The Age of EnlightmentvAfterthetempestouseventsofthe17thcentury,Englandenteredaperiodofacomparativelypeacefuldevelopment.vTheRevolutionof1688,whichbanishedthelastoftheStuartkingsandcalledWilliamofOrange(husbandofkingJamesIIdaughterMary)tothethrone,markstheendofthelongstruggleforpoliticalfreedominEngland.HistoricalBackgroundHistoricalBackgroundvHostileparties:theliberalWhigs,theconservativeTories.vTherapiddevelopmentofsociallife.InthefirsthalfoftheeighteenthcenturysomethreethousandpubliccoffeehousesandalargenumberofprivateclubsappearedinLondonalone;andthesociabilityoftheseclubswastypicalofallEnglishcities.HistoricalBackgroundHistoricalBackgroundvTheinfluenceofthissociallifeonliteraturewasinevitable.Nearlyallwritersfrequentedthecoffeehouses,andthemattersdiscussedtherebecamesubjectsofliterature;hencetheenormousamountofeighteen-centurywritingdevotedtotransientaffairs,topolitics,fashions,gossip.HistoricalBackgroundHistoricalBackgroundvWiththeadventofthe18thcentury,inEngland,asinotherEuropeancountries,theresprangintolifeapublicmovementknownastheEnlightenment.TheEnlightenmentonthewhole,wasanexpressionofstruggleofthethenprogressiveclassofbourgeoisieagainstfeudalism.Theenlightenersfoughtagainstclassinequality,stagnation(停滞),prejudicesandothersurvivalsoffeudalism.Theyattemptedtoplaceallbranchesofscienceattheserviceofmankindbyconnectingthemwiththeactualdeedsandrequirementsofthepeople.HistoricalBackground-HistoricalBackground-EnlightenmentvEnglishenlightenersdifferedfromthoseofFrance.WhilethephilosophersandwritersofFrance“clearedthemindsofmenforthecomingrevolution,theEnglishenlightenerssetnorevolutionaryaimsbeforethem.HistoricalBackground-HistoricalBackground-EnlightenmentvThefirstrepresentativesoftheEnglishEnlightenmentwereJosephAddison(1672-1717),andRichardSteele(1672-1929),thepublishersofamoralisticjournalofTheSpectator,andthepoetAlexanderPope(1688-1744).HistoricalBackground-HistoricalBackground-EnlightenmentTheEnlightenmentEuropeanintellectualmovementreacheditshighpointinthe18thcentury.Enlightenmentthinkerswerebelieversinsocialprogressandintheliberatingpossibilitiesofrationalandscientificknowledge.Theywereoftencriticalofexistingsocietyandwerehostiletoreligion,whichtheysawaskeepingthehumanmindchaineddownbysuperstition.vTheAmericanandFrenchrevolutionswerejustifiedbyEnlightenmentprinciplesofhumannaturalrights.LeadingrepresentativesoftheEnlightenmentwereVoltaire(伏尔泰),Lessing（莱辛），andDenisDiderot（狄德罗）.HistoricalBackground-HistoricalBackground-EnlightenmentvThemiddleofthe18thcenturyinEnglandseestheinception(起初)ofanewliterarycurrent-thatofsentimentalism.vSentimentalismcameintobeingasaresultofabitterdiscontentonthepartofcertainenlightenersinsocialreality.vTherepresentativesofsentimentalismcontinuedtostruggleagainstfeudalismbuttheyvaguelysensedatthesametimethecontradictionofbourgeoisprogressthatbroughtwithitenslavementandruintothepeople.Thephilosophyoftheenlighteners,thoughrationalandmaterialisticinitsessence,didnotexcludesenses,orsentiments,asameansofperceptionandlearning.HistoricalBackground-HistoricalBackground-Sentimentalism(感伤主义)vInfiction,itwasfirstfoundinPamela,anearlyEnglishrealisticnovelbySamuelRichardson.Byconcentrationthedistressesofthepoorunfortunateandvirtuouspeople,hewasactuallydemonstratingthateffusive(流出的)emotionwasevidenceofkindnessandgoodness.Areadysympathyandaninwardpainforthemiseryofothersbecamepartofacceptedsocialmoralityandethics.Sentimentalism(感伤主义)vsomesentimentalworksworsenedintomereself-indulgentpicturesofgriefandpainandtearswereshedtooprofuselyandjustfor“theluxuryofgrief.vSomefamousnovelsofthekindareLaurenceSternesASentimentalJourneythroughFranceandItaly(1768),GoldsmithTheVicarofWakefield(1766).Sentimentalism(感伤主义)vTheEnglishrealisticnovelasaliterarygenrefloweredinthemiddledecadesofthe18thcentury.Inthelastdecades,however,itgraduallygavewaytoGothicnovel.GothicNovelvThe term Gothic derived from the frequent setting of the tales in the ruined, moss- covered castles of the Middle Ages, but it has been extended to any novel which exploits the possibilities of mystery and terror in gloomy, craggy(崎岖的，陡峭的) landscapes, decaying mansions with dark dungeons, secret passages, instruments of torture, ghostly visitations, ghostly music or voices, ancient drapes（窗帘） and tapestries（挂毯） behind which lurks（潜伏） no one knows what, and often, as the central story, the persecution（迫害） of a beautiful maiden by an obsessed and haggard(形容枯槁) villain.GothicNovelvGothic novels, in rebellion against the increasing commercialism and rationalism, opened up to later fiction the dark, irrational side of human nature- the savage egoism, the perverse（不正当） impulses, and the nightmarish terror that lie beneath the controlled and ordered surface of the conscious mind.GothicNovelvfound the artistic models in the classical literature of the ancient Greek and Roman writers and tried to control literary creation by fixed laws and rules.vstretching from 1660 to 1784. Neoclassicists, on the one hand, modeled themselves on Greek and Latin authors; on the other hand, they kept to order, logic, restrained emotion and accuracy. They had also specific rules for almost every genre of literature. For example, in drama, they held that plays should be written in the heroic couplets, and that, as far as their content is concerned, they should stick to the unities of time, space and action.Neo-classicismAlexander Pope (1688-1744)vLifeandhisMajorAchievementsvPopesPositioninEnglishLiteraturevLifeandcareerBornintoaRomanCatholicfamilyIllhealthplaguedPopeLittleregularschoolingNouniversity,novoting,nopublicofficeforhimTurntopoetryinhisearlylifevPointsofviewBelievedintheeducationofsocialmorality,classiccultureandscientificknowledgeUsedsatiretofightagainstsocialcorruptionanddebasementUpheldthesocialsystemasanidealone,saying“Whateveris,isright.”凡存在的都合理Itishisdutytocorrectandenlightenpeoplethroughpoetry.Advocateorder,reason,logic,restrainedemotion,accuracy,goodtasteanddecorum规范性Literaturehadthepowertoinfluenceandenrichlife,toeducateandcorrectpeople.vFeaturesofhisworksv(1)Atalentofwit,sayingbrilliantandtruethingsinasparklingway,e.g.Forfoolsrushinwhereangelsfeartotread.智者避之,愚者趋之。Toerrishuman,toforgive,divine.人难免错误,宽恕别人是神圣的Alittlelearningisadangerousthing.一知半解,为害不浅NatureandNatureslawslayhidinnight:Godsaid,“LetNewtonbe!”andallwaslight.QuotationsfromPopev“Charmstrikesthesight,butmeritwinsthesoul.”v美貌中看,美德感人vBlessed is he who expects nothing, for he shall never be disappointed.无所求的人是幸福的，因为他永远也不会失望。vAn honest man is the noblest work of God.诚实的人是上帝创造的最佳作品。v(2)AgreatversesatiristTheaimofhissatireistoburnawaythefalsityandcorruption,andtorevealthedangeroffalseprideinman,torepairthedecayingworldandtorestorethesocietytoitsoriginalhealthyconditions.v(3)HeroiccoupletLinesofiambicpentameterrhymeinpairsPopecarriedthistoitslaststageofperfection.v(4)Masterlycraftsmanshipmarkedbycarefuldiction,aremarkablerhythmicalvarietyofpatterns,precisionofmeaning,harmonyoflanguageandstructure,afirmcontroloftheformandflexibilityofstylesv4.MajorworksAnEssayonCriticism(1711)TheRapeoftheLock(1712-14)TheDunciad(1728-42)TheEssayonMan(1733-34)vOneTruthAllNatureisbutart,unknowntothee;Allchance,direction,whichthoucanstnotsee；Alldiscord,harmonynotunderstood;Allpartialevil,universalgood:And,spiteofpride,inerringreasonsspite,Onetruthisclear:Whateveris,isRIGHT.fromAnEssayonMan1 v整个自然都是艺术，不过你不领悟；一切偶然都是规定，只是你没有看清；一切不协，是你不理解的和谐；一切局部的祸，乃是全体的福。高傲可鄙，只因它不近情理。凡存在的都合理，这就是清楚的道理。Recommend289-304linesinRecommend289-304linesinAnEssayonCriticismAnEssayonCriticism “ConceitConceit”TruewitisNaturetoadvantagedressed,Whatoftwasthought,butneersowellexpressed.自然巧描摹，始见文思奇；所思虽常见，妙笔则空前。CommentsonDefoeuSelectedReadingsDanielDefoeuDefoesLifeuDefoesWorksubornin1661,diedin1731usonofaLondonbutchernamedFoeuat40,addedthearistocraticprefixDe-uajack-of-all-tradesaswellasawriteruaradicalNonconformistinreligionuajournalistandapamphleteeruknewprisonlife(forwritingthepamphletThe Shortest Way with Dissenters)Defoes Life (p171-172) Verses:Hymn to the Pillory 枷刑颂(1702)Fictions:Robinson Crusoe (1719) Captain Singleton辛格尔顿船长 (1720) Duncan Campbell (1720) Memoirs of a Cavalier (1720) Colonel Jack (1722)Moll Flanders 摩尔弗兰德斯(1722) Journal of the Plague Year 大疫年纪事(1722) The History of the Devil (1726) Defoes Works Comments on DefoeuAlongwithSamuelRichardson, DefoeisconsideredthefounderoftheEnglishnovel(beforehistimestorieswereusuallywrittenaslongpoemsordramas)uoftengiventhecreditforthediscoveryofthemodernnovel;butwhetherornothedeservesthathonorisanopenquestion(Robinson Crusoeislargelyanadventurestoryratherthanthestudyofhumancharacter)RobinsonCrusoeAbout Robinson Crusoe The hero: Robinson CrusoeCrusoes Life on the IslandRelated AnalysisSaving Friday Building a fenced-in inhabitation每每个个成成长长中中的的青青少少年年，尤尤其其是是男男孩孩子子都都应应该该读读读读它它 。 卢卢梭梭鲁鲁滨滨孙孙漂漂流流记记笛笛福福关于鲁滨孙漂流记关于鲁滨孙漂流记鲁滨孙漂流记一问世即风靡全球又历久不衰。至今已出了几百版，几乎译成了世界上所有各种文字。据说除圣经之外，鲁滨孙漂流记是再版最多的一本书。在欧美国家是儿童的必读书。 英国小说家。早年从事过许英国小说家。早年从事过许多行业，多行业，5959岁开始写小说。受岁开始写小说。受苏格兰水手真实遭遇的启发，苏格兰水手真实遭遇的启发，于于17191719年发表第一部小说鲁年发表第一部小说鲁滨孙漂流记，大受欢迎。笛滨孙漂流记，大受欢迎。笛福对于他描写的人物理解较深，福对于他描写的人物理解较深，善于写个人在不利的环境中克善于写个人在不利的环境中克服困难。他的主人公有聪明才服困难。他的主人公有聪明才智，充满活力。尤其擅长描写智，充满活力。尤其擅长描写环境，细节逼真，使人如身临环境，细节逼真，使人如身临其境。其境。笛福（笛福（Defoe，16601731）他五十九岁才开始写小说，第一部小说就他五十九岁才开始写小说，第一部小说就是鲁滨孙漂流记。这部小说发表后，是鲁滨孙漂流记。这部小说发表后，立即在全世界引起轰动，他也因此获得了立即在全世界引起轰动，他也因此获得了“英国和欧洲小说之父英国和欧洲小说之父”的称号。的称号。生存问题生存问题生存，还是毁灭，生存，还是毁灭，这是一个值得思考这是一个值得思考的问题。的问题。鲁滨孙及时调整悲观绝望的心态，决定在岛上顽强地生存下去。吃、喝、吃、喝、住、穿是住、穿是人生存所人生存所依赖的物依赖的物质条件。质条件。物质问题物质问题计算时间、获得的东西、缺乏的东西、打造木栅栏围墙、每天觅食人没有精神人没有精神寄托，灵魂寄托，灵魂就无所依附。就无所依附。精神问题精神问题写日记，思考处境；得出经验教训，希望得到理解；安心于荒岛生活 在海在海难难中，同船的中，同船的 11人中，死了十个，人中，死了十个，就他一个人活着，就他一个人活着，这这是上帝是上帝对对他的特他的特别别关关照；照； 从船上从船上获获得大量得大量维维持生活的必需品，持生活的必需品，这这是上帝是上帝对对他的特他的特别别恩恩赐赐； 他日他日记记本上列出的六大本上列出的六大“好好处处”更体更体现现了他要了他要顽顽强强活下去的理由。活下去的理由。鲁滨孙虽身陷绝境，但他说服自己顽强的活着，并打定主意在岛上独自生活一辈子，这需要巨大的勇气。可以看出他是一个非常热爱生命、珍惜生活的人。他活着也许并非为了什么，仅仅是因为自己是一条生命，既然是生命就应该善待它。况且他活的积极、主动，活出了尊严，这样的人值得活着。鲁滨孙是一个珍惜生命，热爱生活；意志坚强，生存信念执著；勇于创造，务实肯干的人。“在最不幸的处境之中，我们也可以把好处和坏处对照起来看，从而找到聊以自慰的事情。”可以概括为一个人在逆境中不要悲观失望，而要努力看到积极的因素，从而改变自己被动的局面。鲁滨孙记录时间，是为了清楚地了解自己是怎么活着的，可以活多长时间。这表明了他对生存下去充满信心。记叙了他制作日历，记录时间，从船上获得物品，艰难地打造木栅栏围墙，以及每天在岛上各处寻找食物。这样写，从一个侧面体现了人类创造生活的艰难，也表现了鲁滨孙勤于创造、务实肯干的精神。日记是为了记录生活，抚慰心灵，而且要面对自我。鲁滨孙记日记的行为，表明他作为一个文明人精神方面的需要，为了使自己的精神有所寄托，减轻心中的苦闷，便于深入思考当前的处境。在荒岛上，鲁滨孙有理由相信上帝的存在（这部作品里多次提到圣经及鲁滨孙对上帝的祈祷），有了这个前提，鲁滨孙就有了活下去的精神支柱，活的有理由，有意义。本文没有生动的故事，作者是通过心理描写来刻画人物性格表现作品主题的。用第一人称来写，便于展现“我”的内心世界，使作品更具真实感，缩小了作品和读者之间的距离。坏处v我陷在一个可怕的荒岛上，没有重见天日的希望。我陷在一个可怕的荒岛上，没有重见天日的希望。v我现在被剔出来，与世隔绝，困苦万状。我现在被剔出来，与世隔绝，困苦万状。v我与人类隔绝，仿佛一个隐士。我与人类隔绝，仿佛一个隐士。v我没有衣服穿。我没有衣服穿。v我没有抵御野人和野兽袭击的防御力和手段。我没有抵御野人和野兽袭击的防御力和手段。v我没有人可以说话，也没有人来解除我的愁闷。我没有人可以说话，也没有人来解除我的愁闷。好处v但我还活着，没有想我同船的伙伴们一样，被水淹死。但我还活着，没有想我同船的伙伴们一样，被水淹死。v但我也从全体船员中被剔出来，独免一死，上帝既然用神但我也从全体船员中被剔出来，独免一死，上帝既然用神力把我从死亡里救出来，一定也会救我脱离这个境地。力把我从死亡里救出来，一定也会救我脱离这个境地。v但我并未因为没有粮食，饿死在这不毛之地。但我并未因为没有粮食，饿死在这不毛之地。v但我是在一个热带气候里，即使有衣服，也穿不住。但我是在一个热带气候里，即使有衣服，也穿不住。v但我所流落的岛上，没有我在非洲看到的那种野兽。假使但我所流落的岛上，没有我在非洲看到的那种野兽。假使我在那里覆了舟，我又将怎样？我在那里覆了舟，我又将怎样？v但上帝却不可思议把我送到海岸附近，使我可以从里面取但上帝却不可思议把我送到海岸附近，使我可以从里面取出许多有用的东西，使我终身用之不尽。出许多有用的东西，使我终身用之不尽。坏处好处v我陷在一个可怕的荒岛上，没有我陷在一个可怕的荒岛上，没有重见天日的希望。重见天日的希望。v我现在被剔出来，与世隔绝，困我现在被剔出来，与世隔绝，困苦万状。苦万状。v我与人类隔绝，仿佛一个隐士。我与人类隔绝，仿佛一个隐士。v我没有衣服穿。我没有衣服穿。v我没有抵御野人和野兽袭击的防我没有抵御野人和野兽袭击的防御力和手段。御力和手段。v我没有人可以说话，也没有人来我没有人可以说话，也没有人来解除我的愁闷。解除我的愁闷。v但我还活着，没有想我同船的伙但我还活着，没有想我同船的伙伴们一样，被水淹死。伴们一样，被水淹死。v但我也从全体船员中被剔出来，但我也从全体船员中被剔出来，独免一死，上帝既然用神力把我独免一死，上帝既然用神力把我从死亡里救出来，一定也会救我从死亡里救出来，一定也会救我脱离这个境地。脱离这个境地。v但我并未因为没有粮食，饿死在但我并未因为没有粮食，饿死在这不毛之地。这不毛之地。v但我是在一个热带气候里，即使但我是在一个热带气候里，即使有衣服，也穿不住。有衣服，也穿不住。v但我所流落的岛上，没有我在非但我所流落的岛上，没有我在非洲看到的那种野兽。假使我在那洲看到的那种野兽。假使我在那里覆了舟，我又将怎样？里覆了舟，我又将怎样？v但上帝却不可思议把我送到海岸但上帝却不可思议把我送到海岸附近，使我可以从里面取出许多附近，使我可以从里面取出许多有用的东西，使我终身用之不尽。有用的东西，使我终身用之不尽。Heisconsideredoneofthegreatestfictionwritersof18th-centuryEngland.Defoewasaverygoodstory-teller.Hehadagiftfororganizingminute(carefulandexact)detailsinsuchavividwaythathisstoriescouldbebothcredibleandfascinating.Hissentencesaresometimesshort,crispandplain,andsometimeslongandrambling,whileleaveonthereaderanimpressionofcasualnarration.Hislanguageissmooth,easy,colloquialandmostlyvernacular.Thereisnothingartificialinhislanguage:itiscommonEnglishatitsbest. Adventures of Robinson CrusoeThestoryofRobinsonCrusoeiswell-knownthroughouttheworld.IttellsofhowRobinsonCrusoe,anEnglishmariner,havingshipwreckedonanisland,managedtostruggleforlivefor28yearsthereandrescuedablackman,whomhenamedFriday,fromthecannibals(personwhoeatshumanflesh).Later,Robinsongotholdofashipandsailedhome.Thebooks“realistic”touchandingenuity(originality)arousedgreatinterestfromthereadersbothinEnglandandabroad.ThestorywasbasedonthelifeofAlexanderSelkirk,whowasputashoreonanuninhabitatedislandandspent5yearsthere.Defoewasprobablyfamiliarwithseveralversionsofthistale,andaddedmanyincidentsfromhisownimaginationtohisaccountofCrusoe,presentingitasatruestory.ThestorystartswithRobinsonCrusoesrunningawayfromhome.Aninexperiencedteenagerandayoungmanfullofbrightfanciesaboutthefuture,henaturallychoosesgoingtosea,becauseinthosedaysitmeantachancetoliveachivalrouslife,toseethewondersoftheworldandtomakeafortune.Aftermanysetbacksandadventuresonthesea,hesettlesdowninBrazilasaplanter.Butthecalloftheseaissostrongthathesoonembarksonanothervoyage,thistime,toAfrica.Unfortunatelyafrightfulstormblowstheboatoffitscourseandshipwrecksitnearanisland.OfalltheshipscrewRobinsonaloneescapestotheshoreafterstrenuous（费力的）efforts.Aftersalvagingfromthewreckedshipsomestoresofnecessitiessuchasbread,rice,barley,corn,planks,leadandgunpowder,anaxeandtwosaws,whichhelatermanagestobringtotheislandwithaself-maderaft.Afterseveralfutileattemptstoleavetheisland,Robinsonsettleshimselfdowntoahardandlonelylife.Hegrowscrops,domesticatesanimalsandbuildscomfortablehomeshimself.HislifetakesaturnforthebetterwhenhesavesfromthehandsofsavagesayoungNegro,whomthenamesFriday.RobinsonteacheshimEnglishandeducateshiminsuchawaythatFridaysoonbecomesaloyalservantandanindispensablehelptohim.FinallytheyarepickedupbyanEnglishshipandreturntoEngland.Thusendsthefirstpartofthestory. InRobinsonCrusoe,DefoetracesthegrowthofRobinsonfromanaveandartless（simple,innocent）youthintoashrewdandhardened(strong-minded)man,temperedbynumeroustrialsinhiseventfullife.TherealisticaccountofthesuccessfulstruggleofRobinsonsingle-handedlyagainstthehostilenatureformsthebestpartofthenovel. Robinsonisherearealhero:atypicaleighteenth-centuryEnglishmiddle-classman,withagreatcapacityforwork,inexhaustibleenergy,courage,patienceandpersistenceinovercomingobstacles,instrugglingagainstthehostilenaturalenvironment.Heistheveryprototypeoftheempirebuilder,thepioneercolonist.Asamemberofthemiddleclass,Defoespokeforandtothemembersofhisclassandhisnovelsenjoyedgreatpopularityamongthelesscultivatedreaders.Inmostofhisworks,hegavehispraisetothehard-working,sturdy(不屈的)middleclassandshowedhissympathyforthedowntrodden,unfortunatepoor.61Life on the islandCharacters of Robinson Robinsons companionsTools and foodCrusoe Visits the WreckThe FootprintCrusoe Saves Friday fromthe Cannibals Plot overviewBackgroundPericopesuDefoesmasterpieceuconsistingofthreevolumes,onlythefirstoneverypopular,publishedinhundredsofeditionsandscoresoflanguagesubasedontheexperiencesofAlexanderSelkirk,acaptainlivedaloneinanislandfor5yearsucreatingavisualpicturethatmanifestshowhumanhistoryhasdevelopedfromtheprimitivetothefeudalandthentothecapitalisticinthe18thcenturyAbout Robinson Crusoe uaglorificationofbourgeoisqualitiesofindividualism,privateenterprise,andevenoflaboruitsdetailstoldinasimple,straightforwardstyle,addingtotherealisticeffectofthestoryustartingthetraditionofrealisticdescriptionandpresentingauthenticdetailswhichareimportantforthelaterdevelopmentofthenovel.About Robinson Crusoe uattheearlystage,anindividuallaborer,andthenamaster,untilatlastanexploiter,acolonizeruanimageofanenterprisingEnglishmanofthe18thcenturyuanembodimentofthespiritofindividualenterpriseandcolonialexpansionuamanstrugglingagainstnatureandhumanfate,withindomitablewillandhanduamangoingthroughdifferentstagesofhumancivilizationinaseeminglyprimitiveenvironmentThehero:RobinsonCrusoe RobinsonCrusoeClick to add title in here Friday is loyal to Robinson. He has no temper and he is outgoing, kindhearted. Friday to Robinson is what a child to father. Whenever and whatever it is, Friday prefers to sacrifice himself to protect Robinson. Friday RobinsonCrusoeClick to add title in here Although Robinson has tested Friday many times, Fridays behavior doesnt disappoint him, Friday proves his loyalty. Robinson has saved a poor savages life and soul, he feels very happy. In this lonely island, it is Friday who release Robinson deep inner pressure. Fridays appearance makes Robinson not that confused. He becomes positive to life . In fact ,everyone living in noisy society will have the feeling of loneliness, Robinson is a member in the real society and he is the model of ourselves. Friday is the inner true egos in our hearts. He leads us to find the directions and helps us to overcome the difficultyFriday Characteristicofthestyleandlanguagevsimplelanguage,concisedescription,andwell-knitplotconstruction.FeaturesofDanielDefoesnovelsvDaniel Defoe is remembered chiefly, for his novels. The central idea of his novels is that man is good and noble by nature but may succumb to an evil social environment. The writer wants to make it clear that society is the source of various crimes and vices.vDaniel Defoes intention is that the readers should regard his novels as true stories. For this reason, he deliberately avoids all arts, all fine writings, so that the reader should concentrate only on a series of plausible似乎真实的 events.vDaniel Defoes novels all take the form of memoirs or pretended historical narratives, everything in them giving the impression of reality. HenryFieldingHenryFielding亨利亨利 菲尔丁菲尔丁（1707175417071754） LifeDramatheatrenewspaperlawnovel mercilessly exposedchastise责打责打 the vicesan act “戏剧审查法案戏剧审查法案”Writing for the newspaper, “The champion”From 1742 onward, novel writingFieldingsNovelsv(1) Joseph Andrewsv约瑟夫约瑟夫安德鲁斯的经历安德鲁斯的经历(1742)v(2) Jonathan Wild the Greatv大伟人乔纳森大伟人乔纳森魏尔德魏尔德(1743)v(3) Tom Jonesv汤姆汤姆琼斯琼斯(1749)v(4)Amelia v阿米丽亚阿米丽亚(1751)FieldingasaPlaywrightvFieldingsdramatictheoryandpracticewereinconformitywith(一致)thetheoryof“areturntonature”andtheprinciplethatthestageshouldbe“aschoolofmorality”intheEnlightenmentperiod.（1）The Welsh Opera 威尔斯歌剧威尔斯歌剧 (1731)（2）Don Quixote in England 唐唐吉诃德在英国吉诃德在英国 (1734)（3）Pasqin 巴斯昆巴斯昆 (1736)（4）The Historical Register for the Year 1736 一七三六年历史记事一七三六年历史记事 (1737)26 playsFieldingasaPlaywrightFieldingasaPlaywrightConstruct effective situations;conduct natural and vivid dialogues;develop his gift of satire.II. Last Para. “菲尔丁被逐出莫里哀和阿里斯拖芬的行业而从事菲尔丁被逐出莫里哀和阿里斯拖芬的行业而从事万塞提斯的行业，从此，英国小说成为文学的一种光万塞提斯的行业，从此，英国小说成为文学的一种光荣，而英国戏剧则成为文学的耻辱。荣，而英国戏剧则成为文学的耻辱。”Fieldings Novel,Joseph Andrews1.Richardsons Pamela set Fielding to Joseph Andrews.2.In the Preface, Fielding describes the novel “a comic epic poem in prose”(“散文体滑稽史诗散文体滑稽史诗”).3.The novel talks mainly about the adventures of Joseph and Parson Adams. (路上小说路上小说)TomJones(1749)vAlovestorybetweenTomandSophia.vAcomprehensive,all-embracingpicture(panorama)ofthelifeofthemid-18thcenturyEngland,togetherwithfull-bloodedcharacters,inbrilliant,wittyandhighlyartisticlanguage,amasterpieceofEnglishliterature.40 charactersTom Jonesgood-naturedfrank and openkind, disinterested(无私的无私的)imprudence(轻率的轻率的)Blifilvillain, selfish, malicious, hypocriticalSophiaideal, good qualities, gaiety(快乐快乐), candour(坦率坦率), brave,courageWesternbarbarian(残暴的人残暴的人)autocrat (专横的人专横的人)PartridgeJack-of-all-tradessimple, faithful good-natured,a little whimsical(想入非非的想入非非的)BridgetMr. AllworthyFielding,theManvFielding was a man full of vigour .vHis capacity for work was outstanding.vHis mind was incessantly active learning, meditating, creating.Fielding,founderofrealisticnovelvHe sets up the theory of realism in literary creation.vThe basis of Fieldings works was “nature herself” (the exact observation and study of real life).vThe centre of his working philosophy was common earthly Man.CommentsonFieldingThe profound knowledge of human nature was acquired by “conversation”. Most of his characters are compounded of both observation and imagination, of both experience and invention.“FatheroftheEnglishnovel”Some FeaturesMethods of Tellng a StorySatireA Master of StyleEducational Function directly by the authorhumorous; grima faithful picture of life;sound teachingeasy, unlaboured and familiar, vivid and vigoroussevere 严厉的严厉的scathing 尖刻的尖刻的relentless无情的无情的SamuelJohnson1709-1784-AgiantgrewfrompovertyEarlylifeandeducationvThesonofabookerseller,borninpoverty.vJohnsondemonstratedsignsofgreatintelligenceasachild.vHislongeducationasateenagerwasconstant,andheallexcelledinthem.vAttheageof19,heenteredPembrokeCollege,Oxford.StudiedinOxfordfor13months,ashortageoffundsforcedJohnsontoleaveOxfordwithoutadegree.vHeeventuallyreceivedadegreejustbeforethepublicationofhisDictionaryin1755,OxfordUniversityawardedJohnsonthedegreeofMasterofArts.Hewasawardedanhonorarydoctoratein1765byTrinityCollegeDublinandin1775byOxfordUniversity.Entrance of Pembroke College, OxfordEarlycareervAsthelackofdegree,itshardforhimtofindajobinschool,evenanushersposition.vHeeventuallyfoundemploymentasundermasterataschoolafterhisfatherdiedinpovertyandillness.vHiscareerwasnotsoprosperousinthistime,andhealsosufferedtheillness.vIn1734,hisclosefriendHarryPorterdiedandJohnsonmarriedthewidow,whosgotthreechildren,inthenextyear.HelivedonTettysmoneyinhisearlyyears.vIn1735,whileworkedasatutor,heappliedforthepositionofheadmaster,failed.Intheautumn,heopenedEdialHallSchoolasaprivateacademy.Heonlyhad3pupils.Theschoolfinallyclosed.ADictionaryoftheEnglishLanguagevJohnsonbegantowrotethedictionaryfrom1747,andittookhim7yearstofinishit.Thoughitwaswidelypraisedandhadahugeimpact,Johnsondidntgainmuchmoneyfromit.v18inches(46cm)tallv20inches(51cm)widev42,773entries,towhichonlyafewmorewereaddedinsubsequenteditionsvsoldfortheextravagantpriceof410s,perhapstheroughequivalentof350todayvPatronage, the Earl of Chesterfield, failedvChesterfield wrote two essays in The World recommending the Dictionary. He argued in support of the dictionary. Johnson did not like the tone of the essay, and he felt that Chesterfield had not fulfilled his obligations as the works patron. Johnson wrote a letter expressing this view and harshly criticizing Chesterfield. vChesterfield, impressed by the language, kept the letter displayed on a table for anyone to read.A letter: To The Right Honorable The Earl Of ChesterfieldBritish lexicographer and writer Dr Samuel Johnson (1709 - 1784), with his Scottish biographer James Boswell (1740 - 1795) and the Irish playwright, novelist and poet Oliver Goldsmith (1728 - 1774) at the Mitre Tavern. Literary ClubBoswell delightedly receiving the accolade of the great Samuel-EyreCroweDr. Johnson In The Ante-Room Of Lord ChesterfieldHis literary views as a neoclassicist enlightener(1)He was very much concerned with the theme of the vanity of human wishes. (2)In literary creation and criticism, he was rather conservative, openly showing his dislike for much of the newly rising form of literature and his fondness for those writings that carried a lot of contemplations in morality and philosophy.(3) He insisted that a writer must adhere to universal truth and experience i.e. Nature.(4) He was particularly fond of moralizing and didacticism.The Characteristics of the Writing Style(1)Typically neoclassical, but absolutely different from Swifts simplicity or Addisons neatness.(2)The language is characteristically general, often Latinate and frequently polysyllabic.(3)His sentences are long and well structured, interwoven with parallel words and phrases.(4)The thought is clearly expressed.(5)He tends to use “learned words”, they are always accurately used.AnIrishwriterHeisamastersatirist;eventodayheisstillregardedasanationalheroinIrelandHeisoneofgreatestmastersofEnglishprose;Literary position1667-1745FamoussayingsvFairLIBERTYwasallhiscry;forherhestoodpreparedtodie.-OntheDeathofDr.Swiftv他全部要求只是自由公正，v为争取它，宁可献出生命。Properwordsinproperplaces,makethetruedefinitionofastyle.适当的词用于适当的位置,就是风格的确切定义Works(1)A Tale of a Tub (2) The Battle of Books 一个木桶的故事一个木桶的故事1704 书战书战1704in the form of a parable(寓言故事寓言故事)a satire upon all religious sects an attack on Christianity itselfan attack on pedantry in the literaryworld of the time(3)Bickerstaff Almanac (比克斯塔夫先生的历书比克斯塔夫先生的历书) Predictions for the Year 1708对对1708的预言的预言(4) Vindication of Isaac Bickerstaff 比克斯塔夫先生的辩护比克斯塔夫先生的辩护PamphletsonIrelandvSwiftspamphletsonIrelandformaveryimportantpartofhisworks.TheyhavenowbecomepartofclassicEnglishliterature.SwiftslifeinIrelandgavehimanintimateknowledgeofthemiserableconditionoftheIrishpeople.Twoofthemostfamousonesare“TheDrapersLetters”(1724)and“AModestProposal”(1730). SatirenAcommonformofthe18thCentury,basicallytheridiculingofanyobjectsthroughlaughterwhichwillsoftentheblownDifferenttypesanddegrees:lightorharshsatire(名)讽刺文学,讽刺v讽刺是一种文学手法，用于暴露对象的缺点和可笑之处，常采用夸张或反讽（irony）等方式，从而产生幽默的效果。当然也可以用拙劣模仿,作戏,并列,对比,类似,类推等也经常用于讽刺手法中。v如果说反话（反讽）就是讽刺的话，是一个很大的错误。严格来说，讽刺（satire）是一种俗称类型；而反讽（irony）则是一种比较具体的修饰手法 Swifts greatest satire Gullivers Travels, is written in 1726, the book has not lost its significance to the present day and can be justly ranked among the best novel of world literature.GulliversTravelsservesasabitingsatire,andSwiftensuresthatitisbothhumorousandcritical,constantlyattackingBritishandEuropeansocietythroughitsdescriptionsofimaginarycountries.(5) Gullivers Travels格林佛游记格林佛游记1726Lilliput (小人国小人国) a satire on the Tories& the WhigsBrobdingnag(大人国大人国)a satire on English lords and ladiesFlying Island（飞岛）（飞岛）a satire on corrupted philosopherscountry of horses(马岛马岛) a satire on the conflicts of English society and peopleSymbolsvTheLilliputianssymbolizehumankindswildlyexcessiveprideinitsownpunyexistence.vTheBrobdingnagianssymbolizetheprivate,personal,andphysicalsideofhumanswhenexaminedupcloseandingreatdetail.vTheLaputansrepresentthefollyoftheoreticalknowledgethathasnorelationtohumanlifeandnouseintheactualworld.SymbolsvTheHouyhnhnmsrepresentanidealofrationalexistence,alifegovernedbysenseandmoderationofwhichphilosopherssincePlatohavelongdreamed.vAsthesiteofhisfathersdisappointingly“smallestate”andGulliversfailingbusiness,Englandseemstosymbolizedeficiencyorinsufficiency,atleastinthefinancialsensethatmattersmosttoGulliver.Anything bad is about YahoosYahoos,avile(极坏的)anddepravedraceofape-likecreatures.AnalysisvIt is a book simple enough for a child, and yet complex enough to carry an adult beyond his depth. It is a satire on the 18th century English society, touching upon the political, religious, legal, military, scientific, philosophical as well as literary institutions, about almost every aspect of the society. Bitterly satirical, the book takes great pains to bring to light the wickedness of English society, with its tyranny, its political intrigues and corruption, its aggressive wars and colonialism, its religious disputes and persecution, and its ruthless oppression and exploitation of the common people. Extrainformation 格列佛游记格列佛游记的作者的作者Jonathan SwiftJonathan Swift发明了发明了yahooyahoo这个单词。这个单词。Yahoo! Yahoo! 的创始人杨致远和的创始人杨致远和David FiloDavid Filo选选择这个名字的原因是他们觉得自己是择这个名字的原因是他们觉得自己是yahooyahoo。他们选。他们选择这个名称的原因是他们喜欢字典里对择这个名称的原因是他们喜欢字典里对yahooyahoo的定义：的定义：“粗鲁，不通世故，粗俗。粗鲁，不通世故，粗俗。 SwiftsStylevsimple, clear, vigorous language;vdirect and precise prose;vpowerful satire.ConcernsinhisworksMoralattributes Swift was a man of great moralintegrityandsocialcharm. He had a deephatredforalltherichoppressorsandadeepsympathyforallthepoorandoppressed. HumannatureHis understanding of human nature is profound. In his His understanding of human nature is profound. In his opinion, human nature is seriously and permanently opinion, human nature is seriously and permanently flawed. To better human life, enlightenment is needed, flawed. To better human life, enlightenment is needed, but to redress it is very hard. So, in his writings, but to redress it is very hard. So, in his writings, although he intends not to condemn but to reform and although he intends not to condemn but to reform and improve human nature and human institutions, there is improve human nature and human institutions, there is often an overtone of helplessness and indignation. often an overtone of helplessness and indignation. AnalysisofGulliver(1)vLemuel GullivervAlthoughGulliverisaboldadventurerwhovisitsamultitudeofstrangelands,itisdifficulttoregardhimastrulyheroic.Evenwellbeforehisslideintomisanthropy(厌恶人类)attheendofthebook,hesimplydoesnotshowthestuffofwhichgrandheroesaremade.vHeisnotcowardlyonthecontrary,heundergoestheunnervingexperiencesofnearlybeingdevouredbyagiantrat,takencaptivebypirates,shipwreckedonfarawayshores,sexuallyassaultedbyaneleven-year-oldgirl,andshotinthefacewithpoisonarrows.vAdditionally,theisolationfromhumanitythatheenduresforsixteenyearsmustbehardtobear,thoughGulliverrarelytalksaboutsuchmatters.YetdespitethecourageGullivershowsthroughouthisvoyages,hischaracterlacksbasicgreatness.Thisimpressioncouldbeduetothefactthatherarelyshowshisfeelings,revealshissoul,orexperiencesgreatpassionsofanysort.vButotherliteraryadventurers,likeOdysseusinHomersOdyssey,seemheroicwithoutbeingparticularlyopenabouttheiremotions.AnalysisofGulliver(2)vWemayalsonoteGulliverslackofingenuityandsavvy(机智,头脑).Othergreattravelers,suchasOdysseus,getthemselvesoutofdangeroussituationsbyexercisingtheirwitandabilitytotrickothers.Gulliverseemstoodullforanybattlesofwitandtoounimaginativetothinkuptricks,andthusheendsupbeingpassiveinmostofthesituationsinwhichhefindshimself.vHeisheldcaptiveseveraltimesthroughouthisvoyages,butheisneveroncereleasedthroughhisownstratagems(计谋),relyinginsteadonchancefactorsforhisliberation.Oncepresentedwithawayout,heworkshardtoescape,aswhenherepairstheboathefindsthatdelivershimfromBlefuscu,butheisneveractivelyingeniousinattainingfreedom.ThisexamplesummarizesquitewellGulliversintelligence,whichisfactualandpracticalratherthanimaginativeorintrospective.vGulliverisgullible(易受骗的),ashisnamesuggests.Forexample,hemissestheobviouswaysinwhichtheLilliputiansexploithim.Whileheisquiteadeptat(熟练于)navigationalcalculationsandthehumdrum(单调的)detailsofseafaring(水手工作),heisfarlessabletoreflectonhimselforhisnationinanyprofoundlycriticalway.vTravelingtosuchdifferentcountriesandreturningtoEnglandinbetweeneachvoyage,heseemspoisedtomakesomegreatanthropologicalspeculationsaboutculturaldifferencesaroundtheworld,abouthowsocietiesaresimilardespitetheirvariationsordifferentdespitetheirsimilarities.vBut,frustratingly,Gullivergivesusnothingofthesort.Heprovidesusonlywithliteralfactsandnarrativeevents,neverwithanygeneralizingorphilosophizing.Heisaself-hating,self-proclaimedYahooattheend,announcinghismisanthropyquiteloudly,buteventhisattitudeisdifficulttoacceptasthemoralofthestory.vGulliverisnotafigurewithwhomweidentifybut,rather,partofthearrayofpersonalitiesandbehaviorsaboutwhichwemustmakejudgments.AnalysisofGulliver(3)vWhatseemsmostlackinginGulliverisnotcourageorfeelings,butdrive.OnemoderncritichasdescribedGulliveraspossessingthesmallestwillinallofWesternliterature:heissimplydevoidofasenseofmission,agoalthatwouldmakehiswanderingintoaquest.Odysseussgoalistogethomeagain,butGulliversgoalonhisseavoyageisuncertain.Hesaysthatheneedstomakesomemoneyafterthefailureofhisbusiness,butherarelymentionsfinancesthroughouttheworkandindeedalmostneverevenmentionshome.Hehasnoawarenessofanygreatnessinwhatheisdoingorwhatheisworkingtoward.vInshort,hehasnoaspirations.Whenheleaveshomeonhistravelsforthefirsttime,hegivesnoimpressionthatheregardshimselfasundertakingagreatendeavororembarkingonathrillingnewchallenge.AnalysisofGulliver(4)ThemesintheGulliversTravels-Might Versus RightvGulliversTravelsimplicitlyposesthequestionofwhetherphysicalpowerormoralrighteousnessshouldbethegoverningfactorinsociallife.vGulliverexperiencestheadvantagesofphysicalmightbothasonewhohasit,asagiantinLilliputwherehecandefeattheBlefuscudiannavybyvirtueofhisimmensesize,andasonewhodoesnothaveit,asaminiaturevisitortoBrobdingnagwhereheisharassedbythehugenessofeverythingfrominsectstohouseholdpets.vHisfirstencounterwithanothersocietyisoneofentrapment,whenheisphysicallytieddownbytheLilliputians;later,inBrobdingnag,heisenslavedbyafarmer.Healsoobservesphysicalforceusedagainstothers,aswiththeHouyhnhnmschainingupoftheYahoos.vButalongsidetheuseofphysicalforce,therearealsomanyclaimstopowerbasedonmoralcorrectness.ThewholepointoftheeggcontroversythathassetLilliputagainstBlefuscuisnotmerelyaculturaldifferencebut,instead,areligiousandmoralissuerelatedtotheproperinterpretationofapassageintheirholybook.vThisdifferenceofopinionseemstojustify,intheireyesatleast,thewarfareithassparked.Similarly,theuseofphysicalforceagainsttheYahoosisjustifiedfortheHouyhnhnmsbytheirsenseofmoralsuperiority:theyarecleaner,betterbehaved,andmorerational.vButoverall,thenoveltendstoshowthatclaimstoruleonthebasisofmoralrighteousnessareoftenjustasarbitraryas,andsometimessimplydisguisesfor,simplephysicalsubjugation(平息,镇压).TheLaputanskeepthelowerlandofBalnibarbiincheckthroughforcebecausetheybelievethemselvestobemorerational,eventhoughwemightseethemasabsurdandunpleasant.Similarly,therulingeliteofBalnibarbibelievesitselftobeintherightindrivingLordMunodifrompower,althoughweperceivethatMunodiistherationalparty.Claimstomoralsuperiorityare,intheend,ashardtojustifyastherandomuseofphysicalforcetodominateothers.ThemesintheGulliversTravels-Might Versus RightThemesintheGulliversTravels-The Individual Versus SocietyvLikemanynarrativesaboutvoyagestononexistentlands,GulliversTravelsexplorestheideaofutopiaanimaginarymodeloftheidealcommunity.Theideaofautopiaisanancientone,goingbackatleastasfarasthedescriptioninPlatosRepublicofacity-stategovernedbythewiseandexpressedmostfamouslyinEnglishbyThomasMoresUtopia.vSwiftnodstobothworksinhisownnarrative,thoughhisattitudetowardutopiaismuchmoreskeptical,andoneofthemainaspectshepointsoutaboutfamoushistoricalutopiasisthetendencytoprivilegethecollectivegroupovertheindividual.ThechildrenofPlatosRepublicareraisedcommunally,withnoknowledgeoftheirbiologicalparents,intheunderstandingthatthissystemenhancessocialfairness.SwifthastheLilliputianssimilarlyraisetheiroffspringcollectively,butitsresultsarenotexactlyutopian,sinceLilliputistornbyconspiracies,jealousies,andbackstabbing.vTheHouyhnhnmsalsopracticestrictfamilyplanning,dictatingthattheparentsoftwofemalesshouldexchangeachildwithafamilyoftwomales,sothatthemale-to-femaleratioisperfectlymaintained.Indeed,theycomeclosertotheutopianidealthantheLilliputiansintheirwisdomandrationalsimplicity.vButthereissomethingunsettlingabouttheHouyhnhnmsindistinctpersonalitiesandabouthowtheyaretheonlysocialgroupthatGulliverencounterswhodonothavepropernames.vDespiteminorphysicaldifferences,theyareallsogoodandrationalthattheyaremoreorlessinterchangeable,withoutindividualidentities.Intheirabsolutefusionwiththeirsocietyandlackofindividuality,theyareinasensetheexactoppositeofGulliver,whohashardlyanysenseofbelongingtohisnativesocietyandexistsonlyasanindividualeternallywanderingtheseas.GulliversintensegriefwhenforcedtoleavetheHouyhnhnmsmayhavesomethingtodowithhislongingforunionwithacommunityinwhichhecanlosehishumanidentity.Inanycase,suchaunionisimpossibleforhim,sinceheisnotahorse,andalltheothersocietieshevisitsmakehimfeelalienatedaswell.ThemesintheGulliversTravels-The Individual Versus SocietyvGulliversTravelscouldinfactbedescribedasoneofthefirstnovelsofmodernalienation,focusingonanindividualsrepeatedfailurestointegrateintosocietiestowhichhedoesnotbelong.EnglanditselfisnotmuchofahomelandforGulliver,and,withhissurgeonsbusinessunprofitableandhisfathersestateinsufficienttosupporthim,hemayberighttofeelalienatedfromit.HeneverspeaksfondlyornostalgicallyaboutEngland,andeverytimehereturnshome,heisquicktoleaveagain.Gullivernevercomplainsexplicitlyaboutfeelinglonely,buttheembitteredandantisocialmisanthropeweseeattheendofthenovelisclearlyaprofoundlyisolatedindividual.Thus,ifSwiftssatiremockstheexcessesofcommunallife,itmayalsomocktheexcessesofindividualisminitsportraitofamiserableandlonelyGullivertalkingtohishorsesathomeinEngland.ThemesintheGulliversTravels-TheIndividualVersusSocietyThemesintheGulliversTravels-The Limits of Human UnderstandingvTheideathathumansarenotmeanttoknoweverythingandthatallunderstandinghasanaturallimitisimportantinGulliversTravels.vSwiftsinglesouttheoreticalknowledgeinparticularforattack:hisportraitofthedisagreeableandself-centeredLaputans,whoshowblatant(炫耀的,喧闹的)contemptforthosewhoarenotsunkinprivatetheorizing,isaclearsatireagainstthosewhopridethemselvesonknowledgeaboveallelse.vPracticalknowledgeisalsosatirizedwhenitdoesnotproduceresults,asintheacademyofBalnibarbi,wheretheexperimentsforextractingsunbeamsfromcucumbersamounttonothing.vSwiftinsiststhatthereisarealmofunderstandingintowhichhumansaresimplynotsupposedtoventure.Thushisdepictionsofrationalsocieties,likeBrobdingnagandHouyhnhnmland,emphasizenotthesepeoplesknowledgeorunderstandingofabstractideasbuttheirabilitytolivetheirlivesinawiseandsteadyway.vTheBrobdingnagiankingknowsshockinglylittleabouttheabstractionsofpoliticalscience,yethiscountryseemsprosperousandwellgoverned.Similarly,theHouyhnhnmsknowlittleaboutarcane(神秘的,不可思议)subjectslikeastronomy,thoughtheyknowhowlongamonthisbyobservingthemoon,sincethatknowledgehasapracticaleffectontheirwell-being.vAspiringtohigherfieldsofknowledgewouldbemeaninglesstothemandwouldinterferewiththeirhappiness.Insuchcontexts,itappearsthatlivingahappyandwell-orderedlifeseemstobetheverythingforwhichknowledgeSwiftthinksisuseful.ThemesintheGulliversTravels-The Limits of Human UnderstandingvSwiftalsoemphasizestheimportanceofself-understanding.Gulliverisinitiallyremarkablylackinginself-reflectionandself-awareness.Hemakesnomentionofhisemotions,passions,dreams,oraspirations,andheshowsnointerestindescribinghisownpsychologytous.vAccordingly,hemaystrikeusasfrustratinglyholloworempty,thoughitislikelythathispersonalemptinessispartoftheoverallmeaningofthenovel.Bytheend,hehascomeclosetoakindoftwistedself-knowledgeinhisderanged(疯狂的)beliefthatheisaYahoo.vHisrevulsionwiththehumancondition,showninhisshabby(不公平的)treatmentofthegenerousDonPedro,extendstohimselfaswell,sothatheendsthenovelalmostinastateofself-hatred.Swiftmaythusbesayingthatself-knowledgehasitsnecessarylimitsjustastheoreticalknowledgedoes,andthatifwelooktoocloselyatourselveswemightnotbeabletocarryonlivinghappily.ThemesintheGulliversTravels-The Limits of Human UnderstandingvJosephAddison,thecentralfigureofthecoffee-housesmeetings,wasthesonofaclergymanandwasbornin1672inthelittlevillageofMilston,inWilstshire.vHewenttotheCharterhouseSchoolinLondon,wherehemetSteele,anorphanofIrishparentagewhowasbeingeducatedbyanuncle.vThetwobecamefastfriends.AtfifteenthetwowenttoOxford,totheuniversity,Addisonsoonbecameknownasawriterofverses.LaterheenteredintopoliticalwritingandencouragedbysomestatesmentotravelontheContinenttostudyFrenchsoastobecomeacquaintedwiththepoliticsofotherEuropeanstates.AddisontraveledontheContinentfouryearsandreturnedtotakeuphispoliticalworks,DickSteeleranawayandjoinedthearmy.JosephAddison(1672-1719)vAddisonwroteapoemcelebratingthedukeofMarlboroughandhisallieswhohadwonagreatvictory,whichearnedhimagovernmentposition.NotlongafterwardshebecameamemberofParliamentandlaterwassenttoIreland.vWhileAddisonwasinIreland,DickSteelecamebackfromthewars.Aftertryinghishandatafewplays,Steeleconceivedtheideaofstartingapaperwhichshouldcontainnews,gossip,storiesofeverydaylife,andjokesonallsortsofpeople.HecalleditTheTatler(闲谈者).Addisonwroteforthepaperandmadeitagreatsuccess.vTwoyearsafterTheTatlerhadbeenpublished,Steelediscontinueditandstartedanotherpaper,TheSpectator(旁观者)vItmadefunofallthatwaswrongandfoolishinsocietyandpraisedallthatwasgood.Ittoldoddstoriesaboutimaginarycharacters,asSirRogerdeCoverley,WillWimble,andWillHoneycomb.vSirRogerdeCoverley,simpleminded,kind-hearted,andsomewhatpompous(华而不实的),wasthemostinterestingofthesecharacters.vIn1716,attheheightofhisfame,hemarriedtheCountesofWarwick.Helivedbutthreeyearsafterhismarriage.JosephAddison(1672-1719)vItmustberememberedthatnewspapersandperiodicalswerestillintheirbeginnings.TheTatlerandTheSpectatorbroughtliteraturedowntoeverydaylifeandkeptitcleanandwholesome.vThebestdescriptionofAddisonsproseisfoundinDr.JohnsonsLifeofAddison:“Hisproseisthemodelofthemiddlestyle;ongravesubjectsnotformal,onlightoccasionsnotgroveling;purewithoutscrupulosity,andexactwithoutapparentelaboration;alwaysequable,andalwayseasy,withoutglowingwordsorprintedsentences.”vAndheconcludes:“whoeverwishestoattainanEnglishstyle,familiarbutnotcoarse,andelegantbutnotostentatious,mustgivehisdaysandnightstothevolumesofAddison.”JosephAddison(1672-1719)vTheauthorofthefamousElegyisthemostscholarlyandwell-balancedofalltheearlyromanticpoets.vInhisyouthheisaweakling,theonlyoneoftwelvechildrenwhosurvivedinfancy,andhisunhappychildhood,thetyrannyofhisfather,andtheseparationfromhislovedmother,gavetohiswholelifethestamp(印迹)ofmelancholywhichisnoticeableinallhispoems.vAtthefamousEtonSchool,andagainatCambridge,heseemstohavefollowedhisownscholarlytastesratherthanthecurriculum.vOnehappyresultofhisschoollifewashisfriendshipwithHoraceWalpole,whotookhimabroadforathreeyearstouroftheContinent.ThomasGray(1716-1771)vOnhisreturntoEngland,GraylivedforashorttimeatStokePoges,wherehewrotehisOdetoEden,andprobablysketchedhisElegy,whichhowever,wasnotfinishedtill1750,eightyearslater.vDuringthelatteryearsofhisshyandscholarlylifehewasprofessorofModernHistoryandLanguagesatCambridge.vHegavehimselfuptostudyandtopoetry,varyinghisworkby“prowlings（巡游）”amongthemanuscriptsoftheNewBritishMuseum,andbyhis“Liliputian”travelsinEnglandandScotland.vHediedinhisroomsatPembrokeCollegein1771,andwasburiedinthelittlechurchyardofStokePoges.ThomasGray(1716-1771)TheCurfewtollstheknellofpartingday,Thelowingherdwindsslowlyoerthelea（草地）,Theploughmanhomewardplodshiswearyway,Andleavestheworldtodarknessandtome.Nowfadestheglimmeringlandscapeonthesight,Andalltheairasolemnstillnessholds,Savewherethebeetlewheelshisdroningflight,Anddrowsytinklingslullthedistantfolds.Savethatfromyonderivy-mantledtower,Themopingowldoestothemooncomplain,Ofsuchaswandringnearhersecretbower,Molestherancientsolitaryreign.Beneaththoseruggedelms,thatyew-treesshade,Whereheavestheturfinmanyamouldringheap,Eachinhisnarrowcellforeverlaid,Therudeforefathersofthehamletsleep.Thebreezycallofincense-breathingmorn,Theswallowtwitteringfromthestraw-builtshed,Thecocksshrillclarion,andtheechoinghorn,Nomoreshallrousethemfromtheirlowlybed.Forthemnomoretheblazinghearthshallburn,Orbusyhousewifeplyhereveningcare,NochildrenruntolisptheirSiresreturn,Norclimbhiskneestheenviedkisstoshare.Oftdidtheharvesttotheirsickleyield,Theirfurrowoftthestubbornglebehasbroke,Howjocunddidtheydrivetheirteamafield,Howbowedthewoodsbeneaththeirsturdystoke!Letnotambitionmocktheirusefultoil,Theirhomelyjoysanddestinyobscure,Norgrandeurhearwithadisdainfulsmile,TheshortandsimpleannalsofthepoorTheboastofheraldry,thepompofpower,Andallthatbeauty,allthatwealtheergave,Awaitsalikethinevitablehour,Thepathsofgloryleadbuttothegrave.Noryou,yeproud,imputetothesethefault,Ifmemryoertheirtombnotrophiesraise,Where,throughthelong-drawnaisleandfrettedvault,Thepealinganthemswellsthenoteofpraise.Canstoriedurn,oranimatedbust,Backtoitsmansioncallthefleetingbreath?Canhonoursvoiceprovokethesilentdust,Orflatterysoothethedullcoldearofdeath?Perhapsinthisneglectedspotislaid,Someheartoncepregnantwithcelestialfire,Hands,thattherodofempiremighthaveswayd,Orwakedtoecstasythelivinglyre.Butknowledgetotheireyesheramplepage,Richwiththespoilsoftimedidneerunroll,Chillpenuryrepressdtheirnoblerage,Andfrozethegenialcurrentofthesoul.Fullmanyagemofpurestrayserene,Thedarkunfathomdcavesofoceanbear,Fullmanyaflowerisborntoblushunseen,AndwasteitssweetnessonthedesertairElegy Written in a Country Churchyard (1)（墓园挽歌）（墓园挽歌）.SomevillageHampden,thatwithdauntlessbreast,Thelittletyrantofhisfieldswithstood,SomemuteingloriousMiltonheremayrest,SomeCromwell,guiltlessofhiscountrysblood.Thapplauseoflistningsenatestocommand,Thetreatsofpainandruintodespise,Toscatterplentyoerasmilingland,Andreadtheirhistryinanationseyes.Theirlotforbad:norcircumscribedalone,Theirgrowingvirtues,buttheircrimesconfined:Forbadtowadethroughslaughtertoathrone,Orshutthegatesofmercyonmankind.Thestrugglingpangsofconscioustruthtohide,Toquenchtheblushesofingeniousshame,Orheaptheshrineofluxuryandpride,Withincense,kindledatthemusesflame.Farfromthemaddingcrowdsignoblestrife,Theirsoberwishesneverlearndtostray;Alongthecoolsequesterdvaleoflife,Theykeptthenoiselesstenouroftheirway.Yetevnthesebonesfrominsulttoprotect,Somefrailmemoriesstillerectednigh,Withuncouthrhymesandshapelesssculpturedeckd,Imploresthepassingtributeofasigh.Theirname,theiryears,speltbythunletterdmuse,Theplaceoffameandepitaphsupply;Andmanyaholytextaroundshestrews,Thatteachtherusticmoraliststodie.Elegy Written in a Country Churchyard (2)Forwhotodumbforgetfulnessaprey,Thispleasinganxiousbeingeerresingd,Leftthewarmprecinctsofthecheerfulday,Norcastonelonginglingringlookbehind?Onsomefondbreastthepartingsoulrelies,Somepiousdropstheclosingeyerequires;Evenfromthetombthevoiceofnaturecries,Eveninourasheslivetheirwontedfires.Forthee,whomindfulofthunhonourddead,Dostintheselinestheirartlesstalerelate:Ifchance,bylonelycontemplationled,Somekindredspiritshallenquirethyfate.Haplysomehoary-headedswainmaysay,Ofthaveweseenhimatthepeepofdawn,Brushingwithhastystepsthedewsaway,Tomeetthesunupontheuplandlawn.There,atthefootofyondernoddingbeech,Thatwreathsitsoldfantasticrootssohigh,Hislistlesslengthatnoontidewouldhestretch,Andporeuponthebrook,thatbabblesby.Hardbyyonwood,nowsmilingasinscorn,Mutteringhiswaywardfancies,wouldherove;Nowdrooping,woeful-wan,likeoneforelorn,Orcrazedwithcare,orcrossdinhopelesslove.OnemornImissdhimfromthecustomdhill,Alongtheheath,andnearhisfavritetree;Anothercame;noryetbesidetherill,Norupthelawn,noratthewoodwashe.Thenextwithdirgesdueinsadarray,Slowthroughthechurchwaypathwesawhimborne,Approachandread,forthoucanstread,thelay,Gravedonthestonebeneathyonagedthorn.只听见常春藤披裹的塔顶底下一只阴郁的柢枭向月亮诉苦，怪人家无端走进它秘密的住家，搅扰它这个悠久而僻静的领土。峥嵘的榆树底下，扁柏的荫里，草皮鼓起了许多零落的荒堆，各自在洞窟里永远放下了身体，小村里粗鄙的父老在那里安睡。香气四溢的晨风轻松的呼召，燕子从茅草棚子里吐出的呢喃，公鸡的尖喇叭，使山鸣谷应的猎号再不能唤醒他们在地下的长眠。在他们，熊熊的炉火不再会燃烧，忙碌的管家妇不再会赶她的夜活；孩子们不再会“牙牙”的报父亲来到，为一个亲吻爬倒他膝上去争夺。往常是：他们一开镰就所向披靡，顽梗的泥板让他们犁出了垄沟；他们多么欢欣地赶牲口下地！他们一猛砍，树木就一棵棵低头！要知道谁甘愿舍身哑口的“遗忘”，坦然撇下了忧喜交织的此生，谁离开风和日暖的明媚现场而能不依依地回头来顾盼一阵？辞世的灵魂还依傍钟情的怀抱，临闭的眼睛需要尽哀的珠泪，即使坟冢里也有“自然”的呼号他们的旧火还点燃我们的新灰。至于你，我关心这些默默的陈死人，用这些诗句讲他们质朴的故事，假如在幽思的引导下，偶然有缘分，一位同道来问起你的身世也许会有白头的乡下人对他说，“我们常常看见他，天还刚亮，就用匆忙的脚步把露水碰落，上那边高处的草地去会晤朝阳；“那边有一棵婆娑的山毛榉老树，树底下隆起的老根盘错在一起，他常常在那里懒躺过一个中午，悉心看旁边一道涓涓的小溪。“他转游到林边，有时候笑里带嘲，念念有词，发他的奇谈怪议，有时候垂头丧气，像无依无靠，像忧心忡忡或者像情场失意。“有一天早上，在他惯去的山头，灌木丛，他那棵爱树下，我不见他出现；第二天早上，尽管我走下溪流，上草地，穿过树林，他还是不见。“第三天我们见到了送葬的行列，唱着挽歌，抬着他向坟场走去请上前看那丛老荆棘底下的碑碣，（你是识字的）请念念这些诗句”：“雄心”别嘲讽他们实用的操劳，家常的欢乐，默默无闻的命运；“豪华”也不用带着轻蔑的冷笑来听讲穷人的又短有简的生平。门第的炫耀，有权有势的煊赫，凡是美和财富所能赋予的好处，前头都等待着不可避免的时刻：光荣的道路无非是引导到坟墓。骄傲人，你也不要怪这些人不行，“怀念”没有给这些人建立纪念堂，没有让悠长的廊道、雕花的拱顶洋溢着洪亮的赞美歌，进行颂扬。栩栩的半身像，铭刻了事略的瓮碑，难道能恢复断气，促使还魂？“荣誉”的声音能激发沉默的死灰？“献媚”能叫死神听软了耳根？也许这一块地方，尽管荒芜，就埋着曾经充满过灵焰的一颗心；一双手，本可以执掌到帝国的王芴或者出神入化地拨响了七弦琴。可是“知识”从不曾对他们展开它世代积累而琳琅满目的书卷；“贫寒”压制了他们高贵的襟怀，冻结了他们从灵府涌出的流泉。世界上多少晶莹皎洁的珠宝埋在幽暗而深不可测的海底；世界上多少花吐艳而无人知晓，把芳香白白地散发给荒凉的空气。也许有乡村汉普顿在这里埋身，反抗过当地的小霸王，胆大，坚决；也许有缄口的米尔顿，从没有名声；有一位克伦威尔，并不曾害国家流血。要博得满场的元老雷动的鼓掌，无视威胁，全不顾存亡生死，把富庶，丰饶遍播到四处八方，打从全国的笑眼里读自己的历史他们的命运可不许：既不许罪过有所放纵，也不许发挥德行；不许从杀戮中间涉登宝座从此对人类关上仁慈的大门；不许掩饰天良在内心的发作，隐瞒天真的羞愧，恬不红脸；不许用诗神的金焰点燃了香火锦上添花去塞满“骄”“奢”的神龛。远离了纷纭人世的勾心斗角，他们有清醒愿望，从不学糊涂，顺着生活的清凉僻静的山坳，他们坚持了不声不响的正路。可是叫这些尸骨免受到糟踏，还是有脆弱的碑牌树立在近边，点缀了拙劣的韵语、凌乱的刻划，请求过往人就便献一声婉叹。无闻的野诗神注上了姓名、年份，另外再加上地址和一篇悼词；她在周围撒播了一些经文，教训乡土道德家怎样去死。墓畔哀歌vAnotherconspicuous(显著的)trendintheEnglishliteratureofthelatterhalfofthe18thcenturywastheso-calledpre-romanticism.vPre-romanticismoriginatedamongtheconservativegroupsofmenofletters(文人)asareactionagainstEnlightenmentandfounditsmostmanifestexpressioninthe“Gothicnovel”,atermarisingfromthefactthatthegreaterpartofsuchromancesweredevotedtothemedievaltimes.(之所以命名前浪漫是因为当时大部分传奇故事取材于中世纪)vWilliamBlakeandRobertBurnsrepresentedthespiritofwhatisusuallycalledPre-romanticism.vThemysteriouselementplaysanenormousroleintheGothicnovel;itissoreplete（充满的）withbloodcurdling（恐怖的令人毛骨悚然的）scenesandunnaturalfeelingsthatitisjustlycalled“anovelofhorrors”.HistoricalBackground-Pre-romanticismHistoricalBackground-Pre-romanticismv晚钟响起来一阵阵给白昼报丧，牛群在草原上迂回，吼声起落，耕地人累了，回家走，脚步踉跄，把整个世界留给了黄昏与我。苍茫的景色逐渐从眼前消退，一片肃穆的寂静盖遍了尘寰，只听见嗡嗡的甲虫转圈子纷飞，昏沉的铃声催眠着远处的羊栏。白昼将残尽，晚钟促落晖。黄犊鸣草原，逶迤缓缓归。田夫荷锄走，赴家意沉昏。玄冥盈天地，孤影立乾坤夕曛逐黯淡，晚景渐暝灭。夕曛逐黯淡，晚景渐暝灭。 万化皆偃息，阴肃笼四野。万化皆偃息，阴肃笼四野。 唯见虫旋舞，但闻语切切。唯见虫旋舞，但闻语切切。 牧铃声思睡，催羊入圈歇。牧铃声思睡，催羊入圈歇。薜荔摇青气，蒙络罩尖顶。薜荔摇青气，蒙络罩尖顶。 栖栖枝上枭，磔磔怨蟾光：栖栖枝上枭，磔磔怨蟾光： 窥我私巢久，徘徊未离休。窥我私巢久，徘徊未离休。 古已长居此，何事扰清幽。古已长居此，何事扰清幽。峥嵘耸青榆，蔼蔼立紫杉。峥嵘耸青榆，蔼蔼立紫杉。 翳下多荒坟，隆冒蒿草间。翳下多荒坟，隆冒蒿草间。 隘隘见方穴，寂寂长眠人。隘隘见方穴，寂寂长眠人。 欲问谁偃卧，野夫与村氓欲问谁偃卧，野夫与村氓侵晓花香郁，翦翦风轻唤。侵晓花香郁，翦翦风轻唤。 茅庐草堂下，家燕语呢喃。茅庐草堂下，家燕语呢喃。 司晨雄鸡啼，行猎号角鸣。司晨雄鸡啼，行猎号角鸣。 陋塌一已卧，万声莫能醒陋塌一已卧，万声莫能醒炉膛火烁烁，主妇忙夜活。炉膛火烁烁，主妇忙夜活。 烧饭兼添火，此景已不复。烧饭兼添火，此景已不复。 娇儿尚学语，哑哑迎父归。娇儿尚学语，哑哑迎父归。 爬膝争宠爱，斯景亦难追。爬膝争宠爱，斯景亦难追。昔往镰刀利，行处皆披靡。昔往镰刀利，行处皆披靡。 瘠土硗薄地，犁沟亦能理。瘠土硗薄地，犁沟亦能理。 驱驾于南亩，耦耕欢时务。驱驾于南亩，耦耕欢时务。 千斤挥巨斧，群林纷鞠伏。千斤挥巨斧，群林纷鞠伏。妄者莫嘲讽，劳碌终有功。妄者莫嘲讽，劳碌终有功。 微贱无须叹，家乐可颂扬。微贱无须叹，家乐可颂扬。 蓬户家史短，简略不足耀。蓬户家史短，简略不足耀。 权贵或有闻，无为相讥诮。权贵或有闻，无为相讥诮。炫炫之豪族，煌煌之王侯，炫炫之豪族，煌煌之王侯， 美貌所招徕，财货所添购，美貌所招徕，财货所添购， 最终皆难免，灰飞烟灭时。最终皆难免，灰飞烟灭时。 荣华何足道，百年归丘垄。荣华何足道，百年归丘垄。墓畔哀歌The Epitaph墓志铭墓志铭Hererestshisheaduponthelapofearth,Ayouth,tofortuneandtofameunknown;Fairsciencefrowndnotonhishumblebirth,Andmelancholymarkdhimforherown.Largewashisbounty,andhissoulsincere;Heavndidarecompenseaslargelysend:Hegavetomisryallhehad,atear,Hegaindfromheavn(twasallhewishd)afriend.Nofartherseekhismeritstodisclose,Ordrawhisfrailtiesfromtheirdreadabode,(Theretheyalikeintremblinghoperepose),Thebosomofhisfather,andhisGod.这里边，高枕地膝，是一位青年生平从不曾受知于“富贵”和“名声”“知识”可没有轻视他生身的微贱，“清愁”把他标出来认作宠幸他生性真挚，最乐于慷慨施惠，上苍也给了他同样慷慨的报酬他给了“坎坷”全部的所有，一滴泪；从上苍全得了所求，一位朋友别再想法子表彰他的弱点翻出了暗窖（它们同样在颤抖的希望中休息），那就是他的天父和上帝的怀抱墓志铭vOliverGoldsmithwastrainedformedicinebutfortunatelybecameanauthor.Hewasoneofthemostversatileofauthorsandmadedistinguishedcontributionsinseveralliteraryforms:TheVicarofWakefieldanovel;SheStoopstoConquer(委曲求全),arollickingcomedy;TheCitizenoftheWorld（世界公民）,aseriesofessays;andtwolinepoems,TheTravellerandTheDesertedVillage.vAllhiswritingispervadedbyagentleironyandagenuinefeelingthatavoidssentimentalitywithconsummateskill.vHewasborninIreland,thesonofanAnglicanclergymanwhosegenialityheinheritedandwhoseimprovidenceheimitated.vHewasearlydisfiguredbysmallpoxandgrewupuglyofface,ungracefuloffigure,andhihisearlyyearsapparentlystupidandcertainlyidle.OliverGoldsmith(1728-1774)vNontheless,hewassenttoTrinityCollege,Dublin,asasizar(减费生)i.e.,astudentwhodidmenialjobsforwell-to-doundergraduates-andtherehetookhisB.A.in1749.vAfterseveralfalsestartsinchoosingacareer,hewassentbyagenerousuncletostudymedicineattheUniversityofEdinburgh.Insteadoftakingadegree,hewanderedforawhileontheContinentvisitingHolland,France,Italy,andSwitzerland.vIn1756heacquiredM.D.andtriedinvaintosupporthimselfasaphysician.Afterservinghimselfasanusherinaschool,hedriftedintotheprofessionofhackwriterforRalphGrilliths,theproprietoroftheMonthlyReview.vIn1762hisessaysinTheCitizenoftheWorldattractedattentionamongliterarymen;in1764appearedTheTraveller,apoembasedonhisownwanderingexperiences;vIn1766,DrJohnsonsavedhimfromtherageofhislandladybysellingforhimthemanuscriptofTheDesertedVillage,adin1773hiscomedy,SheStoopstoConquer,hadagreatsuccessonthestage.OliverGoldsmith(1728-1774)vAsanessayistGoldsmithisamongthebestofthecentury.Asapoethemakestherimingcoupletsasnaturalandsimpleashispross（苏格兰方言prose生气活现的样子）.vTherearefewdescriptiveandreflectivepoemsintheEnglishlanguagethathavekepttheirfreshnessashastheTheDesertedVillage.vHisonenovelhasbecomeoneoftheworldsbooksandisreadinalllanguage.Itisanidyllicstoryofthefamilyofaclergymanaftertheyhavelosttheirmoneyandarelivinginpoverty.vGoldsmithstwocomedies,TheGood-naturedMan（好脾气的人）andSheStoopstoConquermetwithoppositionbecausethefashionwasthenforsentimentalcomedy.vGoldsmithssuccessmarkedareturntothecomedyofmanners,withwitandfunasessentialingredients.OliverGoldsmith(1728-1774)vArealistic,oftensatiriccomedyconcernedwiththemannersandconventionsofhighsociety,inwhichlaughterisprovokedbyexaggerationsofformidablebehaviour,absurditiesinfashionitself,ordeparturesfromwhatisconsideredtobecivilizednormalityofbehaviour.vInEnglishliteraturethecomedyofmannersusuallyreferstotheRestorationcomediesoflate17th-centuryEngland,whichfeaturedinwittydialogue.comedyofmanners(风尚喜剧)vTwoplaysbySheridanandSheStoopstoConquer(Goldsmith)aretheonlyplaysoftheeighteenthcenturythathavebeenkeptaliveuponthemodernstage.vRichardBrinsleySheridanwasanIrishman,andhehadalltheIrishbrilliancyandwit.Hewasoneofthemostfamousoratorsofhistime.vHisliteraryfamerestsalmostexclusivelyuponhisdramas.vHisfamouscomedy,TheRivals,waswritteninhistwenty-fourthyear,andTheSchoolforScandalandTheCriticwithinfouryearsthereafter.Sheridanwroteotherplays,butnonethatequalthesethree.RichardBrinsleySheridan(1751-1816)vSheridan,RichardBrinsley(1751-1816),thesonofThomasSheridan(anactorandauthor),waseducatedatHarrowhemarriedElizabethAnnLinleyin1773,afterescortingherfromBathtoFranceandfightingtwoduelswithMajorMathews,herpersecutor.vIn1777heproducedthereATriptoScarboroughandTheSchoolforScandal.vHisfamousfarce,TheCriticwasgivenin1779,andPizaroin1799.vHewasreturnedtoparliamentin1780asasupporterofFox,andthereafterdevotedhimselftopublicaffairs.In1787hemadegreatspeechoftheOudechargeagainstWarrenHastings,andagainmadeacelebratedspeechin1788asmanageroftheimpeachment.vHewasarrestedfordebtin1813,andinhislastyearssufferedfrombraindisease.vHediedonJuly7,1816,andwasburiedwithgreatpomp(盛况)inWestminsterAbbey.RichardBrinsleySheridan(1751-1816)vAtypeofcomedywhichachievesitseffectthroughridiculousandexaggeratedsituations,broad,oftencrude,verbalhumour,andvariouskindsofbuffoonery(滑稽)andphysicalhorseplay（大声欢笑的玩闹）.vTherearestrongelementsoffarceinbothAristophanesLysistrata(411B.C.)andinAntonChekhovsTheCherryOrchard(1904)Farce（滑稽剧，闹剧）WilliamBlakeRobertBurnsPoetsinthe18thcenturyWilliam Blake (1757-1827),Englishartist,mysticandpoetwroteSongsofInnocence(1789):apoetrycollectionwrittenfromthechildspointofview,ofinnocentwondermentandspontaneityinnaturalsettingswhichincludes“LittleBoyLost”,“LittleBoyFound”and“TheLamb”;vEnglishpoet,artist,engraver,andvisionary（空想家）.HewasoneofthemostimportantfiguresofEnglishRomanticism.vHislyrics,asinSongsofInnocence1789andSongsofExperience1794,expressaspiritualvisioninradiantimageryandsymbolismandareoftenwrittenwithchildlikesimplicity.vHeillustratedhisownworkswithhand-colouredengravings.HeillustratedtheBible,worksbyDanteandShakespeare,andlaterbegantoillustratehisownpoems.WilliamBlakeWilliamBlakevThefirstbookofpoemshewroteandillustratedwasSongsofInnocence,whichviewedtheworldwithachildsinnocence;itssimplicityofdictionandformowesagreatdealtopopularhymns.vThecomplementaryvolume,SongsofExperience,whichcontainedthepoemsTiger!Tiger!andLondonexpressesBlakeskeenawarenessofcrueltyandinjustice.Centralthemesinhisworkaretheimportanceofpassionandimagination,hisvisionaryspiritualityheoftenclaimedthathesawangels. WilliamWilliamBlakeBlakeAfter his 7-year term was over, he studied briefly at the Royal Academy, but he rebelled against the aesthetic doctrines of its president, In 1784 he set up a printshop; although it failed after a few years, for the rest of his life Blake eked out a living（勉强维持生活） as an engraver and illustrator. His wife helped him print the illuminated poetry for which he is remembered today.WilliamBlakeWilliamBlakeTiger, tiger, burning bright Tiger, tiger, burning bright In the forest of the night, In the forest of the night, What immortal hand or eye What immortal hand or eye Could Frame thy fearful symmetryCould Frame thy fearful symmetry( (对称称)?)? In what distant deeps or skies In what distant deeps or skies Burnt the fire of thine eyes? Burnt the fire of thine eyes? On what wings dare he aspire? On what wings dare he aspire? What the hand dare seize the fire? What the hand dare seize the fire? And what shoulder and what art And what shoulder and what art Could twist the Could twist the sinewssinews of thy heart? of thy heart? And, when thy heart began to beat, And, when thy heart began to beat, What dread hand and what dread feet? What dread hand and what dread feet? What the hammer? what the chain? What the hammer? what the chain? In what furnace In what furnace（熔炉）（熔炉） was thy brain? was thy brain? What the anvil? What the anvil?( (铁砧)what dread grasp what dread grasp Dare its deadly terrors clasp? Dare its deadly terrors clasp? When the stars threw down their spearsWhen the stars threw down their spears（长矛）矛）, , And watered heaven with their tears, And watered heaven with their tears, Did he smile his work to see? Did he smile his work to see? Did he who made the lamb make thee?Did he who made the lamb make thee? TheTigerTheTigermusclevTounderstandTheTygerfully,youneedtoknowBlakessymbols.OneofthecentralthemesinhismajorworksisthatoftheCreatorasablacksmith.BlakeidentifiedGodscreativeprocesswiththeworkofanartist.Anditisartthatbringscreationtoitsfulfillment-byshowingtheworldasitis,bysharpeningperception,bygivingformtoideas.vThecompanionpieceof“TheTiger”isTheLamb.EverybodyknowsChrististhelambofGod.vInTheLamb,Christbecomesachild,notalamb.vBothpoemsareaboutcreatedbeings.v威廉布莱克（WilliamBlake,1757-1827)，英国诗人、版画家，英国浪漫主义运动的先驱。他出生于伦敦一个缝纫用品商家庭，除了初级艺术教育外，未受过正规教育。他10岁时进了一所绘画学校，后来又在皇家美术学院学习了一段时间。14岁时跟从著名的雕刻师詹姆士巴西尔做学徒，闲暇时博览群书，并尝试写诗。布莱克在24岁时与不识字的凯瑟琳布彻结婚，并教会她读写，使之充任他的助手。圣经是他艺术创作的主要源泉。布莱克颇受神秘主义哲学的影响，尤其是斯威登堡的奥秘宗教学说。他最终创造了自己的一个玄妙神话体系，以表达他对宇宙的思考。v布莱克的诗多是配他的蚀刻画的，主要有天真之歌与经验之歌等诗集。这两个诗集分别描写儿童天真未凿时期的欢快安宁和成人落入经验世界后的痛苦。要充分理解布莱克的思想，必须把这两部诗集对照着看。布莱克并不被同时代人所充分理解，被认为是个半疯人。直到20世纪40年代，加拿大文学批评大家弗莱的名著可怖的对称（TheFearfulSymmetry）出版后，人们才又重新注意这位湮没无闻的诗人，并出版了很多研究他的著作与论文。布莱克研究现已成为英美文学中的一门显学。v老虎是布莱克最著名的一首诗，收在经验之歌中。它与天真之歌中的羊羔（TheLamb）是姊妹篇，应该对照着读才更有启发。假如说羊羔描写的是天真、驯服的造物形象，那么老虎！则塑造了一只猛烈、凶悍的动物。老虎！一诗由四行体扬抑格四音步构成，音调铿锵有力，模仿打铁的声音。全诗由一系列的疑问排比而成，表达了作者对神秘的造物主那大能的惊讶和恐惧。v在第一节中，作者假想自己在夜晚的森林中邂逅老虎，被它那威严的目光所慑服。既有造物，必有造物主，哪个万能的造物主能塑造出老虎那可怕的对称身体？v在第二节里，作者沿着前一节的思路追问下去，老虎那如火的目光是来自何方？深海抑或苍天？是什么手敢于攫取这火光？作者在这里暗用了古希腊神话中普罗米修斯盗天火和伊卡洛斯借助蜡翅膀飞天的典故。v在随后的两节里，作者把造物主描绘成一个铁匠的形象，他锻造了他的杰作-老虎。隐含在这一系列问题后面的，是作者对造物主的敬畏和恐惧心情。v在第五节里，作者的语气一变，又问道，当天上的众天使（群星）击败了撒旦率领的反叛天使时，他们没有欢呼雀跃，反而泪飞顿作倾盆雨，为堕落的诸天使感到痛心疾首。有评家认为，布莱克诗中的星星是理性、法律和秩序的象征和化身。最后一节重复开头一节，使全诗转了一圈又回到起首的问题上去，说明造物的神秘非凡人能解。v对老虎！一诗的各家解释真可谓汗牛充栋，不胜枚举。有的评家认为，正如羊羔是善良的象征一样（在基督教里羊羔是为人类赎罪的替罪羊），老虎则是邪恶的象征。当代评论则认为老虎体现了巨大的活力（energy），是布莱克所赞美的无拘束的生命力的释放。这首诗的关键一句是DidhewhomadetheLambmakethee?这句诗挑战了18世纪偏狭的宗教观点，该观点以为上帝只创造了温驯的羔羊，是慈爱有加的天上之父，殊不知他也创造了猛虎，也有威严暴怒的一面，有人类理智所不能透视的奥秘。老虎！表面写虎，实则写那个深不可测的造物主。老虎！老虎！如火辉煌，燃烧在那深夜的林莽。是什么非凡的手与眼能造出你这可怖的匀称？你眼中的火焰取自何方？是取自深海，还是天空？靠什么翅膀他胆敢飞翔？凭什么手掌敢攫取这火光？靠什么臂膀，靠什么技巧他把你心脏的肌肉来锻造？是什么可怕的手脚让你的心开始那最初的搏动？是什么铁锤，是什么铁链在什么熔炉中把你的大脑烧炼？什么可怕的抓握，什么铁砧胆敢抓紧这致命的恐怖？当群星抛下它们的长矛，当苍穹洒遍了泪雨滔滔，他可曾对自己的造物微笑？既有羔羊，为何又把虎来创造？老虎！老虎！如火辉煌，燃烧在那深夜的林莽。是什么非凡的手与眼敢造出你这可怖的匀称？老虎！LittleLamb,whomadethee?Dostthouknowwhomadethee?Gavetheelife,andbidtheefeed,Bythestreamandoerthemead;Gavetheeclothingofdelight,Softestclothing,woolly,bright;Gavetheesuchatendervoice,Makingallthevalesrejoice?LittleLamb,whomadethee?Dostthouknowwhomadethee?LittleLamb,Illtellthee,LittleLamb,Illtellthee.Heiscalledbythyname,ForHecallsHimselfaLamb.Heismeek,andHeismild;Hebecamealittlechild.Iachild,andthoualamb,WearecalledbyHisname.LittleLamb,Godblessthee!LittleLamb,Godblessthee!LambStudy QuestionsWhatdoestheLambstandfor?Whatisthesymbolicmeaningofthetiger?Whatdoesthepoetwanttoexpress?I wandered through each chartered street, Near where the chartered Thames does flow, And mark in every face I meet, Marks of weakness, marks of woe. In every cry of every man, In every infants cry of fear, In every voice, in every ban, The mind-forged manacles I hear: How the chimney-sweepers cry Every blackening church appals, And the hapless soldiers sigh Runs in blood down palace-walls. But most, through midnight streets I hear How the youthful harlots curse Blasts the new-born infants tear, And blights with plagues the marriage-hearse. LondonLondon译文一我在独占的大街上闲逛，独占的泰晤士在旁流淌，我注意遇到的每张脸庞写着孱弱，刻画着悲伤。每一个人的每一声凄嚎，每一声婴儿恐惧的哭叫，每一个声音，每一道布告，是我听到的心灵的脚镣。扫烟囱的人怎样的吆喊，每座污黑的教堂的惊骇；不幸的士兵怎样的叹诘王宫的墙下流淌的鲜血。午夜的街上我听到很多年轻的妓女怎样的诅咒痛斥着新生婴儿的哭诉,疫病让婚车变成了灵柩。伦敦译文对照译文二我走过每条独占的街道，徘徊在独占的泰晤士河边，我看见每个过往的行人有一张衰弱、痛苦的脸。每个人的每声呼喊，每个婴孩害怕的号叫，每句话，每条禁令，都响着心灵铸成的镣铐。多少扫烟囱孩子的喊叫震惊了一座座熏黑的教堂，不幸兵士的长叹化成鲜血流下了宫墙。最怕是深夜的街头又听年轻妓女的诅咒！它骇注了初生儿的眼泪，又用瘟疫摧残了婚礼丧车。 A little black thing in the snow, Crying weep! weep! in notes of woe! Where are thy father and mother? Say!“ They are both gone up to the church to pray. Because I was happy upon the heath, And smiled among the winters snow, They clothed me in the clothes of death, And taught me to sing the notes of woe. And because I am happy and dance and sing, They think they have done me no injury, And are gone to praise God and his priest and king, Who make up a heaven of our misery. The Chimney Sweeper 扫烟囱孩子（二）扫烟囱孩子（二）风雪里一个满身乌黑的小东西“号呀，号”在那里哭哭啼啼！“你的爹娘上哪儿去了，你讲讲？”“他们呀都去祷告了，上了教堂。“因为我原先在野地里欢欢喜喜，我在冬天的雪地里也总是笑嘻嘻，他们就把我拿晦气的黑衣裳一罩，他们还叫我唱起了悲伤的曲调。“因为我显得快活，还唱歌，还跳舞，他们就以为并没有把我害苦，就跑去赞美了上帝、教士和国王，夸他们拿我们苦难造成了天堂。”Scottish poet. He used a form of Scots dialect at a time when it was not considered suitably elevated? for literature. Burnss first volume, Poems, Chiefly in the Scottish Dialect, appeared 1786. In addition to his poetry (such as To a Mouse), Burns wrote or adapted many songs, including Auld Lang Syne. Robert Burns (1759-1796)vBurnswroteaswellinEnglishashedidinScots.Heisrecognizedastheculminatingfigureintwocenturiestraditionoffolksongandgenrepoetryandoneofthegreatestofallwritersoflovesongs.vHecontributedsome300songstoJamesJohnsonsScotsMusicalMuseum.Whethercomposingoriginalpiecesor,asinthecaseofAuldLangSyne,revitalizing(新生)asongwhichhadalreadypassedthroughmorethanoneversion,hehadthesuretouchoflyricgenius.BiographicalInformation-BiographicalInformation-RobertBurnsvBurnswasborninAlloway,nearAyr,andwenttothevillageschool.Afterhisfathersdeath,hebecamejointtenantwithhisbrotherGilbertofthefarmatMossgiel1784,butitwasunsuccessful.BurnsintendedtoemigratetoJamaicawithMaryCampbellashiswife,butshedied.Helatercommemoratedthisromanceinseveralpoems,includingHighlandMary.vToearnmoneyforhispassagehepublishedPoems,ChieflyintheScottishDialect,whichwasanimmediatesuccess.Itcontainedmuchofhisbestwork,especiallyinsocialcriticism,includingTheTwaDogs,Halloween,TheHolyFair,ToaMouse,ToaMountainDaisy,andTheCottersSaturdayNight.vBurnswasthereafterwelcomedamongintellectualsandaristocratsandwasdissuadedfromgoingabroad.In1788heusedhiscapitaltotryanewfarm,Ellisland,onthebanksoftheNithnearDumfries.BiographicalInformation-BiographicalInformation-RobertBurnsvThisfarmalsoprovingunsatisfactory,in1791hemovedtoDumfriesandbecameafull-timeexciseofficer.In1792henearlylosthisjobbecauseofhisradicalopinions.MeanwhilehebegantheprovisionofsongsfortheScotsMusicalMuseum-manyofhisowncomposition,manybasedonolderversesorfittedtooldtunes.Thiswasentirelyalabouroflove,forhereceivednopayment.vHispoetryowedmuchtoAllanRamsayandtoRobertFergusson,whostandsinmuchthesamerelationtoBurnsasMarlowetoShakespeare;buthefarsurpassedbothhisScottishforerunners,and,thoughnotaRomantichimself,theexampleofhisworkwasoneofthevitalinfluencesinthecomingRomanticmovement.vHisstrengthliesinhisessentialsinceritytohisownexperienceandtheextraordinaryvitalityofitsexpression. BiographicalInformation-BiographicalInformation-RobertBurnsThereisaStatueofRobertBurnsinCentralPark,NewYork.AuldLangSynewasoriginallysettoadifferenttunebutthepublisherrejecteditsoBurnssetittotheonecommonlysungtoday,whichtheJapaneseclaimastheirtune.HisinterestinwritinginScottishwaspromptedbyhismotherwhosangtoherchildreninauldScots.SirWalterScottsaidofBurnsfamouslovesong,AeFondKiss,that,itwastheessenceofathousandlovetales.Doyouknow?苏格兰诗人。生于艾尔郡的一个农民家庭。从小在田里干活，辛劳终生，但博览群书，天文地理、各国文学无不涉猎，也喜爱苏格兰民歌和民间故事。1783年开始写诗。1786年出版主要用苏格兰方言写的诗集，集中收有两只狗、致小鼠、致山中雏菊、致虱子等优秀的苏格兰比兴诗，辛辣的讽刺诗圣节集市，歌颂农民及优美大自然的农民的星期六夜晚等诗篇。诗集引起轰动。他被邀请到爱丁堡，成为名公贵妇的座上客，并结识了苏格兰歌谣收集者约翰逊。不久回到故乡。1789年谋得一个小税务官的职位。后半生主要收集苏格兰民间歌曲和词作，为约翰逊编辑了6卷本的苏格兰音乐总汇（1787-1808），为汤姆森编辑了8册原始的苏格兰歌曲选集（1793-1818），使许多将要失传的民歌得以保存。为不少名曲填写的歌词使他蜚声世界。后期主要诗作是以民间传说为基础的叙事诗汤姆奥桑特，写一个酒徒夜行遇鬼的故事。另一首长诗快活的乞丐写一群男女流浪者寻欢作乐。他的作品淳朴、活泼，表现出自由、平等的思想追求。罗伯特彭斯（1759-1796） My hearts in the Highlands, my heart is not here, My hearts in the Highlands a-chasing the deer A-chasing the wild deer, and following the roe; My hearts in the Highlands, wherever I go. Farewell to the Highlands, farewell to the NorthThe birth place of Valour, the country of Worth; Wherever I wander, wherever I rove, The hills of the Highlands for ever I love. Farewell to the mountains high coverd with snow; Farewell to the straths and green valleys below; Farewell to the forrests and wild-hanging woods; Farwell to the torrents and loud-pouring floods. My hearts in the Highlands, my heart is not here, My hearts in the Highlands a-chasing the deer Chasing the wild deer, and following the roe; My hearts in the Highlands, whereever I go.MyHeartsintheHighlandsMyHeartsintheHighlands我的心呀在高原，我的心呀不在这里，我的心呀在高原，追逐着鹿糜，追逐着野鹿，跟踪着獐儿，我的心呀在高原，不管我上哪里。别了啊高原，别了啊北国，英雄的家乡，可敬的故国，哪儿我飘荡，哪儿我遨游，我永远爱着高原上的山丘。别了啊，高雄的积雪的山丘，别了啊，山下的溪壑和翠谷，别了啊，急川和洪流的轰鸣。我的心呀在高原，我的心不在这里，我的心呀在高原，追逐着鹿糜，追逐着野鹿，跟踪着獐儿，我的心呀在高原，不管我上哪里。我的心呀在高原ARedRedRoseARedRedRoseOmyluveslikeared,redroseThatsnewlysprunginJune;OmuluveslikethemelodieThatssweetlyplaydintune.Asfairartthou,mybonielass,SodeepinluveamI;AndIwillluvetheestill,mydear,Tillatheseasgangdry.Tillatheseasgangdry,mydear,Andtherocksmeltwithesun;OIwillluvetheestill,mydearWhilethesandsolifeshallrun.Andfare-thee-weel,myonlyLuve!Andfare-thee-weelawhile!AndIwillcomeagain,myluve,Thoughitweretenthousandmile.啊！我爱人象红红的玫瑰，在六月里苞放；啊，我爱人象一支乐曲，乐声美妙、悠扬。你那么美，漂亮的姑娘，我爱你那么深切；我会永远爱你，亲爱的，一直到四海涸竭。直到四海涸竭，亲爱的，直到太阳把岩石消熔！我会永远爱你，亲爱的，只要生命无穷。再见吧，我唯一的爱人，再见以，小别片刻！我会回来的，我的爱人，即使万里相隔！一朵红红的玫瑰一朵红红的玫瑰John Anderson my jo John Anderson my jo, John, When we were first acquent;Your locks were like the raven, Your bony brow was brent; But now your bonnie brow is beld, John, Your locks are like the snaw;But blessings on your frosty pow, John Anderson my Jo. John Anderson my jo, John, We clamb the hill the gither;And mony a canty day, John, Weve had wi ane anither:Now we maun totter down, John, And hand in hand well go;And sleep the gither at the foot, John Anderson my Jo. smoothheadLively,cheerfulwhiteOneanother约翰安徒生，我爱想我们当初结识，你的剑眉挺拔，你的头发乌黑；如今你眉毛脱尽，约翰，你的头发雪白；约翰，安徒生，我爱，愿上天降福在你的白发上。约翰，安徒生，我爱，我们曾同登山丘；多少个快活的日子，约翰，我们曾一同享有；如今我们得蹒跚下坡，约翰，我们走，手携着手；约翰，安徒生，我爱，山脚下我们长眠相守。约翰安徒生，我爱Onturningherupinhernest,withtheOnturningherupinhernest,withtheplough,November,1785plough,November,1785Weagainseehow,inthewordsofThomasWeagainseehow,inthewordsofThomasCarlyl,thepoetrisestothehigh,stoopstoCarlyl,thepoetrisestothehigh,stoopstothelow,andisbrotherandplaymatetoallthelow,andisbrotherandplaymatetoallnature.Thisis,byreadersgentleandnature.Thisis,byreadersgentleandreaderssimple,acknowledgedtobeoneofreaderssimple,acknowledgedtobeoneofthemostperfectlittlegemsthateverthemostperfectlittlegemsthateverhumangeniusproduced.Oneofitshumangeniusproduced.Oneofitscoupletshaspassedintoaproverb:-Thecoupletshaspassedintoaproverb:-ThebestlaidschemesoMiceanMen,gangbestlaidschemesoMiceanMen,gangaftagley.aftagley.ToaMouseToaMouseWee,sleeket,cowran,timrousbeastie,O,whatpanicsinthybreastie!Thouneednastartawasaehasty,Wibickeringbrattle!Iwadbelaithtorinanchasethee,Wimurdringpattle!ImtrulysorryMansdominionHasbrokenNaturessocialunion,Anjustifiesthatillopinion,Whichmakestheestartle,Atme,thypoor,earth-borncompanion,Anfellow-mortal!Idoubtna,whyles,butthoumaythieve;Whatthen?poorbeastie,thoumaunlive!Adaimen-ickerinathraveSasmarequest:Illgetablessinwithelave,Annevermisst!Thywee-bithousie,too,inruin!Itssillywasthewinsarestrewin!Annaething,now,tobiganewane,Ofoggagegreen!AnbleakDecemberswindsensuin,Baithsnellankeen!Thousawthefieldslaidbareanwast,AnwearyWintercominfast,Ancoziehere,beneaththeblast,Thouthoughttodwell,Tillcrash!thecruelcoulterpastOutthrothycell.Thatwee-bitheapoleavesanstibble,Hascosttheemonieawearynibble!Nowthousturndout,forathytrouble,Buthouseorhald.TotholetheWinterssleetydribble,Ancranreuchcauld!ButMousie,thouarenothy-lane,Inprovingforesightmaybevain:ThebestlaidschemesoMiceanMen,Gangaftagley,Anleaeusnoughtbutgriefanpain,Forpromisdjoy!Still,thouartblest,compardwime!Thepresentonlytoucheththee:ButOch!Ibackwardcastmyee,Onprospectsdrear!Anforward,thoIcannasee,Iguessanfear!诗经诗经硕鼠硕鼠硕鼠硕鼠，无食我黍！三岁贯女，莫我肯顾。逝将去女，适彼乐土。乐土乐土，爰得我所。 硕鼠硕鼠，无食我麦！三岁贯女，莫我肯德。逝将去女，适彼乐国。乐国乐国，爰得我直。 硕鼠硕鼠，无食我苗！三岁贯女，莫我肯劳。逝将去女，适彼乐郊。乐郊乐郊，谁之永号？ AuldLangSyneRobertBurnsShouldauldacquanintancebeforgot，Andneverbroughttomind?Shouldauldacquaintancebeforgot，Anddaysofauldlongsyne?Andheresahand,mytrustyfrienAndgiesahandothine;Welltakeacupokindnessyet.Forauldlangsyne.Forauldlangsynemydear,Forauldlangsyne,WelltakeacupokindnessyetForauldlangsyne.注释：1.Auld相当于Old,AuldLangSyns相当于OldLongSince，意思是Thegoodolddays.2.acquaintance是熟人的意思.3.gies相当于giveus4.othine5.tak=take6.o=of