【免费下载】英国文学Part VI The 18th Century

Part IV The 18th Century English Literature
— The Age of Enlightenment
I. Introduction
1.1 Historical Background (p.142-143)
(1) The political struggle between two main parties
— the liberal Whigs and the conservative Tories
The literature of the age was at times dominated by
the interests of these contending factions.
pamphlet; argument; satire
(2)The rapid development of social life: sociability
writing topics & standard of writing
1.2　Enlightenment Movement
Time:
1680s-1789
Historical background:
an age of conflicts and divergence of values
Purpose:
enlighten the world with modern philosophical and artistic ideas Characteristics:
★bourgeoisie against feudalism;
★against class inequality, stagnation, prejudices, and other
survivals of feudalism;
★ celebrated reason or rationality, equality ,science, order, rule;
★ man is born kind and honest; eternal justice; eternal truth;
natural equality; universal education;
★ bourgeois relationship as the rightful and reasonable
relationship among people;
1.3 Literature of the Period (p.144-147)
3 phases:
late 17th century- early 18th century(-1730):
age of Pope: neoclassicism; early realistic novel; prose
middle 18th century(1740-1780:
age of Johnson; the flourish of modern realistic novel
late 18th century:
Pre-romanticism
※It is an age of prose (P.142)
Literature of the Period (p.166-1771)
5 aspects:
Neo-classicism 新古典主义
The Realistic Novel 现代主义小说(P.144)
Gothic Novel 哥特式小说
Sentimentality 感伤主义
The Graveyard School 墓园派
Satire 讽刺
Neo-Classicism
When?
in the 18th century
How?
The 18th Century (1/8)
The Enlightenment Movement brought about a revival of
interest in the old classical works.
What?
★All forms of literature were to be modeled after the
classical works of the ancient Greek and Roman writers
and those of contemporary French ones.
★ An emphasis on artistic ideals like logic, reason, order,
accuracy, proportion, restrained emotion, good taste,
decorum as well as literature’s service to humanity.
★ To delight, instruct and correct human beings, primarily
as social animals
★ A polite, witty and intellectual art
Neo-Classicism新古典主义文学
laws and rules
Prose:
precise, direct, smooth and flexible
Poetry:
lyrical, epical, didactic, satiric or dramatic and
each class should be guided by its own principles Drama:
Heroic Couplets; the three unties of time, space
and action(三一律）should be strictly observed;
regularity in construction should be adhered to,
and the typical characters rather than individuals
should be represented.
※　the Three Unities: the time, place and action should be
relevant; less than 24 hours; no more than one locale.
The Realistic Novel Subject matter
before the bourgeois revolution: feudal aristocratic class
after the bourgeois revolution: the middle class
Major realistic novelists (p.144-145)
Daniel Defoe: forerunner; Robinson Crusoe
Henry Fielding: founder; a panorama of life in England
T. G. Smollett: founder; various aspects of English life
　Samuel Richardson: innermost life of an individual;
psychological analysis Jonathan Swift: the dirty mercenary essence of bourgeois
relationships
Oliver Goldsmith: contrast of two lives
　Laurence Stern: the poor and afflicted
Satire
Definition:
A composition in verse or prose holding up vice or folly to
ridicule or lampooning individuals… The use of ridicule, irony,
sarcasm, etc., in speech or writing for the ostensible purpose of
exposing and discourage vice or folly.
Function:
an effective weapon for arguments of all kinds and verbal
attacks on enemies of both the party’s and the personal Representatives (for wittiness of remark and adeptness of technique) Alexander Pope / Jonathan Swift
Sentimentality (P. 144-145)
When:
mid-18th century
The 18th Century (2/8)
Why:
discontent with social reality among the enlighteners
How:
from reason to sentiment; sympathy and pain for others;
sentimental; take delight in the wild nature
Who:
Oliver Goldsmith; Laurence Stern; The Graveyard School
The Graveyard School 墓园派
★ the 18th century poets who wrote melancholy poems on death
Writers and works (P.170)
Thomas Gray: Elegy，Written in a Country Churchyard墓园挽歌
★the beginning of all early romantic poetry
★the beginning of “literature of melancholy”
★on death, the sorrows of life and the mysteries of human life
with a touch of his personal melancholy
★ Sympathy for__ & Scorn for ___
Elegy: (1) a poem of mourning, usually over the death of an individual;
(2) a lament over the passing of life and beauty or a mediation on the
nature of death.
(3) a type of lyric poem, usually formal in language and structure, and
solemn or even melancholy in tone
Gothic Novel/Fiction/Horror哥特（式）小说: P.146
Definition:
a genre combines fiction, horror and romance.
Elements:
★ the stranglehold of the past upon the present, or the
encroachment of the “dark” ages of oppression upon the
“enlightened” modern era
★ supernatural elements such as ghosts, magicians, werewolves 狼人, monsters and devils
★ enclosed and haunted stetting such as castles, crypts教堂地下室,
convents/monasteries女(男）修道院, dungeon地牢or gloomy
mansions，in images of ruin and decay
★ episodes of imprisonment, cruelty and persecution
★merciless villains恶人; tyrants, persecuted maidens, madwomen..
★ dark secrets惊人的秘密
★ the inquisition
1st Gothic Novel: Horace Walpole's The Castle of Otranto (1764)
Gothic Novel哥特（式）小说
P.146: …pre-romanticism…found its most manifest expression in “Gothic novel” ?
Pre-romanticism:
the latter half of the 18th century
Romanticism:
1798 ( Lyrical Ballads by Wordsworth and Coleridge);
a reaction against enlightenment
Gothic novel:
dark romanticism;
inner world; imagination; extreme melancholy
II. Representative writers
2.1 Jonathan Swift
2.1.1 Life and Career
2.1.2 Literary Features
Proper words in proper place makes the true definition of a style.
The 18th Century (3/8)
----- Jonathan Swift
Jonathan Swift’s Style:
1) simple and concrete diction, uncomplicated syntax,
economy and conciseness of language, directness, vigor
2) a master satirist; deadly irony; sharp and powerful satire;
his satire is marked by an outward gravity and an
apparent earnestness
3) focus on the common people
2.1.3 Selected Readings_ Gulliver’s Travel
1) Overview
Role: one of the best novels of world literature
Plot: Gulliver’s four deep-sea voyages ; description
2) Stylistic feature
In structure, the four parts make an organic whole, complementing the
others and contributing to the central concern of the social satire.
What do they respectively satirize? How?
3) Social Significance
Gulliver’s Travels, Jonathan Swift’s best fictional work, is one of the most effective and devastating criticisms and satires of all aspects in the England of the time- socially, politically, religiously, philosophically, scientifically and morally. Its social significance is great and its exploration into human nature profound.
2.2 William Blake
2.2.1 Life and Career
England’s first important Romantic Poet
A Pre-Romanticist
A Precursor/Forerunner of Romanticism in English Poetry 2.2.2 Major works
Lyrics
Poetical Sketches 诗歌札记(1783)：joy, laughter, love and harmony
The Songs of Innocence天真之歌(1789):
★ from the child’s point of view, full of innocent wonderment and
spontaneity in natural setting;
★presenting a happy & innocent world, though with its evils &
sufferings
The Songs of Experience经验之歌(1794) :
★ Containing many poems in response to the ones from Innocence, and suggesting ironic contrasts the child matures and learns of such
concepts as fear and envy.
★Presenting a world full of misery, poverty, war and repression.
The Songs of Innocence & The Songs of Experience
★ Exploring the value and limitations of two different perspectives on the world
★ Many of the poems fall into pairs, so that the same situation or
problem is seen through the lens of innocence's and then experience.
William Blake: “…two contrary states of the human soul…”
“ The Chimney Sweeper” in The Songs of Innocence
(active, optimistic, passionate)
VS.
“The Chimney Sweeper” in the Songs of Experience
( gray, gloomy and pessimistic)
2.2.2 Major works
The Prophetic Works
The Book of Thel (1789)
Tiriel (1788-1789)
Marriage of Heaven and Hell (1790)
The French Revolution (1791)
The 18th Century (4/8)
America(1793)
The Visions of the Daughters of Albion (1793)
The Book of Urizen (1794)
The Book of Ahania
Song of Los (1795)
Jerusalem (1820):
Europe (1794)
The Song of Los(1795)
Vala (1797)
The Four Zoas (1803)
Milton (1804)
The Ghost of Able (1822)
The Everlasting Gospel (date unknown)
2.2.3 Writing Features
(1) plain and direct language
(2) the combination of lyric beauty and immense compression
of meaning
(3) the employment of visual images to embody views
(4) full of emotion and apparent presentation of his progressive
democratic idea in symbolism
(5) opposing classical tradition of reason in poetical creation
and identifying classicism with formalism
(6) his lyric poetry displaying some romantic characteristics
2.2.4 Poem_London
我走过每条独占的街道，
徘徊在独占的泰晤士河边，
我看见每个过往的行人
有一张衰弱、痛苦的脸。

每个人的每声呼喊，
每个婴孩害怕的号叫，
每句话，每条禁令，
都响着心灵铸成的镣铐。

多少扫烟囱孩子的喊叫
震惊了一座座熏黑的教堂，
不幸兵士的长叹
化成鲜血流下了宫墙。

最怕是深夜的街头
又听年轻妓女的诅咒！
它骇注了初生儿的眼泪，
又用瘟疫摧残了婚礼丧车。

2.2.4 Poem_ The Tiger (1)
老虎！老虎！黑夜的森林中
燃烧着的煌煌的火光，
是怎样的神手或天眼
造出了你这样的威武堂堂？
你炯炯的两眼中的火
燃烧在多远的天空或深渊？
他乘着怎样的翅膀搏击？
用怎样的手夺来火焰？
The 18th Century (5/8)
又是怎样的膂力，怎样的技巧，把你的心脏的筋肉捏成？
当你的心脏开始搏动时，
使用怎样猛的手腕和脚胫？
是怎样的槌？怎样的链子？
在怎样的熔炉中炼成你的脑筋？是怎样的铁砧？怎样的铁臂
敢于捉着这可怖的凶神？
群星投下了他们的投枪。

用它们的眼泪润湿了穹苍，
他是否微笑着欣赏他的作品？他创造了你，也创造了羔羊？
老虎！老虎！黑夜的森林中
燃烧着的煌煌的火光，
是怎样的神手或天眼
造出了你这样的威武堂堂?
2.2.4 The Chimney Sweeper
大雪里一个乌黑的小东西，“扫呀，扫呀！”哀声地喊叫。

“你的爹娘到哪里去啦？”“他们都在礼拜堂做祷告。

”
“因为我在荒野里很快乐，
并在冬天的大雪里嘻笑，
他们给我穿丧服似得黑衣，
并教我唱起这悲哀的腔调。

”
“因为我快乐，又跳舞又唱歌，
他们以为并没有错待我，
因而去赞美上帝、牧师和国王，
这些人把我们的惨状说成是天堂。

”
2.3 Robert Burns
2.3.1 Life and Career
The national bard/poet of Scotland
A pioneer of the Romantic
Movement
The greatest of Scottish poets
A poet of the laboring people
Burns Night: January 25
2.3.2 Major works
Poems, Chiefly in the Scottish Dialect(1786)
苏格兰方言诗集(P. 249，para. 1 )
Political Poems:
“The Tree of Liberty”自由树；“Scots Wha Hae”苏格兰人；
“Such a Parcel of Rogues in a Nation”这一撮民族败类
“For a’That and a’That ”不管那一套
Satirical Poems
“Holly Willie’s Prayer”威利长老的祈祷, “To a Louse”致虱子; “A dream”; “The Two Dog”
Lyrical Poems:
“A Red, Red Rose”; “Comin Thro the Rye”走过麦田里; “John
The 18th Century (6/8)
Anderson, My Jo”;
2.3.3 Writing Features
Themes of Poems :
(1) love and friendship
(2) the natural beauty of his native Scotland
(3) the life and labor of the common people
(4) the patriotism of his compatriots and their struggle
for liberty
(3) about political liberty and social quality
e.g. “ For A’ That and A’ That”
(4) the corruption and hypocrisy of the clergy and high
society , the bigotry of the church and other evils
Characteristics:
a profound sympathy for the down-trodden man;
natural, simple, rhythmic, satirical, colloquial language
2.3.4 Works_ My Heart’s in the Highland
我的心呀在高原王佐良译
我的心呀在高原，这儿没有我的心，
我的心呀在高原，　追赶着鹿群，
追赶着野鹿，　跟踪着小鹿，
我的心呀在高原，别处没有我的心！
再会吧高原！　再会，北方！
你是品德的国家！　壮士的故乡，
不管我在哪儿游荡，　到哪儿流浪，
高原的群山我永不相忘！
再会吧，皑皑的高山，
再会吧，绿色的山谷同河滩，
再会吧，高耸的大树，无尽的林涛，
再会吧，汹涌的急流，雷鸣的浪潮！
我的心呀在高原，这儿没有我的心，
我的心呀在高原，追赶着鹿群，
追赶着野鹿，跟踪着小鹿，
我的心呀在高原，别处没有我的心！
2.3.4 _ John Anderson, My Jo
约翰·安特生，我的爱人（王佐良译）
约翰·安特生，我的爱人
记得当年初相遇，
你的头发漆黑
你的脸儿如玉；
如今呵，你的头发雪白，
你的脸儿起了皱。

祝福你那一片风霜的白头！
约翰安特生，我的爱人。

约翰·安特生，我的爱人。

记得我俩比爬山，
多么青春的日子，
一起过得美满！
如今呵，到了下山的时候，
让我们搀扶着慢慢走，
到山脚双双躺下，还要并头！
约翰·安特生，我的爱人。

2.3.4 _ A Red, Red Rose
一朵红红的玫瑰吕志鲁译
The 18th Century (7/8)
呵，我的爱人像一朵红红的玫瑰，
蓓蕾初放正值花季；
呵，我的爱人像一首甜甜的乐曲，
旋律奏响最合时宜。

姑娘，如此娇好美丽，
我怎能不深深爱你!
我将爱你直至永远，亲爱的，
纵使天下的海水销声绝跡。

纵使天下的海水销声绝跡，
太阳把世上的岩石熔为浆泥；
呵，我还要爱你，亲爱的，
只要我生命的沙漏尚能为继。

再见吧，我唯一的爱，
让我们暂时别离!
我将重回你的身边，我的爱，
哪怕远隔千里万里!
2.3.4 Robert Burns _ Auld Lang Syne (1)怎能忘记旧日朋友，
心中能不怀想
旧日朋友岂能相忘，
友谊地久天长，
友谊万岁，
友谊万岁！
举杯痛饮，
同声歌颂，友谊地久天长。

我们曾经终日游荡在故乡的青山上，
我们也曾历尽苦辛；
到处奔波流浪，
友谊万岁，
我们也曾终日逍遥荡桨在绿波上，
但如今却劳燕分飞，
远隔大海重洋，
友谊万岁，
我们往日情意相投，
让我们紧握手，
让我们来举杯畅饮，
友谊地久天长，
你一定会开怀畅饮，
我也会和你举杯同庆
再干一杯，为了友谊
为了过去的记忆
The 18th Century (8/8)。