hindered only by external checks from infinite improvement. Man could mould the world according to his desires, and attain happiness by removing all external checks by the exercise of reason.13.P40-42 选择判断填空1)Edmund Spenser代表作：The Faerie Queene《仙后》2)The Spenserian Stanza（斯宾塞体）定义：The Faerie Queene is written in a special verse formthat consists of eight iambic pentameter lines followed by a ninth line of six iambic feet, with the rhyme scheme ababbcbcc. This form has since been called the Spenserian Stanza.14.P43 诗歌翻译A gentle Knight was pricking(=spurring) on the plaine, 一位高贵的骑士正策马穿过平原，Y-cladd(=clad) in mightie armes and silver shielde, 他全副武装，手持银盾，Wherein old dints of deepe wounds did remain, 盾上仍留着陈旧的深深的凹痕，The cruell markes of many a bloody fielde; 这残酷的标记来自多次血腥的战阵；Yet armes till that time did he never wield: 但这些武器至今他还未用过；His angry steede did chide his foming(=foaming) bitt, 他那愤怒的坐骑暴躁地咬着马勒，As much disdayning to the curbe to yield: 似乎桀骜不驯，不愿受主人的控制；Full jolly Knight he seemed , and faire did sitt, 他看上去是位真正的骑士，端坐马上，As one for knightly giusts and fierce en counters fitt. 好像准备参加骑士比武，迎接激烈对抗。

克里斯托弗·马洛的奇幻现实主义小说及其写作风格评析

克里斯托弗·马洛的奇幻现实主义小说及其写作风格评析引言克里斯托弗·马洛（Christopher Marlowe）是一位英国文学史上备受赞誉的戏剧家和诗人。

他以他的奇幻现实主义小说和独特的写作风格而闻名于世。

本文将对克里斯托弗·马洛的奇幻现实主义小说进行评析，并探讨他独特的写作风格。

马洛的奇幻现实主义小说马洛是一位深受意大利启蒙运动影响的作家，他借鉴了意大利文艺复兴时期的艺术和思想潮流，并将其融入自己的作品中。

他的奇幻现实主义小说展示了一个与日常生活相似但又极富想象力和神秘性的世界。

小说情节马洛的奇幻现实主义小说经常包含着令人着迷和离奇事件。

故事背景通常设定在一个超自然或幻想的环境中，通过引人入胜的情节和角色，向读者展示了不可思议的情节发展。

人物塑造马洛在他的奇幻现实主义小说中创造了独特而真实的角色形象。

这些角色常常以非凡的能力、天赋或特殊品质脱颖而出，让读者感到神秘又亲切。

主题探索马洛的奇幻现实主义小说经常涉及对生活、存在和人性等重要主题的深入探索。

通过超现实的情节框架，他引导读者反思日常生活中经历的真相和存在意义。

马洛的写作风格马洛独特而富有魅力的写作风格使他成为文学史上耀眼的一笔。

以下是他突出的写作风格特点：词藻华丽马洛善于使用丰富多样，绚丽夺目的词藻来描绘场景和人物形象。

这使得他的作品充满了视觉和感官上令人愉悦和震撼人心的描写。

嵌套结构马洛经常使用嵌套结构来组织自己的故事。

这种技巧使得故事更加复杂多样，增添了阅读体验的层次感。

剧场性作为戏剧家出身的马洛，他的小说中常常充斥着戏剧化的场景和对话。

这赋予了他的作品一种明快而活泼的氛围。

心理描写马洛善于刻画角色的内心世界，并通过细致入微的心理描写来展示人物情感和动机。

这使得读者能够更加深入地理解角色的行为和决策。

结论克里斯托弗·马洛是一位开创奇幻现实主义小说风格并以其独特写作风格闻名于世的文学大师。

通过他非凡而富有想象力的故事情节和人物形象，以及华丽、嵌套、剧场性和心理描写等特点，他将读者引领进入一个神秘而迷人的奇幻现实主义世界。

Marlowe

“Humanism” and “Value”
Humanism Definition 1: A system of thought that centers on human beings and their values, capacities, and worth. Humanism Definition 2: A cultural and intellectual movement of the Renaissance that emphasized secular concerns as a result of the rediscovery and study of the literature, art, and civilization of ancient Greece and Rome. Value Definition: A principle, standard, or quality considered worthwhile or desirable
Thank you
《浮士德博士的悲剧》
（Doctor Faustus,1592）《爱德华二世》 (Edward the Second,1593) 《巴黎的大屠杀》 (The Massacre at Paris)
Major Work 1
Tamburlaine the Great, Parts I & II (1587) Front Cover
A Sketch of Doctor Faustus
Major Work 3
The Jew of Malta Front Cover (1592)
The Jew of Malta
Who? < the leading character roles >

浮士德博士与马洛【英文】

Calvinism and Religious Historical Background
Dr. Faustus written during reformation (began 1516) Battle between Catholics and Protestants often took place on the stage Marlowe was attacked as being neither (quote pg. viii in introduction) Calvin’s theories on Protestantism became the dominant branch of this movement up into the 17th Century

Church.

Back to Geneva in 1540 and re-imposed strict moral code. Geneva became protestant capital. Refuge for protestants driven out of home countries.
Drlook at Marlowe’s play text and White’s article, Theatre and
Religious Culture
Marlowe Time!
Born 1564 Educated at King’s School and went to Cambridge (1580) Arrested! (May 1593) Died at hands of Ingram Frizer

What? Two Texts?
A text(1604) features some 36 lines not featured in B text B text(1616) features some 676 lines not featured in A text Once thought B was original text and A was bad folio copied from memory Dr. Faustus originally written in 1588-89

Marlowe's poem-1

“The Passionate Shepherd to His Love”Poem SummaryThe poetry started out with a direct introduction. The speaker showed his purpose clearly, which is asking the woman he admired to be his lover. The following stanza showed a picture on what he would promise if she accepts to be his love. There was a heavenly like scene in the picture, he imagined them sitting upon the rocks, watching the other busy shepherd who had to work hard, and they relaxed themselves by listening to the birds' singing, and seeing the river falls. The shepherd also ensured her that he is willing to do whatever it takes to please her. This could be seen from the line 9~18. He made promises on difficult mission such as making bed of roses, thousand fragrant posies (bunches of flowers), a nd leaves of myrtle, coral clasps and amber studs…et c. From line 19, it responded to the idea of the first stanza that is to persuade the woman to be his love and to live with him. The repeating sentences "come live with me and be my love," may work as the function of emphasizing, and expression of eagerness.VocabularyGrove (L 3) ~ a group of tree that are closed togetherSteepy (L 4) ~ rise at a very sharp angle and is difficult to go upMadrigal (L 8) a song sung by several singers without any musical instrumentsPosy (L 10) ~a small bunch of flowersKirtle (L 11) ~ gownEmbroider (L 12) ~ is the activity of stitching designs onto clothGown (L 13) ~ is a dress, usually a long dressBuckle (L16) ~ is a piece of metal attached to one end of the beltIvy (L 17) ~ an evergreen plant that grows up walls or along the groundCoral (L 18) ~ a hard substance formed from the skeletons of very small sea animals. It is often used to make jewelleryAmber (L 18) ~ is a hard yellowish-brown substance used for making jewellerStud (L 18) ~ earringSwain (L 20) ~ a young man who is in loveSpeaker and ListenerThe speaker is a passionate shepherd. He promises to his love a fanciful, and somehow an unrealistic future. The shepherd does not rank high in the society; he is probably not wealthy at all. However, he is a very poetic person, he that imply possible proposal in the poetry. This statement is seen from words such as bed, slipper, and kirtle. Those daily used subjects in the family. The listener in this poetry is the shepherd's lover. There are no clues on her personality or appearance.TonePassionate, eager, desirous, fanciful, dedicatoryImageryVisual imagesStanza1that valleys, groves, hills, and fields, Woods, or steepy mountain yields.Stanza2and we will sit upon the rocks, Seeing the shepherds feed their flocks, By shallow rivers to whose falls Stanzas, 4, 5Bed of roses, a cap of flowers, a kirtle embroidered all with leaves of myrtle, a belt of straw and ivy buds, with coral clasps and amber studs.Sound images:Melodious birds sing madrigals.Smell imagesA thousand fragrant posiesTouch images:A gown made of the finest wool, fair lined slippersDictionIvy buds --- ivy is a kind of evergreen plantMyrtle --- it's the tree of Aphrod i te (the goddess of love and beauty)Stanza 1: Lines 1 – 4In the first stanza of "The Passionate Shepherd to His Love," Marlowe's speaker, an unidentified shepherd, pleads with an unidentified woman that if she will come and live with him, then all pleasures will be theirs for the taking. The shepherd opens with the invitation: "Come live with me, and be my love." He is not asking her to marry him but only to live with him. The offer is simply put, and his ease in offering it implies that the woman should just as easily agree. However, since the shepherd is forced to continue with a succession of promises, the reader can assume that the shepherd's initial offer was not well received.The shepherd promises the woman pleasures they will experience in all of the pastoral settings that nature can supply. Since he promises that the couple will experience these pleasures in a variety of locations, it appears his expectation is that the pleasures of the world are principally sexual. He is asking the woman to live with him, and for the Elizabethan poet, "Come live with me, and be my love" has the same connotations it would have for a twenty-first-century reader: the female is being invited to come and make love. "Valleys, groves, hills and fields, / Woods, or steepy mountains" are some of the places the shepherd suggests where the woman might yield to him, and where they might both find pleasure. The overt sexuality of this stanza is a departure from the traditional pastoral writings and romantic love poems of Marlowe's contemporaries, which were not so bold.Stanza 2: Lines 5 – 8The second stanza suggests a time of year for the lovers' activity, which is likely spring or summer, since they would be outdoors and the shepherd imagines it is pleasant enough to sit and watch the flocks being fed. He proposes that other shepherds will feed his flocks, since with his mistress by his side, he will now be an observer. The shepherd mentions listening to the "Melodious birds sing madrigals." The singing of birds is often suggestive of spring, since the return of singing birds signals the advent of the new season. Because the first stanza makes clear that the shepherd wants the woman to become his lover, the shift in the second stanza to sitting upon rocks — "And we will sit upon the rocks" — suggests they might partake of the second stanza's activities after they have made love.This second stanza, if taken by itself, exemplifies the traditional pastoral theme of the restful shepherd watching his flocks, enjoying in quiet peace the countryside and all it offers. It is the idealization of the pastoral form, in which nature is kind and safe, filled with "shallow rivers" and "melodious birds." In the early pastoral tradition, the shepherd would be alone, daydreaming about the woman he loves and whom he wishes to court. But in Marlowe's poem, the introduction of sexual desire inserts the woman into the scene; she too will witness the flocks feeding and enjoy the peacefulness of country life. The isolation of the shepherd is thus removed in Marlowe's poem.In the final line of stanza 2, the shepherd invokes "madrigals" as accompaniment for the lounging (休闲的) couple. The madrigal was an Italian import to late sixteenth-century English music. In Elizabethan England, a formal, more complicated, Italian aristocratic style of song was replaced with a lighter, more romantic tone and content —the madrigal. Thus the shepherd's inclusion of the madrigal provides a promise of romantic entertainment that completes the image of gaiety and light romance the woman will enjoy if she agrees to accept the shepherd's pleas.Stanza 3: Lines 9 – 12In the third stanza, the shepherd offers the first of many promises he will keep if the woman agrees to come and live with him. He promises to make her "beds of roses." One bed is not enough; she is deserving of more than one bed, although certainly the couple would have no need for more than one bed. In addition, the shepherd promises "a thousand fragrant posies." In essence, the shepherd is promising the impossible, but he is representative of any eager lover who turns to hyperbole (gross exaggeration) to tempt a beloved. In this case, the woman would be buried in "posies," or flowers, which creates an image more silly than romantic. It is worth noting that Elizabethans often composed short epigrams that were also known as "posies." (除了作“花朵”外，这个词在古文中还有“铭文”的意思：短诗或充满感情的词句，尤指刻于小装饰品上) These short poems were often used as tokens of love. If Marlowe's shepherd is using "posies" to refer to written texts and not a floral tribute, then surrounding the woman with love poems is a romantic idea, although still an impractical one.The shepherd is so eager for his love to join him that he even promises to dress her. He will clothe the woman in "a cap of flowers" and in a "kirtle" covered "with leaves of myrtle." The myrtle flower was a sacred flower to the goddess Venus and was considered an emblem of love. A kirtle was the outermost garment that an Elizabethan woman would wear; it was a sleeveless bodice (紧身胸衣) with eyelets for ribbon that laced up the front. It would have been worn over a shirt or blouse, or even a dress, and it would have had a skirt attached to it. The kirtle would have been the dressiest (衣着最考究的) part of the woman's garment, and so the shepherd's plan to decorate the woman's kirtle would have been in keeping with Elizabethan custom, since the kirtle would have customarily been adorned with some embellishment.Stanza 4: Lines 13 – 16In the fourth stanza, the shepherd continues his promises to clothe the woman. Her "gown" would be made of the "finest wool." Rather than simply shearing the sheep, which was the common procedure, the shepherd would "pull" the wool from the "pretty lambs." This image transforms the intense hard labour of shearing into a gentle "pulling" of the wool, a more graceful and romantic activity. The "slippers" he will make for the woman will be "fair lined." By the sixteenth century, women were commonly referred to as the "fair sex," and so the use of "fair" to describe the slippers might also refer to the woman whose feet the slippers would adorn. The buckles of these slippers would be of "the purest gold," since the shepherd's mistress would deserve all the riches he could provide. Stanza 5: Lines 17 – 20By the fifth stanza, an image of the shepherd's newly adorned mistress begins to emerge. Line 17 adds a straw belt and "ivy-buds" to a costume that is adorned with "coral clasps" and "amber studs," which serve as buttons. The woman is dressed from head to foot and immersed in "posies." If the woman takes the poet's promises quite literally, she would look like a huge floral bush that glitters with gold, coral, and amber.In the final two lines of the fifth stanza, the shepherd reiterates his plea that the woman consider his offer. He first reminds the woman that he promises her pleasures, which he hopes will convince her to agree to his wishes. The shepherd then restates the first line of the poem, inviting her to come and live with him and be his love. There is no need to repeat all the many promises of endless love, of sweet beds of roses, or of the clothing he would fashion for her. Instead, he assumes she will remember his promises and if she finds them satisfactory, she will choose to join him. The repetition of the first line makes clear how easy and simple the woman's choice would be to join the shepherd in love, but, just in case she needs more persuading, he uses the final stanza to offer a few more incentives (刺激).Stanza 6: Lines 21 – 24In the sixth and final stanza, the shepherd uses one last opportunity to seal the deal and convince the woman to give up her chastity to his entreaties (恳求). If the woman will agree to be his love, the shepherd promises his "swains" shall dance and sing. "Swain" was a common word for shepherd, and in the sixteenth century, the two words were used interchangeably to create a more favourable image of shepherds. The shepherd's life was one ofhard work, and describing him as a swain, which might also refer to a gallant (多情的)lover, conjures a more romantic image.So, the idyllic nature the shepherd has thus described is further enhanced by the image of swains who will dance and sing each morning for his lover's entertainment. The time now is firmly set in May, during spring, nature's traditional mating time. The poet has included a variety of images from nature, including the setting, the bed, and the clothing, all of which remind the reader that nature is primarily focused on reproduction. If the woman will come and live with him, every day will be happy and filled with laughter, song, and dance.In line 23, the shepherd repeats line 19 with a slight but important modification. Rather than pleasures to convince her, the emphasis is on the "delights" he has led her mind to imagine. All of his promises have been the imaginings of a hopeful lover. He has hoped to convince her mind, not her heart. The shepherd has described an imaginary world that he hopes will persuade the woman to join him through her use of reason, if not through her heart. The final line is a repetition of the opening line, reinforcing the relative ease the woman should face in making her decision. The decision is as simple as the shepherd's monosyllabic words: "live with me, and be my love."ThemesNature IdealizedIn "The Passionate Shepherd to His Love," Marlowe paints a picture of idyllic nature without any of the real dangers that might be present. There are no responsibilities in this imaginary life, as the shepherd imagines the couple will watch other "shepherds feed their flocks," while making no mention of his own flock for which he is responsible. There is also no mention of any wolves or predators that might prey upon the flock.The shepherd then invites his mistress to experience all the pleasures the couple might enjoy in the countryside in May. That they will lie in "beds of roses" suggests the couple will make love outside and without shelter. Additionally, the "beds of roses" would probably include a significant number of thorns, which are guaranteed to reduce the shepherd's passion. In the twenty-first century, the average temperature in England in May is 59 degrees Fahrenheit (15 C), with rain at least half the days of the month, and it is likely the weather was similar during Marlowe's time, so lying outdoors without shelter might have been rather wet and cool. The nights would be cooler still than the days, especially in the "hills," the shade of the "woods," or the higher elevations of a "steepy mountain."The shepherd also promises to supply his mistress with "A gown made of the finest wool," wool that he would "pull" from "pretty lambs." An adult sheep can weigh between 150 and 200 pounds, and even a lamb old enough to be sheared would be quite heavy. The job of using the tools of the time to shear even one lamb would have been hard work, to say nothing of "pulling" the wool with your hands.Anther promise the shepherd makes is that "The shepherd swains shall dance and sing / For thy delight each May morning." With the need to protect the sheep from predators, the shearing of the lambs, the herding of the flock to fresh pastures, and the often unpleasant weather, shepherds would have no time for dancing and singing for the mistress's entertainment each morning. And though the shepherd is concerned to clothe his mistress in wool, he provides no thought to feeding his love. What is she to eat? The shepherd never considers food, because in his imaginary world, food is not necessary. His courtship is the fanciful musing (遐想) of a lover who seeks only to fulfil his passion with no thought to the real necessities of life. Marlowe creates a pretty picture of nature, but it is far from the reality of hard work and danger that shepherds often faced.Static Time"The Passionate Shepherd to His Love" is static. There is no movement of time in the piece, no past and no future. The shepherd is not suggesting a long-term arrangement when he asks the woman to "Come live with me, and be my love." There is no offer of marriage and no suggestion that they will establish a home together. The shepherd will cover his mistress in "a thousand fragrant posies," but once picked, the flowers will begin to die. Within minutes they will begin to wilt (枯萎，凋谢), their stalks drooping more with each moment that passes. Thesame fate awaits the "belt of straw and ivy-buds," which will also disintegrate quickly after their creation. The activities that the shepherd describes are of the moment. It is some time in May, and he is not looking forward to a summer together or the fall and winter that will inevitably follow. There is only the moment in which they will be together. Eventually, however, the realities of life would intrude. The couple would need food to eat and housing in which to live, children would be born, and life would be constantly evolving. The notion of the inevitability of time passing and life changing is missing from the shepherd's plea.StyleArgumentThe argument in any work of literature is the author's principle idea. The shepherd's argument in "The Passionate Shepherd to His Love" reveals the efforts of the shepherd to convince the unseen woman that she should become his mistress. The shepherd submits a number of arguments designed to be convincing, but the central argument is that all pleasure will be theirs for the taking.Couplets and RhymeCouplets are two consecutive lines of poetry with the same end-rhyme. Traditionally, the couplet was a two-line stanza expressing a self-contained thought, but the form has evolved. It is no longer strictly defined as iambic pentameter, as it once was, and the lines need not be identical in stressed and unstressed syllables. Many of the individual lines in "The Passionate Shepherd to His Love" are eight syllables, but several others are not, and so Marlowe is moving away from traditional poetic structure, even as he deviates from other formulas that guide content, such as those discussed in the pastoral poetry section below.In "The Passionate Shepherd to His Love," Marlowe uses a simple rhyme scheme of couplets. Each pair is a different rhyme, except for lines 19 and 20 and lines 23 and 24, which repeat the rhyme of the opening lines. One problem with using couplets is that the ongoing alternating rhyme can become tiresome for the listener, especially in a lengthy poem.ImageryImagery refers to the "mental pictures" created by the text. The relationships between images can suggest important meanings in a poem, and with imagery, the poet uses language and devices such as metaphor, allusion, and even alliteration to create meaning and texture. For instance, the line "I will make thee beds of rose" suggests a romantic image that is not in keeping with the reality of roses with thorns. Because the image is so strong and because most readers would associate roses with an image of love, readers probably never stop to consider how unromantic a bed made out of thorny roses would be. Effective imagery in poetry allows the reader to enter into the poem and experience it with all their senses.Pastoral PoetryThe Greek poet Theocritus first created the pastoral poem when he wrote poems representing the life of a Sicilian shepherd. Theocritus produced a picture of quiet peace and harmony among shepherds who lived in an idealized natural setting. His shepherds were characterized by a state of contentment and friendly competition among friends. Love for these shepherds was a romantic longing and not sexual in any way. Theocritus was then copied by the Roman poet, Virgil, whose elegies had a strong influence on early English Renaissance poets. Virgil added some darker elements, including the grief the shepherd feels at the death of another shepherd. Virgil also included suggestions of contemporary problems and created a stronger contrast between the rustic country life and the dangers of city life.Marlowe probably studied the pastoral poets during his classical education at Cambridge, but he was not the first English poet to adopt the pastoral tradition. Edmund Spenser initiated the Elizabethan trend in 1579 with The Shepheardes Calender, and was quickly joined by Sir Philip Sidney and Robert Greene, who created their own pastoral works. Marlowe, however, made the pastoral his own poetic form by inserting sexuality and by exaggerating the images. Before Marlowe, the shepherd engaged in romantic, though innocent, love affairs and the pastoral was conventional, with artificial language and shepherds who spoke the courtly language of anaristocrat. Marlowe bent the rules by introducing sexuality, creating his own pastoral tradition. The tone of "The Passionate Shepherd to His Love" suggests a parody (模仿藉以嘲弄) of the pastoral tradition. Marlowe's shepherd asks the woman to imagine an idyllic life that not only is impossible but even ridiculous in many ways. In exaggerating and creating these absurd images, Marlowe suggests that the pastoral tradition should not be taken too seriously.About “The Passionate Shepherd to his Love” (1599)In 1599 a four-stanza version of an anonymous ly printed poem entitled “The Passionate Shepherd to His Love” appeared in a collection of poetry called The Passionate Pilgrim. The next year, another anthology called England's Helicon printed a version with two further stanzas and an ascription to 'Chr. Marlow'. Thus was born a legend. Although the poem was short, it proved both immensely popular and immensely influential. It gave rise to numerous responses, the most famous of which is Sir Walter Ralegh's “The Nymph's Reply to the Shepherd”, and it has been, and continues to be, extensively anthologised and imitated. (Lawrence Ferlinghetti wrote a fine response in the 1960s entitled “Come lie with me and be my love” C. Day Lewis wrote a more grotesque one in the 1930s )The attribution to Marlowe has been universally accepted, the usual assumption being that he wrote the poem during his student days at Corpus Christi College, Cambridge. In Marlowe's hugely successful play Tamburlaine the Great, a Scythian (锡西厄人：古代居住在Scythia西徐亚的游牧民族中的一员) shepherd strips off his pastoral garments on stage and puts on those of a warrior instead. This looks like the ultimate rejection of the pastoral life and its values, together with all these stood for in the Elizabethan age, and it is a striking paradox that the same author should also have written, in this poem, one of the most charming and acute conditions of that very pastoral ethos (精华). It is also ironic that a poet who seems himself to have been homosexual should have written one of the most celebrated heterosexual love poems of the age.Some recent critics have argued that these tensions actually run deep within the poem, and that “The Passionate Shepherd” is far more than the tender, playful calling-up of the pastoral mode which it may initially appear. Patrick Cheney in particular, in his book Marlowe's Counterfeit Profession, seeks to make the poem bear an astonishing weight of meaning, in which it functions as an accusation of the entire literary aesthetic of Edmund Spenser, whom Cheney sees Marlowe as rivalling. This is, not, however, necessarily suggested by contemporary responses. The best-known and most interesting, Ralegh's, matches the six-stanza version stanza by stanza and point by point. Marlowe begins his poemCome live with me and be my love,And we will all the pleasures proveThat valleys, groves, hills and fields,Woods, or steepy mountain yields.Ralegh responds to this withIf all the world and love were young,And truth in every shepherd's tongue,These pretty pleasures might me moveTo live with thee and be thy love.Ralegh's big “if” shows clearly enough why Marlowe's dream-vision is impossible, but also registers the full force of its attractiveness. We never see more clearly than in these two poems as a pair why the pastoral proved so compelling a playground and stimulus for the Elizabethan imagination.。

Marlowe--Crowne社会期望量表

在一些研究中还发现，根据其配偶的报告，MCSD的得高分者确实具有一些好的品质，如良好的适应性、友善待人等，这使结果的解释更趋复杂。另外，MCSD得高分者本人可能对这些良好品质进一步夸大。
MCSD主要反映SDR的第二个因子，与Edwards的量表只有低到中度的相关。
应
用
与
评
价
MCSD一直具有双重性质。既是一个SDR测评量表，又是认可依赖(approval—dependent)人格的测量。
Stricklandl977年所作的综述支持具有评定认可需要的建构，但建议采用“认可动机”一词，而Millham等似乎更偏爱“评价依赖”。“需要”一词在量表问世的年代颇为流行，但现在看来不免失之宽泛。此外，越来越多的证据倾向于将结果的解释改为对不认可的回避，而不是寻求认可。
*32.有时我想，当人们遭受不幸时不过是得到了他们应得的。
33.我从来没有有意说过伤害别人感情的话。
注：标*的条目反向计分，答否得1分。
报
告
33个条目分属于下述两种情况之一：1)．符合社会期望但很不常见(如：承认错误)；2)．不符合社会期望但很常见(如：传闲话)。要求受试对每个条目作出“是”或“否”的回答，其中18个条目答“是”得1分，另15个条目答“否”得1分。从而量表得分范围是0—33分，高分表示较强的认可需求。
本表在1960年发表时是拟用作测定自我陈述中的SDR，但在总结了一系列有关研究后Crowne和Marlowe发现它含有动机方面的建构：认可的需要。例如，有证据表明，在MCSD得高分较之得低分者对社会性强化反应更明显、对攻击有更强的抑制、对社会影响更为顺从。
这些人完成操作任务时更易受到他人评价的影响。他们偏好危险性低的行为，尽量回避别人的评价，即或在获得肯定评价的可能远高于否定评价时仍旧如此。

常见的英文人名

常见的英文人名Abbot(t) 阿博特Abe 阿贝(Abraham的昵称) Abraham 亚伯拉罕Acheson 艾奇逊Ackerman(n) 阿克曼Adam 亚当Adams 亚当斯Addison 艾狄生; 艾迪生; 阿狄森Adela 阿德拉Adelaide 阿德莱德Adolph 阿道夫Agnes 阿格尼丝Albert 艾伯特Alcott 奥尔科特Aldington 奥尔丁顿Aldridge 奥尔德里奇Aled(k) 亚历克(Alexander的昵称) Alerander 亚历山大Alfred 阿尔弗列德; 艾尔弗雷德Alice 阿丽丝; 艾丽丝Alick 阿利克(Alexander的昵称) Alsop(p) 艾尔索普Aly 阿利Amelia 阿米利亚Anderson 安德森Andrew 安德鲁Ann 安Anna 安娜Anne 安妮Anthony 安东尼Antoinette 安托瓦妮特Antonia 安东尼娅Arabella 阿拉贝拉Archibald 阿奇博尔德Armstrong 阿姆斯特朗Arnold 阿诺德Arthur 阿瑟Attlee 阿特利Augustine 奥古斯丁Augustus 奥古斯塔斯Austen 奥斯汀Austin 奥斯汀Babbitt 巴比特; 白壁德; 巴比Bach 巴赫Bacon 培根Baldwin 鲍德温Barnard 巴纳德Barney 巴尼(Barnard的昵称) Barrett 巴雷特; 巴雷特Barrie 巴里Bart 巴特(Bartholomew的昵称) Bartholomew 巴塞洛缪Bartlett 巴特利特Barton 巴顿Bauer 鲍尔; 拜耳Beard 比尔德Beaufort 博福特; 蒲福Becher 比彻Beck 贝克(Rebecca的昵称)Becky 贝基Beerbohm 比尔博姆Bell 贝尔Bellamy 贝拉米Belle 贝尔(Arabella的昵称) Belloc 贝洛克Ben 本(Benjamin的昵称) Benedict 本尼迪克特Benjamin 本杰明Bennett 贝内特(Benedict的昵称) Benson 本森Bentham 边沁; 本瑟姆Berkeley 贝克莱; 伯克利Bernal 伯纳尔Bernard 伯纳德; 伯纳尔德Bert 伯特(Albert, Herbert的昵称) Bertha 伯莎Bertie 伯蒂Bertram 伯特伦Bess 贝丝(Elizabeth的昵称) Bessemer 贝西墨; 贝色麦Bessie 贝西(Elizabeth的昵称) Bethune 白求恩; 比顿Betsy 贝齐(Elizabeth的昵称) Betty 贝蒂(Elizabeth的昵称)Bill 比尔(William的昵称)Billy 比利(William的昵称)Birrell 比勒尔Black 布莱克Blake 布莱克Bloomer 布卢默Bloomfield 布龙菲尔德; 布洛姆菲尔德Bloor 布劳; 布卢尔Blume 布卢姆Bob 鲍勃(Robert的昵称)Bobby 博比(Robert的昵称)Boswell 博斯韦尔Bowen 鲍恩Bowman 鲍曼Boyle 波伊尔; 波义耳Bradley 布拉德利Bray 布雷Brewster 布鲁斯特Bridges 布里奇斯Bright 布赖特Broad 布罗德Bronte 勃朗特; 白朗蒂Brooke 布鲁克Brown 布朗Browne 布朗Browning 勃朗宁; 布朗宁Bruce 布鲁斯Bruno 布鲁诺Bryan 布赖恩Bryce 布赖斯Buck 巴克Buckle 巴克耳Bulwer 布尔韦尔; 布尔沃Bunyan 布尼安Burke 伯克Burne-Jones 伯恩-琼斯(双姓) Burns 彭斯; 伯恩斯;Butler 勃特勒; 巴特勒Byron 拜伦Camilla 卡拉米Camp 坎普Carey 凯里; 凯雷Carl 卡尔Carllyle 卡莱尔Carmen 卡门Carnegie 卡内基Caroline 卡罗琳Carpenter 卡彭特Carrie 嘉利; 卡丽Carroll 卡罗尔Carter 卡特Catharine, Catherine 凯瑟琳Cecillia 塞西利亚Chamberlain 张伯伦Chaplin 查普林; (英影星)卓别麟Chapman 查普曼Charles 查尔斯; 查理Charley 查利(Charles的昵称) Charlotte 夏洛蒂; 夏洛特Charles 查尔斯; 查理Chaucer 乔叟Chesterton 切斯特顿Child 蔡尔德Childe 蔡尔德Christ 克赖斯特Christian 克里琴斯Christiana 克里斯蒂安娜Christie 克里斯蒂(Christian的昵称) Christopher 克里斯托弗Christy 克里斯蒂(Christian的昵称) Church 丘奇Churchill 丘吉尔Cissie 锡西(Cecillia的昵称) Clapham 克拉彭Clara 克拉拉Clare 克莱尔(ClaraClarissa的昵称) Clarissa 克拉丽莎Clark(e) 克拉克Clemens 克里曼斯; 克莱门斯Clement 克莱门特Cocker 科克尔Coffey 科菲Colclough 科尔克拉夫Coleridge 柯勒律治; 科尔里奇Collins 柯林斯Commons 康芒斯Conan 科南Congreve 康格里夫Connie 康尼(Constance的昵称) Connor 康纳Conrad 康拉德Constance 康斯坦斯Cook(e) 库克Cooper 库珀Copperfield 科波菲尔Cotton 柯顿Coverdale 科弗代尔Cowper 考珀;Craigie 克雷吉Crane 克兰Crichton 克赖顿Croft 克罗夫特Crofts 克罗夫茨Cromwell 克伦威尔Cronin 克洛宁; 克罗宁Cumberland 坎伯兰Curme 柯姆Daisy 戴西Dalton 道尔顿Dan 丹(Daniell的昵称)Daniel 丹尼尔Daniell 丹尼尔; 丹聂耳Darwin 达尔文David 戴维Davy 戴维(David的昵称) Defoe 迪福Delia 迪莉娅Den(n)is 丹尼斯DeQuincey 德.昆西Dewar 迪尤尔; 杜瓦Dewey 杜威Dick 迪克(Richard的昵称) Dickens 迪肯斯; 狄更斯Dickey 迪基Dillon 狄龙Dobbin 多宾(Robert的昵称)Dodd 多德Doherty 陶赫蒂; 道尔蒂Dolly 多利(Dorthea, Dorothy的昵称) Donne 多恩Dora 多拉(Dorthea, Dorothy的昵称) Doris 多丽丝; 陶丽思Dorothea 多萝西娅Dorothy 多萝西Douglas(s) 道格拉斯Doyle 多伊尔; 道尔Dierser 德莱塞Dryden 屈莱顿; 德莱登DuBois 杜波依斯Dulles 杜勒斯Dunbar 邓巴Duncan 邓肯Dunlop 邓洛普Dupont 杜邦Dutt 达特; 杜德Eddie 埃迪(Edward的昵称) Eden 艾登Edgeworth 埃奇沃思Edie 伊迪(Adam的昵称) Edison 爱迪生Edith 伊迪丝Edmund 埃德蒙Edward 爱德华Effie 埃菲(Euphemia的昵称) Eipstein 艾泼斯坦Eisenhower 艾森豪威尔Eleanor 埃利诺; 埃兰娜Electra 伊利克特拉Elinor 埃利诺Eliot 艾略特; 爱略特; 埃利奥特Elizabeth 伊丽莎白Ella 埃拉(Eleanor, Elinor的昵称) Ellen 埃伦(Eleanor, Elinor的昵称) Ellis 艾利斯Elsie 埃尔西(Alice, Elizabeth的昵称) Emerson 埃墨森Emily 艾米丽; 埃米莉Emma 埃玛Emmie, Emmy 埃米(Emma的昵称)Ernest 欧内斯特Esther 埃丝特Eugen 尤金Eugene 尤金Euphemia 尤菲米娅Eva 伊娃Evan 埃文Evans 埃文思Eve 伊夫Evelina 埃维莉娜Eveline, Evelyn 伊夫琳(Eva, Eve的昵称) Ezekiel 伊齐基尔Fanny 范妮(Frances的昵称)Faraday 法拉第Fast 法斯特Faulkner 福克纳Felix 费利克斯Felton 费尔顿Ferdinand 费迪南德Ferguson 弗格森; 福开森; 弗格森Field 菲尔德Fielding 菲尔丁Finn 芬恩FitzGerald 菲茨杰拉德Flower 弗劳尔Flynn 弗琳; 弗林Ford 福特Forster 福斯特Foster 福斯特Fowler 福勒Fox 福克斯Frances 弗朗西丝Francis 法兰西斯; 弗朗西斯Frank 弗兰克(又为Francis, Franklin的昵称) Franklin 富兰克林Fred 弗雷德(Frederick的昵称)Frederick 弗雷德里克Freeman 弗里曼Funk 芬克Gabriel 加布里埃尔Galbraith 加布尔雷思Gallacher 加拉赫Gallup 盖洛普Galsworthy 高尔斯沃西Garcia 加西亚Garden 加登Gard(i)ner 加德纳Gaskell 加斯克尔Geoffrey 杰弗里Geordie 乔迪(George的昵称) George 乔治Gibbon 吉本Gibson 吉布森Gilbert 吉尔伯特Giles 贾尔斯; 詹理斯Gill 吉尔(Juliana的昵称) Gissing 季星Gladstone 格莱斯顿; 格拉德斯通Godwin 葛德文; 戈德温Gold 高尔德; 戈尔德Goldsmith 哥尔斯密; 戈德史密斯Gosse 戈斯Grace 格雷斯Gracie 格雷西(Grace的昵称) Graham 格雷厄姆; 格雷汉姆; 格兰汉Grant 格兰特Grantham 格兰瑟姆Gray 格雷Green 格林Gregory 格雷戈里Gresham 格雷沙姆Grey 格雷Grote 格罗特Gunter 冈特Gunther 冈瑟Gus 格斯(Augustus的昵称)Guy 盖伊Habakkuk 哈巴卡克Haggai 哈该Hal 哈尔(Henry的昵称) Halifax 哈利法克斯Hamilton 汉森尔顿; 哈密尔敦Hamlet 哈姆雷特Hansen 汉森; 汉森Hansom 汉萨Hardy 哈代; 哈迪Harold 哈罗德Harper 哈珀Harriman 哈里曼Harrington 哈灵顿; 哈林顿Harrison 哈里森Harrod 哈罗德Harry 哈里(Henry的昵称) Hart 哈特Harte 哈特Harvey 哈维Hawthorne 霍索恩Haydn 海登(奥地利姓) Haywood 海伍德Hazlitt 赫士列特; 黑兹利特Hearst 赫斯特Helin(a) 赫莉(娜) Hemingway 海明威Henley 亨利Henrietta 亨里埃塔Henry 亨利Herbert 赫伯特Herty 赫蒂(Henrietta的昵称) Hewlett 休利特Hicks 希克斯Hill 希尔Hobbes 霍布斯Hobson 霍布森Hodge 霍奇Hodgson 霍奇森Holmes 福尔摩斯; 霍姆斯Holt 霍尔特Hood 胡德Hoover 胡佛Hope 霍普Hopkin(s) 霍普金(斯)Horace 贺拉斯; 霍勒斯Horatio 霍雷肖; 贺拉斯(古罗马人名); 霍勒斯Hornby 霍恩比Hosea 霍齐亚House 豪斯Housman 豪斯曼Houston 休斯敦Howard 霍华德Howell(s) 豪厄尔(斯)Hoyle 霍伊尔Hubbard 哈伯德Hudson 赫德森Huggins 哈金斯(Hugh的昵称)Hugh 休Hughes 休斯; 休士Hume 休谟; 休姆Humphr(e)y 汉弗莱Huntington 亨廷顿Hutt 赫特Huxley 赫克利斯; (英)赫胥黎Ingersoll 英格索尔Irving 欧文Isaac 艾萨克Isabel 伊莎贝尔Isaiah 艾塞亚Ivan 伊凡Jack 杰克(John的昵称) Jackson 杰克逊Jacob 雅各布James 詹姆斯Jasper 贾斯帕Jeames 杰姆斯(James的昵称) Jean 琼(Jane的昵称)Jefferson 杰弗逊; 杰斐逊Jenkin(s) 詹金(斯)Jennings 詹宁斯Jenny 珍妮(Jane的昵称) Jeremiah 杰里迈亚Jeremy 杰里米Jerome 杰罗姆Jerry 杰里(Jeremiah的昵称) Jessie 杰西(Jane, Joan的昵称) Jim 吉姆(James的昵称)Jimmy 杰米(James的昵称)Job 乔布Joe 乔(Josepy的昵称)Joel 乔尔John 约翰Johnny 约翰尼(John的昵称) Johnson 约翰逊Johnston(e) 约翰斯顿Jonah 乔纳Jonathan 乔纳森Jones 琼斯Jonson 琼森Jordan 乔丹Joseph 约瑟夫Josh 乔希(Joshua的昵称)Joshua 乔舒亚Joule 焦尔Joyce 乔伊斯Judd 贾德Judith 朱迪思Judson 贾德森Julia 朱莉娅Julian 朱利安Juliana 朱莉安娜Juliet 朱丽叶(Julia的昵称)Julius 朱利叶斯Katte 凯特(Catharine的昵称) Katharine 凯瑟琳Kathleen 凯瑟琳(Catharine的昵称) Katrine 卡特琳(Catharine的昵称)Keats 基茨Kell(e)y 凯利Kellogg 凯洛格Kelsen 凯尔森Kelvin 凯尔文Kennan 凯南Kennedy 肯尼迪Keppel 凯佩尔Keynes 凯恩斯Kingsley 金斯利Kipling 基普林Kit 基特(Catharine的昵称) Kitto 基托(Christopher的昵称) Kitty 基蒂Lamb 兰姆; 拉姆Lambert 兰伯特; 朗伯Lancelot 兰斯洛特Landon 兰登Larkin 拉金(Lawrence的昵称) Lattimore 拉铁摩尔Laurie 劳里(Lawrence的昵称) Law 劳Lawrence 劳伦斯Lawson 劳森; 劳逊Leacock 利科克; 李科克Lee 李Leigh 利Leighton 莱顿Lena 莉娜(Helen(a)的昵称) Leonard 伦纳德Leopold 利奥波德Lew 卢(Lewis的昵称)Lewis 刘易士; 刘易斯Lily 莉莉Lincoln 林肯Lindberg(h) 林德伯格Lindsay 林塞Lizzie 利齐(Elizabeth的昵称)Lloyd 劳埃德Locke 洛克London 伦敦Longfellow 朗费罗Longman 朗曼Lou(ie) 路易(Lewis); 路(易)(Louisa, Louise) Louis 路易斯Louisa 路易莎Louise 路易丝Lowell 罗威尔; 罗厄尔Lucas 卢卡斯Lucia 露西亚Lucius 卢修斯Lucy 露西Luke 卢克Lyly 利利Lynch 林奇Lynd 林德Lytton 李顿; 利顿MacAdam 麦克亚当MacArthur 麦克阿瑟(苏格兰姓) Macaulay 麦考利(苏格兰姓)MacDonald, Macdonald 麦克唐纳(苏格兰姓) Mackintosh 麦金托什MacMillan, Macmillan 麦克米伦(苏格兰姓) MacPherson, Macpherson 麦克菲尔逊; 麦克弗森Madge 马奇(Margaret的昵称)Maggie 玛吉(Margaret的昵称)Malachi 玛拉基Malan 马伦Malory 马洛里Malthus 马尔萨斯Maltz 马尔兹; 马尔茨Mansfield (笔名)曼斯菲尔德Marcellus 马塞勒斯(Marcus的昵称)Marcus 马库斯Margaret 玛格丽塔Margery 马杰里Maria 玛丽亚Marion 马里恩Marjory 马乔里(Margaret的昵称) Mark 马克Marlowe 马洛Marner 马南Marshall 马歇尔Martha 马莎Martin 马丁Mary 玛丽Masefield 梅斯菲尔德Mat(h)ilda 马蒂尔达Matthew 马修Maud 莫德(Mat(h)ilda的昵称)Maugham 莫姆Maurice 莫里斯Max 马克斯Maxwell 马克斯韦尔May 梅(Mary的昵称)McCarthy 麦卡锡McDonald 麦克唐纳(=MacDonald) Meg 梅格(Margaret的昵称) Melville 梅尔维尔Meredith 梅瑞狄斯; 梅雷迪斯Micah 迈卡Michael 迈克尔Michelson 米切尔森; 迈克尔孙Middleton 密德尔顿Mike 迈克(Michael的昵称)Mill 米尔Milne 米尔恩Milton 米尔顿Minnie 明妮(Wilhelmina的昵称) Moll 莫尔(Mary的昵称)Mond 蒙德Monroe 门罗Montgomery 蒙哥马利Moore 穆尔More 莫尔Morgan 摩根Morley 摩利Morris 莫里斯Morrison 莫里森Morse 莫尔斯Morton 莫尔顿; 摩顿Moses 摩西Motley 莫特利Moulton 莫尔顿Murray 默里Nahum 内厄姆Nancy 南希(Ann, Anna, Anne的昵称) Nathaniei 纳撒尼尔Needham 尼达姆Nehemiah 尼赫迈亚Nell 内尔Nelly 内利(Eleanor, Helen的昵称) Nelson 奈尔孙Newman 纽曼Newton 牛顿Nicholas 尼古拉斯Nichol(s) 尼科尔(斯)Nick 尼克(Nicholas的昵称)Nico(l) 尼科尔Nixon 尼克松Noah 诺厄Noel 诺埃尔Nora 娜拉; 诺拉(Eleanor的昵称) Norris 诺里斯North 诺思Norton 诺顿Noyes 诺伊斯Obadiah 奥巴代亚O’Casey 奥凯西; 奥卡西Occam 奥卡姆O’Connor 奥康纳Oliver 奥利弗O’Neil 奥尼尔Onions 奥尼恩斯Orlando 奥兰多Oscar 奥斯卡Owen 欧文Palmer 帕尔默Pansy 潘西Parker 帕克Partridge 帕特里奇Pater 佩特; 佩德Patience 佩兴斯Patrick 帕特里克Paul 保罗Peacock 皮科尔Pearson 皮尔逊Peg 佩格(Margaret的昵称)Peggy 佩吉(Margaret的昵称)Penn 佩恩Pepys 佩皮斯; 皮普斯(英国日记作家) Perkin 珀金(Peter的昵称)Peter 彼得Petty 佩蒂Philemon 菲利蒙Philip 菲利普Piers 皮尔斯(Peter的昵称)Pigou 庇古; 皮古Pitman 皮特曼Poe 波Pollitt 波利特Polly 波利(Mary的昵称)Pope 蒲柏; 波普Pound 庞德Powell 鲍威尔Price 普赖斯Priestley 普里斯特莱; 普里斯特利Pritt 普里特Pulitzer 普里策; 帕利策尔Pullan 普兰Pullman 普尔曼Quiller 奎勒Raglan 拉格伦Raleign 罗利Ralph 拉尔夫Raman 拉曼Ramsden 拉姆斯登; 冉斯登Raphael 拉菲尔; 拉菲尔Rayleign 雷利; 瑞利Raymond 雷蒙德Reade 里德Rebecca 丽贝卡Reed 里德Reynolds 雷诺兹Rhodes 罗兹Rhys 里斯Ricardo 李嘉图; 理嘉图Richard 理查Richards 理查兹Richardson 理查森Rob 罗布(Robert的昵称) Robbins 罗宾斯Robert 罗伯特Robeson 罗伯逊Robin 罗宾(Robert的昵称) Robinson 罗宾逊; 罗宾森Rockefeller 洛克菲勒Roger 罗杰; 罗吉尔(从苏格兰姓) Roland 罗兰Romeo 罗密欧Roosevelt 罗斯福Rosa 罗莎Rosalind 罗瑟琳; 罗塞蒂Rose 罗斯Rossetti 罗赛蒂; 罗塞蒂;Roy 罗伊Rudolph, Rudolf 鲁道夫Rusk 腊斯克Ruskin 罗斯金; 拉斯金Russell 拉塞尔; 罗素Ruth 鲁思Rutherford 拉瑟福德; 卢瑟福Sainsbury 森次巴立; 塞恩思伯里Sailsbury 索尔兹伯里Sally 萨莉(Sara的昵称) Salome 萨洛美Sam 萨姆(Samuel的昵称) Samson 萨姆森Samuel 塞缪尔Sander 桑德(Alexander的昵称)Sandy 桑迪(Alexander的昵称) Sapir 萨皮尔Sara(h) 萨拉Saroyan 萨罗扬; 萨洛扬Sassoon 沙逊Saul 索尔Sawyer 索耶Saxton 萨克斯顿Scott 司各脱; 斯科特Scripps 斯克利普斯Senior 西尼尔Service 瑟维斯Shakespeare 莎士比亚Sharp 夏普Shaw 肖Shelley 谢利; 雪莱Sheridan 谢立丹; 谢里登Sherwood 舍伍德Sidney 锡特尼; 悉尼Silas 赛拉斯Simon 西蒙Simpson 辛普森Sinclair 辛克莱Smedley 斯梅德利; 史沫特莱Smith 史密斯Smollett 斯摩莱特; 斯莫利特Snow 斯诺Sonmerfield 索莫费尔德; 萨默菲尔德Sophia 索菲娅Sophy 索菲(Sophia的昵称)Southey 骚塞; 索锡Spencer 斯宾塞; 斯潘塞Spender 斯彭德Spenser 斯宾塞; 斯潘塞Springhall 斯普林霍尔Steele 斯梯尔; 斯蒂尔Steinbeck 斯坦培克; 斯坦贝克Stella 斯特拉Stephen 史蒂芬; 斯蒂芬Stephens 斯蒂芬斯Stevenson 史蒂文森Stilwell 史迪威Stone 斯通Stowe 斯托Strachey 斯特雷奇Strong 斯特朗Stuart 斯图尔特; 司徒雷登Surrey 萨利; 萨里Susan 苏珊Susanna 苏珊娜Sweet 斯威特Swift 斯威夫特; 斯维夫特Swinburne 史文朋; 斯温伯恩Symons 西蒙斯Tate 泰特Taylor 泰勒Ted 特德(Edward的昵称) Temple 坦普尔Tennyson 丁尼生; 坦尼森Terry 特里(Theresa的昵称)。

小说推荐：推理小说中的五位传世经典侦探

小说推荐：推理小说中的五位传世经典侦探1. Sherlock Holmes（福尔摩斯）Sherlock Holmes是英国作家阿瑟·柯南·道尔创造的一位经典侦探形象，他以深思熟虑、冷静机智和卓越的观察力而闻名。

在《福尔摩斯探案集》和其他衍生作品中，Sherlock Holmes与他的助手华生医生一起解决了许多复杂的犯罪谜案。

Holmes使用科学方法进行调查，如分析证据、准确观察环境和利用逻辑推理。

他的个性鲜明，有时显得骄傲自大但又极富同情心。

福尔摩斯已成为侦探小说中经典的代表之一。

2. Hercule Poirot（波洛）Hercule Poirot是阿加莎·克里斯蒂所创造的一位比利时侦探，出现在许多她所写的推理小说中。

Poirot以其对细节敏锐的观察力和精确无误的推理而著称。

他头戴礼帽，娴熟地使用小丑铃形的胡子，并时刻保持着优雅的仪态。

Poirot独特的思维方式和较为古板的性格使他成为一个引人注目的人物。

他常常通过分析犯罪现场、观察嫌疑人行为和询问关键问题来揭示真相。

波洛是克里斯蒂最知名和最深入刻画的角色之一。

3. Miss Marple（玛普尔小姐）Miss Marple是阿加莎·克里斯蒂另一个广受喜爱的侦探形象。

与Poirot不同，她并不是一位职业侦探，而是一位看似无害但极度机智的老婆婆。

玛普尔小姐擅长观察周围人们及其行为，她善于从日常生活中汲取经验并将其应用于解决复杂谜团。

她利用她在偏远乡村居住时所见、所闻及对人性本质的了解来发现隐藏在看似平凡事件背后的秘密。

4. Sam Spade（山姆·斯派德）Sam Spade 是达令·哈姆尼特（Dashiell Hammett）创造的一位硬汉侦探形象。

他是一位私人侦探，深受黑帮世界和不法行为的影响。

Spade通常在危险而复杂的谜案中追踪线索、收集证据，并与各种犯罪分子斗智斗勇。

他以干练、冷酷和机警而闻名，常常扮演道义感强烈但又近乎法外的角色。

马洛和莎士比亚

• Theme：the moral is not religious. It celebrates the human passion for knowledge, power and happiness; it also reveals man’s frustration in realizing the high aspirations in a hostile moral order. And the confinement to time is the cruelest fact of man’s condition.
Christopher Marlowe (1564-1593) -- pioneer of English Drama
• His characteristics • 1. Blank verse, he brought vitality and grandeur into the blank verse with his “might lines”.
• 1.he perfected the blank verse and made it the principal medium of English drama. He brought vitality and grandeur into the blank verse with his ‘mighty lines’, which carry emotions by employing hyperbole his major figure of speech • 2.his creation of the Renaissance hero for English drama. Such a hero is always individualistic and full of ambition. With the endless aspiration for power, knowledge, and glory, the hero interprets the true Renaissance spirit.

关于世界历史的书

关于世界历史的书以下是一些关于世界历史的经典书籍：1.《人类简史》(Sapiens: A Brief History of Humankind) - 尤瓦尔·赫拉利(Yuval Noah Harari)这本书探讨了人类从石器时代到现代的进化和演变，浓缩了全球历史的重点事件和发展趋势。

2.《万历十五年》(The Memory Palace of Matteo Ricci) - 爱德华·鲁霖斯基(Edward Rutherford)该书关注明朝万历年间，意大利传教士马特奥·里奇( Matteo Ricci)在中国的经历，揭示了中西文化冲突和交流的故事。

3.《与历史对话》(Conversations with History: Interviews with the World's Foremost Historians) - 约翰·哈恩斯(John Tosh)这本书是一系列与世界各地历史学家的对话集，涵盖了广泛的历史主题，从经济、政治到社会和文化。

4.《世界史》(A History of the World) - 安德鲁·马尔洛(Marlowe) 这本书提供了对世界历史的综合概述，包括不同文明和时期的关键事件和趋势。

5.《世界历史》(World History) - 凯文·雷德利(Kevin Reilly)该书是一本以亚洲为重点的世界历史教科书，探讨了从古代文明到现代全球化的历史进程。

6.《全球通史》(The Penguin History of the World) - J·M·罗伯茨(J.M. Roberts)这本书提供了对世界历史的全面分析，跨越了几千年的时间和不同地区的历史。

以上是一些关于世界历史的书籍推荐，涵盖了不同的观点和主题，可以帮助读者更深入地了解人类的历史发展。

Marlowe

• Educational background:
• • • •
son of a shoemaker in Canterbury.
1578-1580(14-16 years old). the king’s school Canterbury.major: latin. 1580-1586(16-22 years old) Cambridge University. B A and M A degrees.major :divinity,astronomy,geography,medical,sci ence,history,classical poetry(chief interest)
• Heroic epic • Who :the mongol conqueror.greedy for power. • Career of conquering and ruling
Dr.Faustus
• German legend tragedy reshaped • Who a young scholar.thirsty for knowledge • A deal with the Deil
works
• Tamburlaine 《铁木儿》1587 age 23 • Dr.Faustus 《浮士德博士的悲剧》 1588 age 24 • The Jew of Malta 《马耳他岛的犹太人》1592 age 28
Tamburlaine--- first work in
Balank Verse
Christopher Marlowe
(1564-1593)
• Son of a shoemaker • In Canterbury
life
• Family backgroundorking experience

马洛

1564年3月6日生于坎特伯雷一富有鞋匠之家，1593年5月 30日卒于伦敦附近的德特福德。

1587年在剑桥大学获硕士学位。

在伦敦期间曾与探险家、政治活动家罗利，剧作家查普曼，数学家哈里奥特等怀疑宗教者结成团体，人称黑夜派和无神论者。

曾一度入狱。

后在一次决斗中被人刺死。

马洛共写了 7 部剧本，均属悲剧或带有悲剧意味的历史剧：《帖木儿》、《浮士德博士的悲剧》、《马耳他的犹太人》、《爱德华二世》、《迦太基女王狄多》和《巴黎的大屠杀》。

后两剧可能是与剧作家纳什合作，时间不能确定。

马洛革新了中世纪的戏剧，在舞台上创造了反映时代精神的巨人性格和``雄伟的诗行''，为莎士比亚的创作铺平了道路。

Christopher "Kit" Marlowe (baptised 26 February 1564 – 30 May 1593) was an English dramatist, poet and translator of the Elizabethan era. The foremost Elizabethan tragedian next to William Shakespeare, he is known for his magnificent blank verse, his overreaching protagonists, and his own mysterious and untimely death.马洛（1564—1593）是“大学才子”中最有才华、成就最大的一个，在文学史上享有“诗剧的晨星”、“英国悲剧之父”的美誉。

他是莎士比亚以前英国戏剧界最重要的人物，也是英国文艺复兴戏剧的真正创始人。

马洛与莎士比亚生于同一年，故乡是古老的坎特伯雷（Canterbury）城。

他的父亲是一个鞋匠，马洛的出身寒微与莎士比亚十分相似，但他却在莎士比亚被迫辍学的同时幸运地进入了剑桥大学，得以系统地学习拉丁文、希腊文和神学课程，这为他早莎士比亚一步从事戏剧与诗歌创作并声名鹊起奠定了基础。

___社会称赞性量表

___社会称赞性量表简介___社会称赞性量表（Marlowe-___）是一种客观测量个体社会称赞性倾向的常用工具。

它由美国心理学家___和David Marlowe 于1960年开发。

该量表旨在测量个体在评估问卷时是否存在回答符合社会期望而非真实感受的倾向，以此评估其社会称赞性倾向的程度。

作用___社会称赞性量表被广泛应用于社会科学研究、心理测量以及人际关系领域。

通过使用该量表，研究者能够较为客观地评估研究对象对不同问题的回答的真实性。

这在一些敏感话题的研究中尤为重要，如政治观点、人际关系态度等。

该量表还可以用于进行群体比较，发现个体之间的差异。

量表构成___社会称赞性量表由一系列陈述构成，被测者需要对每个陈述表达自己的意见，通常是通过选择一个自己认同程度的答案或判断。

这些陈述涵盖了社会期望范围内的各种话题，包括道德观念、社会行为规范、个人品质等。

通过对被测者在不同陈述上的回答进行统计和比较，研究者可以根据量表总分来判断其社会称赞性倾向的高低。

数据分析在数据分析上，___社会称赞性量表的分析主要包括计算总分和各个维度（如果有）的得分。

研究者可以利用统计软件，如SPSS或Excel，来进行数据分析和统计。

通过对样本数据的分析，研究者可以推断群体中的社会称赞性倾向的分布情况，并与其他变量进行关联分析。

限制和注意事项虽然___社会称赞性量表在社会科学研究中被广泛使用，但也存在一些限制和注意事项。

首先，量表的结果可能受到被测者的回答偏差和主观判断的影响。

其次，量表的结构可能对特定文化和背景的被测者产生偏倚。

因此，在使用该量表时，研究者需要谨慎选择样本，并结合其他方法进行验证。

结论___社会称赞性量表是一种有力的工具，能够帮助研究者测量和评估个体在问卷调查中的社会称赞性倾向。

通过使用该量表，研究者能够更好地理解被测者在问卷中的回答行为，提高研究结果的可信度和准确性。

期望系列量表

1.Marlowe-Crowne社会期望量表——Marlowe-Crowne Social Desirability Scale, MCSD1.在投票前我要彻底了解所有候选人的情况。

2.我总是毫不犹豫地放下自己的事帮助有难处的人。

*3.如果得不到别人鼓励，有时我很难将事情继续做下去。

4.我从来没有特别讨厌谁。

*5.我偶尔怀疑自己是否具备成功的能力。

*6.如果得不到自己想要的东西，有时我感到愤愤不平。

7.我总是很留意自己的衣着。

8.无论在家还是在饭馆，我都一样注重饭桌上的礼仪。

*9.如果能不花钱溜进电影院，而且肯定不会被人发现，我会这么做。

*10．少数一些时候，我因为自己能力不够而放弃某些事情。

*11．我有时喜欢说别人的闲话。

*12．有时我想违抗有权威的人，即使我知道他们是对的，也想这么做。

13．不管与谁交谈，我总是一个很好的倾听者。

*14．我记得有过为逃避某些事而“装病”的情况。

*15．我有过利用别人的时候。

16．只要犯了错误，我总是愿意承认。

17．我总是有言必行。

18．与多嘴多舌而又讨厌的人相处，我并不觉得特别困难。

*19．我有时想以牙还牙，不想原谅或忘却了事。

20．如果我不懂得什么事情，我会很痛快地承认。

21．即使对难以相处的人，我也总是彬彬有礼。

*22．有时我一定要坚持按自己的方式做事。

*23．有时我真想砸东西。

24．我从来没想到要别人替我受过。

25．对于别人指望我报答的要求，我从无怨言。

26．当别人说出与我完全不同的意见时，我从来没有厌烦之感。

27．我从来没有不认真检查车辆安全性就开始长途旅行的情况。

*28．我有些时候对别人的幸运相当妒忌。

29．我几乎从未觉得想要斥责别人。

*30．我有时因为别人要我帮忙而生气。

31．我从来没有觉得自己无缘无故地受到惩罚。

*32．有时我想，当人们遭受不幸时不过是得到了他们应得的。

33．我从来没有有意说过伤害别人感情的话。

说明：标*的条目反向计分，答否得1分。

马洛：曾经风头盖过莎士比亚的剧作家

马洛：曾经风头盖过莎士比亚的剧作家杨洛（杨劲昌）（山西应县七中037600）如今，当人们谈到戏剧文学，特别是英国戏剧时，就必然会提及莎士比亚。

但如果我们的目光沿着时光之流，上溯到莎士比亚生活的那个年代，我们就会发现，曾经有一位伟大的剧作家，其才情绝冠一代，其熠熠的光辉让包括莎翁在內的同时代剧作家们都自惭形秽。

然而他却过早地殒落了，留给世界文坛无尽的遗憾，也让后来无数的仰慕者发出扼腕的惜叹。

他就是马洛，一个至今都让研究英国文学史的学人们难以释怀的才情过客。

一，少年英才克里斯托弗·马洛（Christopher Marlowe），莎士比亚的同龄人，于1564年出生在英国坎特伯雷一个也许较宽裕的鞋匠家庭。

少年时代的马洛很可能就已有了颇负文才的盛名，因此他获得了某种特别的资助，得以去国王学校读书，后来又就读于剑桥大学。

1587年，马洛获取硕士学位。

正是在剑桥的求学经历，成为马洛戏剧创作生涯坚实的奠基。

尚在剑桥就读的马洛表现出卓尔不凡的文学才华。

马洛的父母原本期待他成为当时较体面的神职人员，但生性落拓不羁的马洛却似乎更钟情于戏剧文学，尽管在当时的英国社会，戏剧行业为正统的知识分子们所不屑。

年轻气盛的马洛小试牛刀，创作了历史悲剧《帖木尔汗》（Tamburlaine），它立刻成为了英国戏剧舞台上轰动一时的名作。

从剑桥大学毕业后，马洛来到了伦敦。

他的生活放浪形骸，他在那里结识了三教九流、各色人等。

他的朋友中有诗人、剧作家，也有政客。

甚至他与市井小人、地痞无赖也过从甚密。

但他无疑是幸运的，因为文艺复兴的思潮尽管姗姗来迟，此时却在那里显现着蓬勃的生机，英国文学史上的“黄金年代”开启了。

属于那个时代的人文主义学者们，激情澎湃地向欧洲中世纪传统的封建观念发起挑战，他们甚至质疑腐败的罗马天主教会。

而且有毕业于牛津和剑桥的文艺才俊们，在这里热情地进行创作，并逐渐形成了“大学才子派”（University Wits）。

Marlowe

Tamburlaine( first play)
A drama in a blank verse(无韵诗，素体诗无韵诗，无韵诗素体诗) Tamburlaine was a real person on the 14th century central Asia. He was a Mongol conqueror. A tragedy about a man who with high ambition and sheer brutal force thought he could but actually could not control his own fate. By depicting a great hero, the author voiced the supreme desire of the man of the Renaissance for infinite power and authority.
Another contribution is his creation of the Renaissance hero for English drama.
Marlowe's Literary Achievement
It is Marlowe who first made blank verse the principal instrument of English drama. He is regarded as the father of English tragedy.
Marlowe was arrested for his association with people with independent and heretic thought. He ended his short and wretched life at the age of 29.