柯勒律治和司各特
英国文学文学作家及作品汇总
The Tempest暴风风雨;The Two Gentlemen of Veronaz维罗纳二绅士;The Mercy Wives of Windsor温莎的风流妇人;Measure for Measure恶有恶报;The Comedy of Errors错中错;Much Ado about Nothing无事自扰;Love’s Labour’s Lost空爱一场;A Midsummer Night’s Dream仲夏夜之梦;The Merchant of Venice威尼斯商人;As You Like It如愿;The Taming of the Shrew驯悍记;All’s Well That Ends Well皆大欢喜;Twelfth Night第十二夜;The Winter’s Tale冬天的故事;The Life and Death of King John/Richard the Second/Henry the Fifth/Richard the Third约翰王/理查二世/亨利五世/理查三世;The First/Second Part of King Henry the Fourth亨利四世（上、下）;The First/Second/Third Part of King Henry the Sixth亨利六世（上、中、下）;The Life of King Henry the Eighth亨利八世；Troilus and Cressida脱爱勒斯与克莱西达;The Tragedy of Coriolanus考利欧雷诺斯;Titus Andronicus泰特斯·安庄尼克斯;Romeo and Julet罗密欧与朱丽叶；Timon of Athens雅典的泰门;The Life and Death of Julius Caesar;朱利阿斯·凯撒；The Tragedy of Macbeth麦克白;The Tragedy of Hamlet哈姆雷特/王子复仇记;King Lear李尔王;Othello奥塞罗;Antony and Cleopatra安东尼与克利欧佩特拉;Cymbeline辛白林;Pericles波里克利斯;Venus and Adonis维诺斯·阿都尼斯;Lucrece露克利斯;The Sonnets十四行诗
外国文学题库(浪漫主义和现实主义部分)
浪漫主义部分题库一填空题1、为欧美浪漫主义文学提供了思想理论基础的学说是德国古典哲学和空想社会主义。
2、１８世纪英国的感伤主义文学和卢梭对感情抒发的崇尚，为１９世纪浪漫主义文学的兴起铺平了道路。
3、１７９８年，华兹华斯和柯勒律治发表了《抒情歌谣集》，这是英国浪漫主义兴起的标志。
4、浪漫主义的理论策源地在德国。
施莱格尔兄弟是德国早期浪漫主义的重要理论家，他们也是在１７９８年创办了《雅典娜神殿》，在这本杂志上发表了一系列研究和宣言，以及一批诗人的作品。
5、彭斯的《苏格兰方言诗集》达到了１８世纪英国诗歌的高峰。
6、布莱克的《天真之歌》以“羔羊”为典型，抒写温柔仁爱的理想世界；《经验之歌》以“老虎”为典型，表现对黑暗社会的不满。
7、济慈以夜莺的歌声象征幻想世界中永恒的欢乐，同现实世界中人生短暂、好景不长相对照的抒情诗是《夜莺颂》。
8、司各特的小说《艾凡赫》塑造了绿林英雄罗宾汉的形象。
9、童话《灰姑娘》、《白雪公主》出自于格林兄弟编成的《儿童与家庭童话集》。
10、夏多布里昂的短篇小说《勒内》塑造了一个患“世纪病”者的典型。
11、被誉为第一位俄国抒情诗人的是茹科夫斯基。
12、莱蒙托夫的小说《当代英雄》塑造的“多余人”形象是毕巧林。
13、库柏是美国民族文学的奠基人之一，他开创了以《皮袜子故事集》为代表的边疆传奇小说，最重要的一部是《最后一个莫希干人》。
14、霍桑在《红字》、《教长的黑面纱》等作品中挖掘的是“隐秘的恶”。
15、华兹华斯的《〈抒情歌谣集〉再版序言》被称为英国浪漫主义诗歌的“美学宣言”。
16、被称为科幻小说之父的作家是凡尔纳。
17、雨果的第一部诗集是《颂歌与民谣集》。
18、雨果在1827年发表的浪漫主义文学的宣言书是《〈克伦威尔〉序言》。
19、在《〈克伦威尔〉序言》中，雨果提出了一条新的美学原则：对照。
20、雨果在《巴黎圣母院》中塑造的善良和美的化身是爱丝梅哈达；教会势力的代表是克洛德副主教；外貌丑、内心美的下层人物是加西莫多。
外国文学史第一章19世纪浪漫主义文学
十九世纪浪漫主义文学一、单项选择题1．德国最早的一个浪漫主义文学流派是（）。
A．海德堡浪漫派B．耶拿派C．湖畔派D．“自然派”2．1805年左右，德国一批作家在海德堡创办了《隐士板》形成的文学流派是（）。
A．耶拿派B．湖畔派C．海德堡浪漫派D．“自然派”3．德国第一次提出浪漫主义名称，并且系统阐述了期浪漫主义文学主张的作家是（）。
A．格林兄弟B．施莱格尔兄弟C．诺瓦利斯D．蒂克4．海涅结束了浪漫主义在德国文学的统治地位的论著是（）。
A．《<克伦威尔>序言》B．《论浪漫派》C．《拉辛和莎士比亚》D．《拉奥孔》5．拉涅的早期代表作是（）。
A．《德国——一个冬天的神话》B．《西里西亚的纺织工人》C．《论浪漫派》D．《罗曼采罗》6．英国“湖畔派”中成就最高的诗人是（）A．华兹华斯B．柯勒律治C．骚塞D．司各特7．被恩格斯称为“天才的预言家”的英国浪漫主义诗人市（）。
A．拜伦B．雪莱C．济慈D．华兹华斯8．首先体现雪来“预言”的长诗是（）。
A．《麦布女王》B．《伊斯兰起义》C．《解放了的蒲罗米修斯》D．《西风颂》9．名句“冬天来了，春天还会远吗？”出自《西风颂》，这首诗的作者是（）。
A．拜伦B．雪莱C．济慈D．华兹华斯10．司各特是19世纪前30年英国最主要的作家之一。
1833年司各特的去世标志着（）。
A．英国浪漫主义的开始B．英国浪漫主义的结束C．英国现实主义的开始D．英国现实主义的结束11．《傲慢与偏见》的作家是（）。
A．司各特B．济慈C．哈代D．奥斯丁12．标志浪漫主义对古典主义的最后胜利的是剧作《欧那尼》的演出，这部剧作的作者是（）。
A．拜伦B．雪莱C．雨果D．席勒13．《阿达拉》和《勒内》两部中篇小说的作者是（）。
A．拉马丁B．维尼C．夏多布里昂D．大仲马14．法国文学中第一个“世纪病”的形象是（）。
A．欧那尼B．勒内C．夏克塔斯D．黛尔菲娜15．两部有自传性的小说《黛尔菲娜》和《柯丽娜》的作者是（）。
欧洲浪漫主义文学之一：概况2
欧洲浪漫主义文学之一：概况2欧洲浪漫主义文学之一：概况23.消极浪漫主义文学概况消极浪漫主义文学，率先出现在封建落后和唯心主义哲学盛行的德国，并在19世纪20年代前主宰欧洲文坛。
德国浪漫主义理论家弗利德里希.史雷格尔(1772-1829）提出诗人应" 任凭兴之所至" ，" 不受任何规律的约束" 的同时，又竭力颂扬"中世纪的创造性的幻想" 及" 不可见的世界、神性和纯粹的精灵" ，并把" 基督教哲学" 和" 神的启示" 当作世间万有的" 最高知识"。
德国作家诺伐里斯(1772-1801）在长诗《夜的颂歌》(1800）中，则通过诗人渴望跟死去的年轻妻子结合的情景，通篇用迷醉的语言歌颂黑夜的无限和死亡的永恒。
在复辟与反复辟斗争异常激烈的法国，消极浪漫主义文学也率先在19世纪初出现。
法国作家夏多布里昂(1768～1848）不但在论文《基督教的真谛》(1802）中狂热歌颂宗教精神，肆意攻击启蒙思想，而且在小说《阿拉达》(1802）中，借一个信奉天主教的混血女子阿拉达爱上一个印第安异教徒夏克大，并毅然为宗教殉身的故事，歌颂宗教不但可以战胜爱情的要求，而且可以战胜死亡的恐惧。
稍后的法国诗人拉马丁(1790 -1869）在其诗作《沉思集》(1820）中，也同样用很大篇幅来描写他对宗教的沉思和对上帝的向往，在一切现象后都看到有上帝的存在。
就是在进行过产业革命的英国，因政府政治倾向反动，社会矛盾空前尖锐，这时期消极浪漫主义文学也十分盛行。
"湖畔派"诗人华滋华斯(1770-1850)和柯勒律治(1772-1834)合著的《抒情歌谣集》(1798）虽也有对农民辛勤劳动的歌咏和来自民间的朴素生动语言的运用，但主导思想却是对封建宗法式农村的美化和对通过大自然以取得神的启示的追寻。
试论论柯勒律治的宗教思想_论文
试论论柯勒律治的宗教思想论文关键词:柯勒律治基替教宗教自由主义圣经评注论文摘要:柯勒律治是一位宗教思想家，他信奉的是一种自由的基替教.他反对当时的证据神学，对圣经评注采取一种自由的态度，认为神学应当制约当时过度的商业精神。
他的宗教思想对英国的广教会运动产生了重大影响。
柯勒律治(1772-1834)是一位多面的思想家。
就中国读者而言，他主要是以浪漫派诗人和文艺批评家的形象出现。
事实上，柯勒律治还是形而上学家、宗教思想家、政治理论家和社会批评家。
柯勒律治思想博杂，极富启发性，他撒下的种子在不同的土地上都结出了硕果。
本文主要探讨柯勒律治的宗教思想及其特点。
柯勒律治的女儿莎拉〃柯勒律治曾认为她父亲在宗教领域的变化是最大的。
柯勒律治最初接受的是正统的基督教教育，后来一度成为无信仰者，然后又成为上帝一位论者，最后又回归到国教立场，不过他信仰的是一种自由的基督教。
柯勒律治1772年出生于德文郡南部的小城奥特里圣玛丽()，早年在政治和宗教领域表现得比较激进，在基督慈幼学校学习时竟大胆地宣称自己是一名无信仰者。
进人剑桥大学耶稣学院之后，柯勒律治的思想显得愈加激进，他成为上帝一位论者。
在1795年《论天启宗教》的演讲文中，柯勒律治力图证明，上帝一位论是国教与无神论这两种极端立场的黄金分割，不但基于理性也基于启示。
诗作《宗教沉思》(1794-1796)清楚地表明，上帝一位论最适合于那些希望将耶稣的社会使命和纯粹理性的神学结合起来的人。
上帝一位论与当时的革命和改革协会联系密切，但是它对柯勒律治的主要吸引力在于它明晰的理性主义、人道主义信息以及它抛弃了迷信、神秘性和传统的教条。
事实上，在早年的诗作和政治作品中，柯勒律治在提及国教时，始终将之当作迷信、腐败和压制之源。
柯勒律治认为，未腐化的、纯洁的基督教是‚激进‛的宗教，真正的基督教学说颇似受到压迫的激进思想家的学说:‚我认为，贵族一般不会因一个人是真正的基督徒而更喜欢他，相反，他们会憎恨他不是一个名义上的基督徒。
柯勒律治简介及经典诗歌分析
Biography of Coleridge
After visiting Wales, Coleridge returned to England to find that Southey had become engaged to a woman named Edith Fricker. As marriage was an integral part of the plan for communal living in the New World, Coleridge decided to marry another Fricker daughter, Sarah. Coleridge wed in 1795. His marriage was unhappy and he spent much of it apart from his wife. During that period, Coleridge and Southey collaborated on a play titled The Fall of Robespierre (1795). While the pantisocracy was still in the planning stages, Southey abandoned the project to pursue his legacy in law. Left without an alternative plan, Coleridge spent the next few years beginning his career as a writer.
Biography of Coleridge
In June 1794, Coleridge met a poet Robert Southey, a fellow radical who would have an enormous influence on Coleridge. Together, the two young men planned to establish a utopian democratic community in America, which would be governed by what Coleridge termed “Pantisocracy”—equal rule by all, which involved in emigrating to the New World with ten other families to set up a commune on the banks of the Susquehanna River in Pennsylvania. Coleridge and Southey envisioned the men sharing the workload, a great library, philosophical discussions, and freedom of religious and political beliefs.
塞缪尔 泰勒 柯勒律治
Moxie
内容
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人物概要 人物历程 作品介绍 《古舟子咏》
人物概要
中文名：塞缪尔· 泰勒· 柯勒 律治 别名：湖畔派诗人 出生地：英格兰西南部德 文郡 英文名：Samuel Taylor Coleridge 籍贯：英格兰西南部德文郡 性别：男
《古舟子咏》（The Rime of the Ancient Mariner ）
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Questions：
塞缪尔· 泰勒· 柯勒律治的国籍是哪里？
英国（England）
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“湖畔派”三诗人是哪三位诗人？
塞缪尔· 泰勒· 柯勒律治（Samuel Taylor Coleridge）威廉· 华 兹华斯（William Wordsworth）罗伯特· 骚塞（Robert Southey）
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《古舟子咏》（The Rime of the Ancient Mariner ）
全诗是一个充满了奇幻之美的的航海故事。全诗探索人生 的罪与罚问题，诗人把热爱宇宙的万物泛神论思想和基督 教思想结合起来，宣传仁爱和基督教的赎罪思想。诗中的 水手的心理活动刻画得细致入微，老水手杀掉信天翁表示 他拒绝社会给他的礼物，他除掉了深爱自己并代表超自然 的事物，也就除掉了对这个世界的感情，最后水手内心发 生转变，以新的态度对待自然，为此他才得以解脱出来。
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Engraving of a scene from The Rime of the Ancient Mariner. The frozen crew and the albatross（信天翁） by Gustave Doré
A statue of the Ancient Mariner at Watchet Harbour（沃切特海港）, Somerset（萨默赛特）, England
Samuel Taylor Coleridge 柯勒律治
Life in Death
1798 The Rime of the Ancient Mariner《古舟子咏》 1798 Kubla Khan 《忽必烈汗》 1816 Christabel 《克丽斯塔贝尔》
Works
rheumatism（风湿病）, which gradually
destroyed his health, happiness and
poetic creativity
Death He died in Highgate, London on July 25, 1834 (62), providing his own epitaph（墓志铭）:
为她的魔鬼情郎而凄声嚎哭！
And from this chasm, with ceaseless turmoil seething,
巨壑下，不绝的喧嚣在沸腾汹涌，
As if this earth in fast thick pants were breathing,
似乎这土地正喘息在快速而猛烈的悸动中，
Graveyard （墓地）
• Beneath this sod
A Poet lies; or that which once was he.
O lift one thought in prayer (祷告)for S.T.C.
That he, who many a year with toil (辛苦)of
A few months later under the reason of "insanity" (精神病 ) and he was readmitted （再次接纳） to Jesus College, though he would never receive a degree from Cambridge.
英国文学史(浪漫主义时期)
英国文学史（浪漫主义时期）浪漫主义时期，其实从18世纪中叶已经开始了，罗伯特·彭斯和威廉·布莱克，开了个先河，到19世纪，华兹华斯拉开序幕，再到司各特去世，浪漫主义时代结束，其中鼎盛时期不过30多年，这一时期要讲的主要是六个诗人湖畔派诗人那三个较为消极的还有拜伦雪莱那一伙积极的，再加上浪漫主义时期的小说简·奥斯丁，还有一个司各特。
多的可能会补充。
这块先看看背景，再说一下，浪漫主义为什么会在英国兴起。
一、历史背景政治上来讲，当时英国的情况，应该是工业革命，资本主义迅速发展，成为世界工厂。
文化上面，当时法国大革命，启蒙思想已经到了高潮，人民追求自由、平等之思想已经到了极致，可是呢，法国大革命一结束，启蒙思想家所谓革命之后的理想社会，并没有出现，这个时候，整个社会，都弥漫着一股失望的情绪，对于原来古典主义所谓追求理性的观点，产生了排斥，不少作家开始，追求自我精神世界，强调自由、自然、自我，注重主观精神世界的表现。
这个时候，经过感伤主义和前浪漫主义时期的铺垫，浪漫主义时期来临，诗歌上面得到极大发展，当然流行的都是抒情诗（lyrics），最先开始就是以华兹华斯为代表的湖畔派诗人（Lake poets），这一派因为隐居于英国西北部的湖区得名，又应诗歌题材大多写田园生活，远离尘世，显得十分消极，华兹华斯和柯勒律治合编的《抒情歌谣集》（The lyrical ballads）下面先来讲一下，华兹华斯。
二、代表人物诗歌：1、挚爱自然的华兹华斯（William Wordsworth）华兹华斯出生于一个律师家庭，读书的时候，除了学习拉丁语和古典文学就是流连于山水之间，培养对自然的爱好，后来他去了剑桥大学读书，期间，研究斯宾塞，乔叟等人的文学，随后，徒步旅行到法国，被法国革命提出的“自由”、“平等”的口号所吸引，在那里住了一年多，随后“九月大屠杀”和雅各宾派的恐怖统治，大大地浇灭了他对于革命地热情，在朋友的帮助下，在湖区的乡舍中住了两年，这个时期基本热心于创作，期间还认识了柯勒律治，两个人经常相互切磋诗艺，1798年，就联手出版了《抒情歌谣集》，开一代诗风，诗集没出版的时候，华兹华斯就在致力于写作他自己的《序曲》（The Prelude ），后面就是在他离世之前，分别迁过两次，都在湖区住了七八年。
英国浪漫主义文学有哪些代表人物
英国浪漫主义文学有哪些代表人物所谓浪漫主义文学，是指在现实的基础上，以热情奔放的语言和丰富多彩的想象以及夸张直白的表现手法来抒发自我的人生理想和追求。
以下是店铺为你精心整理的英国浪漫主义文学的代表人物，希望你喜欢。
浪漫主义文学的代表人物消极浪漫主义代表人物诗人威廉?华兹华斯(William Wordsworth)(1770-1850)与萨缪尔?柯勒律治(Samuel Taylor Coleridge)(1772-1834)和罗伯特?骚塞(Robert Southey)(1774-1843)曾在英国西北部的昆布兰湖区居住，并在思想观点和创作理论上有不少相同之处，因此他们被称为“湖畔派”。
湖畔派三位诗人缅怀中世纪和宗法式的乡村生活，是浪漫主义文学中温婉清丽的代表。
这些诗人对法国大革命抱着矛盾的态度，对资本主义的工业文明和城市文明表示厌恶，竭力讴歌的是宗法制的农村生活和大自然，喜欢描写神秘离奇的情景与异国风光。
华兹华斯是湖畔派诗人中成就最高者，他与“湖畔派”另一诗人柯勒律治共同出版《抒情歌谣集》，成为英国浪漫主义文学的奠基之作。
诗集中收录的诗歌大部分为华兹华斯所做，而柯勒律治的名诗《古舟子咏》和《忽必烈汉》(《Kubla Khan》)亦收入其中，充满幻觉和奇谲的意象。
华兹华斯的诗歌描写湖光山色和田园生活，歌咏大自然的美，诗风淳朴，清新自然，被封为“桂冠诗人”。
然而华兹华斯这一时期最重要的作品则是长诗《序曲》。
骚塞的诗歌极富古之幽情，与世俗格格不入。
柯勒律治萨缪尔·泰勒·柯勒律治(1772—1834)既是英国浪漫主义思潮的主要代表，同时也是重要的理论家和评论家。
他强调形象思维和想象力，认为想象力是诗人的最高品质，诗歌具有了想象力才有灵魂。
真正的诗人都有想象力，庸才只有幻想。
但是他不同意华兹华斯，认为田园生活产生不了好的语言。
柯勒律治的代表作是《古舟子咏》，描写一位老水手的一次奇特航行经历。
塞缪尔柯勒律治
• 这首梦幻性的诗被最优秀的批评 家认为是最精美的。诗中有亚洲 的大汗、地下圣河、阴冷的大海 、森林、有围墙和寄望塔的宫殿 和御花园，还有操琴的非洲姑娘 以及啜饮甘露和天堂的灵感之泉 的诗人。在这首诗中，诗人用他 的想象力把这一切融合在一起。 虽然这部作品只有短短的54 行， 但它还是成为了世界有名的英语 诗歌。
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Creation Background
* Special historical background-- the Romantic period. * Poet’s unique art style. * Opium dream and the understanding of the orientation. * Coincidence of the encounter of the chanciness and the inevitability.
时代背景
• 忽必烈汗。闻名于世的英雄，有他的辉煌。有他的成就，他在整个历史的长 河里留下了他的足迹，他功绩显赫。在遥远的西方。人们带着一颗景仰的心 。一种朦胧的欣赏来看待这个大英雄。当科勒律治采用这个人物作为诗歌的 主题时。显示一种与众不同。一种新颖．这与诗歌中所要表达的一种独特的 美的艺术理论遥相呼应。
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赏析
上面讲到忽必烈汗下旨，在上都修建一座宫殿。这座宫 殿方圆十英里，青山环抱，芳草鲜美、绿英缤纷，旁边 有圣河流过，它穿过峡谷和洞窟一直通向“阴沉的大海 ”。一幅美不胜收的迷人景色。诗人选用了“decree”( 降旨)、“stately”(威严)、“sacred”（神圣）等词，渲染 帝王的尊贵；用“two five miles”(两个五英里)、 “measureless to man”(深不可测)、“walls and towers”( 高墙和塔楼)来描绘帝王的气派和尊严。 一连串的视觉意象（花园、小山、溪水、森林）以及一 系列的听觉意象（峡谷里声如鼎沸，喷泉、溶洞的融合 音响，喧嚣声中祖先悠远的声音）等，生动具体地呈现 了皇家宫苑的风貌，使人有身临其境之感。
浪漫主义文学的基本特征
浪漫主义文学的基本特征：①强烈的主观色彩，偏爱表现主观思想，注重抒发个人的感受和体验。
重主观，轻客观和重自我表现，轻客观模仿。
②喜欢描写和歌颂大自然。
（尤为突出）作者们喜欢将自己的理解人物置身于纯朴宁静的大自然中，衬托现实社会的丑恶及自身理解的美好。
③重视中世纪民间文学。
想象比较丰富、感情真挚、表达自由、语言朴素自然。
④注重艺术效果：异国青岛情调、对比、夸张、人物形象的超凡性。
一、德国文学：是浪漫主义的诞生地二、耶拿派：①德国最早的一个浪漫主义文学流派。
以施莱格尔兄弟为代表。
② 1798年到1800年间，他们创办的《雅典娜神殿》杂志上第一次提出了浪漫主义这个名称，并且系统地阐述了他们的浪漫主义文学主张：强调想象与情感，强调文学创作的绝对自由，追求宗教的神秘和象征感。
海德堡浪漫派：① 19 世纪一批作家在海德堡创办《隐士报》，形成了海德堡派。
②功绩：收集和整理德国民间文学。
阿尔尼姆和布伦塔诺收集编写的民歌集《儿童的奇异号角》，格林兄弟《儿童与家庭童话集》都是对德国民族文学的重要贡献。
【海涅】在浪漫主义影响下开始走上创作道路。
《论浪漫派》：它的发表，结束了浪漫主义在德国文学的统治地位。
《西里西亚纺织工人》：早期代表作。
《德国—一个冬天的童话》：（抒情长诗）后期代表作。
抒发了对德国封建制度和停滞的社会现实的仇恨与憎恶。
霍夫曼和莎米索的创作充满了神秘和怪诞的色彩。
二、英国文学：湖畔派（英国第一代浪漫主义诗人）：①英国最早出现的浪漫主义作家是“湖畔派”三诗人：华兹华斯、柯勒律治、骚塞。
②他们远离城市隐居在昆布兰湖区和格拉斯莱尔湖区，都喜欢歌颂大自然，描写宗法制农村生活，厌恶资本主义的城市文明和金钱关系。
【华兹华斯】湖畔派中成就最高《抒情歌谣集。
序》称为英国浪漫主义划时代的宣言。
《抒情歌谣》与柯勒律治合作。
【柯勒律治】喜欢描写超自然的人与事。
代表作《古舟子咏》英国第二代浪漫主义诗人（拜伦、雪莱）：【雪莱】雪莱注重对未来的描绘。
英国诗人柯勒律治简介
英国诗人柯勒律治简介塞缪尔·泰勒·柯勒律治(SamuelTaylorColeridge，1772-1834年)，英国诗人和评论家，他一生是在贫病交困和鸦片成瘾的阴影下度过的，诗歌作品相对较少。
下面是小编为大家整理的英国诗人柯勒律治简介，希望大家喜欢!柯勒律治生平简介塞缪尔·柯勒律治是英国著名的诗人和评论家，也是英国浪漫主义文学的开辟者。
他的一生坎坷艰难，是对诗歌的热爱支持他生活下来。
塞缪尔·柯勒律治出生于英国的德文郡，他的父亲是当地农村的牧师。
在他九岁的时候，他的父亲去世了，之后他被送到了慈善学校。
在那里他度过了8年的时间，并且交到了查尔斯·兰姆这个至交好友。
在1791年，他进入了剑桥大学读书，但是大学生活并没有为他带来任何愉悦，所以他在两年后从军了。
军队没有完全地接纳他，很快就将他退回了学校。
在1794年，他遇见了志同道合的罗伯特·骚塞。
他们两个人因为相同的爱好和追求而结为了好友。
两人合作写了一本关于罗伯斯庇尔与法国革命的剧本。
同年，塞缪尔·柯勒律治和萨拉·弗里克成婚。
后来，弗里克的妹妹还嫁给了骚塞，这让两人的关系更加亲近。
到1797年时，塞缪尔·柯勒律治用来不到一年的时间就完成了自己的诗作。
在1800年，他搬到了开士威克，和骚塞、华兹华斯成为了邻居。
同年，为了缓解风湿，他开始吸食鸦片。
这导致他妻子带着孩子与他离婚。
虽然他曾两次试图戒掉鸦片但都没有成功。
1816年，他一边在伦敦教授莎士比亚的诗歌，一边在詹姆士的帮助下戒毒。
在伦敦待了十八年后，他去世了。
柯勒律治代表作柯勒律治的一生十分贫困，并且深受鸦片的危害，虽然他曾经想要戒毒，但是没有成功。
正是这样的生活条件导致柯勒律治代表作品十分少。
在柯勒律治代表作中最著名的一篇是《古舟子咏》，这首诗是一首音乐叙事诗，总体表达了一个犯罪与赎罪的故事。
在这首诗中，讲述了一个古代的水手在航海中故意杀死了信天翁。
塞缪尔·泰勒·柯勒律治简历
塞缪尔·泰勒·柯勒律治简历塞缪尔u2022泰勒u2022柯勒律治（Samuel Taylor Coleridge，1772-1834年），英国诗人和评论家，他一生是在贫病交困和鸦片成瘾的阴影下度过的，诗歌作品相对较少。
尽管存在这些不利因素，柯勒律治还是坚持创作，确立了其在幻想浪漫诗歌方面的主要浪漫派诗人地位。
19岁进入剑桥大学攻读古典文学。
1794年，与骚塞合写《罗伯斯庇尔的失败》一剧。
当时两人都同情法国革命，但又都害怕革命暴力，于是设想去美洲建立乌托邦社会。
计划失败后柯尔律治移居英格兰部西部湖区，致力于写诗，并与华兹华斯结成密友。
他憎恶资本主义城市文明和冷酷的金钱关系，于是远离城市，隐居于昆布兰湖区，寄情山水或缅怀中世纪的宗法社会。
他们创作出歌颂大自然的或美化宗法制农村生活方式的诗篇，以抵制丑恶的资本主义现实。
因此被称为“湖畔派诗人”。
1798年，两人合作出版著名的《抒情歌谣集》,成为浪漫主义的宣言书。
同年他与华兹华斯兄妹到德国留学，被康德的哲学和耶拿派的诗歌理论和创作所吸引。
1809年创办《朋友》杂志。
以后大多写诗及批评文章，也曾在皇家学会讲演。
1817年发表了著名的《文学传记》，以文学批评为主，是他最完整的散文著作。
1818年作了一系列关于莎士比亚的讲演，后来收集为《关于莎士比亚讲演集》一书。
回国后继续居住于湖区，与华兹华斯保持往来。
柯尔律治年青时代即患有风湿痛等多种疾病。
为求镇痛他长期服食鸦片竟至上瘾，故健康大受损害。
晚年他贫病交加，1834年7月25日逝世于海格特。
柯尔律治的诗数量不多，但《古舟子咏》、《克里斯特贝尔》和《忽必烈汗》都脍炙人口，是英国诗歌中的瑰宝。
这些诗显示了柯尔律治创作的原则和特色，即以自然、逼真的形象和环境的描写表现超自然的、神圣的、浪漫的内容，使读者在阅读时“自动摒弃其不信任感”,而感到真实可信。
其他优秀诗篇如《青春与暮年》、《沮丧》、《寂寞中的恐惧》、《霜夜》、《无希望的工作》等，大多伤感、阴郁，表现了作者不幸的生活遭遇和抑郁的心情。
19世纪浪漫主义文学概述
四、英国文学 （一）第一代浪漫主义诗人：“湖畔派” 华兹华斯、柯勒律治、骚塞 （二）第二代浪漫主义诗人： 拜伦、雪莱和济慈 （三）司各特
英国人的特点
爱家、爱自然 这个岛国的每个人，自己就是一个岛 ——独立。
英国浪漫主义文学的两种风格
田园式的温柔——温柔、缠绵 华兹华斯、济慈 海盗式的暴烈——激烈、反叛 雪莱、拜伦
诺瓦利斯是德国早期浪漫主义在创作上 的主要代表，在《夜的颂歌》中，他沉
湎于神秘的世界，否定人生，歌颂黑夜
和死亡。他的理想是回到天主教占统治
地位的封建时代（13世纪）。
（二）海德堡派
1805 年 左 右 ， 一 批 作 家 在 海 德 堡 创 办 《隐士报》，形成了以海德堡为中心的 浪漫主义文学流派，代表人物有阿尔尼 姆和布伦塔诺等，其成就主要在于对德 国民间文学的搜集和整理。他们俩合编 的民歌集《儿童的奇异的号角》和格林 兄弟搜集、编写的《儿童与家庭童话集》 都很有名.。
（一）“湖畔派”
18世纪末、19世纪初，英国文学中出现了最早 的浪漫主义作家：华兹华斯、柯勒律治和骚塞。 他们歌颂大自然，描写宗法制农村生活，向往 中古时期的封建社会，厌恶资本主义的城市文 明和冷酷的金钱关系。因此他们远离城市隐居 在英国西北部昆布兰和格拉斯米尔湖区，由是 得名“湖畔派”。他们的诗作或讴歌宗法制的 农村生活和自然风景，或描写奇异神秘的故事 和异国风光，一般都是远离社会斗争的题材。
（四）所谓浪漫主义就是文学上的自由主
义 ——雨果 浪漫主义是在同古典主义的斗争中发展 起来的。 理性的 感性的 想象的 主观的 自由的
致大海——普希金
再见吧，自由的元素！/这是你最后一次在 我的眼前/滚动着蔚蓝色的波涛/闪耀着骄傲的 美色。 好像是朋友的忧郁的怨诉，/好象是他在 别离时的呼唤，/我现在最后一次倾听/你悲哀 的喧响，你召唤的喧响。 你是我心灵的愿望之所在呀！/我时常沿着 你的岸边，/一个人静悄悄地、朦胧地徘徊，/ 还因为那个隐秘的愿望苦恼着！ 我多么爱你的回音，/爱你阴沉的声调，你 悠远无尽的音响，/还有那黄昏时分的静寂，/ 和那反复无常的激情。
浪漫主义文学
浪漫主义文学的基本特征浪漫主义文学, 特征①强烈的主观色彩，偏爱表现主观思想，注重抒发个人的感受和体验。
重主观，轻客观和重自我表现，轻客观模仿。
②喜欢描写和歌颂大自然。
（尤为突出）作者们喜欢将自己的理解人物置身于纯朴宁静的大自然中，衬托现实社会的丑恶及自身理解的美好。
③重视中世纪民间文学。
想象比较丰富、感情真挚、表达自由、语言朴素自然。
④注重艺术效果：异国青岛情调、对比、夸张、人物形象的超凡性。
一、德国文学：是浪漫主义的诞生地耶拿派：①德国最早的一个浪漫主义文学流派。
以施莱格尔兄弟为代表。
②1798年到1800年间，他们创办的《雅典娜神殿》杂志上第一次提出了浪漫主义这个名称，并且系统地阐述了他们的浪漫主义文学主张：强调想象与情感，强调文学创作的绝对自由，追求宗教的神秘和象征感。
海德堡浪漫派：①19 世纪一批作家在海德堡创办《隐士报》，形成了海德堡派。
②功绩：收集和整理德国民间文学。
阿尔尼姆和布伦塔诺收集编写的民歌集《儿童的奇异号角》，格林兄弟《儿童与家庭童话集》都是对德国民族文学的重要贡献。
【海涅】在浪漫主义影响下开始走上创作道路。
《论浪漫派》：它的发表，结束了浪漫主义在德国文学的统治地位。
《西里西亚纺织工人》：早期代表作。
《德国—一个冬天的童话》：（抒情长诗）后期代表作。
抒发了对德国封建制度和停滞的社会现实的仇恨与憎恶。
霍夫曼和莎米索的创作充满了神秘和怪诞的色彩。
二、英国文学：湖畔派（英国第一代浪漫主义诗人）：①英国最早出现的浪漫主义作家是“湖畔派”三诗人：华兹华斯、柯勒律治、骚塞。
②他们远离城市隐居在昆布兰湖区和格拉斯莱尔湖区，都喜欢歌颂大自然，描写宗法制农村生活，厌恶资本主义的城市文明和金钱关系。
【华兹华斯】湖畔派中成就最高《抒情歌谣集。
序》称为英国浪漫主义划时代的宣言。
《抒情歌谣》与柯勒律治合作。
【柯勒律治】喜欢描写超自然的人与事。
代表作《古舟子咏》英国第二代浪漫主义诗人（拜伦、雪莱）：【雪莱】雪莱注重对未来的描绘。
2023年04月自考00540外国文学史押题及答案汇总第6章
2023年04月自考00540外国文学史押题及答案汇总西方文学第六章西方文学第六章单选11.1.欧洲历史小说的创始人是A.骚塞B.柯勒律治C.司各特D.华兹华斯答案:C解析:本题考查的知识点是19世纪现实主义英国文学。
瓦尔特·司各特是欧洲历史小说的创始人。
有《清教徒》《罗伯·罗埃》《罗沁中区的心脏》等。
2.2.主张“诗是强烈情感的自然流露”的诗人是A.柯勒律治B.雨果C.华兹华斯D.骚塞答案:C解析:本题考查的知识点是19世纪英国浪漫主义文学的湖畔诗人之一华兹华斯。
华兹华斯被授予“桂冠诗人”的称号，认为“诗是强烈情感的自然流露”。
3.3.“生命诚可贵，爱情价更高，若为自由故，二者兼可抛”的作者是A.拜伦B.惠特曼C.雪莱D.裴多菲答案:D解析:本题考查的知识点是19世纪东欧文学匈牙利作家裴多菲·山陀尔。
他是革命民主主义诗人，代表作《雅诺什勇士》，《自由与爱情》：“生命诚可贵，爱情价更高，若为自由故，二者兼可抛”。
4.4.俄国文学史上第一位抒情诗人是A.普希金B.雷列耶夫C.茹科夫斯基D.莱蒙托夫答案:C解析:本题考查的知识点是19世纪俄国浪漫主义文学。
茹科夫斯基是俄国文学史上第一位抒情诗人，是普希金的先驱。
有《俄国军营的歌手》。
5.5.写出“如果冬天来了，春天还会远吗？”这一著名诗句的诗人是A.拜伦B.雪莱C.缪塞D.兰波答案:B解析:本题考查的知识点是19世纪英国浪漫主义诗人雪莱。
雪莱有“如果冬天来了，春天还会远吗？”出自他的《西风颂》。
注：教材P1026.6.被称为“美国文学之父”的作家是A.欧文B.库柏C.霍桑D.爱伦·坡答案:A解析:本题考查的知识点是19世纪美国漫主义文学。
欧文是“美国文学之父”，代表作《见闻札记》。
短篇小说《瑞普·凡·温克尔》是优秀的作品。
7.7.提出“回到中世纪”口号的文学思潮是A.自然主义B.浪漫主义C.现实主义D.现代主义答案:B解析:本题考查的知识点是19世纪浪漫主义文学的特征。
SamuelTaylorColeridge柯勒律治简介
Samuel T aylor Coleridge柯勒律治简介1772-1834 Lyrical Ballads;The Fall of the Bastille巴士底狱的毁灭;The Rime of the Ancient Mariner老船夫;Kubla Khan忽必烈汗;Biographia Literaria-96文学传记Introductionborn Oct. 21, 1772, Ottery St. Mary, Devonshire, Eng.died July 25, 1834, Highgate, near LondonSamuel Taylor Coleridge, detail of an oil painting by Washington Allston, 1814; in the National …English lyrical poet, critic, and philosopher. His Lyrical Ballads, written with William Wordsworth, heralded the English Romantic movement, and his Biographia Literaria (1817) is the most significant work of general literary criticism produced in the English Romantic period.Early life and works.Coleridge's father was vicar of Ottery and headmaster of the local grammar school. As a child Coleridge was already a prodigious reader, and he immersed himself to the point of morbid fascination in romances andEastern tales such as The Arabian Nights' Entertainments. In 1781 his father died suddenly, and in the following year Coleridge entered Christ's Hospital in London, where he completed his secondary education. In 1791 he entered Jesus College, Cambridge. At both school and university he continued to read voraciously, particularly in works of imagination and visionary philosophy, and he was remembered by his schoolmates for his eloquence and prodigious memory. In his third year at Cambridge, oppressed by financial difficulties, he went to London and enlisted as a dragoon under the assumed name of Silas Tomkyn Comberbache. Despite his unfitness for the life, he remained until discovered by his friends; he was then bought out by his brothers and restored to Cambridge.On his return, he was restless. The intellectual and political turmoil surrounding the French Revolution had set in motion intense and urgent discussion concerning the nature of society. Coleridge now conceived the design of circumventing the disastrous violence that had destroyed the idealism of the French Revolution by establishing a small society that should organize itself and educate its children according to better principles than those obtaining in the society around them. A chance meeting with the poet Robert Southey led the two men to plan such a “pantisocracy” and to set up a community by the Susquehanna River in Pennsylvania. To this end Coleridge left Cambridge for good and set up with Southey as a public lecturer in Bristol. In October 1795 he married Sara Fricker, daughter of a local schoolmistress, swayed partly by Southey's suggestion that he was under an obligation to her since she had been refusing the advances of other men.Shortly afterward, Southey defected from the pantisocratic scheme, leaving Coleridge married to a woman whom he did not really love. In a sense his career never fully recovered from this blow: if there is a makeshift quality about many of its later events, one explanation can be found in his constant need to reconcile his intellectual aspirations with the financial needs of his family. During this period, however, Coleridge's intellect flowered in an extraordinary manner, as he embarked on an investigation of the nature of the human mind, joined by William Wordsworth, with whom he had become acquainted in 1795. Together they entered upon one of the most influential creative periods of English literature. Coleridge's intellectual ebullience and his belief in the existence of a powerful “life consciousness” in all individuals rescued Wordsworth from the depression into which recent events had cast him and made possible the new approach to nature that characterized his contributions to Lyrical Ballads (which was to be published in 1798).Coleridge, meanwhile, was developing a new, informal mode of poetry in which he could use a conversational tone and rhythm to give unity to apoem. Of these poems, the most successful is “Frost at Midnight,” which begins with the description of a silent frosty night in Somerset and proceeds through a meditation on the relationship between the quiet work of frost and the quiet breathing of the sleeping baby at the poet's side, to conclude in a resolve that his child shall be brought up as a “child of nature,” so that the sympathies that the poet has come to detect may be reinforced throughout the child's education.At the climax of the poem, he touches another theme, which lies at the root of his philosophical attitude:. . . so shalt thou see and hearThe lovely shapes and sounds intelligibleOf that eternal language, which thy GodUtters, who from eternity doth teachHimself in all, and all things in himself.Coleridg e's attempts to learn this “language” and trace it through the ancient traditions of mankind also led him during this period to return to the visionary interests of his schooldays: as he ransacked works of comparative religion and mythology, he was exploring the possibility that all religions and mythical traditions, with their general agreement on the unity of God and the immortality of the soul, sprang from a universal life consciousness, which was expressed particularly through the phenomena of human genius.While these speculations were at their most intense, he retired to a lonely farmhouse near Culbone, Somersetshire, and, according to his own account, composed under the influence of laudanum the mysterious poetic fragment known as “Kubla Khan.” The ex otic imagery and rhythmic chant of this poem have led many critics to conclude that it should be read as a “meaningless reverie” and enjoyed merely for its vivid and sensuous qualities. An examination of the poem in the light of Coleridge's psychological and mythological interests, however, suggests that it has, after all, a complex structure of meaning and is basically a poem about the nature of human genius. The first two stanzas show the two sides of what Coleridge elsewhere calls “commanding genius”: it s creative aspirations in time of peace as symbolized in the projected pleasure dome and gardens of the first stanza; and its destructive power in time of turbulence as symbolized in the wailing woman, the destructive fountain, and the voices prophesying war of the second stanza. In the final stanza the poet writes of a state of “absolute genius” in which, if inspired by a visionary “Abyssinian maid,” he would become endowed with the creative, divine power of a sun god—an Apollo or Osiris subduing all around him to harmony by the fascination of his spell.Coleridge was enabled to explore the same range of themes less egotistically in “The Rime of the Ancient Mariner,” composed during the autumn and winter of 1797–98. For this, his most famous poem, he drew upon the ballad form. The main narrative tells how a sailor who has committed a crime against the life principle by slaying an albatross suffers from torments, physical and mental, in which the nature of his crime is made known to him. The underlying life power against which he has transgressed is envisaged as a power corresponding to the influx of the sun's energy into all living creatures, thereby binding them together in a joyful communion. By killing the bird that hovered near the ship, the mariner has destroyed one of the links in this process. His own consciousness is consequently affected: the sun, previously glorious, is seen as a bloody sun, and the energies of the deep are seen as corrupt.All in a hot and copper sky,The bloody Sun, at noon,Right up above the mast did stand,No bigger than the Moon.. . . . . . . . . . . . . . . . . . . . . . . .The very deep did rot; O Christ!That ever this should be!Yea, slimy things did crawl with legsUpon the slimy sea.Only at night do these energies display a sinister beauty.About, about, in reel and routThe death-fires danced at night;The water, like a witch's oils,Burnt green, and blue and white.After the death of his shipmates, alone and becalmed, devoid of a sense of movement or even of time passing, the mariner is in a hell created by the absence of any link with life. Eventually, however, a chance sight of water snakes flashing like golden fire in the darkness, answered by an outpouring of love from his heart, reinitiates the creative process: he is given a brief vision of the inner unity of the universe, in which all living things hymn their source in an interchange of harmonies. Restored to his native land, he remains haunted by what he has experienced but is at least delivered from nightmare, able to see the ordinary processes of human life with a new sense of their wonder and mercifulness. These last qualities are reflected in the poem's attractive combination of vividness and sensitivity. The placing of it at the beginning of Lyrical Ballads was evidently intended to provide a context for the sense of wonder in common life that marks many of Wordsworth's contributions. While thisvolume was going through the press, Coleridge began a complementary poem, a Gothic ballad entitled “Christabel,” in which he aimed to show how naked energy might be redeemed through contact with a spirit of innocent love.Troubled years.Early in 1798 Coleridge had again found himself preoccupied with political issues. The French Revolutionary government had suppressed the states of the Swiss Confederation, and Coleridge expressed his bitterness at this betrayal of the principles of the Revolution in a poem entitled “France: An Ode.”At this time the brothers Josiah and Thomas Wedgwood, who were impressed by Coleridge's intelligence and promise, offered him in 1798 an annuity of £150 as a means of subsistence while he pursued his intellectual concerns. He used his new independence to visit Germany with Wordsworth and Wordsworth's sister, Dorothy. While there Coleridge attended lectures on physiology and biblical criticism at Göttingen. He thus became aware of developments in German scholarship that were little-known in England until many years later.On his return to England, the tensions of his marriage were exacerbated when he fell in love with Sara Hutchinson, the sister of Wordsworth's future wife, at the end of 1799. His devotion to the Wordsworths in general did little to help matters, and for some years afterward Coleridge was troubled by domestic strife, accompanied by the worsening of his health and by his increasing dependence on opium. His main literary achievements during the period included another section of “Christabel.” In 1802 Coleridge's domestic unhappiness gave rise to “Dejection: An Ode,” originally a longer verse letter sent to Sara Hutchinson in which he lamented the corrosive effect of his intellectual activities when undertaken as a refuge from the lovelessness of his family life. The poem employs the technique of his conversational poems; the sensitive rhythms and phrasing that he had learned to use in them are here masterfully deployed to represent his own depressed state of mind.Although Coleridge hoped to combine a platonic love for Sara with fidelity to his wife and children and to draw sustenance from the Wordsworth household, his hopes were not realized, and his health deteriorated further. He therefore resolved to spend some time in a warmer climate and, late in 1804, accepted a post in Malta as secretary to the acting governor.Later he spent a long time journeying across Italy, but, despite his hopes, his health did not improve during his time abroad. The time spent in Malta had been a time of personal reappraisal, however. Brought into direct contact with men accustomed to handling affairs of state, he had found himself lacking an equal forcefulness and felt that in consequence he often forfeited the respect of others. On his return to England he resolved to become more manly and decisive. Within a few months he had finally decided to separate from his wife and to live for the time being with the Wordsworths. Southey atoned for his disastrous youthful advice by exercising a general oversight of Coleridge's family for the rest of his days.Coleridge published a periodical, The Friend,from June 1809 to March 1810 and ceased only when Sara Hutchinson, who had been acting as amanuensis, found the strain of the relationship too much for her and retired to her brother's farm in Wales. Coleridge, resentful that Wordsworth should apparently have encouraged his sister-in-law's withdrawal, resolved shortly afterward to terminate his working relationship with William and Dorothy Wordsworth and to settle in London again.The period immediately following was the darkest of his life. His disappointment with Wordsworth was followed by anguish when a wounding remark of Wordsworth's was carelessly reported to him. For some time he remained in London, nursing his grievances and producing little. Opium retained its powerful hold on him, and the writings that survive from this period are redolent of unhappiness, with self-dramatization veering toward self-pity.In spite of this, however, there also appear signs of a slow revival, principally because for the first time Coleridge knew what it was to be a fashionable figure. A course of lectures he delivered during the winter of 1811–12 attracted a large audience; for many years Coleridge had been fascinated by William Shakespeare's achievement, and his psychological interpretations of the chief characters were new and exciting to his contemporaries. During this period, Coleridge's play Osorio, written many years before, was produced at Drury Lane with the title Remorse in January 1813.Late life and works.In the end, consolation came from an unexpected source. In dejection, unable to produce extended work or break the opium habit, he spent a longperiod with friends in Wiltshire, where he was introduced to Archbishop Robert Leighton's commentary on the First Letter of Peter. In the writings of this 17th-century divine, he found a combination of tenderness and sanctity that appealed deeply to him and seemed to offer an attitude to life that he himself could fall back on. The discovery marks an important shift of balance in his intellectual attitudes. Christianity, hitherto one point of reference for him, now became his “official” creed. By aligning himself with the Anglican church of the 17th century at its best, he hoped to find a firm point of reference that would both keep him in communication with orthodox Christians of his time (thus giving him the social approval he always needed, even if only from a small group of friends) and enable him to pursue his former intellectual explorations in the hope of reaching a Christian synthesis that might help to revitalize the English church both intellectually and emotionally.One effect of the adoption of this basis for his intellectual and emotional life was a sense of liberation and an ability to produce large works again. He drew together a collection of his poems (published in 1817 as Sibylline Leaves) and wrote Biographia Literaria(1817), a rambling and discursive but highly stimulating and influential work in which he outlined the evolution of his thought and developed an extended critique of Wordsworth's poems.For the general reader Biographia Literaria is a misleading volume, since it moves bewilderingly between autobiography, abstruse philosophical discussion, and literary criticism. It has, however, an internal coherence of its own. The book's individual components—first an entertaining account of Coleridge's early life, then an account of the ways in which he became dissatisfied with the associationist theories of David Hartley and other 18th-century philosophers, then a reasoned critique of Wordsworth's poems—are fascinating. Over the whole work hovers Coleridge's veneration for the power of imagination: once this key is grasped, the unity of the work becomes evident.A new dramatic piece, Zapolya, was also published in 1817. In the same year, Coleridge became associated for a time with the new Encyclopaedia Metropolitana, for which he planned a novel system of organization, outlined in his Prospectus.These were more settled years for Coleridge. Since 1816 he had lived in the house of James Gillman, a surgeon at Highgate, north of London. His election as a fellow of the Royal Society of Literature in 1824 brought him an annuity of £105 and a sense of recognition. In 1830 he joined the controversy that had arisen around the issue of Catholic Emancipation by writing his last prose work, On the Constitution of the Church and State. The third edition of Coleridge'sPoetical Works appeared in time for him to see it before his final illness and death in 1834.Evaluation.Coleridge's achievement has been given more widely varying assessments than that of any other English literary artist, though there is broad agreement that his enormous potential was never fully realized in his works. His stature as a poet has never been in doubt; in “Kubla Khan” and “The Rime of the Ancient Mariner” he wrote two of the greatest poems in English literature and perfected a mode of sensuous lyricism that is often echoed by later poets. But he also has a reputation as one of the most important of all English literary critics, largely on the basis of his Biographia Literaria.In Coleridge's view, the essential element of literature was a union of emotion and thought that he described as imagination. He especially stressed poetry's capacity for integrating the universal and the particular, the objective and the subjective, the generic and the individual. The function of criticism for Coleridge was to discern these elements and to lift them into conscious awareness, rather than merely to prescribe or to describe rules or forms.In all his roles, as poet, social critic, literary critic, theologian, and psychologist, Coleridge expressed a profound concern with elucidating an underlying creative principle that is fundamental to both human beings and the universe as a whole. To Coleridge, imagination is the archetype of this unifying force because it represents the means by which the twin human capacities for intuitive, non-rational understanding and for organizing and discriminating thought concerning the material world are reconciled. It was by means of this sort of reconciliation of opposites that Coleridge attempted, with considerable success, to combine a sense of the universal and ideal with an acute observation of the particular and sensory in his own poetry and in his criticism.John Bernard Beer Ed.Additional ReadingRichard Holmes, Coleridge: Early Visions (1990), and Coleridge: Darker Reflections (1998), are together a comprehensive biography. Norman Fruman, Coleridge, the Damaged Archangel(1971), offers a detailed account of hisborrowings from other authors. Basil Willey, Samuel Taylor Coleridge(1972); and Katharine Cooke, Coleridge(1979), are useful general surveys of his work in both prose and verse. Among the studies of his poetry are John LivingstonLowes, The Road to Xanadu: A Study in the Ways of the Imagination (1927, reprinted 1986); Stephen Potter, Coleridge and S.T.C.(1935, reissued 1965);G. Wilson Knight, The Starlit Dome: Studies in the Poetry of Vision (1941, reissued 1971); Stephen Prickett, Coleridge and Wordsworth: The Poetry of Growth (1970, reprinted 1980); John B. Beer(ed.), Coleridge's Variety: Bicentenary Studies (1974); and J. Robert Barth, Coleridge and the Power of Love (1988). The poet's politics are examined in Nicholas Roe, Wordsworth and Coleridge: The Radical Years (1988); and John Morrow, Coleridge's Political Thought (1990). Other critical analyses include J.A. Appleyard, Coleridge's Philosophy of Literature(1965); Thomas McFarland, Coleridge and the Pantheist Tradition (1969); Ian Wylie, Young Coleridge and the Philosophers of Nature (1989); Paul Hamilton, Coleridge's Poetics (1983); K.M. Wheeler, The Creative Mind in Coleridge's Poetry(1981); and Catherine Miles Wallace, The Design of Biographia Literaria (1983).。
英国浪漫主义的分类及其作家简介
英国浪漫主义的分类及其作家简介第一部分积极浪漫主义作家与消极浪漫主义作家一、积极浪漫主义作家积极浪漫主义作家，敢于正视现实，批判社会的黑暗，矛头针对封建贵族，反对资本主义社会中残存的封建因素，同时对资产阶级本身所造成的种种罪恶现象也有所揭露，因而充满反抗、战斗的激情，将自己的理想寄于未来，向往新的美好生活，有的赞成空想社会主义。
代表作家有英国的华滋华斯、拜伦和雪莱，法国的维克多·雨果(Victor Hugo，1802--1885，代表作：Notre-Dame de Paris (巴黎圣母院，1831) )and Les Misérables (悲惨世界，1862)、乔治•桑（George Sand，原名阿曼蒂娜－欧萝尔－露茜·杜班（Amandine-Aurore-Lucile Dupin ,1804～1876，代表作：Consuelo,《康素爱萝》（1843）），德国的克里斯蒂安·约翰·海因里希·海涅（Christian Johann Heinrich Heine，1797-1856，代表作：On Wings of Song （Auf den Flügeln des Gesanges，《乘着歌声的翅膀》）、Germany. A Winter's Tale（《德国，一个冬天的童话》）)，早期俄国的亚历山大·谢尔盖耶维奇·普希金（Alexander Sergeyevich Pushkin，1799～1837，代表作：Eugene Onegin《叶甫盖尼·奥涅金》、, 1830），波兰的亚当·密茨凯维支（Adam Mickiewicz，1798—1855,代表作：The Psalm of Youth,《青春颂》），以及匈牙利的裴多菲·山陀尔(Petőfi Sándor,1823-1849，代表作：I am willing that it is a torrent《我愿意是急流》、Freedom and Love《自由与爱情》),等等。
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Works
3 poems of demonism, all using exotic images and supernatural themes. “The Rime of the Ancient Mariner”1798 “Khubla Khan” 1816 “Christabel” Biographia Literaria (1817) containing accounts of his literary life and critical essays on philosophical and literary subjects, presenting in particular his theories of the creative imagination, 《文学传记》 a series of lectures on Shakespeare
Questions for “Kubla Khan”
Can you find any contrasting images in every stanza? What are they? How is the last stanza related to the previous 3 stanzas about the pleasure dome of Kubla Khan? Or who is the “I” in the poem, how is “I” related to Kubla Khan, an emperor? What is the poem about? What is the rhythmical pattern and rhyme scheme in each stanza? How does the prosody of each stanza serve the meaning? ( 音韵如何服务主题的表达)
His theory on imagination
More than being the living power and prime agent of all human perception, Imagination to Coleridge is activated by a free and deliberate will. It’s an autonomous willful act of the mind. It is vital and transformative. The imagination of poetic genius would invariably sought to achieve “organic harmony” btw fixed, objective reality and individual ideal, or in another word, to idealize and unify. Imaginative forces, though derived from the natural world, was organic and creative. Hence, art piece is higher and better than crude reality.
Position and achievements
A great romanticist, One of the most important poets and critics in the English language. His poetry has been called “pure poetry”– colorful imagery, subtle language, charming musicality. His poetry communicates a sense of the mysterious, supernatural and extraordinary world created out of imagination. The finest critic of his day.
有方圆五英里肥沃的土 壤， 四周给围上楼塔和城墙： 那里有花园，蜿蜒的溪 河在其间闪耀， 园里树枝上鲜花盛开， 一片芬芳； 这里有森林，跟山峦同 样古老， 围住了洒满阳光的一块 块青青草场。
But oh! that deep romantic chasm which slanted Down the green hill athwart a cedarn cover! A savage place! as holy and enchanted As e'er beneath a waning moon was haunted By woman wailing for her demon-lover!
Form of “Kubla Khan”
iambic tetrameter and alternating rhyme schemes. The first stanza is written in iambic tetrameter with a rhyme scheme of ABAABCCDEDE, alternating between staggered rhymes and couplets. The second stanza follows the same rhythmical pattern but with a slight change in rhyme scheme as aabcbc The third stanza expand into pentameter with break from iambic. The rhythmical pattern grows to be more irregular, pentameter and tretemeter, iambic and trochee confused. The rhyme scheme goes as ABAABCCDDFFGGHIIHJJ KLKLMM () The fourth stanza continues the tetrameter of the third and rhymes ABCCBDEDEFGFFFGHHG.
ቤተ መጻሕፍቲ ባይዱ
Biography of Coleridge
2 cardinal points of poetry
The power of exciting the sympathy of the reader by a faithful adherence to the truth of nature The power of giving the interest of novelty by the modifying colors of imagination.
Samuel Taylor Coleridge (1772-1834) “Kubla Khan” Walt Scott (1771-1832)
Ivanhoe
Portraits of Coleridge
family: the tenth son of a poor clergyman Education: a London charity school for children of the clergy; Cambridge uni. health: poor; opium-addicted Associates: Robert Southey planning for an abortive “Pantisocracy” in US; collaborating with William Wordsworth in Lyrical Ballads. politics: a radical turning to conservative in matters of the French Revolution. marriage: unhappy Later life: patient, literary critic Honors: fellow of the Royal Society of Literature in 1824.
Coleridge’s task
My endeavor should be directed to persons and characters supernatural,…yet so as to transfer from our inward nature a human interest and a semblance of truth sufficient to procure for these shadows of imagination…, which constitutes poetic faith. Wordsworth,… was to give the charm of novelty to things of every day, and to excite… by awakening the mind’s attention from lethargy of custom and directing it to the loveliness and the wonders of the world before us.
Possible thematical concerns
Metaphor for poetic creation Illustration of his theory about imagination and art piece.
In Xanadu did Kubla Khan A stately pleasure-dome decree: Where Alph, the sacred river, ran Through caverns measureless to man Down to a sunless sea.