Metaphysical poets
英国玄学诗歌英语简介
Critical opinion
Critical opinion of the school has been varied. Johnson claimed that "they were not successful in representing or moving the affections" and that neither "was the sublime more within their reach."[8] Generally, his criticism of the poets' style was grounded in his assertion that "Great thoughts are always general," and that the metaphysical poets were too particular in their search for novelty. He did concede, however, that "they...sometimes stuck out unexpected truth" and that their work is often intellectually, if not emotionally stimulating.[9] The group was to have a significant influence on 20th-century poetry, especially through T. S. Eliot, whose essay The Metaphysical Poets (1921) praised the very anti-Romantic and intellectual qualities of which Johnson and his contemporaries had disapproved, and helped bring their poetry back into favour with readers.[10]
metaphysical poets
Ben Johnson (1572-1637)
• A prolific dramatist, but he is mainly remembered as the author of following comedy: • Every man in his humor(1598)《人人高 兴》 • Volpone(1606)《狐狸》 • The alchemist(1610) 《炼金术士》
M e ta p h y s ic a l p o e ts a n d C a v a lie r p o e ts
Metaphysical poets(玄学派诗人）
• the metaphysical poets is a loose group British lyric poets of the 17th century, who shared an interest in metaphysical concerns and a common way of investigating them.
Main theme
• They wrote on a variety of religious and secular themes, and to express their ideas, they used startling, highly imaginative comparisons known as conceits. • At the same time, metaphysical poems express an intense awareness of common human feelings and experiences, such as jealousy, the loss of religious faith, the complexities of love and the fear of death. Although the imagery of metaphysical poetry is frequently strained, the language is often as natural and direct as ordinary speech.
As a metaphysical poet
ContentsAs a metaphysical poet，He embodies a lot of the features of Metaphysical poets,for example,he is good at using conceits.In the work 《To His Coy Mistress 》，he used“vegetable love ”、“amorous birds ”、“roll our sweetness up into one ball”、“the iron gates of life”、“our sun”to discribe.Structure马维尔的《致羞怯的情人》之所以能从众多同类主题的诗歌中脱颖而出，一个重要原因就是他在诗中使用了逻辑推理的说理方式，以故为新。
以哲理入诗是玄学派诗歌的另一显著特点。
〈致羞怯的情人〉的主题虽无新意，但其呈现方式层次分明，以感性为裡，知性为表，是一首颇具特色的抒情诗。
整首诗以三段式的说理架构，企图说服爱人相爱要趁早，勿再羞怯矜持。
一开始，诗人似乎说他愿意花上数百、数万年仔细地歌诵爱人的美，耐心地陪伴她，等候她点头答应，不过此一情况是建立在一个假设前提之上：「如果我们的世界够大，时间够多」，而事实是——人生的空间和时间都是有限的。
即便诗人未明白说出，即便诗人语气温和诚恳，但阅读至此，我们已清楚地知道其中的弔诡：当前提不成立时，后面的推论自然也就被推翻了。
接著，诗人一改前面温柔敦厚的甜蜜语气，代之而起的是以「墓穴」、「虫蛆」等阴森可怖的意象，呈现冷峻的现实：在时间的驱迫和死亡的阴影之下，一切的美与爱都将化为乌有。
最后，在旁敲侧击的的逻辑推理之后，诗人开始正面出击，以渴切的语调，一口气道出青春如朝露、灵魂散发火焰、猛禽大口吞噬、甜蜜滚成圆球衝破生命栅栏等意象，要爱人接受他的求爱，勿辜负青春年华。
Theme“及时行乐的主题”,在西方早已被说烂。
英美文学名词解释
Metaphysical Poetry玄学派诗歌: The term "metaphysical poetry" is commonly used to name the work of the 17th century writers who wrote under the influence of John Donne. Metaphysical poetry is characterized by verbal wit and excess, ingenious structure, irregular meter, colloquial language, elaborate imagery, and a drawing together of dissimilar ideas. The metaphysical poets tried to break away from the conventional fashion of the Elizabethan love poetry.Blank Verse素体诗：V erse written in unrhymed iambic pentameter. Blank verse has been the dominant verse form of English drama and narrative poetry since the mid-sixteenth century. It was introduced by Henry Howard from Italy, and then Shakespeare transformed blank verse into a supple instrument, uniquely capable of conveying speech rhymes and emotional overtones.Romance传奇文学: it was a long composition ,sometimes in verse, sometimes in prose, describing the life and adventure of a noble hero. //Any imagination literature that is set in an idealized world and that deals with a heroic adventures and battles between good characters and villains or monsters.Heroic Couplet英雄双韵体: Heroic couplet is a rhymed couplet of iambic pentameter. It is Chaucer who used it for the first time in English in his work The Legend of Good Woman.Epic史诗: An epic is a long oral narrative poem that operates on a grand scale and deals with legendary or historical events of national or universal significance. Many epics were drawn from an oral tradition and were transmitted by song and recitation before they were written down.Sonnet十四行诗: abab cdcd efef gg A fourteen-line lyric poem, usually written in rhymed iambic pentameter. It was introduced by Wyatt and developed by Surrey and was thereafter widely used, notably in the sonnet sequences of Shakespeare. A sonnet generally expresses a single theme or idea.Puritanism清教主义: Puritanism was the religious doctrine of the revolutionary bourgeoisie during the English Revolution. It stressed the virtue of self-discipline, thrift, hard work and unceasing labour. It advocated a strict moral code which prohibited many worldly pleasures.Naturalism自然主义: naturalism is a literary trend prevailing in Europe, especially in France and Germany, in the second half of the 19th century. According to the theory of naturalism, literature must be “true to life”and exactly reproduce real life, including all its details without any selection. Naturalism writers usually write life of the poor and oppressed, or the “slum life”, but by giving all the details of life without discrimination, they can only present the external appearance instead of the inner essence of real life. Humanism人文主义:Humanism is the key-note of the Renaissance. According the humanists, both man and world are hindered only by external checks from infinite improvement. They emphasizing the dignity of human beings and the importance of the present life. Man could mould the world according his desire, and attain happiness by removing all the external checks by the exercise of reason.Aestheticism唯美主义: prevailing at the middle of the 19th century. Aestheticism places art above life, and holds that life should imitate art, not art imitate life. All art creation is absolutely subjective and should be free from any influence of egoism. Only when art is for art’s sake, can it be immortal. They believe art should be unconcerned with controversial issues.Sentimentalism感伤主义: Sentimentalism came into being as a result of a bitter discontent among the enlighteners with social reality. The representatives of sentimentalism continued to struggle against feudalism, but they sensed the contradictions in the process of capitalist development at the same time. Dissatisfied with reason, which classicists appealed to, they appealed to sentiment, “the human heart”.Critical Realism批判现实主义：critical realism is one of the literary genres that flourished mainly in the 19th century. The English critical realists of the 19th century not only gave a satirical portrayal of the bourgeoisie and all the ruling classes, but also showed profound sympathy for the common people. Hence the use of humor and satire in the realistic novels. But the trend of their works is not of revolution but rather of reformism.Neo-Romanticism新浪漫主义:a literary trend prevailing at the end of the 19th century. Dissatisfied with the drab and the ugly social reality and yet trying to avoid the positive solution of the acute social contradictions, the neo-romanticists laid emphasis upon the invention of exciting adventures and fascinating stories to entertain the readers.Modernist现代主义：prevailing during the 20s and 30s of the 20th century. It was a movement of experiments in new technique of writing. Modernist fiction put emphasis on the description of character s’psychological activities, and so has sometimes been called modern psychological fiction.Stream of Conscience意识流:a psychological term indicating “the flux of conscious and subconscious thoughts and impressions moving in the mind at any given time independently of the person’s will”. In the 20th century, under the influence of Freud’s theory of psychological analysis, a number of writers adopted the “stream of conscious” method of novel writing. The striking feature of these novelists is their giving precedence to the depiction of the characters’ mental and emotional reaction to external events, rather than the events themselves.。
玄学派诗人
玄学派诗人[编辑本段]1 玄学派诗人The Metaphysical Poets指英国17世纪以约翰·多恩为首的一派诗人，还包括赫伯特、马韦尔、克拉肖、亨利·金、克利夫兰、特勒贺恩、沃恩、考利、凯利、拉夫莱斯等。
其中有些诗人在风格和内容上也属于"骑士派"，如克利夫兰、凯利、拉夫莱斯。
他们并不是一个有组织的文学团体，只有在诗歌风格上有共同点。
首先用"玄学派"这名词的是17世纪英国诗人、批评家德莱顿，他指出多恩这一派诗人太学究气，他们用哲学辩论和说理的方式写抒情诗，用词怪僻晦涩，韵律不流畅。
18世纪英国批评家约翰逊进一步分析了这一派的特点，指出"玄学派诗人都是学者"，他们的"才趣"在诗歌中的表现是"把截然不同的意象结合在一起，从外表绝不相似的事物中发现隐藏着的相似点"，"把最不伦不类的思想概念勉强地束缚在一起"（即所谓"奇想"）。
18世纪古典主义诗人重视规范，19世纪浪漫派诗人强调自然，都不重视玄学派诗歌。
20世纪初英国学者格里尔逊先后编选了《多恩诗集》(1912)和《十七世纪玄学派抒情诗和诗歌》(1921)，引起了强烈反响。
美裔英国诗人、批评家艾略特广为传布，并指出玄学派诗人是"把思想和情感统一起来"，是"统一的感受性"的典范。
30年代"新批评派"作了更进一步的研究，英美文学评论界对玄学派的兴趣迄今未衰。
他们之间有意见分歧，但基本态度是肯定的。
玄学派诗歌主要有爱情诗、宗教诗、挽歌、诗简、讽刺诗、冥想诗等。
爱情诗用说理辩论的方式，从科学、哲学、神学中摄取意象，反映出对流行于文艺复兴时期的彼特拉克式的"甜蜜的"抒情诗的不满。
宗教诗和其他诗歌则多写信仰上的苦闷、疑虑、探索与和解。
Metaphysical poets
He was an English poet and a cleric in the Church of England. He is considered the pre-eminent representative of the metaphysical poets. His works are noted for their strong, sensual style and include sonnets, love poems, religious poems, Latin translations, epigrams, elegies, songs, satires and sermons. His poetry is noted for its vibrancy of language and inventiveness of metaphor, especially compared to that of his contemporaries. Donne's style is characterised by abrupt openings and various paradoxes, ironies and dislocations. These features, along with his frequent dramatic or everyday speech rhythms, his tense syntax and his tough eloquence, were both a reaction against the smoothness of conventional Elizabethan poetry and an adaptation into English of European baroque and mannerist techniques.
Metaphysical Poetry complete 李婷
What is Metaphysics?
Metaphysics is a traditional branch of philosophy concerned with explaining the fundamental nature of being and the world.
What is metaphysical poetry？
complex logic that governs a poetic passage or entire poem. It usually sets up an analogy between one entity’s spiritual qualities and an object in the physical world.
George Herbert: is called “the saint of the Metaphysical school”. He is a devout Anglican clergyman who believes that a poet should sing the glory of God. His works: The Altar《祭坛》 Easter Wings 《复活节的翅膀》
Origin
Time : 17th century
Leading figure: John Donne
Other metaphysical poets：George Herbert，Andrew Marvell and Richard Crashaw. Metaphysical poetry is a derogatory(贬损的 term invented by John Dryden 最早使用“玄学”这个词的人是德莱顿(John Dryden),他在 1693年评论邓恩时写道:“他喜弄玄学,不仅在他的讽刺诗中,在爱情 诗中也如此。爱情诗本应言情,他却用哲学的微妙的思辨,把女性们的 头脑弄糊涂了“。
MetaphysicalPoetsandCavalierPoets(2)解读
Donne`s Love Lyrics
Two Groups：
A negative attitude --- a cynical tone to satirize women`s inconstancy, as found in "Go and Catch a Falling Star". A positive attitude --- expresses his geniune sentiments of love; sanctifies love as something holy.("The Canonization" and "A Valediction: Forbiding (1572-1631)
The founder of the metaphysical school of poetry, who lived and wrote in the succeeding reigns of Elizabeth I, James I and Charles I. His early life was passed in dissipation and roguery, but he later turned a saintly divine and ended as the illustrious Dean of St. Paul’s Cathedral, London. Two categories: the youthful love lyrics published posthumously as Songs and Sonnets in 1633, and the later sacred
Themes: love/death/religion. With a rebellious spirit, they tried to break away from the conventional, out-fashioned of Elizabethan love poetry. All things in the universe, no matter how dissimilar they are to each other, are closely unified in God. John Donne--- the chief representative of the Metaphysicals. Others include Henry Vaughan, Andrew Marvell, John Cleveland, and Abraham Cowley as well as, to a lesser extent, George Herbert and Richard
英美文学Metaphysical poets
Metaphysical poets
Andrew Marvell (1621-1678) Another metaphysical poet (one of the centre figures of 17th century)
Andrew Marvell
Millton’s assistant , in 1657. Small output (but most famous poems),
Metaphysical poets
John Donne
(1572-1631)
The founder of the metaphysical poetry
The flea
Mark but this flea, and mark in this, How little that which thou deny'st me is; Me it sucked first, and now sucks thee, And in this flea our two bloods mingled be; Thou know’st, this cannot be said A sin, or shame, or loss of maidenhead, Yet this enjoys before it woo, And pampered swells with one blood made of two, And this, alas, is more than we would do. Oh stay, three lives in one flea spare, Where we almost, nay more than married are. This flea is you and I, and this Our marriage bed, and marriage temple is; Though parents grudge, and you, we are met, And cloystered in these living walls of Jet. Though use make thee apt to kill me, Let not to this, self murder added be, And sacrilege, three sins in killing three. Cruel and sudden, has thou since Purpled thy nail, in blood of innocence? Wherein could this flea guilty be, Except in that drop which it sucked from thee? Yet thou triumph'st, and sayst that thou Find'st not thyself, nor me the weaker now; 'Tis true, then learn how false, fears be; Just so much honor, when thou yield'st to me, Will waste, as this flea's death took life from thee.
别出心裁的比喻――约翰·邓恩的《跳蚤》赏析
别出⼼裁的⽐喻――约翰·邓恩的《跳蚤》赏析2019-09-18摘要：⽞学派诗⼈出现于⼗七世纪，通常喜欢在他们的诗歌中运⽤别出⼼裁的⽐喻（conceit）。
约翰·邓恩被认为是⽞学派诗⼈的重要代表，其代表作《跳蚤》是被收录次数最多的诗篇之⼀，诗作以诗⼈向情⼈求爱的⼝语体写成，⽐喻出乎通常想象，反映了邓恩式的奇想。
关键词：⽞学派诗⼈奇喻跳蚤⼀、⽞学派诗⼈和奇喻Metaphysics这个词最早出现于John Dryden的著作Discourse Concerning Satire (1693)中，他曾批评邓恩在他的诗作中“affects the metaphysics”。
后来，1779年，Samuel Johnson⼜把“Metaphysical”这个词延伸指⼗七世纪初期的⼀群诗⼈，即“⽞学派诗⼈”（Metaphysical poets）。
这些诗⼈是⼀群博学多才的⼈，他们的诗作以别出⼼裁的⽐喻(conceit)、⼝语化诗体、富于变化的格律等为主要特征。
与此前伊丽莎⽩时代和此后新古典主义时期的诗歌相⽐，此派诗歌内容⽐较复杂，有⽐较浓郁的宗教神秘⾊彩。
他们的诗歌中充满了紧张的⼼情和关于⼈的感情的议论和分析。
这种诗通常⽤词简单，经常采⽤出⼈意料的⽐喻。
句式简略凝缩，多为诗⼈以第⼀⼈称展开的⼀场与爱⼈、上帝及⾃⾝的辩论。
⽞学派诗在18世纪湮没⽆闻，到19世纪晚期及20世纪初⼜重新赢得了诗⼈们的注意，特别受到现代诗⼈T.S.艾略特的推崇。
⽞学派诗⼈的主要代表者是约翰·邓恩（John Donne，1572―1631）、乔治·赫伯特 (George Herbert，1593―1633)、理查德·克拉肖 (Richard Crashaw，1613―1649) 和亨利·沃恩 (Henry Vaugham 1621-1695)等等。
在⽂学史上，约翰·邓恩被认为是⽞学派诗⼈的重要代表。
Metaphysical Poetry
Definition of Metaphysical PoetryMetaphysical poetry is defined as poetry dating from the 17th century in Britain thathas an abstract and ethereal style. Such poetry used a variety of forms and structures, butemployed similar styles. The term was first coined by John Dryden in 1693 when hedescribed a poem by John Donne as affecting “the metaphysical.” It was later popularizedby Samuel Johnson in 1781.Samual Johnson was the first person, who invented the term Metaphysical Poetry,while talking about the life of Abraham Cowley in his book, "Lives of the Most EminentEnglish Poets"(1779–81). He says that, in the beginning of 17th century, a race of writersappeared, who may be regarded as Metaphysical Poets. Etymologists are of the view thatthe expression Metaphysical is derivative of the Latin word Metaphysica, which is acombination of two words: Meta and Physica. The word meta means …beyond‟ or …after‟. Itis a prefix and is equally used in English. It refers to things or concepts, which are abstract.Literally Physica means …work‟, but in this case, it is considered as something, which ishaving a concrete shape.So, the term Metaphysical may be defined as …Beyond physical work’. In this regard, R.SHillyer asserts that "the Metaphysical deals with the notion of existence, with the existinguniverse and man‟s place therein. Roughly, it has taken such implications as these-philosophical, difficult, ethereal, obscure, supercilious, ingenious, odd and bizarre. Poetry,which deals with correlation between the real world and the after-world, concrete andabstract, soul and being, as well as reality and perception using philosophicalmethodology is called Metaphysical Poetry."Obscurity in Metaphysical PoetryMetaphysical poetry is considered highly ambiguous and obscure due to high intellect and knowledge of the metaphysical poets. Their poetry is greatly challenging to understand at first reading. It needs deep concentration and full attention to get to the roots of the matter. John Donne‟s many poems are best examples in this regard. Ben Jonson was of the view about the future of John Donne that his popularity would not live longer because of his inability to reveal himself to the reader openly.Brevity in Metaphysical PoetryMetaphysical poetry is considered to be highly terse and concise in the history of poetry. These poems are very brief and short in length. Every line conveys a lot of meaning in very few words. There is no waste of words. Every word is adjusted in every line like a brick in a wall. Nothing is superfluous and spare. Every word has its own function and conveys the message of the author. Metaphysical poetry is like the essays of Bacon in brevity and conciseness in the history of English literature. Have a look at the following lines from John Donne‟s poetry:I am two fools, I know,For loving, and for sayingIn whining poetry.(The Triple Fool By John Donne)Just such disparityAs if 'twixt air and angels' purity,'Twixt women's love, and men's will ever be.(Air and Angels By John Donne)Aphorism in Metaphysical PoetryEpigrammatic quality is another aspect of metaphysical poetry. Their poetry is a vast collection of maxims and sayings. John Donne‟s is a pioneer in this regard. His poetry is replete with numerous maxims. Look at the following lines from his poetry and conclude yourself how epigrammatic these are:And swearNo whereLives a woman true, and fair.(Song: Go and catch a falling star By John Donne)As virtuous men pass mildly away,And whisper to their souls to go,Whilst some of their sad friends do say,The breath goes now, and some say no.(A Valediction: Forbidding Mourning By John Donne)Metaphysical ConceitsA significant feature of Metaphysical Poetry is the use of metaphysical conceits. It is a unique quality of Metaphysical Poetry. Conceit is a far-fetched comparison of two dissimilar things, which have very little in common. Metaphysical poetry is brimming with metaphy sical conceits. For example Abraham Cowley in his poem …The Mistress‟ compares his love for ladies to his habit of travelling in various countries of the world:Hast thou not found each woman's breast(The lands where thou hast travelled)Either by savages possest,Or wild and uninhabited?What joy couldst take, or what repose,In countries so unciviliz'd as those?(The Mistress by Abraham Cowley)Unified Sensibility in Metaphysical PoetryIt was T.S Eliot, who coined this phrase …Unified Sensibility'. According to him, Unified Sensibility implies fusion of thoughts and feelings together. In the history of English Literature, either poets laid great emphasis on intellect, reason, thinking or feelings and emotions. This separation of reason and feeling is called Dissociation of Sensibility. We are all aware of the fact that in the Age of Pope, poets tried to set aside their emotions and wrote poetry purely a product of their reason and intellect. hey just overemphasized reason and judgement and did not give any importance to the feelings of a person. On the other hand, fusion of thoughts and feelings is called unification of sensibility. Unification of Sensibility is the most imperative feature of Metaphysical Poetry. Metaphysical poets didn't dissociated feelings and reasons from one another. They tried their best to fuse them together. Their poetry indicates an amazing amalgam spiritual and physical, ethereal and earthly, abstract and concrete, thoughts and emotions. This feature is also called juxtaposition of opposite things. That is why their poetry is difficult to understand. Their love for philosophy has a prodigious impact on their poetry.Colloquialism in Metaphysical PoetryColloquialism is another vital feature of Metaphysical Poetry. Metaphysical poets reacted against the traditional diction of the poets. They employed their own diction in their poetry. They mostly used informal language instead of formal, dignified and sublime language like Milton in their poetry. They tried to use colloquial language. For example Johan Donne in his poem …The Canonization‟ uses a very simple diction:FOR God's sake hold your tongue, and let me love ;Or chide my palsy, or my gout ;My five gray hairs, or ruin'd fortune flout ;With wealth your state, your mind with arts improve.(The Canonization by John Donne)Call's what you will, we are made such by love ;Call her one, me another fly,We're tapers too, and at our own cost die.(The Canonization by John Donne)Originality in Metaphysical PoetryOriginality is the hallmark of metaphysical poets. All the metaphysical poets were unique and original in their ideas and thoughts. They didn‟t follow the trodden path of their contemporary poets. They stood in rebellion against them and followed their own way of writing poetry. They wanted to startle their readers by presenting unique and unheard and unseen ideas before them. They desired to differentiate themselves from the outmoded poets in every respect. That is why they are called original poets in the history of English li terature. For example, John Donne in his poem …The Flee‟ forbids his wife from killing a flee because he has the feeling that this killing of a flee will cause murdering of three souls. Look at the following lines taken from The Flee:O stay, three lives in one flea spare,Where we almost, yea, more than married are.This flea is you and I, and thisOur marriage bed, and marriage temple is.Though parents grudge, and you, we're met,And cloister'd in these living walls of jet.Though use make you apt to kill me,Let not to that self-murder added be,And sacrilege, three sins in killing three.(The Flee by John Donne)Lecture on Metaphysical PoetryWit in Metaphysical PoetryWit is also a noteworthy feature of Metaphysical Poetry. Metaphysical wit is the expression of one‟s idea and thoughts, using aptly and technically the words and various figures of speech in such a manner as to provide pleasure to the readers. Johan Donne is called the …Monarch of Wit‟ in the history of Metaphysical poetry. He uses inf ormal, argumentative and simple language in such a way that the reader gets wondered at the ideas of the poet. Pope has rightly said about John Donne, “Donne had no imagination, but as much wit, I think, as any writer can possibly have.” Have a look at the following lines taken from John Donne‟s poetry, which proves him a monarch of wit:All that is lovable is wonderfulThe mistress is wonderful,Therefore the mistress is lovable.(Elegy II Anagram by John Donne)Platonic Love in Metaphysical PoetryPlatonic love is another feature of Metaphysical Poetry. Platonic love means spiritual love, which is free from elements of physical love. John Donne is famous for treating spiritual love in his poems. For example in …Canonization‟, he considers love as a sanctif ied thing. Have a look at the following examples, which provide an evidence of platonic love in his poetry:But he who loveliness withinHath found, all outward loathes,For he who color loves, and skin,Loves but their oldest clothes.(The Undertaking by John Donne)The most important feature was the metaphysical conceit. The conceit is a stretched metaphor using more conceptual and abstract ideas than a normal metaphor. Normal metaphors replace one story or object with another readily identifiable story or object. Despite the surface change, the inner meaning remains the same. The metaphysical poets, on the other hand, made almost forced comparisons: for example, saying that “love is a table that needs crafting and a good polishing.”John Donne was one of the most important metaphysical poets of his time. His poems revolved around his inner spirituality as well as psychological analysis and sexual realism. His poems include “The Flea.” Other famous metaphysical poets include Henry Vaughn and George Herbert.。
the flea赏析
the flea赏析
英国玄学派诗人（Metaphysical Poets）的鼻祖约翰邓恩，以绝妙的比喻意象和对事物的独特见解而著称。
在《跳蚤》中，跳蚤叮了“你”和“我”，“在这跳蚤肚里，我俩的血混为一体；”承认这一点就意味着承认两人；否认这一点——捕杀跳蚤——却也证明拒绝结合的无理。
很明显，作者阐明了自己的爱情观。
作者的表达含蓄而直接，“含蓄”在于用“跳蚤”来象征爱以及“饱胀的跳蚤”来象征二者结晶。
而西方诗歌所采用的是直抒胸臆的表现手法，这常常是由情感的不安的运动所决定，他们的情感是探索的，所以他们的表现手法总体上说比较多样和丰富，或夸张，或拟人，或比喻，或直白等，他们的情感往往出于自身运动的需要而“主动”去寻找载体的。
如在《跳蚤》一诗中作者把“跳蚤”来作为载体，表达感情主动直白热烈。
John Donne 英国文学史人物简介
——John Donne
an English poet, satirist and priest.
Works: Songs and Sonnets:
Me it sucked first, and now sucks thee, And in this flea our two bloods mingled be… Oh stay, three lives in one flea spare, Where we almost, nay more than married are. This flea is you and I, and this Our marriage bed and marriage temple is…
你回来会滔滔不绝地讲述 你所遭遇的奇怪事物， 到最后 都赌咒 说美人而忠心，世界上可没有。
你万一找到了，通知我一句 向这位千里进香也心甘； 可是算了吧，我决不会去， 哪怕到隔壁就可以见面； 尽管你见她当时还可靠， 到你写信了还可以担保， her, 她不等 我到门 准已经对不起两三个男人。 （卞之琳译）
歌
A GO and catch a falling star, B Get with child a mandrake root, A Tell me where all past years are, B Or who cleft the devil's foot, C Teach me to hear mermaids singing, C Or to keep off envy's stinging, D And find D What wind D Serves to advance an honest mind.
metaphysicalpoetry
metaphysicalpoetrymetaphysical poetryIntroduction:The term "metaphysical poetry" is commonly used to name the work of the17th-century writers who wrote under the influence of John Donne(1572-1631).With a rebellious spirit,the metaphysical poets tried to break away from the conventional fashion of the Elizabethan love poetry.The diction is simple as compared with that of the Elizabethan or the Neoclassic periods,and echoes the words and cadences of common speech.The imagery is drawn from the actual life. Metaphysical poetry is full of knowledge and, compared with traditional poetry, it is an innovation in many aspects. It is not fettered by traditional forms and meters; its spoken language contributes to the histrionic feature and striking images create an original harmony; secularity and divinity combine in the theme of love.The form is frequently that of an argument with the poet's beloved,with God,or with himeself.Donne and his followers,due to the change of the taste,were rarely read during the 18th and early 19th centuries.However,the late 19th and early 20th centuries witnessed a renewed interest in Donne and other metaphysical poets.This new recognition has arisen from a realization of the seriousness of their art,an interest in their spirit of revolt,their realism,and other affinities with modern interests,as well as from the fact that they produced some fine poetry .T.S.Eliot ,John Ransom, and Allen Tate are examples of modern poets who have been mostly affected by the metaphysical influence.John Donne is the leading figure of the "metaphysical school.His poems give a more inherently theatrical impression by exhibiting a seemingly unfocuseddiversity of experiences and attitudes,and a free range of feelings and moods.The mode is dynamic rather than static,with ingenuity of speech,vividness of imagery and vitality of thythms,which show a notable contrast to the other Elizabethan lyric poems which are pure,serene,tuneful,and smooth-running.The most striking features of Donne's poetry is precisely its tang of reality,in the sense that it seems to reflect life in a real rather than a poeticalworld.Herbert,Vaughan,Crashaw,Marvell and Cowley are also considered to be metaphysical poets.·John Donne约翰·邓恩/多恩the leading figure of the metaphysical school·Song: Go and catch a falling starThis poem chiefly concernsthe lack of constancy in women.The tone taken is one ofgentle cynicism, and mocking.Donne asks the reader to do the impossible, which he compares with finding a constant woman, thus insinuating that such a woman does not exist.There are mainly two kinds of love poems in Donne’s poetry. One is to deny love between men and women; the other is to affirm love. This poem belongs to the first type.·Prejudice against Females我得知有等妇人，比死还苦；她的心是罗网，手是锁链，凡蒙神喜悦的人，必能躲避她；有罪的人，却被她缠住了。
Metaphysical_Poets_and_Cavalier_poets修改
Cruel and sudden, hast thou since Purpled thy nail in blood of innocence? Wherein could this flea guilty be, Except in that drop which it suck'd from thee? Yet thou triumph'st, and say'st that thou Find'st not thyself nor me the weaker now. 'Tis true ; then learn how false fears be ; Just so much honour, when thou yield'st to me, Will waste, as this flea's death took life from thee.
Metaphysical Poets and Cavalier poets
English poets of the early seventeenth century are crudely classified by the division into Cavaliers and metaphysical poets.
‘… the metaphysical poets were men of learning, and to show learning was their whole endeavor.”
From The Lives of the English Poets by Samuel Johnson
The Flea
MARK but this flea, and mark in this, How little that which thou deniest me is ; It suck‗d me first, and now sucks thee, And in this flea our two bloods mingled be. Thou know‘st that this cannot be said A sin, nor shame, nor loss of maidenhead ; Yet this enjoys before it woo, And pamper‗d【古语】 饱餐美味swells with one blood made of two ; And this, alas ! is more than we would do. O stay, three lives in one flea spare, Where we almost, yea, more than married are. This flea is you and I, and this Our marriage bed, and marriage temple is. Though parents grudge, and you, we‘re met, And cloister‗d in these living walls of jet. Though use make you apt to kill me, Let not to that self-murder added be, And sacrilege渎圣, three sins in killing three.
The Metaphysical Poets (T.S. Eliot)
"The Metaphysical Poets" (T.S. Eliot)First published in the Times Literary Supplement, 20 October 1921.By collecting these poems from the work of a generation more often named than read, and more often read than profitably studied, Professor Grierson has rendered a service of some importance. Certainly the reader will meet with many poems already preserved in other anthologies, at the same time that he discovers poems such as those of Aurelian Townshend or Lord Herbert of Cherbury here included. But the function of such an anthology as this is neither that of Professor Saintsbury's admirable edition of Caroline poets nor that of the Oxford Book of English Verse. Mr. Grierson's book is in itself a piece of criticism, and a provocation of criticism; and we think that he was right in including so many poems of Donne, elsewhere (though not in many editions) accessible, as documents in the case of 'metaphysical poetry'. The phrase has long done duty as a term of abuse, or as the label of a quaint and pleasant taste. The question is to what extent the so-called metaphysicals formed a school (in our own time we should say a 'movement'), and how far this so-called school or movement is a digression from the main current.Not only is it extremely difficult to define metaphysical poetry, but difficult to decide what poets practice it and in which of their verses. The poetry of Donne (to whom Marvell and Bishop King are sometimes nearer than any of the other authors) is late Elizabethan, its feeling often very close to that of Chapman. The 'courtly' poetry is derivative from Jonson, who borrowed liberally from the Latin; it expires in the next century with the sentiment and witticism of Prior. There is finally the devotional verse of Herbert, Vaughan, and Crashaw (echoed long after by Christina Rossetti and Francis Thompson); Crashaw, sometimes more profound and less sectarian than the others, has a quality which returns through the Elizabethan period to the early Italians. It is difficult to find any precise use of metaphor, simile, or other conceit, which is common to all the poets and at the same time important enough as an element of style to isolate these poets as a group. Donne, and often Cowley, employ a device which is sometimes considered characteristically 'metaphysical'; the elaboration (contrasted with the condensation) of a figure of speech to the furthest stage to which ingenuity can carry it. Thus Cowley develops the commonplace comparison of the world to a chess-board through long stanzas ("To Destiny"), and Donne, with more grace, in "A Valediction," the comparison of two lovers to a pair of compasses. But elsewhere we find, instead of the mere explication of the content of a comparison, a development by rapid association of thought which requires considerable agility on the part of the reader.On a round ballA workeman that hath copies by, can layAn Europe, Afrique, and an Asia,And quickly make that, which was nothing, All,So cloth each teare,Which thee cloth weare,A globe, yea world by that impression grow,Till thy tears mixt with mine doe overflowThis world, by waters sent from thee, my heaven dissolved so.Here we find at least two connections which are not implicit in the first figure, but are forced upon it by the poet: from the geographer's globe to the tear, and the tear to the deluge. On the other hand, some of Donne's most successful and characteristic effects are secured by brief words and sudden contrasts:A bracelet of bright hair about the bone,where the most powerful effect is produced by the sudden contrast of associations of 'bright hair'and of 'bore'. This telescoping of images and multiplied associations is characteristic of the phrase of some of the dramatists of the period which Donne knew: not to mention Shakespeare, it is frequent in Middleton, Webster, and Tourneur, and is one of the sources of the vitality of their language.Johnson, who employed the term 'metaphysical poets', apparently having Donne, Cleveland, and Cowley chiefly in mind, remarks of them that 'the most heterogeneous ideas are yoked by violence together'. The force of this impeachment lies in the failure of the conjunction, the fact that often the ideas are yoked but not united; and if we are to judge of styles of poetry by their abuse, enough examples may be found in Cleveland to justify Johnson's condemnation. But a degree of heterogeneity of material compelled into unity by the operation of the poet's mind is omnipresent in poetry. We need not select for illustration such a line as:Notre ame est un trois-mats cherchant son Icarie;we may find it in some of the best lines of Johnson himself ("The Vanity of Human Wishes"): His fate was destined to a barren strand,A petty fortress, and a dubious hand;He left a name at which the world grew pale,To point a moral, or adorn a tale.where the effect is due to a contrast of ideas, different in degree but the same in principle, as that which Johnson mildly reprehended. And in one of the finest poems of the age (a poem which could not have been written in any other age), the "Exequy" of Bishop King, the extended comparison is used with perfect success: the idea and the simile become one, in the passage in which the Bishop illustrates his impatience to see his dead wife, under the figure of a journey:Stay for me there; I will not faileTo meet thee in that hollow Vale.And think not much of my delay;I am already on the way, And follow thee with all the speedDesire can make, or sorrows breed.Each minute is a short degree,And ev'ry houre a step towards thee.At night when I retake to rest,Next morn I rise nearer my WestOf life, almost by eight houres sail,Than when sleep breath'd his drowsy gale....But heark! My Pulse, like a soft DrumBeats my approach, tells Thee I come;And slow howere my marches be,I shall at last sit down by Thee.(In the last few lines there is that effect of terror which is several times attained by one of Bishop King's admirers, Edgar Poe.) Again, we may justly take these quatrains from Lord Herbert's Ode, stanzas which would, we think, be immediately pronounced to be of the metaphysical school: So when from hence we shall he gone,And he no more, nor you, nor I,As one another's mystery,Each shall he both, yet both but one.This said, in her up-lifted face,Her eyes, which did that beauty crown,Were like two starrs, that having faln down,Look up again to find their place:While such a moveless silent peaceDid seize on their becalmed sense,One would have thought some influenceTheir ravished spirits did possess.There is nothing in these lines (with the possible exception of the stars, a simile not at once grasped, but lovely and justified) which fits Johnson's general observations on the metaphysical poets in his essay on Cowley. A good deal resides in the richness of association which is at the same time borrowed from and given to the word 'becalmed'; but the meaning is clear, the language simple and elegant. It is to be observed that the language of these poets is as a rule simple and pure; in the verse of George Herbert this simplicity is carried as far as it can go - a simplicity emulated without success by numerous modern poets. The structure of the sentences, on the other hand, is sometimes far from simple, but this is not a vice; it is a fidelity to thought and feeling. The effect, at its best, is far less artificial than that of an ode by Gray. And as this fidelity induces variety of thought and feeling, so it induces variety of music. We doubt whether, in the eighteenth century, could be found two poems in nominally the same metre, so dissimilar as Marvell's "Coy Mistress" and Crashaw's "Saint Teresa"; the one producing an effect of great speed by the use of short syllables, and the other an ecclesiastical solemnity by the use of long ones:Love thou art absolute sole lordOf life and death.If so shrewd and sensitive (though so limited) a critic as Johnson failed to define metaphysical poetry by its faults, it is worth while to inquire whether we may not have more success by adopting the opposite method: by assuming that the poets of the seventeenth century (up to the Revolution) were the direct and normal development of the precedent age; and, without prejudicing their case by the adjective 'metaphysical', consider whether their virtue was not something permanently valuable, which subsequently disappeared, but ought not to have disappeared. Johnson has hit, perhaps by accident, on one of their peculiarities, when he observed that 'their attempts were always analytic'; he would not agree that, after the dissociation, they put the material together again in a new unity.It is certain that the dramatic verse of the later Elizabethan and early Jacobean poets expresses a degree of development of sensibility which is not found in any of the prose, good as it often is. If we except Marlowe, a man of prodigious intelligence, these dramatists were directly or indirectly (it is at least a tenable theory) affected by Montaigne Even if we except also Jonson and Chapman, these two were notably erudite, and were notably men who incorporated their erudition into their sensibility: their mode of feeling was directly and freshly altered by their reading and thought. In Chapman especially there is a direct sensuous apprehension of thought, or a recreation of thought into feeling, which is exactly what we find in Donne:in this one thing, all the disciplineOf manners and of manhood is containedA man to join himself with th' UniverseIn his main sway, and make in all things fitOne with that All, and go on, round as itNot plucking from the whole his wretched partAnd into straits, or into nought revert,Wishing the complete Universe might beSubject to such a rag of it as he;But to consider great Necessity.We compare this with some modern passage:No, when the fight begins within himselfA man's worth something. God stoops o'er his head,Satan looks up between his feet - both tug -He's left, himself i' the middle; the soul wakesAnd grows. Prolong that battle through his life!It is perhaps somewhat less fair, though very tempting as both poets are concerned with the perpetuation of love by offspring, to compare with the stanzas already quoted from Lord Herbert's Ode the following from Tennyson:One walked between wife and child,With measured footfall firm and mild,And now and then he gravely smiled.The prudent partner of his bloodLeaned on him, faithful, gentle, goodWearing the rose of womanhood.And in their double love secure,The little maiden walked demure,Pacing with downward eyelids pure.These three made unity so sweet,My frozen heart began to beat,Remembering its ancient heat.The difference is not a simple difference of degree between poets. It is something which had happened to the mind of England between the time of Donne or Lord Herbert of Cherbury and the time of Tennyson and Browning; it is the difference between the intellectual poet and the reflective poet. Tennyson and Browning are poets, and they think; but they do not feel their thought as immediately as the odour of a rose. A thought to Donne was an experience; it modified his sensibility. When a poet's mind is perfectly equipped for its work, it is constantly amalgamating disparate experience; the ordinary man's experience is chaotic, irregular, fragmentary. The latter falls in love, or reads Spinoza, and these two experiences have nothing to do with each other, or with the noise of the typewriter or the smell of cooking; m the mind of the poet these experiences are always forming new wholes.We may express the difference by the following theory: The poets of the seventeenth century, the successors of the dramatists of the sixteenth, possessed a mechanism of sensibility which could devour any kind of experience. They are simple, artificial, difficult, or fantastic, as their predecessors were; no less nor more than Dante, Guido Cavalcanti, Guinicelli, or Cino. In the seventeenth century a dissociation of sensibility set in, from which we have never recovered; and this dissociation, as is natural, was aggravated by the influence of the two most powerful poets of the century, Milton and Dryden. Each of these men performed certain poetic functions so magnificently well that the magnitude of the effect concealed the absence of others. The language went on and in some respects improved; the best verse of Collins, Gray, Johnson, and even Goldsmith satisfies some of our fastidious demands better than that of Donne or Marvell or King. But while the language became more refined, the feeling became more crude. The feeling, the sensibility, expressed in the "Country Churchyard" (to say nothing of Tennyson and Browning) is cruder than that in the"Coy Mistress."The second effect of the influence of Milton and Drydenfollowed from the first, and was therefore slow in manifestation. The sentimental age began early in the eighteenth century, and continued. The poets revolted against the ratiocinative, the descriptive; they thought and felt by fits, unbalanced; they reflected. In one or two passages of Shelley's "Triumph of Life," in the second "Hyperion" there are traces of a struggle toward unification of sensibility. But Keats and Shelley died, and Tennyson and Browning ruminated.After this brief exposition of a theory - too brief, perhaps, to carry conviction - we may ask, what would have been the fate of the 'metaphysical' had the current of poetry descended in a direct line from them, as it descended in a direct line to them ? They would not, certainly, be classified as metaphysical. The possible interests of a poet are unlimited; the more intelligent he is the better; the more intelligent he is the more likely that he will have interests: our only condition is that he turn them into poetry, and not merely meditate on them poetically. A philosophical theory which has entered into poetry is established, for its truth or falsity in one sense ceases to matter, and its truth in another sense is proved. The poets in question have, like other poets, various faults. But they were, at best, engaged in the task of trying to find the verbal equivalent for states of mind and feeling. And this means both that they are more mature, and that they wear better, than later poets of certainly not less literary ability.It is not a permanent necessity that poets should be interested in philosophy, or in any other subject. We can only say that it appears likely that poets in our civilization, as it exists at present, must be difficult. Our civilization comprehends great variety and complexity, and this variety and complexity, playing upon a refined sensibility, must produce various and complex results. The poet must become more and more comprehensive, more allusive, more indirect, in order to force, to dislocate if necessary, language into his meaning. (A brilliant and extreme statement of this view, with which it is not requisite to associate oneself, is that of M. Jean Epstein, "La Poesie d'aujourd-hui.") Hence we get something which looks very much like the conceit - we get, in fact, a method curiously similar to that of the 'metaphysical poets', similar also in its use of obscure words and of simple phrasing.O geraniums diaphanes, guerroyeurs sortileges,Sacrileges monomanes!Emballages, devergondages, douches! O pressoirsDes vendanges des grands soirs!Layettes aux abois,Thyrses au fond des bois!Transfusions, represailles,Relevailles, compresses et l'eternal potion,Angelus! n'en pouvoir plusDe de'bacles nuptiales! de debacles nuptiales!The same poet could write also simply:Wile est bien loin, elle pleure,Le grand vent se lamente aussi . .Jules Laforgue, and Tristan Corbiere in many of his poems, are nearer to the 'school of Donne' than any modern English poet. But poets more classical than they have the same essential quality of transmuting ideas into sensations, of transforming an observation into a state of mind.Pour l'enfant, amoureux de cartes et d'estampes,L'univers est egal a son vaste appetit.Ah, que le monde est grand a la clarte des lampes!Aux yeux du souvenir que le monde est petit!In French literature the great master of the seventeenth century Racine - and the great master of thenineteenth - Baudelaire - are in some ways more like each other than they are like anyone else. The greatest two masters of diction are also the greatest two psychologists, the most curious explorers of the soul. It is interesting to speculate whether it is not a misfortune that two of the greatest masters of diction in our language, Milton and Dryden, triumph with a dazzling disregard of the soul. If we continued to produce Miltons and Drydens it might not so much matter, but as things are it is a pity that English poetry has remained so incomplete. Those who object to the 'artificiality' of Milton or Dryden sometimes tell us to 'look into our hearts and write'. But that is not looking deep enough; Racine or Donne looked into a good deal more than the heart. One must look into the cerebral cortex, the nervous system, and the digestive tracts.May we not conclude, then, that Donne, Crashaw, Vaughan, Herbert and Lord Herbert, Marvell, King, Cowley at his best, are in the direct current of English poetry, and that their faults should be reprimanded by this standard rather than coddled by antiquarian affection ? They have been enough praised in terms which are implicit limitations because they are 'metaphysical' or 'witty', 'quaint' or 'obscure', though at their best they have not these attributes more than other serious poets. On the other hand we must not reject the criticism of Johnson (a dangerous person to disagree with) without having mastered it, without having assimilated the Johnsonian canons of taste. In reading the celebrated passage in his essay on Cowley we must remember that by wit he clearly means something more serious than we usually mean today; in his criticism of their versification we must remember in what a narrow discipline he was trained, but also how well trained; we must remember that Johnson tortures chiefly the chief offenders, Cowley and Cleveland. It would be a fruitful work, and one requiring a substantial book, to break up the classification of Johnson (for there has been none since) and exhibit these poets in all their difference of kind and of degree, from the massive music of Donne to the faint, pleasing tinkle of Aurelian Townshend - whose "Dialogue between a Pilgrim and Time" is one of the few regrettable omissions from the excellent anthology of Professor Grierson.。
metaphysieal poetry名词解释
metaphysical poetry指的是一种诗歌风格，它强调对超自然、神秘、内在精神世界的探索和表达。
这种诗歌通常表现出对人类存在、意义、命运等深层次问题的思考，以及对自然、宇宙、生命等宏大主题的关注。
在metaphysical poetry中，诗人常常运用隐喻、象征、意象等手法，将抽象的概念和情感具象化，以独特的语言和形式表达对世界的理解和感悟。
这种诗歌风格在欧洲文艺复兴时期和17世纪英国诗歌中尤为突出，代表诗人有约翰·多恩（John Donne）和乔治·赫伯特（George Herbert）等。
以上信息仅供参考，如有需要，建议您查阅相关文献。
metaphysical poetry_
John Donne
his imagery often drawn from such diverse fields as alchemy, astronomy, mathematics, medicine, politics, global exploration, and philosophical disputation and meditation famous analogy of parting lovers to a drawing compass
看呀这只跳蚤叮在这里你对我的拒绝多么微不足道它先叮我现在又叮你我们的血液在它体内溶和要承认这件事不能被说成是羞耻罪过也算不上你贞操的损失它没有向我们请求就得到享受饱餐了我们的血滴后大腹便便这种享受我们无能企及
Metaphysical Poetry
Metaphysical Poetry
The term “metaphysical poetry” is commonly used to name the work of the 17th –century writers who wrote under the influence of John Donne. Metaphysical poets tried to break away from the conventional fashion of the Elizabethan love poetry.
A garden inclosed is my sister, my spouse," 我的妹子，我的新妇，乃是关锁的园， 我的妹子，我的新妇，乃是关锁的园，
“Coming to kiss her lips--such grace I found Me seemed I smelled a garden of sweet flowers."
Metaphysical Poetry John Donne
• From rest and sleep, which but thy pictures be, Much pleasure, then from thee much more must flow,
• 你所描绘的休息跟睡眠，其实是幸福， • 甚至从你那儿流露还更多
1. metaphor : sleep, pleasure
3. How do you understand Donne’s the following remark:
• No man is an island, entire of itself; every man is a piece of the continent, a part of the main. If a clod be washed away by the sea, Europe is the less, as well as if a promontory were, as well as if a manor of thy friend's or of thine own were: any man's death diminishes me, because I am involved in mankind, and therefore never send to know for whom the bell tolls; it tolls for thee.
Metaphysical Poetry
3. Who are the representatives of metaphysical poetry?
John Donne is the leading figure of the 'metaphysical school'. George Herbert, Henry Vaughan, Richard Crashaw and Andrew Marvell are also considered to be metaphysical poets.
英美文学选读名词解释
英美文学选读名词解释Metaphysical poets（玄学派诗歌）The metaphysical poets were a loose group of British lyric poets of the 17th century, who shared an interest in metaphysical concerns and a common way of investigating them. Their rigorous, energetic verse appeals to t he reader’s intellect rather than emotions, discarding intuition and mysticism in favour of rational discussion. Their inventive, elaborate style was characterised by learned imagery and subtle argumentation, and the "metaphysical conceit", a figure of speech that employs unusual and paradoxical images such as in Andrew Marvell’s comparison of the soul with a drop of dew. Although such devices were not new, these poets managed to make the most of them with their fresh and original approach, infusing new life into English poetry.Metaphysical poetry(玄学派诗歌)Metaphysical poetry is commonly used to name the work of the 17th century writers who wrote under the influence of John Donne with a rebellious spirit, the Metaphysical poets tried to break away from the conventional fashion of the Elizabethan love poetry ,the diction is simple as compared with that of the Elizabethan or the Neoclassical periods, and echoes the words and cadences of common speech. the imagery is drawn from actual life.Lake Poets(湖畔诗人)In english literature Lake Poets refer to such romantic poets as william wordsworth, coleridge and southey who lived in the lake District. They came to be known as the lake school or Lakers.Imagism（意象派）：it was a poetic vogue that flourished in England, and even more vigorously in America, between the years 1912 and 1917. It was planned and exemplified by a group of English and American writers in London, partly under the influence of the poetic theory of T. E. Hulme, as a revolt against the sentimental and mannerish poetry at the turn of the century. The typical Imagist poetry is written in free verse and undertakes to be as precisely and tersely as possible. Meanwhile, the Imagist poetry likes to express the writers’ momentary impression of a visual object or scene and often the impression is rendered by means of metaphor without indicating a relation. Most famous Imagist poem, “In a Station of the Metro”, was written by Ezra Pound. Imagism was too restrictive to endure long as a concerted movement, but it influenced almost all modern poets of Britain and America.Imagism(意象主义)Imagism came into being in Britain and U.S around 1910 as a reaction to the traditional English poetry to express the sense of fragmentation and dislocation.2>the imagists, with Ezra Pound leading the way, hold that the most effective means to express these momentary impressions is through the use of one dominant image.3>imagism is characterized by the following three poetic principles:A.direct treatment of subject matter;B.economy of expression;C. as regards rhythm ,to compose in the sequence of the musical phrase, not in the sequence of metronome. 4> pound’s In a Station of the Metro is a well-known inagist poem.Harlem Renaissance（哈莱姆文艺复兴）：a period of remarkable creativity in literature, music, dance, painting, and sculpture by African-Americans, from the end of the First World War in 1917 through the 1920s. As a result of the mass migrations to the urban North in order to escape the legal segregation of the American South, and also in order to take advantage of the jobs opened to African Americans at the beginning of the War, the population of the region of Manhattan known as Harlem became almost exclusively Black, and the vital center of African American culture in America. Distinguished writers who were part of the movement included Langston Hughes and Jean Toomer. The Great Depression of 1929 and the early 1930s brought the period of buoyant Harlem culture –which had been fostered by prosperity in the publishing industry and the art world – effectively to an end.。
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Metaphysical poets
The metaphysical poets were a loose group of British lyric poets of the 17th century,
who shared an interest in metaphysical concerns and a common way of investigating
them, and whose work was characterised by inventiveness of metaphor (these
involved comparisons being known as metaphysical conceits). These poets were not
formally affiliated; most of them did not even know or read each other. Their poetry
was influenced greatly by the changing times, new sciences and the new found
debauched scene of the 17th century.
Characteristics
Their style was characterized by wit and metaphysical conceits—far-fetched or
unusual similes or metaphors, such as in Andrew Marvell’s comparison of the soul with
a drop of dew; in an expanded epigram format, with the use of simple verse forms,
octosyllabic couplets, quatrains or stanzas in which length of line and rhyme scheme
enforce the sense.[3] The specific definition of wit which Johnson applied to the
school was: "...a kind of discordia concours; a combination of dissimilar images, or discovery of occult resemblances in things apparently unlike." [4] Their poetry diverged from the style of their times, containing neither images of nature nor
allusions to classical mythology, as were common.[5] Several metaphysical poets,
especially John Donne, were influenced by Neo-Platonism. One of the primary Platonic
concepts found in metaphysical poetry is the idea that the perfection of beauty in
the beloved acted as a remembrance of perfect beauty in the eternal realm. In a
famous definition Georg Lukács, the Hungarian Marxist critic, described the school's
common trait of "looking beyond the palpable" and "attempting to erase one's own
image from the mirror in front so that it should reflect the not-now and not-here" as foreshadowing existentialism.[6] Though secular subjects drew them (in particular matter drawn from the new science, from the expanding geographical horizons of the period, and from dialectic) there was also a strong casuistic element to their work, defining their relationship with God.[7] .
o streams of consciousness plural
2.A literary style in which a character's thoughts, feelings, and reactions are
depicted in a continuous flow uninterrupted by objective description or
conventional dialogue. James Joyce, Virginia Woolf, and Marcel Proust are
among its notable early exponents
a narrative technique that presents thoughts as if they were coming directly
from a character's mind. Instead of being arranged in chronological order,
the events of the story are presented from the character's point of view.
I+1 principle
∙近年来随着全国各个高校扩招形势的出现,学生间英语水平的差异越来越大,不（略）专业之间的差异不容忽视,我们使用的全国统一教材并不适合所有级别的学生,教师在教学中采取的方式,方法很
难兼顾所有的学生,因此分级教学作为大学英语教学改革的一项尝试势在必行.坚持“分类指导,因
材施教”的原则是《大学英语（略）修订版)的一个重要特点,《大纲》指出“分级教学的设想反映了我国大学英语教学的实际,也是各校多年来教学经验的总结,它有利于科学地组织教学,更好地调动
学生的学习积极性.”这一阐述无疑为分级教学提供了有力的支持. 对美国著名的应用语言学家
Stephen D. K（略）的“i+1”理论,国内外许多学者有过评价和研究,它是Krashen在第二语言习得理论中提出的“语言输入假说”的精髓.Krashen认为,人类（略）解性的语言输入时,才能习得语言.
用公式表示就是i+1,其中i表示语言学习者目前的水平,1表示略高于语言学习者现有水平的语言知识.我们只有充分理解含有“i+1”的语言输入,并按照自然序列,才能从“i”层次过渡到“i+1”层次;同
（略）感上接受已经理解的语言输入,即学习者具有强烈...
∙Recently with the increased college enroll（omitted）e are greater individual differences among students, but our curren（omitted）is not suitable for all the levels of the students and the teaching method can not apply to all the
students, so graded teaching tends to be carri（omitted）a reform of c
（omitted）lish teaching. It reflects the principle of "Teaching According t
（omitted）Levels " which is the main characteristic of College English
Teaching Syllabus."i+1" theory is the essence...
∙。