英国浪漫主义文学.ppt.Convertor
《英国浪漫主义文学》课件
历史背景
哲学思考
英国浪漫主义文学作品中常常包含深 刻的哲学思考，探讨人性、道德、自 由等主题，表现出对人类命运的关注 和思考。
英国浪漫主义文学关注历史背景，将 文学作品与历史事件、社会现实等联 系起来，展现出浓厚的历史感。
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英国浪漫主义文学的影响与评价
对世界文学的影响
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丰富了世界文学的多样性
作品风格
现实主义与浪漫主义相结合， 注重细节描写和人物塑造
晚期浪漫主义
时间范围
1830年-1860年
特点
关注人性探索，深入挖掘内心世界，强调个 性表达
代表人物
丁尼生、布朗宁、梅尔维尔等
作品风格
心理分析、象征主义和神秘主义，注重艺术 表现和情感渲染
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英国浪漫主义文学的主要代表人 物及其作品
威廉·布莱克
诗歌形式与技巧
诗歌形式
英国浪漫主义诗歌形式多样，包 括长诗、短诗、叙事诗等，强调 韵律和节奏感。
象征与隐喻
英国浪漫主义诗歌善于运用象征 和隐喻手法，通过具象的描绘传 达抽象的概念和情感。
情感渲染
英国浪漫主义诗歌注重情感渲染 ，通过强烈的情感表达和渲染来 打动读者。
自然与人文的融合
பைடு நூலகம்
自然描绘
英国浪漫主义作家善于描绘自然，将 自然元素融入到作品中，强调人与自 然的和谐共存。
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时间范围
1789年-1800年
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代表人物
拜伦、雪莱、济慈、华兹华斯 等
特点
强调个人情感、自然和自由， 反对理性主义和传统束缚
作品风格
富有想象力，追求形式和语言 的创新
中期浪漫主义
时间范围
《浪漫主义文学》课件
REPORT
CATALOG
DATE
ANALYSIS
SUMMAR Y
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浪漫主义文学代表人物 及作品
英国的代表人物及作品
代表人物
拜伦、雪莱、济慈
作品
《恰尔德·哈洛尔德游记》、《西风颂》、《夜 莺颂》
特点
强调个人情感、反对压迫和束缚、追求自由和解放
法国的代表人物及作品
代表人物
雨果、乔治·桑、缪塞
作品
社会影响的比较
对社会观念的影响
浪漫主义文学推动了个性解放和情感表达， 现实主义文学则促进了社会批判和改革。
对文学发展的影响
浪漫主义文学为后来的现代主义文学打下了基础， 现实主义文学则成为现代小说的重要源头。
对其他艺术领域的影响
浪漫主义文学对音乐、绘画等艺术领域产生 了深远影响，现实主义文学则对电影、戏剧 等艺术形式产生了重要影响。
创作理念的比较
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创作理念的起源
浪漫主义文学起源于18世纪末至19世纪初的欧洲，现实主义文学则兴
起于19世纪中后期。
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创作理念的特点
浪漫主义文学强调个性、情感和想象力，追求理想和美好，而现实主义
文学则注重客观、真实和细节，反映社会现实问题。
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创作目的
浪漫主义文学的目的是表达情感、追求自由和个性，现实主义文学则旨
在揭示社会现象、批判现实。
作品风格的比较
作品主题
浪漫主义文学作品主题多为自然 、情感、理想和英雄主义，现实 主义文学作品主题则关注社会问 题、人性矛盾和心理描写。
作品形式
浪漫主义文学作品形式多样，包 括诗歌、小说、戏剧等，现实主 义文学作品则更注重结构和情节 的严谨。
作品语言
英国文学浪漫主义时期 ppt课件
Historical Background
Politically: the French Revolution
"Declaration of Rights of Man" (1791-2), Thomas Paine
"Inquiry concerning Political Justice" (1793), William Godwin
a tendency to turn or escape from the tumultuous嘈杂的动乱的and confusing society
Characteristics of Romanticism
•Love of Nature: The Romantics greatly emphasized on the importance of nature, and one of the main characteristics of Romanticism in poetry is the beauty of nature found in the country life. This was mainly because the industrial revolution had taken man from the peaceful country life towards the city life, transforming man's natural order. Nature was not only appreciated for its physical beauty by the Romantics, but also for its ability to help the urban man find his true identity.
第六章 十九世纪初期文学.ppt.Convertor
第六章十九世纪初期文学第一节浪漫主义文学概论浪漫主义，作为文学创作方法和艺术风格，从艺术产生之日起就已存在，古今中外的神话传说都充满了浪漫因素。
作为文学思潮，是产生于18世纪末，繁荣于19世纪上半叶欧美文坛的文学运动和流派。
一、关于“浪漫主义”的概念近代的“浪漫主义”（Romanticism）概念源于中世纪的“罗曼司”（Romance），来自拉丁语。
指中世纪的骑士生活、骑士传奇、英雄美女的爱情和风流韵事等。
罗曼司在17世纪中叶转为“浪漫的”（“罗曼蒂克”Romantic），具有“想象的”、“传奇般的”、“不切实际的”、“忧郁的”、“堂吉诃德式的”多重含义。
文艺复兴时期，塔索、斯宾塞的叙事诗继承了罗曼司的不少特点。
到了17世纪末，这些诗歌，总称为“浪漫的”诗歌。
一个流行术语18世纪末，19世纪初，“浪漫的”就成了一个十分流行的术语。
1777年，卢梭在《一个孤独的漫步者的遐想》中使用了这个字：“碧叶纳湖的沿岸比起日内瓦湖的沿岸来更荒野，更是浪漫的，因为岩石和树林更紧密地围绕着湖水。
”在浪漫主义的文学运动中，“浪漫的”发展为“浪漫主义”（Romanticism），含义比较固定，特指在英、法、德三个主要国家出现的文化环境，共同的特点是崇拜感情，崇拜大自然，反对古典主义的权威和传统。
浪漫主义并不是一种单一的文学现象，而是一个时代的文化风气。
在19世纪初期，政治、哲学、音乐、绘画都表现出浪漫主义的特点，它们和文学中的浪漫主义互相影响，互为联系，结成了一个统一的浪漫主义文化环境，展示了浪漫主义时代的风貌。
一个时代的文化风气二、浪漫主义文学思潮的背景社会政治状况——自由主义思潮社会心理德国古典哲学空想社会主义文学传统及其演变(一) 自由主义思潮文学与政治的联系，西方文学史上还没有过像浪漫主义文学与当时的政治时局的联系那样紧密，浪漫主义几乎成了自由主义的同义词，政治上的自由主义和文学中的浪漫主义被看成是一回事。
从1789年法国大革命到1830年巴黎人民武装起义，欧洲社会一直处于动荡不宁中。
英国文学课件4.ppt.Convertor
Unit 4 The RenaissanceII. ShakespeareThe Renaissance is an epoch of social and cultural development not only for all Western Europe but also for England. Great changes have taken place in England in every aspect.A. Politically:a. The absolute monarchy was formed in England. King Henry VIII. broke off with the Pope so that the secular and religious power was consolidated under one king.b. The old English aristocracy was taken the place by a new nobility totally dependent on the king’s power.c. The class of bourgeoisie composed of the rich merchants and handicraftsmen living in the cities came into being.B. Economically:The 16th century in England was a period of the breaking up of feudal relations and the establishing of the foundation of capitalism.a. Manufactories were developing and the wool trade was rapidly growing.-- The large-scale enclosure of common land-- It’s a time called by Thomas More “sheep devoured men” period.b. The victory over Span consolidated Great Britain’s right on t he high seas and in world trade.C. Socially:The uprisings of peasants were ruthlessly suppressed.D. Culturally:Together with the development of bourgeois relationships and formation of the English national state, this period is marked by a flourishing of national culture known as Renaissance.Renaissancea. “renaissance “ ― a French word, meaning “rebirth”, “revival”b. it is first used to indicate a revival of classical (Greek and Rome) arts and science after the dark ages of medieval obscurantism.c. now it is used to indicate the intellectual and literary movement over Europe from the 14th to the early 17th century.d. a great number of the works of classical authors were translated into English during the 16th century.e. Humanism is the essence of the Renaissance.HumanismThe study and propagation ofclassical learning and art was carried on by the progressive thinkers of humanists.They held their chief interest not in ecclesiastical knowledge, but in man, his environment and doings and bravely fought for the emancipation of man from the tyranny of the church and religious dogmas.Man is the measure of all things;Man has ability to perfect themselves, to develop the individual;Man should enjoy the present life.E. Literarily:Essays:a. Thomas More --- Utopia (Latin: nowhere)b. Francis Bacon --- Essayspoetrya. Thomas Wyatt --- the first to introduce the Sonnet into English literatureb. Edmund Spenser --- “The Fairy Queen”drama:Christopher Marlowe--- made “Blank Verse” the principle vehicle of expression in drama for the first time in history. Blank verse(白体诗、无韵体诗)unrhymed iambic pentameter (五步抑扬格with five feet unstressed syllable + stressed syllable ) 2. William Shakespeare (1564―1616)2. William Shakespeare (1564―1616)His Life1564, Born in Stratford-on-Avon1588-1592, in London as actor and playwright1592-98, devoted himself mainly to history plays and comedies1601-1609, wrote the greatest tragedies and romantic comedies1610, retired to Stratford1616, died.2.2 His writing careerFour periods:1588-1594 period of apprenticeship 10 plays1595-1600 lyrical poems; historical playsand comedies 2plays1601-1607 great tragedies; dark comedies(tragicomedies) 11plays1608-1613 romantic drama 4playsFour types of his plays:a. comedy:The Twelfth NightA Midsummer Night’s Dreamb. tragedy: Four greatest tragedies: Hamlet Othello King Lear Macbethc. tragic-comedy:The Merchant of Venice;The Tempestd. historical playsHenry VI2.3 Shakespeare’sachievement and significance2 long narrative poems;154 sonnets;37 playsa. represents the climax of the Renaissance;b. one of the few writers who can be said indispensable in the European literary history; (Homer, Dante and Shakespeare)c. the most influential man of letter since the Renaissance:d. an encyclopedia of the Elizabethan Agee. the representative of the Renaissance literature in general;f. “He’s not of an age, but of all time" — Ben Jonsong. he had the largest command of vocabulary.- 16,000 different wordsTo preview “To be or not to be” soliloquyTo preview “Sonnet 18”。
英国文学课件3.ppt.Convertor
Unit 3 Geoffrey Chaucer（1340-1400）I. Geoffrey Chaucer:-- “the father of English poetry”1. Life:born in a rich wine-merchant’s family with a high social position- studied at Oxford and Cambridge- in 1357 served as a count page- in 1357 in English army fighting in France- in 1367 entered the service of King Edward III and became an ambassador, and his visiting of European countries esp. Italy brought him with the new tendency of the Renaissance in Italian literature.- in 1386, he was elected as m ember of Parliament but then dismissed because of his enemies’ Intrigues.- in 1389 he was appointed clerk of the King’s works and the new king Henry IV granted him a pension.- died on the 25th of Oct. 1400 and was the first to be buried in the Poet’s C orner of Westminster Abbey.2. Chaucer’s representative works:1360s-1372:Romance of the Roses--- a translation of the workof French writer1372- 1386:The House of FameThe Legend of Good women1386- 1400:The Canterbury Tales3. Chaucer’s achievements:a. Chaucer chose the metrical form (韵脚韵律诗) which laid the foundation of the English tonico-syllabic verse（重音音节格律诗）.b. Chaucer greatly contributed to the founding of the English literary language. He was a great master of the English language and in his hand the London dialect of his day was crystallized （明确）into an effective weapon for satire and humor and for poetry.II. Introduction ofThe Canterbury Taleswritten in the years between 1387 -1400contains 24storiesin the work, Chaucer created a strikingly brilliant and picturesque panorama of his time and his country, and it’s a comprehensive picture of the social reality of the poet’s day.It contains rather keen social criticism and explores the moral degradation of the members of religious profession and consuming passion for money in the feudal –bourgeois society of Chaucer’s day.The heroic couplet was employed in the poem with true ease and charm for the first time in the history of English literature.Chaucer displays his humor and irony as he condemns the vicious characters and the culpable deeds.The heroic coupleta couplet of rhyming iambic pentameters often forming a distinct rhetorical as well as metrical unit.The origin of the form in English poetry is unknown, but Geoffrey Chaucer in the 14th century was the first to make extensive use of it. The heroic couplet became the principal metre used in drama about the mid-17th century, and the form was perfected by John Dryden and Alexander… III. Close reading of the part “General Prologue”1. Its significance:a. the most important part of the whole poemb. it is a whole gallery of vivid characters from all walks of lifeC. it is a splendid masterpiece of realistic portrayal, the first of its kind in the history of English literatureIII. Close reading of the part “General Prologue”3. Analysis of some parts of it:IV. Popular Ballads:1. Definition:Ballads are anonymous narrative songs that have been preserved by oral transmission.Popular ballads are songs and ballads which were widespread among the populace of England and Scotland and created and preserved by the people.2. Types: Historical Legendary Fantastical Ballads Lyrical Humorous3. Robin Hood BalladsRobin Hood Ballads:the ballads which reflect Robin Hood’s feats.Robin Hood：is a Saxon by birth, an outlaw, a robber but he robbed only the rich and never molested the poor and the needy.“Get Up and Bar the Door”。
英国浪漫主义时期文学PPT课件
Revolution exert great influence on English
Romanticism.
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• Romanticists show in their works their profound dissatisfaction with the social reality and their deep hatred for any political tyranny, economic exploitation and any form of oppression, feudal or bourgeois. In the realm of literature, they revolt against reason, rules, regulation, objectivity, common senses, etc. and emphasize the value of feelings, intuition, freedom, nature, subjectivism, individuality, originality, imagination, etc.
• English Romanticism is a revolt of the
English imagination against the
neoclassical reason. The French Revolution
英国文学史十八世纪 前浪漫主义 47页PPT文档49页PPT
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27、只有把抱怨环境的心情，化为上进的力量，才是成功的保证。——罗曼·罗兰
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28、知之者不如好之者，好之者不如乐之者。——孔子
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29、勇猛、大胆和坚定的决心能够抵得上武器的精良。——达·芬奇
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30、意志是一个强壮的盲人，倚靠在明眼的跛子肩上。——叔本华
谢谢！
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英国文学史十八世纪 前浪漫主义 47 页PPT文档
36、“不可能”这个字(法语是一个字 )，只 在愚人 的字典 中找得 到。--拿 破仑。 37、不要生气要争气，不要看破要突 破，不 要嫉妒 要欣赏 ，不要 托延要 积极， 不要心 动要行 动。 38、勤奋，机会，乐观是成功的三要 素。(注 意：传 统观念 认为勤 奋和机 会是成 功的要 素，但 是经过 统计学 和成功 人士的 分析得 出，乐 观是成 功的第 三要素 。
39、没有不老的誓言，没有不变的承 诺，踏 上旅途 ，义无 反顾。 40、对时间的价值没有没有深切认识 的人， 决不会 坚韧勤 勉。
ห้องสมุดไป่ตู้ ▪
26、要使整个人生都过得舒适、愉快，这是不可能的，因为人类必须具备一种能应付逆境的态度。——卢梭
英国文学课件新古典主义——浪漫主义
英国⽂学课件新古典主义——浪漫主义Chapter 12 John MiltonParadise Lost（completed in 1667. In 1674, he published the final version of the epic. 12 books）Type of Work：Paradise Lost is an epic poem which —like the epic poems of Homer, Dante, Vergil, and Goethe—tells a story about momentous events while incorporating grand themes that are timeless and universal. Sources：Milton used the Bible, Homer's Iliad and Odyssey, Vergil's Aeneid, and the stories in Greco-Roman mythology as sources of information and as writing models. The Bible's Book of Genesis is the main source for his retelling of the story of creation and the first humans, Adam and Eve.Settings：The settings are heaven, hell, the firmament (苍穹) (Chaos), and earth.Characters：God the Father, God the Son: (trinity)Two of the three divine persons making up the all-powerful Godhead, the single deity（神性）that created and ruled all that exists outside of itself. The third divine person, the Holy Spirit, does not play a role in Paradise Lost. God the Father is portrayed as just but merciful, condemning (批判) the defiant （⽬中⽆⼈）and unrepentant (不后悔的) rebel angels but permitting redemption of the repentant Adam and Eve. God the Son volunteers to redeem them by becoming human and enduring suffering and death.Satan (Lucifer, Archfiend): Powerful and prideful angel who, with legions (众多的) of supporters, leads an unsuccessful rebellion against God and suffers eternal damnation. T o gain revenge, he devises a plan to corrupt God's newly created beings, Adam and Eve, through deceit. Modern readers often admire him for his steely defiance (藐视). He would rather rule in hell, he says, than serve in heaven. It was not Milton's intent, however, to create an admirable character; rather his intent was to create a character of colossal (巨⼤的) hatred — loathsome (令⼈讨厌的), execrable (恶劣的), incurably remorseless (冷酷⽆情的).Adam and Eve: The first human beings, created by God to fill the void（真空）that resulted when God cast Satan and his supporters out of the celestial realm. Adam and Eve live on the planet earth in utter happiness in a special garden where spring is the only season and love and godly living prevail. Though they have all that they want and need, cunning Satan tells them they can have knowledge and status beyond their reach if only they eat of the fruit of the Tree of Knowledge. Eve can become a goddess, he says. Vanity overtakes her. She eats. Adam reluctantly does the same.Gabriel, Raphael, Michael, Uriel: Powerful and fearless angels on the side of God.Beelzebub, Mammon, Belial, Moloch: Powerful leaders in Satan's army. In a great council in hell, each of them speaks his mind on what policy devil-kind should follow after losing paradise. Should they make a new war? Should they make peace?Ithuriel, Zephron: Angels who expel Satan from the Garden of Eden with the help of a sign from God. Satan returns to the garden later to complete his devious enterprise.Mulciber: Fallen angel who designs hell's capital city and seat of government, Pandemonium. In ancient Roman mythology, Mulciber is another name for Vulcan (Greek: Hephaestus), god of fire and the forge. As a blacksmith, he kept shop in burning mountains (volcanoes).Sin: Daughter of Satan. She was born from his head in the manner of Athena, Greek goddess of wisdom and war, who sprang from the forehead of Zeus, king of the gods.天动说的design rather than the Copernican design (哥⽩尼式设计). The former placed earth at the center of the solar system, with the sun and other celestial bodies orbiting it. Copernicus and other scientists later proved that the earth orbits the sun. Milton was aware of the Copernican theory, but he used the Ptolemaic design—either because he believed it was the more credible theory or because he believed it would better serve his literary purpose. In Paradise Lost, Adam inquires about the movements of celestial bodies—in particular, whether earth orbits the sun or vice versa—in his conversation with the archangel天使Raphael, but Raphael gives no definite answer. Raphael may have been speaking for Milton.Style and Verse FormatMilton wrote Paradise Lost in dignified, lofty, melodic English free of any colloquialisms and slangs that would have limited the work's timeliness and universality. The format, Milton says in an introductory note, is "English heroic verse without rhyme"—in other words, blank verse, the same verse form used by Shakespeare in his plays. Milton's strong religious faith infuses the poem with sincerity and moral purpose, but he does not allow his enthusiasm for his subject to overtake control of his writing. Though Milton frequently uses obscure allusions to mythology and history, as well as occasional difficult wordsand phrases, his language is never deliberately affected or ostentatious炫耀的. What is more, it does not preach and does not take the reader on circumlocutory迂回的expeditions. Like a symphony composer—mighty Beethoven, for example —Milton is always in control, tempering his creative genius with his technical discipline.With a good dictionary and an annotated有注解的text, a first-time reader of Milton can easily follow and understand the story while developing an appreciation for the exquisite writing.Epic ConventionsIn Paradise Lost, Milton used the classical epic conventions—literary practices, rules, or devices established by Homer that became commonplace in epic poetry. Some of these practices were also used in other genres ofliterature. Among the classical conventions Milton used are the following:(1) The invocation 祈祷of the muse, in which a writer requests divine help in composing his work.(2) Telling a story with which readers or listeners are already familiar; they know the characters, the plot, and the outcome. Most of the great writers of the ancient world—as well as many great writers in later times, including Shakespeare—frequently told stories already known to the public. Thus, in such stories, there were no unexpected plot twists, no surprise endings. If this sounds strange to you, the modern reader and theatergoer, consider that many of the most popular motion pictures today are about stories already known to the public.(3) Beginning the story in the middle, a literary convention known by its Latin term in media res资源(in the middle of things). Such a convention allows a writer to begin his story at an exciting part, then flash back to fill the reader in on details leading up to that exciting part.(4) Announcing or introducing a list of characters who play a major role in the story. They may speak at some length about how to resolve a problem (as the followers of Satan do early in Paradise Lost).(5) Conflict in the celestial realm. Divine beings fight and scheme against one another in the epics of Homer and Vergil, and they do so in Paradise Lost on a grand scale, with Satan and his forces opposing God and his forces. (6) Use of dramatic irony. Dramatic irony is a literary device in which a character in a story fails to see or understand what is obvious to the audience or readers. Dramatic irony appears frequently in the plays of the ancient Greeks. ImageryMilton's imagery is at times graceful and elegant, as in this memorable personification in Book 6 [Waked by the circling hours, with rosy hand Unbarred the gates of light. (lines 2-4)]At other times, the imagery is imposing and awe-inspiring, as in this description in Book 7In Book 8, Milton describes the commission of the first sin in simple, straightforward language, followed by a succinct personification summing up the terrible effects of the iniquityMilton also uses personification in Book 4 in this beautiful passage about a quiet night, the starry sky, and the ascendancy of the moonEnjambment跨⾏连续Milton uses frequently uses enjambment (also spelled enjambement) in the poem. It is a literary device in which a poet does not complete his sentence or phrase at the end of one line but allows it to carry over to the next line. Milton's use of enjambment helps the poem flow from one line to the next.Of man's first disobedience, and the fruitBrought death into the world. . .(Book 1, lines 1-3)Of that forbidden tree, whose mortal tasteMain ThemeIn Book 1 of Paradise Lost, Milton reveals the central theme of the work: to justify the ways of God to man. Justify here means to explain and defend, and ultimately to vindicate澄清, God’s course of action in dealing with Adam and Eve after they succumbed to the temptation of Satan and ate forbidden fruit.Other ThemesInordinate 过度的pride: It leads to Satan's downfall and his continuing defiance of God.Envy: Arising from Satan's pride, it makes him jealous of God the Son, who is the favorite of God the Father. Revenge: It motivates Satan to corrupt Adam and Eve and thereby subvert God's plans.Vanity: It leads Eve to believe—under the temptation of Satan—that she can become godlike.Deceit: Satan appears in many disguises and tells many lies during his mission to trick Adam and Eve.Infidelity: Adam betrays God by siding with Eve and eating the forbidden fruit.Unbridled 不受约束的pursuit of knowledge: It leads Adam and Eve to seek knowledge beyond their ken, knowledge that will make them godlike.Volition意志: Angels and humans alike possess free will, enabling them to make decisions. Satan freely chooses to rebel against God, and Adam and Eve freely choose to eat forbidden fruit. The consequences of their actions are their own fault, not God's. Milton uses this theme to help support the central theme, "to justify the ways of God to man."Disobedience违抗: All sins are acts of disobedience against God, impairing or cutting off the sinner's relationship with God. Adam and Eve and all of the devils disobey God through their sins.Loyalty: Loyalty to God and his ways are necessary for eternal salvation. Loyalty requires obedience. All of the good angels exhibit loyalty.Repentance悔悟: Even though Adam and Eve have disobeyed God, their repentance makes them eligible for eventual salvation.Hope: At the end of Paradise Lost, Adam and Eve enter the imperfect world with hope; they can yet attain eternal salvation. Redemption赎回: Through the suffering and death of the Son of God, sinful man can reconcile himself with God if he is sincerely sorry for his sins.ClimaxThe climax, or turning point, of Paradise Lost occurs when Adam and Eve succumb to Satan's temptations and eat the forbidden fruit. This act of disobedience results in their downfall and eviction from Paradise.What Is an Angel?An angel is a supernatural being that serves God by praising and adoring Him and by carrying out special missions that assist humans. Angels have the additional task of opposing and punishing devils. Devils are angelscast out of heaven because they rebelled against God. The word angel derives from the Greek word angelos, meaning messenger. The major western religions—Christianity, Judaism, and Islam—all accept the existence of angels. The rank of angels from highest to lowest is as follows:1. Seraphim (Seraph)2. Cherubim (Cherub)3. Thrones4. Dominations5. Virtues6. Powers7. Principalities8. Archangels9. AngelsChapter 13 The Seventeenth-Century Prose2007-11-12 13:53I. Bible1. The Bible is the name given to the revelation of God to man contained in sixty-six books or pamphlets, bound together and forming one book.2. The Books of the Bible：Old Testament（39 Books, written in the Hebrew language between 1400 and 400B.C. ）About the creation of the world, the origin of the Jewish people, its history, religion, law, and poetry. New Testament（27 Books, written in the Greek language between 40 and 100 A.D.）About Jesus Christ’s life, his deeds and teachingsSon of an important official / Studied law, became a barrister and entered House of Commons, legal advisor to Elizabeth I / Attorney General and Lord Chancellor under James I; forced out of office in 1621 / Retired to his estate to write and study / Tried to convince Elizabeth I and James I to embrace natural philosophy as statecraft2. Major WorksEssays (1594)The Advancement of Learning (1605) Great Instauration and Novum Organum (1620) New Atlantis (posthumous)3. Important Baconian ideas●Reliance on the evidence of the senses and instruments●Progress through technology●Technological transformation of nature to make it useful to humanity●State Institutions of science: institutes, centralization, technocratic expertise4. Bacon’s Essays●Essay as a form of literature, the essay is a composition of moderate length, usually in prose, which deals in aneasy, cursory way with the external conditions of a subject, and, in strictness, with that subject, only as it affects the writer. The essay was invented by Montaigne.●Bacon’s essaysBacon offers his views on a whole smorgasbord of topics ranging from Truth, Death,' Adversitie', Marriage & the single life, Love, Boldness, Superstition, Friendship, Health, Ambition, Youth, Beauty to Anger & Fame.Features of Bacon’s essays●Bacon’s essays are the first example of that genre in English lit erature and have been recognized as animportant landmark in the development of English prose. The essays are famous for the pithy aphoristic style, which he had defended in principle in The Advancement of Learning as proper for the expression of tentative opinions.●There is an obvious stylistic change in the Essays. The sentences in the first edition are charged and crowdedwith symmetries. They are composed in a rather affected way. However, the final edition not only enlarges the range of theme, but also brings forth the looser and more persuasive style.●The essays are well arranged and enriched by Biblical allusions, metaphors and cadences. In general, Bacon’s literary style is noted for three prominent qualities: directness, terseness, and forcefulness.II. John Bunyan (1628-1688)1. Life and CareerHad very little schooling, but abnormally active imagination with dreams and fears of devils and hell-fire / Worked in the tinker's trade / Served in the parliamentary army / Married in 1649 / Joined a non-sectarian church / Was arrested and imprisoned for making illegal preaching in the surrounding villages / Wrote Pilgrim’s Progress in Prison2. Points of View●Religiously, a devout Christian, and a firm non-conformist of the Anglican Church, he believed that man’s final salvation could be achieved only by one’s own spiritual struggle.●Politically, with a deep hatred for the corrupted, hypocritical rich, he condemned oppression, falsehood,indulgence in pleasure seeking and many other vices of the money-corrupted upper class, but eulogized the truth-seeking Christian.3. The Pilgrim's Progress(1) Story : A tale of adventure on a perilous path, encountering giants, wild beasts, hobgoblins, etc. The tale based on human experience: e.g. the moving account of his death with Hopeful(2) Major charactersChristian Faithful Hopeful Giant Despair Ignorance Christiana(3) Major theme:●Spiritual salvation for mankind●The cost of salvation●The road to salvation is difficult and lonely ●Salvation is attainable by all who seek it. ●To grow in holiness is a daily battle, in which therewill be setbacks and encouragements, but which isa battle worth fighting(4) The basic metaphor: Life is a journey.●"Everyone sojourning in the flesh is passing through this earth to a mysterious state of future bliss .... thePilgrim's progress is toward no earthly destination.―●The journey is from this world to the next world.●Pilgrim, one who strives to obtain salvation of their soul through a physical journey in which love for God, and notlove for material things, drives them.●Pilgrimage: the journey to a distant sacred goal; it is found in all the great religions of the world. It is a journeyboth outwards to hallowed places and inwards to spiritual improvement; it can express penance for past evils, or the search for future good; the pilgrim may pursue spiritual ecstasy in the sacred sites of a particular faith, or seek a miracle through the medium of God or a saint.●Johnson praised John Bunyan highly. "His Pilgrim's Progress has great merit, both for invention, imagination,and the conduct of the story; and it has had the best evidence of its merit, the general and continued approbation of mankind. Few books, I believe, have had a more extensive sale. It is remarkable, that it begins very much like the poem of Dante; yet there was no translation of Dante when Bunyan wrote. There is reason to think that he had read Spenser."(5) Special features●The most successful religious allegory in English language●Vivid characterization: Travelers who represent states of the soul, or moral attitudes●Style: Modeled on the prose style of the English Bible; Simple diction; colloquial expressions; andstraightforward sentence structuresIII. John Dryden (1631-1700)1. Life and CareerBorn in a country g entry’s family / Received his education at Cambridge / Shifted to the royalist side after Restoration / Became a prominent poet, dramatist, and critic in his time2. Major WorksAbsalom and AchitophelAntony and Cleopatra: All for LoveAn Essay of Dramatic Poesy3. Influence on Literature●Dryden is the ―lock by which the waters of English poetry were let down from the mountains of Shakespeare andMilton to the plain of Pope.‖●His satire exerted a fruitful influence on the most brilliant verse satirists of the next century.●As a prose writer, Dryden had a very marked influence on English literature in shortening his sentences, andespecially in writing naturally, without depending on literary ornamentation to give effect to what he is saying.Primarily focusing on drama, the poetry of plays, he creates a dialogue between poet/critics of He chooses to review the existing, generally accepted conventions and decide in what respects they are being followed, or whether they should be followed by English writers.Chapter 14 Introduction to the 18th centuryI. Introductory Remarks:The period (1660-1798) began with the Restoration of Charles II, during whose reign the leading literary figure was John Dryden, with whom the neoclassical literature came into being, and concluded with the death of Samuel Johnson in 1784, the last important advocate of neoclassicism. By Johnson’s death, neoclassicism came to a decline the 18th century. Complacency (self-satisfaction) marked the beginning of the 18th century. The upper classes, in complete control now, wanted no religious enthusiasts and revolutionaries. They believed in reason. This rational approach to social and literary problems have given it the title of ―The Age of Reason‖, while the desire for perfect form which resulted in adaptations of Greek and Latin models has caused it to be called ―The Neoclassic Age.‖1. The Glorious Revolution (1688)1) James II (reactionary rule and ruthless suppression of the Protestant rebellion) / discontent from the bourgeoisie and the aristocracy / Mary and her husband, William were invited to be joint sovereigns of the English throne / James II was forced to abdicate and fled to France in 1688. / This was called the Glorious or Bloodless Revolution in England2) After that England gradually became a constitutional monarchy, and power passed from the king to the parliament and the cabinet.2. Religious ConflictsWith the triumph of the Glorious Revolution, the conflicts were very intense between the Anglican Church and its two adversaries – Protestant Dissenters and Roman Catholics. Finally England was firmly established as a dominantly Protestant nation. In the late 17th century, Deism⾃然神教admitted their belief in a Supreme Being or the God as the creator of the world, but they glorified reason and so rejected the so-called “revealed”religious truth.(reason underlying the so-called “revealed”religious truth)3. The Rapid Expanding of the British Empirethe defeat of the Holland navy; a series of victories over France / the Act of Union of 1707 – Great Britain / from Canada in the west to India in the east / Swift, Burke, Sheridan and Goldsmith (from Ireland); Thomson, Boswell, Hume and Burns (from Scotland).4. The Industrial Revolutionthe discovery of the Laws of Gravitation by Newton; steam engine (James Watt); te xtile machines… / the Enclosure 5. Two-Party Politics (The Tory and the Whig)the Tory (conservative) defended the kingship, the old traditions and the noble country families / the Whig (liberal) sought toincrease the powers of the Parliament and to advance commerce and education.6. Connection between Politics and Literaturepolitical pamphlets / literary men were eager to offer their services in shaping the government7. The American War of Independence and the French Revolution (1789-1794)The century closed, however, with revolutions, exploding in the American colonies and in France. Though these outbursts of revolutionar y movements did not change England’s position as a big industrial and capitalist power, they had the most far-reaching influences upon men’s thoughts and were left most deeply in literature, esp in the literature of the Age of Romanticism which followed.III. Enlightenment启蒙运动and its effects on English literature1. It was a progressive intellectual movement throughout Western Europe in the 18th and Russia in the 19th centuries. The movement was, on the whole, an expression of the struggle of the bourgeoisie against feudalism. The enlighteners fought against class inequality, stagnation停滞, prejudices and other feudal survivals.2. The enlightenment was so called because it considered the chief means for the betterment of the society was the―enlightenment‖ or ―education‖ of the people. In other words they believed in the power of reason and their watchword was ―common sense‖. That is why the 18th century in England has often been called ―the Age of Reason‖. Most of the enlightenment thinkers believed that social problems could not be solved by church doctrines or by the power of God but should be solved with human intelligence.3. Most of the important writers of the 18th century belonged to the enlightenment. In their works these writers criticized different aspects of contemporary England, discussed social problems and the management of the government, and some even partly defended the interests of the exploited laboring masses, the peasants, and the working people in the cities. The literature of the Enlightenment in England mainly appealed to the middle class readers.IV. Neo-Classicism1. Neoclassicism was a reaction against the intricacy 复杂and occasional obscurity晦涩, boldness and the extravagance of European literature of the late Renaissance, and in favor of simplicity, clarity, restraint, regularity and good sense. In England, neoclassicism was initiated by Dryden, culminated in Pope and continued by Johnson.2. The writers were considered neoclassic because they modeled themselves on classical Greek or Latin authors in order to achieve perfect form in literature. The general tendency of neoclassical literature was to look at social and political life critically, to emphasize intellect rather than imagination, the form rather than the content of a sentence.3. Chief characteristics of Neoclassic literature1) The neoclassic writers manifested a strong traditionalism, which was clearly shown in their immense respect for classical writers.2) The neoclassic believed that literature was primarily an ―art‖, which must be perfected by long study and practice. They laid much emphasis on the correct, the appropriate, on restraint and discipline, paid much attention to their style, and respected the established rules of their art.3) The neoclassic regarded poetry as imitation of human life –a mirror up to nature. Emphasis was placed on what human beings possess in common （共性）–representative characteristics, and widely shared experiences, thoughts, feelings and tastes.4) The neoclassic believed that the poet is the maker – the maker of the representative images of human actions and of the world, and the purpose for which he makes this image of life is to teach. In order to teach effectively, he must please the reader by his fictions, and by all the ornaments of language, metrics and rhetoric that belong to his craft. This concept of the nature of the poet inevitably determines the didactic, satirical, artificial and orderly qualities of neoclassicism.5) The neoclassic deduced 演绎rules from the practice of early masters and invented new rules of their own.In drama, they adhered to the three unities of time, place and action, regularity in construction, and the presentation of types rather than individuals.In di ction, they highly regarded ―witty‖ expressions. They preferred the use of artificial and stock diction. ?In poetry, they demanded it to follow the ancient divisions: lyric, epic, didactic, satiric or dramatic, and each class should be guided by its own principles.In versification诗律, the age was famous for its ―closed heroic couplet‖, that is, two rhyming lines of iambic pentameter which contains within itself a complete statement and so is closed by a semicolon, period, question mark, or exclamation point.The neoclassic poetry differs from that of the Elizabethan Age in three ways. First, it is more formal, with its demand to follow exact rules, while the Elizabethans wrote in a more natural style sometimes without regard to rules; second, it is more artificial, polished, prosaic单调的, and dull and lacks the creative vigor of the Elizabethans; third, the chief poetic form of neoclassicism is heroic couplet which replaced the variety of forms in the Elizabethan Age.4. The literature of the Neoclassic Age (1660-1784)1) the first, extending to the death of Dryden in 1700, may be thought of as the period in which English ―neoclassical‖literature came into being and its critical principles were formulated; the second, ending with the death of Pope in 1744 and of Swift in 1745, brought to its culmination the literary movement; the third, concluding with the death of Johnson in 1784 and the publication of William Cowper’s The Task in 1785, was a period in which neoclassical principles gradually petered out 耗尽and were replaced by the Romantic Movement.Chapter 15 The 18th Century PoetryI. Alexander Pope (1688-1744)1. Life StoryBorn in London of a successful merchant’s family, of Roman Catholic faith / weak and crippled from childhood / did not have regular schooling but was taught at home by a priest / his only amusement was reading and writing. He taught himself by reading and translating Latin, French, Italian, and Greek poets, with the help of dictionaries and grammar books. Pope began to write poems when he was only 12.2. His Poems1) the first groupdidactic and philosophical poems, including Essay on Criticism (1711); Moral Essays (1731); An Essay on Man (1734);2) The second group contains his poems of social satires, such as the Rape of the Lock (1714); An Heroic-Comical Poem and The Dunciad3) The third group is composed of his translations of Homer’s Iliad and Odyssey.3. His Influences1) He had a brilliant wit, a sharp critical sense, and a deadly pen. He brought the neoclassicism in England to its climax.2) In his hands, the heroic couplet achieved all the finish, elegance, wit and pointedness which the form invited.3) As a technician in English verse 韵⽂he has never been excelled, and he occupied such a prominent place in the literary world of his time that not infrequently the literary epoch of early 18th century has been named after him as “The Age of Pope”. After his time, esp since the 19th century, Pope has been much criticized and some critics have called him a versifier and not a poet, meaning that he wrote clever and standardized but very mechanical sort of verse which had not flights of poetic imagination. Bla ke summarized him as ―elegant formalism‖. Byron, however, thought highly of him, defended him, and was much under his influence. Nowadays he is rated by some critics as second only to Shakespeare and Milton, and the equal of Wordsworth.II. Thomas Gray (1716-1771)The most scholarly and well-balanced of all the early romantic poets and the most outstanding of the minor poets of the mid-18th century.1. Life StoryBorn in London / educated first at Eton and then at Cambridge / spend 2 years on a grand tour of the European Continent / after graduation he continued to live at Cambridge and was appointed professor at Cambridge.2. His WorksOn Spring;。
English-LiteratureII英国文学PPT课件
Three years later, in 1790, he visited Revolutionary France and supported the Republican movement. The following year, he graduated from Cambridge.
6
Poet Laureate :
桂冠诗人（英语：）是经由政府官方任命 的诗人及其称号。
Therefore, it is like a ‘national’ poet
A poet laureate is a poet officially appointed by the government of a country. He or she is responsible for writing poems for special occasions in that country
In 1783 his father, who was a lawyer died.
Although many aspects of his boyhood were positive, he remembered times of loneliness and sadness. It took him many years, and much writing, to recover from the death of his parents.
4
浪漫主义重视民间艺术、自然以及传统， 主张一个根基于自然的知识论，以自然的 环境来解释人类的活动，包括了语言、传 统、习俗。浪漫主义受到了启蒙运动的理 念影响，也吸收了中世纪文化复古的艺术 成分。“浪漫”一词来自于“romance”—代 表了源于中世纪文学和浪漫文学里颂扬英 雄的诗赋风格。
《英国浪漫主义文学》课件
18世纪末至 19世纪初， 英国社会变 革剧烈，工 业革命、政 治改革等推 动了社会进 步
浪漫主义文 学反对古典 主义，强调 个性解放和 情感表达
浪漫主义文 学受到德国 古典哲学、 法国启蒙运 动等思想的 影响
浪漫主义文 学强调自然、 情感、想象 力和个性， 反对理性、 逻辑和传统
浪漫主义文 学的代表人 物有拜伦、 雪莱、济慈 等
艺术特色：浪漫主义风格， 充满激情和想象力
影响：对欧洲文学和思想 产生了深远影响
评价：被誉为英国浪漫主 义文学的代表作之一
《末日审判》赏析
作者：威廉·布莱克 创作背景：18世纪末，英国工业革命时期 主题：对工业革命的批判和对人类未来的思考 艺术特色：象征主义、寓言、神话和宗教元素 影响：对后世文学和艺术产生了深远影响
文学运动的影响
推动了英国文学的发展
影响了欧洲其他国家的文学
促进了浪漫主义文学的繁荣
对后来的文学流派产生了影响
英国浪漫主义文学的特点
章节副标题
情感表达
强调个人情感和内心世界的表达 追求自由、平等、博爱的价值观 反对理性主义和功利主义 强调自然和人性的和谐统一
自然主题
强调自然与人的和谐共生
强调自然对人的启示和影响
出版时间：1798年
内容：描绘自然风光，表达对自然和人性的热爱
艺术特色：运用象征、隐喻等手法，表达诗人的情感和思想
影响：对英国浪漫主义文学产生了深远影响，被誉为“英国浪漫主义 文学的开山之作”
《恰尔德·哈洛尔德游记》赏析
作者：拜伦
创作背景：19世纪初的 欧洲社会动荡
主题：追求自由、反抗压 迫
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描绘自然风光，表达对自然的热 爱和赞美
英国浪漫主义文学共34页
11、用道德的示范来造就一个人，显然比用法律来约私的，对谁都一视同仁。在每件事上，她都不徇私情。—— 托马斯
13、公正的法律限制不了好的自由，因为好人不会去做法律不允许的事 情。——弗劳德
14、法律是为了保护无辜而制定的。——爱略特 15、像房子一样，法律和法律都是相互依存的。——伯克
1、最灵繁的人也看不见自己的背脊。——非洲 2、最困难的事情就是认识自己。——希腊 3、有勇气承担命运这才是英雄好汉。——黑塞 4、与肝胆人共事，无字句处读书。——周恩来 5、阅读使人充实，会谈使人敏捷，写作使人精确。——培根
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Did He who made the Lamb make thee?
Tiger! Tiger! burning bright
In the forests of the night,
What immortal hand or eyes
Dare frame thy fearful symmetry?
照亮了心灵上空
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？
（二）前期代表：“湖畔派诗人”Lake Poets
The smiles that win, the tints that glow
But tell of days in goodness spent,
A mind at peace with all below,
A heart whose love is innocent.
I saw thee weep我见过你哭
I saw thee weep—the big bright tear
我见过你哭——晶莹的泪珠
Came o’er that eye of blue；
从蓝眼睛滑落
And then me thought it did appear
像一朵梦中出现的紫罗兰
A violet dropping dew
滴下清透的露珠
第三节
英国浪漫主义文学
一、19世纪初期的英国
工业革命、海上霸权和殖民扩张
资产阶级民主运动高涨
二、英国浪漫主义文学概况
19世纪中期前，英国人一直用Romantic来指中世纪的骑士故事，没有人自称是“浪漫派”的。
1813年，斯塔尔夫人的《论德国》在伦敦出版后，施莱格尔关于“古典的”和“浪漫的”的划分才为英国人所知。
在林中，在天空。
为了找你，
我到处游荡，
穿过树林和草场，
你仍是一个憧憬，
一种爱恋，
引人悬念却无法看见。
我却能听见你的歌声，
我能躺在草地上倾听，
我听着，
直到那黄金的时光，
重新回到我的身旁。
啊，幸福的鸟儿，
我们漫游在大地上，
似乎再现缥缈的仙境，
那正是你向往的地方。
代表作《丁登寺旁》（Tinter Abbey）
1、华兹华斯Wordsworth（1770-1850）
“自然诗人”
“诗是人和自然的形象”
昆布兰湖区;与柯勒律治合著《抒情歌谣集》
《抒情歌谣集·再版序言》（1800年）发表了英国浪漫主义文学的宣言
（1）强调诗歌对人的内心世界的发掘：“所有的好诗，都是强烈感情的自然流露”；
（2）写作方法上，主张发挥诗人的想象力：“用想象的光彩使日常的东西在不平常的状态下显现在心灵面前”;采用朴实生动的民间语言，即“人们真正用着的语言”。
闪现的灵活光彩
As clouds from yonder sun receive
就如同夕阳为远方的云朵
A deep and mellow dye
染上绚烂的色彩
Which scarce the shade of coming eve
缓缓而来的暮色也不能
Can banish from the sky
将霞光逐出天外
恬静的、涵容一切的胸怀！
蕴蓄着真纯爱情的心田！
She walks in beauty, like the night
Of cloudless climes and starry skies,
And all that’s best of dark and bright
Meet in her aspect and her eyes,
Could frame thy fearful symmetry?
In what distant deeps or skies
Burnt the fire of thine eyes?
On what wings dare he aspire?
What the hand dare seize the fire?
主要成就是诗歌;表现为对18世纪理性主义的反动;与法国大革命同步，崇尚自然，推崇想象
（一）先驱作家
1、彭斯苏格兰民族诗人《一朵红红的玫瑰》
2、布莱克
英国浪漫主义文学先驱，他最早用浪漫主义手法写诗
《天真之歌》《经验之歌》
英国画家Thomas Phillips于1807年所绘的布莱克肖像
The Ancient of Days (aka God as an Architect)
明与暗的最美的形相
凝聚于她的容颜和眼波，
融成一片淡雅的清光——
浓艳的白天得不到的恩泽。
多一道阴影，少一缕光芒，
都会有损于这无名之美；
美在她缕缕黑发间飘荡，
也在她颜面上洒布柔辉；
愉悦的思想在那儿颂扬
这神圣寓所的纯洁高贵。
安详，和婉，富于情态——
在那脸颊上，在那眉宇间，
迷人的笑容，照人的光彩，
显示温情伴送着芳年，
And what shoulder, and what art,
Could twist the sinews of thy heart?
And when thy heart began to beat,
What dread hand and what dread feet?
What the hammer? What the chain?
来自大洋和清新的空气，
来自蓝天和人的心灵，
一种努力，一种精神，推动
一切有思想的东西，一切思想的对象，
穿过一切东西而运行。所以我仍然
热爱草原，树林，山峰，
一切凭眼和耳所能感觉到的
这个神气的世界，既有感觉到的，
也有想象所创造的。我高兴地发现：
在大自然和感觉的语言里
我找到了最纯洁的思想的支撑，心灵的保姆，
还是只称你为飘荡的声音？
当我躺在草场上，
听到你那重迭的声音，
似乎从这山传过那山，
一会儿远，一会儿近。
对着充满阳光和鲜花的山谷
你细语频频，
你向我倾诉着
一个梦幻中的事情。
十二分的欢迎你，
春天的宠儿，
对于我你不是鸟儿，
你只是一个看不见的东西，
一个声音，一个谜。
这声音我听过，
那时我还是学童，
这声音，
曾使我到处寻觅，
正好直射着桅杆的尖顶,
大小不过像一个月亮。
“过了一天,又是一天,
我们停滞在海上无法动弹;
就像一幅画中的航船,
停在一幅画中的海面。
“水呵水,到处都是水,
船上的甲板却在干涸;
水呵水,到处都是水,
却没有一滴能解我焦渴。
“大海本身在腐烂,呵上帝!
这景象实在令人心悸!
一些长着腿的粘滑的东西,
在粘滑的海面上爬来爬去。
“当艳阳高照不再又暗又红,
而像上帝头上灿烂的光轮,
大家又改口说我做得对,
应该射死那带来迷雾的信天翁。
“惠风吹拂,白浪飞溅,
船儿轻快地破浪向前;
我们是这里的第一批来客,
闯进这一片沉寂的海面。
“风全停了,帆也落了,
四周的景象好不凄凉;
只为打破海上的沉寂,
我们才偶尔开口把话讲。
“正午血红的太阳,高悬在
灼热的铜黄色的天上,
I saw thee smile—the sapphire's blaze
我见过你笑——连蓝宝石的光芒
Beside thee ceased to shine
也因你而失色
It could not match the living rays
它怎能比得上在你凝视的眼神中
That filled that glance of thine
引导，保护着，我整个道德生命的灵魂。
2、柯勒律治（Samuel Coleridge ,1772-1834）
力求把离奇古怪的轶事描写得逼肖现实生活
《老水手》（《古舟子咏》）
“我干了一件可怕的事情,
它使全船的人遭到了不幸;
他们都说我射死了那头鸟,
正是它带来了海上的和风。
他们咒骂我,这个恶棍,
他不该杀死那头信天翁!
19世纪末，“浪漫的”才为大家所悉用，运用到许多著名诗人的研究上。
直到现代，艾略特还指出“古典的”与“浪漫的”区别就是“完整和片断的，已成熟和未成熟的，有秩序和混乱的之间的区别”。
20世纪80年代出版的《英国文学史》，谈到19世纪初的诗歌派别，只指出具体的“湖畔派”、“恶魔派”，没有用“浪漫主义”一词。
老虎（郭沫若译）
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？
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？
Thus mellow’d to that tender light
Which heaven to gaudy day denies.
One shade the more, one ray the less,
Had half impair’d the nameless grace
Which waves in every raven tress,