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1、PartVTheVictorianAge(1832-1901)ChapterIASurveyoftheVictorianPeriodv(1)Definition:theVictorianPeriodvroughlycoincideswiththereignofQueenVictoriawhoruledoverEnglandfrom1837to1901.voneofthemostGloriousperiodintheEnglishhistory18371837年，年，1818岁的女王维多利亚登基岁的女王维多利亚登基. .新女王在继位之前的日记中写道：既然上帝把我置于新女王在继位之前的日记中写道：
2、既然上帝把我置于这个国家的王位上，我将尽力履行自己的职责。我尚这个国家的王位上，我将尽力履行自己的职责。我尚年轻，可能在许多方面缺乏经验，但我肯定，几乎无年轻，可能在许多方面缺乏经验，但我肯定，几乎无人像我这样怀着为国为民的良好意愿和真切希望。人像我这样怀着为国为民的良好意愿和真切希望。女王充分实现了自己的诺言：她在其一生中模范地履女王充分实现了自己的诺言：她在其一生中模范地履行了立宪君主的职责，因此深受国民的爱戴；她还是行了立宪君主的职责，因此深受国民的爱戴；她还是那个时代道德风尚的典范，她是贤妻良母，也是优秀那个时代道德风尚的典范，她是贤妻良母，也是优秀的一家主妇。她自己生活严谨，工作刻苦
3、，对别人又的一家主妇。她自己生活严谨，工作刻苦，对别人又充满责任感。在许多国人眼中，她就是那个时代的缩充满责任感。在许多国人眼中，她就是那个时代的缩影，她漫长的影，她漫长的6363年在位时期则是国家繁荣昌盛的顶峰年在位时期则是国家繁荣昌盛的顶峰. .在英国所有国王中，她享有盛誉，这不是因为她做出在英国所有国王中，她享有盛誉，这不是因为她做出了什么轰动的事业，而是因为她什么都不做，而仅仅了什么轰动的事业，而是因为她什么都不做，而仅仅恪守立宪君主的本分，做她那个时代的表率。恪守立宪君主的本分，做她那个时代的表率。 v(2)Background:developedrapidlybothpolitic
4、ally&economically(capitalismfirsttookshape,agriculturaltoindustrialsocietyvTheEarlyVictorianPeriod(1832-1848)vrapideconomicdevelopment+serioussocialproblems.vYetbeneaththegreatprosperity&richness,thereexistedwidespreadpoverty&wretchednessamongtheworkingclass.vTheworseningliving&workingconditions,the
5、massunemployment&thenewPoorLawof1834finallygaverisetotheChartistMovement(1836-1848).vTheMid-VictorianPeriod(1848-1970)vDuringthenexttwentyyears,Englandsettleddowntoatimeofprosperity&relativestability.Themiddle-classlifeofthetimewascharacterizedbyprosperity,respectabilityandmaterialprogress.维多利亚时代中期，
6、英国达到强盛的顶峰，当维多利亚时代中期，英国达到强盛的顶峰，当时它的工业生产能力比全世界的总和还要大，时它的工业生产能力比全世界的总和还要大，维多利亚中期的英国为他们的无可匹敌的地位维多利亚中期的英国为他们的无可匹敌的地位洋洋得意，它这时是世界的贸易中心：北美和洋洋得意，它这时是世界的贸易中心：北美和俄国的平原是我们的玉米地；芝加哥和敖德萨俄国的平原是我们的玉米地；芝加哥和敖德萨是我们的粮仓；加拿大和波罗的海是我们的林是我们的粮仓；加拿大和波罗的海是我们的林场；澳大利亚、西亚有我们的牧羊地；阿根廷场；澳大利亚、西亚有我们的牧羊地；阿根廷和北美的西部草原有我们的牛群；秘鲁运来它和北美的西部草原有
7、我们的牛群；秘鲁运来它的白银；南非和澳大利亚的黄金则流到伦敦；的白银；南非和澳大利亚的黄金则流到伦敦；印度人和中国人为我们种植茶叶；而我们的咖印度人和中国人为我们种植茶叶；而我们的咖啡、甘蔗和香料种植园则遍及印度群岛；西班啡、甘蔗和香料种植园则遍及印度群岛；西班牙和法国是我们的葡萄园；地中海是我们的果牙和法国是我们的葡萄园；地中海是我们的果园；长期以来早就生长在美国南部的我们的棉园；长期以来早就生长在美国南部的我们的棉花地，现在正在向地球的所有的温暖区域扩展。花地，现在正在向地球的所有的温暖区域扩展。 Victoriankeywords:vFamily,work,morality,money,
8、justice,competitionvTheLateVictorianPeriod(1870-1901)vButthelastthreedecadesofthecenturywitnessedthedeclineoftheBritishEmpireandthedecayoftheVictorianvalues.vTherapiddevelopmentofscience&technology,newinventions&discoveriesingeology,astronomy,biology&anthropologydrasticallyshookpeoplesreligiousconvi
9、ctionsandbeliefs.vDarwinsThe Origin of Species(1859)&The Descent of Man(1871)shookthetheoreticalbasisofthetraditionalfaith.vOntheotherhand,Utilitarianism实用主义实用主义waswidelyaccepted&practiced.(Almosteverythingwasputtothetestbythecriterionofutility,thatis,theextenttowhichitcouldpromotethematerialhappine
10、ss.)ChapterIItheVictorianLiteraturevmagnitude众多众多&diversity:GreatwritersandgreatworksaboundedvItwasmany-sided,complex,reflectedbothromanticallyandrealisticallythegreatchangesthatweregoingoninpeopleslifeandthought.vVictorianliterature,ingeneral,truthfullyrepresentsthereality&spiritoftheage.Thehigh-sp
11、iritedvitality,thedown-to-earthearnestness,thegood-naturedhumorandunboundedimaginationareallunprecedented空前的空前的.vInalmosteverygenreitpavedthewayforthecomingcentury,whereitsspirits,values&experimentsaretowitnesstheirharvest.VictorianNovelVictorianPoetryTheNineties/AestheticismChapterIIIVictorianNovel
12、svthenovelbecamethedominantgenrevPlotisunfoldedagainstasocialbackgroundv“linearcausation”:cause-effectsequencevTaintedbythespiritofpuritanismoftheVictorianAge/MoralpurposevtheywereallconcernedaboutthefateofthecommonpeoplevWhilestickingtotheprincipleoffaithfulrepresentationofthe18th-centuryrealisticn
13、ovel,novelistsinthisperiodcarriedtheirdutyforwardtothecriticismofthesociety.vTheywereangryattheinhumansocialinstitutions,thedecayingsocialmoralityasrepresentedbythemoney-worship&Utilitarianism&thewidespreadmisery,poverty&injustice.vTheirtruthfuldepictionofpeopleslife&bitter&strongcriticismofthesocie
14、tyhaddonemuchinawakeningthepublicconsciousnesstothesocialproblems&intheactualimprovementofthesociety.vRomanticfiction:picturesque,heroicthanrealdailylifevRealisticfiction:accuratereflectionofreallife.CharlesDickens(1812-1870)vthegreatestrepresentiveofEnglishcriticalrealismvBornatPortsmouth,hisfather
15、wasputintotheprisonfordebtwhenhewasonly12vWorkedinundergroundshoe-blackingthenlawyersofficeasajuniorclerkvIn1835,becameareporter,lateraneditor,managerHisMajorWorksvUponhisdeath,Dickenslefttotheworld15novels&anumberofshortstories.vTheyofferamostcomplete&realisticpictureofEnglishsocietyofhisage&remain
16、thehighestachievementinthe19th-centuryEnglishnovel.vInnearlyallhisnovels,behindthegloomypicturesofoppression&poverty,behindtheloudhumor&buffoonery滑稽滑稽,ishisgentleness,hissimplefaithinmankind.ImportantWorks&CharactersvThefirstperiodyouthfuloptimistvThe Pickwick Papers (thesupremeepicofEnglishlife):Mr
17、.Pickwick,SamWellervOliver Twist (adescriptionofthelower-depth)vNicholas Nickleby :Mr.SqueersvThe Old Curiosity Shop:Trent,Nellv2)Thesecondperiodexcitement&irritationvMartin Chuzzlewit:Chuzzlewit.Mr.PecksniffvA Christmas CarolvDombey and Son :Dombey.Edith,CarkervDavid Copperfield(Dickenssownfavourit
18、e):Mr.Murderstone,ClaraPeggotty,Steerforth,Dora,UriahHeepvTheThirdPeriodHislossofhopeforEnglishbourgeoissocietyvBleak House:LordChancellorvHard Times: Mr.GradgrindvLittle Dorrit:WilliamDorritvA Tale of Two Cities:Dr.Manetter,Lucie,Defoarge,CharlesDarnay,SidneyCarton,MademeDefargevGreat Expectations(
19、1)PeriodofyouthfuloptimistvOliver Twist(1837-1838)vThe Old Curiosity Shop(1840-1841);(2)Periodofexcitement&irritationvDombey & Son(1846-1848);David Copperfield(1849-1850)(3)PeriodofsteadilyintensifyingpessimismvBleak House(1852-1853);Hard Times(1854);A Tale of Two Cities(1859);Great Expectations(186
20、0-1861);vlivelyCharacterSketches&ExaggerationcertainpeculiaritiesbytheuseofexaggerationvBroadHumor&PenetratingSatirevthemainplotisofteninterwovenwithmorethanonesub-plotsothatabroaderviewoflifemaybeintroducedvThePowerofExposure:Dickensmadehisnoveltheinstrumentofmorality&justice.Eachofhisnovelsreveals
21、aspecificsocialproblemDistinctFeaturesofHisNovelsDistinctFeaturesofHisNovels(1)CharacterSketches勾画&ExaggerationvInhisnovelsarefoundabout19hundredfigures,someofwhomarereallysuchtypicalcharactersundertypicalcircumstances,thattheybecomerepresentativeofawholegroupofsimilarpersons.vAsamasterofcharacteriz
22、ation,Dickenswasskillfulindrawingvividsketchesbyexaggeratingsomepeculiarities特性,&ingivingthemexactlytheactions&wordsthatfitthem:thatis,rightwords&rightactionsfortherightperson.v(2)BroadHumor&PenetratingSatirevDickensiswellknownasahumoristaswellasasatirist.Hesometimesemployshumortoenliven使生动asceneorl
23、ightenacharacterbymakingit(himorher)eccentric古怪,orlaughable.Sometimesheusessatiretoridicule奚落humanfollies罪恶orvices恶性,withthepurposeoflaughingthemoutofexistenceorbringaboutreform.v(3)Complicated&FascinatingPlotvDickensseemstolovecomplicatednovelconstructionswithminorplotsbesidethemajorone,ortwoparall
24、elmajorplotswithinonenovel.Heisalsoskillfulatcreatingsuspense&mysterytomakethestoryfascinating.v(4)ThePowerofExposurevAsthegreatestrepresentativeofEnglishcriticalrealism,Dickensmadehisnoveltheinstrumentofmorality&justice.Eachofhisnovelsrevealsaspecificsocialproblem.NovelTextTextTextTextPlotCharacter
25、SettingNarrativeLanguageThemen n1.Theme The central idea or statement aboutlife that unifies and controls the totalworkIdentifyingthethemeToTo avoidavoid confusingconfusing a a worksworks themetheme withwithitssubjectorsituation.itssubjectorsituation.TheThestatementstatementofofthemethemedoesdoesthe
26、theworkworkfullfulljustice.justice. ElementsofFictionItisfullyandcompletelysupportedbytheworksotherelements.Thetitleoftheworkoftensuggestsaparticularfocusoremphasisforthereadersattention.n n2.Plotandstructure Theactioninfiction,thearrangementofeventsthatmakeupastoryPlotsturnonaconflict,orstrugglebet
27、weenopposingforces,i.e.howoneactionleadsintoanother.Structureisthedesignorformoftheaction,i.e.patternsandtheshapeofcontent.Theclassicpatternexposition,complication,crisis,fallingaction,andresolutionAnalyzingPlotWhatWhatarearethetheconflictsconflictsononwhichwhichthetheplotplotturns?turns?AreAretheyt
28、heyexternal,external,internal,internal,ororsomesomecombinationofthetwo?combinationofthetwo?WhatWhat areare thethe chiefchief episodesepisodes oror incidentsincidents thatthatmakemake upup thethe plot?plot? IsIs itsits developmentdevelopment strictlystrictlychronological,chronological,ororisisthethec
29、hronologychronologyrearrangedrearrangedinsomeway?insomeway?CompareCompare thethe plotsplots beginningbeginning andand end.end. WhatWhatessentialchangeshavetakenplace?essentialchangeshavetakenplace?Describe the plot in terms of itsexposition, complication, crisis, fallingaction,andresolution.Is the p
30、lot unified? Do the individualepisodeslogicallyrelatetooneanother?Is the ending appropriate to andconsistentwiththerestoftheplot?Istheplotplausible?Whatrole,ifany,dochanceandcoincidenceplay?TheThemajor,major,ororcentral,central,charactercharacterofofthetheplotplotisistheprotagonist.theprotagonist.Th
31、eThe opponent,opponent, thethe charactercharacter againstagainst whomwhomthethe protagonistprotagonist strugglesstruggles oror contends,contends, isis thetheantagonist.antagonist.FlatFlat characterscharacters areare thosethose whowho embodyembody ororrepresentrepresent a a singlesingle characteristi
32、c,characteristic, trait,trait, ororidea,idea, oror atat mostmost a a veryvery limitedlimited numbernumber ofofsuchsuchqualities.qualities.(type(typecharacters,characters,one-one-dimensionalcharacters)dimensionalcharacters)n n3.Character CharactersareimaginarypeoplethatwritersCharactersareimaginarype
33、oplethatwriterscreate.create.vvConcernedConcerned withwith beingbeing ableable toto establishestablish thethepersonalitiespersonalitiesofofthethecharacterscharactersandandtotoidentifyidentifytheirtheirintellectual,emotional,andmoralqualities.intellectual,emotional,andmoralqualities.ConcernedConcerne
34、d withwith thethe techniquestechniques toto createcreate andanddevelopcharacters.developcharacters.ConcernedConcerned withwith whetherwhether thethe characterscharacters arearecredibleandconvincing.credibleandconvincing.Roundcharactersarejusttheopposite.Theyembodyanumberofqualitiesandtraits,andareco
35、mplexmulti-dimensionalcharacters of considerable intellectualand emotional depth. Most importantly,they have the capacity to grow andchange.n nMethodsofCharacterization Characterization through the use ofnames.Characterizationthroughappearance.Characterizationbytheauthor.Characterizationthroughdialo
36、gue.Characterizationthroughaction.n nAnalyzingCharacter Whoistheprotagonistoftheworkandwho(or what) is the antagonist? Describe themajortraitsandqualitiesofeach.Whatisthefunctionoftheworksminorcharacters?Identifythecharactersintermsofwhethertheyareflatorround,dynamicorstatic.Whatmethodsdoestheauthor
37、employto establish and reveal the characters?Arethemethodsprimarilyofshowingortelling?Are the actions of the charactersproperlymotivatedandconsistent?Are the characters of the work finallycredibleandinteresting?n n4.Setting SettingSetting isis bothboth thethe physicalphysical localelocale thatthat f
38、ramesframesthethe actionaction andand thethe timetime ofof dayday oror year,year, thetheclimaticclimatic conditions,conditions, andand thethe historicalhistorical periodperiodduringwhichtheactiontakesplace.duringwhichtheactiontakesplace.Thefunctionsofsetting:Settingasabackgroundforaction.Settingasan
39、tagonistSettingasmeansofcreatingappropriateatmosphere.Setting as a means of revealingcharacter.Setting as a means of reinforcingtheme.AnalyzingsettingWhatistheworkssettinginspaceandtime?Howdoestheauthorgoaboutestablishing setting? Does the authorwantthereadertoseeorfeelthesetting;or does the author
40、want the reader toboth see and feel it? What details ofsetting does the author isolate anddescribe?Isthesettingimportant?Ifso,whatisitsfunction?Isitusedto reveal, reinforce, or influencecharacter,plot,ortheme?Isthesettinganappropriateone?n n5.Pointofview Themethodofnarrationthatdetermines the positi
41、on, or angle ofvisionfromwhichthestoryistold.CommonlyusedpointsofviewThird-personpointofviewomniscientThird-personpointofviewlimitedFirst-personpointofviewAnalyzingpointofviewWhatWhat isis thethe pointpoint ofof view;view; whowho talkstalks toto thethereader?reader? IsIs thethe pointpoint ofof viewv
42、iew consistentconsistentthroughoutthroughout thethe workwork oror doesdoes itit shiftshift inin somesomeway?way?WhereWhere doesdoes thethe narratornarrator standstand inin relationrelation totothework?Wheredoesthereaderstand?thework?Wheredoesthereaderstand?ToTo whatwhat sourcessourcesofof knowledgek
43、nowledge oror informationinformationdoesdoes thethe pointpoint ofof viewview givegive thethe readerreader access?access?WhatWhatsourcessourcesofofknowledgeknowledgeororinformationinformationdoesdoesitservetoconceal?itservetoconceal?IfIfthetheworkworkisistoldtoldfromfromthethepointpointofofviewviewof
44、ofoneoneofofthethecharacters,characters,isisthethenarratornarratorreliable?reliable?DoesDoes hishis oror herher personality,personality, character,character, ororintellectintellect affectaffect anan abilityability toto interpretinterpret thetheeventsortheothercharacterscorrectly?eventsortheotherchar
45、acterscorrectly?GivenGiven thethe authorsauthors purposes,purposes, isis thethe chosenchosenpointpoint ofof viewview anan appropriateappropriate andand effectiveeffectiveone?one?HowHowwouldwouldthetheworkworkbebedifferentdifferentififtoldtoldfromfromanotherpointofview?anotherpointofview?n n6.Languag
46、eandstyle StyleStyleconsistsconsistsofofdictiondiction(the(theindividualindividualwordswordsananauthorauthorchooses)chooses)andandsyntaxsyntax(the(thearrangementarrangementofofthosethosewords),words),asaswellwellasassuchsuchdevicesdevicesasasrhythmrhythmandand sound,sound, allusion,allusion, ambigui
47、ty,ambiguity, irony,irony, paradox,paradox,andand figurativefigurative language.language. EachEach writerswriters stylestyle isisunique.unique. ItIt constitutesconstitutes hishis “signature”“signature” inin a a waywaythatsetshisworkapart.thatsetshisworkapart.Diction:Diction: thethe typetype andand q
48、ualityquality ofof thethe individualindividualwordswordsthatthatcomprisecompriseananauthorsauthorsbasicbasicvocabulary.Thedenotativemeaningofwords,vocabulary.Thedenotativemeaningofwords,Theconnotativemeaning;Theconnotativemeaning;Thedegreeofconcretenessorabstractness;Thedegreeofconcretenessorabstrac
49、tness;Thedegreeofallusiveness;Thedegreeofallusiveness;thepartsofspeechtheyrepresent;thepartsofspeechtheyrepresent;Thelengthandconstruction;Thelengthandconstruction;TheThe levellevel ofof usageusage theythey reflectreflect (standard(standard orornonstandard;formal,informal,orcolloquial);nonstandard;f
50、ormal,informal,orcolloquial);Theimagerytheycontain;Theimagerytheycontain;TheThe figurativefigurative devicesdevices (simile,(simile, metaphor,metaphor,personification,etc,)theyembody;personification,etc,)theyembody;n nSyntax: TheThe waysways thethe authorauthor arrangesarranges wordswords intointoph
51、rases,phrases,clauses,clauses,andandfinallyfinallywholewholesentencessentencestoachieveparticulareffects.toachieveparticulareffects.TheThelengthwhetherlengthwhether theythey areareshort,short,spare,spare,andeconomicalorlongandinvolved;andeconomicalorlongandinvolved;TheTheformwhetherformwhethertheyth
52、eyarearesimple,simple,compound,orcomplex;compound,orcomplex;TheconstructionLooseLoose sentencessentences thatthat followfollow thethe normalnormalsubject-verb-objectsubject-verb-object pattern,pattern, statingstating theirtheirmainmainideaideanearnearthethebeginningbeginningininthetheformformofofani
53、ndependentclauseanindependentclausePeriodicPeriodicsentencessentencesthatthatdeliberatelydeliberatelywithholdwithholdororsuspendsuspendthethecompletioncompletionofofthethemainideauntiltheendofthesentence,mainideauntiltheendofthesentence,BalancedBalancedsentencessentencesininwhichwhichtwotwosimilarsi
54、milarororantitheticalideasarebalanced.antitheticalideasarebalanced. David Copperfield (1849-1850)DavidissentbyhisstepfatherMr.MurderstonetoworkinawarehouseandboardwiththeMicawberfamily,whosehostislikeDickensfather,improvidentandoptimistic.HemarrieshisemployersdaughterDora,aprettybutempty-headedwoman
55、.ShesoondiesandDavidbecomesafamouswriterlaterandhefinallywedsAgnes,thewomanhehaslovedallhislife.vWilkinsMicawberwasmodeledonDickensfather,JohnDickens,whoalsoendedupinadebtorsprison(theKingsBenchPrison)afterfailingtomeetthedemandsofhiscreditors.vHeiscontinuallyindebtandlookingfor“somethingtoturnup”.v
56、Theimpecunious身无分文的身无分文的andloveableMicawberallowsDickenstoventsomefeelingsabouthisfather.vAppearance:vastoutish,middle-agedperson,inabrownsurtoutandblacktightsandshoes,withnomorehairuponhishead(whichwasalargeone,andveryshining)thanthereisuponanegg,andwithaveryextensiveface.vHisclotheswereshabby,buth
57、ehadanimposingshirt-collaron.Hecarriedajauntysortofastick,withalargepairofrustytasselstoit;andaquizzing-glasshungoutsidehiscoat,-forornament,Iafterwardsfound,asheveryseldomlookedthroughit,andcouldntseeanythingwhenhedid.vLanguage:vWelcomepoverty!.Welcomemisery,welcomehouselessness,welcomehunger,rags,
58、tempest,andbeggary!Mutualconfidencewillsustainustotheend!vBoy,asIhavefrequentlyhadoccasiontoobserve:Whenthestomachisempty,thespiritsarelow!vRemembermymottoNilDesperandum!-Neverdespair!vHislong-sufferingwife,Emma,stoodbyhimthroughthickandthin,despitethefactthatherdeceasedfatherhadtobailhimoutonmanyoc
59、casions,andhiscircumstancesforceshertopawn抵押抵押allherfamilyheirlooms传家宝传家宝.Themaximsshelivesbywere:IwillneverdesertMr.Micawber!vHisnamehasbecomesynonymouswithsomeonewholivesinhopefulexpectation.ThishasformedthebasisfortheMicawberPrinciple,baseduponhisobservation:Annualincometwentypounds,annualexpendi
60、turenineteensix,resulthappiness.Annualincometwentypounds,annualexpendituretwentypoundsoughtandsix,resultmisery.vEternallyoptimistic,certainsomethingwillturnuptopayhishugedebts.Mr.Micawberisahalf-critical,half-affectionateportraitofDickensownimprovidentfather.vMicawberHeisalwaysimpoverishedbutoptimis
61、tic,akindhearted,butineffective,incurableoptimistAssignment:1.ReadthroughP325-333,362-371.2.LetsinviteWangLutointroduceAlfredTennyson;LiLvhuaandLiDexiantoreadandsharetheirhistwopoems.3.LetsinviteLuJuntointroduceRobertBrowning;QiaoHongweiandZhangXuntotoreadandsharetheirhistwopoems.p.s.3minutesforeach
62、studentA Tale of Two Cities(1859)vhistoricalnovelbyCharlesDickens.TheplotcentresontheyearsleadinguptotheFrenchRevolutionandculminatesintheJacobinReignofTerror.vPlot:Thebooktells,firstandforemost,thestoryofCharlesDarnayandSydneyCarton,wholooksimilarbutareverydifferentintheirpersonalities.Darnayisarom
63、anticFrencharistocrat;CartonisacynicalEnglishbarrister.Bothfalldeeplyinlovewiththesamewoman,LucieManette.vTheauthorsprimarysourcewasThe French Revolution: A HistorybyThomasCarlyle,whoseviewthathistoryfollowsacycleofdestructionandresurrectionwasanimportantinfluence,illustratedespeciallywellinthelifea
64、nddeathofSydneyCarton.vThetwocitiesreferredtointhetitleareLondonandParis.Throughoutthenovel,pairsofpeople,places,etc.arecomparedandcontrasted.vSydneyCartonquickmindedbutdepressedEnglishbarristerandalcoholic;akeycharacterinthethemeofredemptionvLucieManetteyoungFrenchwomanlovedbybothCartonandCharlesDa
65、rnayvCharlesDarnayrespectableyoungFrenchmanwhodeteststhearistocrats,thoughheisonehimself,vDickenstaleontheFrenchRevolutionisbalanced:hedescribesthehorrorsandatrocitiescommittedbybothsides.vThenovelconcludeswiththedeathofSydneyCarton.Ifhehadanychancetoexpresshisfinalthoughts,theywouldbefullofprophecy
66、:manyoftherevolutionaries,includingMonsieurDefarge,wouldbesenttotheguillotinethemselves,andafuturechildofCharlesandLucieDarnaywouldbenamedafterCartonThemesvThemesarethefundamentalandoftenuniversalideasexploredinaliterarywork.vA Tale of Two Citiesisamoralnovelstronglyconcernedwiththemesofresurrection
67、,redemption,revolution,sacrifice,shame,socialinjusticeandviolence.vResurrection,therefore,becomesthepredominantthemeofthefinalpartofthenovel.Darnayisrescuedatthelastmomentandrecalledtolife;Cartonchoosesdeathandresurrectiontoalifebetterthanthatwhichhehaseverknown:itwasthepeacefullestmansfaceeverbehel
68、dthere.helookedsublimeandprophetic.vDickens,inconclusion,foreseesanewandimprovedsocialorder,risingfromtheashesofthedestructionwhichprecededit.v【约【约11:25】耶稣对她说，复活在我，生命耶稣对她说，复活在我，生命也在我。信我的人，虽然死了，也必复活。也在我。信我的人，虽然死了，也必复活。vJesussaiduntoher,Iamtheresurrection,andthelife:hethatbelievethinme,thoughheweredea
69、d,yetshallhelive:v【约【约11:26】凡活着信我的人，必永远不死。凡活着信我的人，必永远不死。你信这话吗？你信这话吗？vAndwhosoeverlivethandbelievethinmeshallneverdie.Believestthouthis?v【约【约15:12】你们要彼此相爱，像我爱你们你们要彼此相爱，像我爱你们一样，这就是我的命令。一样，这就是我的命令。vThisismycommandment,Thatyeloveoneanother,asIhavelovedyou.v【约【约15:13】人为朋友舍命，人的爱心没有人为朋友舍命，人的爱心没有比这个大的。比这个大的
70、。vGreaterlovehathnomanthanthis,thatamanlaydownhislifeforhisfriends.TheEver-PresentPossibilityofResurrectionvThenarrativesuggeststhatSydneyCartonsdeathsecuresanew,peacefullifeforLucieManette,CharlesDarnay,andevenCartonhimself.vBydeliveringhimselftotheguillotine,Cartonascendstotheplaneofheroism,becomi
71、ngaChrist-likefigurewhosedeathservestosavethelivesofothers.vMoreover,thefinalpagesofthenovelsuggestthat,likeChrist,CartonwillberesurrectedCartonisrebornintheheartsofthosehehasdiedtosave.vSimilarly,thetextimpliesthatthedeathoftheoldregimeinFrancepreparesthewayforthebeautifulandrenewedParisthatCartons
72、upposedlyenvisionsfromtheguillotine.vAlthoughCartonspendsmostofthenovelinalifeofindolenceandapathy,thesupremeselflessnessofhisfinalactspeakstoahumancapacityforchange.vAlthoughthenoveldedicatesmuchtimetodescribingtheatrocities暴行暴行committedbothbythearistocracyandbytheoutragedpeasants,itultimatelyexpre
73、ssesthebeliefthatthisviolencewillgivewaytoanewandbettersociety.TheNecessityofSacrificevsacrificeisnecessarytoachievehappiness.vDickensexaminesthissecondtheme,again,onbothanationalandpersonallevel.Forexample,therevolutionariesprovethatanew,egalitarianFrenchrepubliccancomeaboutonlywithaheavyandterribl
74、ecostpersonallovesandloyaltiesmustbesacrificedforthegoodofthenationvMostimportant,Cartonstransformationintoamanofmoralworthdependsuponhissacrificingofhisformerself.Inchoosingtodieforhisfriends,Cartonnotonlyenablestheirhappinessbutalsoensureshisspiritualrebirth.TheTendencytowardViolenceandOppressioni
75、nRevolutionariesvDickensdeeplysympathizeswiththeplightoftheFrenchpeasantryandemphasizestheirneedforliberation.vAlthoughDickenscondemnsthisoppression,however,healsocondemnsthepeasantsstrategiesinovercomingit.Forinfightingcrueltywithcruelty,thepeasantseffectnotruerevolution;rather,theyonlyperpetuateth
76、eviolencethattheythemselveshavesuffered.vThetitlereflectsthewayinwhichthesettingalternatesbetweenLondonandParis.vTwoofthe45chaptersaresetinbothcountries,nineteeninEnglandand24inFrance.vTheytelloftheshamelesscorruption,abuseandinhumanityoftheFrenchnoblestowardsthepeasantry.Themasses,oppressedforcentu
77、ries,riseupatlastanddestroytheirmasters,becomingthemselvesjustasevilandcorrupt.WilliamMakepeaceThackeray(1811-1863)v-areprehensiveofEnglishcriticalrealisminthe19thcentury;vHisnovelsaremainlyasatiricalportrayaloftheupperclassofsociety.v-subtlehumor,caustic刻薄的刻薄的satire,vividdescriptionsandwonderfulnar
78、ration,allshowninVanity Fair,ThackeraycanbeplacedonthesamelevelasDickens,asoneofthegreatestcriticalrealistsof19thcentury.Importantworksandcharacters:v“The Snobs of England”v“Vanity Fair”(ANovelWithoutaHero):AmeliaSedley,RebeccaSharp,RawdanCrawley,GeorgeOsborne,CaptinDobbinVictorianWomenWritersvWomen
79、Question:sexualinequalityvPetitiontotheParliamentadvocatingwomenssuffrage选举权选举权asearlyas1840vChiefconcerns:Howwomenwereregarded®ardthemselvesJaneAusten(1775-1817)v-atherbestinwritingaboutyounggirlsvhasatalentfordescribingtheinvolvementsandfeelingsofordinarylifev-importantworks:v“Pride and Prejudi
80、ce” (HerMasterpiece),“Sense and Sensibility”,“Mansfield Park”, “Emma” , “ Persuasion”CharlotteBronte(1816-1855)v-acriticalrealist;vcharacterizedbyherprofoundsympathyforthepoorandthesuppressedandhercriticismoftheinjusticesinhersociety.v-importantworksandcharacters:vJane Eyre :JaneEyre,Mr.RochestervSh
81、irleyEmilyBronte(1818-1848)vapoetandnovelistvthemostgiftedoftheBrontesisters;vChieflyrememberedastheauthorofthepowerfulnovelWuthering Heights vwhichisregardedasoneofthemostextraordinarybookswhichhumangeniushaseverproduced.vThecharactersofthenovelare:Heathcliff,Catharine,Hindley,Linton,IsabellaMrs.Ga
82、skell(1810-1865)v-acriticalrealist;oneofthefirstEnglishwriterstodescribetheclassstrugglebetweentheworkersandthecapitalists.v-Herworksarecharacters:vHungry FortiesvMary Barton:JohnBarton,MaryGeorgeEliot(1819-1880)vrealname:MaryAnnEvans,acriticalrealist;vforthemostpartdescribingrurallife,dealwithmoral
83、problemsandcontainpsychologicalstudiesofcharactersofcharacters.vHercharactersarenotgrotesquetype,butreal,commonmenandwomen.v-Herworksandcharacters:v Adam Bede vThe Mill on the Floss:Maggie,TomChapterVIVictorianPoetryv1832witnessedtheendofpoetryboomvTheromanticmovementcametoanendasamovement,althoughr
84、omanticelementscontinuedtobefoundintheworksofthepoetsoftheVictorianAge.vTheBigThree:AlfredLordTennyson,RobertBrowning,MatthewArnoldvThereisacrisisinpoetry.ThereisacrisisinVictorianpoetry.Poetrysrelevanceandsurvivalareongoingconcerns.WhileMatthewArnoldprescribedthe“sweetnessandlight”ofcultureastheton
85、ic补药补药forasocietysickwithphilistine俗气的俗气的utility,LordMacaulayprovocativelydeclaredinhisessayonMilton,wethinkthat,ascivilizationadvances,poetryalmostnecessarilydeclines.AlfredTennyson(1809-1892)vThoughmuchistaken,muchabides;andthoughWearenotnowthatstrengthwhichinolddaysMovedearthandheaven,thatwhichwe
86、are,weareOneequaltemperofheroichearts,Madeweakbytimeandfate,butstronginwillTostrive,toseek,tofind,andnottoyield.v公主公主(ThePrincess,1847)v悼念悼念(InMemoriamA.H.H.,1850)v毛黛毛黛(Maud,1855)v伊诺克伊诺克阿登阿登(EnochArden,1864)v国王之歌国王之歌(IdyllsoftheKing,1859-1885)UlyssesvHomersOdyssey: Odysseylearnsfromaprophecythathewi
87、lltakeafinalseavoyageafterkillingthesuitorsofhiswifePenelope.vDantesUlyssesof Divine Comedy isatragicfigurewhodieswhilesailingtoofarinaninsatiable不知足的不知足的thirstforknowledge. vTennysoncombinesthesetwoaccountsbyhavingUlyssesmakehisspeechshortlyafterreturningtoIthacaandresuminghisadministrativeresponsi
88、bilities,andshortlybeforeembarkingonhisfinalvoyage.vanelegyforadeeplycherishedfriendvUlysses,whosymbolizesthegrievingpoet,proclaimshisresolutiontopushonwardinspiteoftheawarenessthatdeathclosesall(line51).vAsTennysonhimselfstated,thepoemexpresseshisownneedofgoingforwardandbravingthestruggleoflifeafte
89、rthelossofhisbelovedcollegefriendArthurHenryHallam.Ulyssesv1.DulllifeatIthaca(onesentence)v2.Detaileddescriptionofpastgloriesexcitementandhappiness(diversesyntax)v3.ArrangementofbusinessofIthacav4.PoeticdescriptionofthepossiblefutureofthelastvoyagevUlysses(Odysseus)declaresthatthereislittlepointinhi
90、sstayinghomebythisstillhearthwithhisoldwife,dolingoutrewardsandpunishmentsfortheunnamedmasseswholiveinhiskingdom.DramaticMonologuevAtypeofpoem/atcriticalmoment/toanidentifiablebutsilentaudience/revealinghisorheressentialtemperament.vSpeakingtohimself,heproclaimsthathecannotrestfromtravelbutfeelscomp
91、elledtolivetothefullestandswalloweverylastdropoflife.vUlyssesnowspeakstoanunidentifiedaudienceconcerninghissonTelemachus,whowillactashissuccessorwhilethegreatheroresumeshistravels:TelemachuswilldohisworkofgoverningtheislandwhileUlysseswilldohisworkoftravelingtheseas:Heworkshiswork,Imine.vInthefinals
92、tanza,Ulyssesaddressesthemarinerswithwhomhehasworked,traveled,andweatheredlifesstormsovermanyyears.Heencouragesthemtomakeuseoftheiroldagebecausetisnottoolatetoseekanewerworld.Althoughtheyarenotasstrongastheywereinyouth,theyarestronginwillandaresustainedbytheirresolvetopushonwardrelentlessly:Tostrive
93、,toseek,tofind,andnottoyield.vThepoemsfinalline,tostrive,toseek,tofind,andnottoyield,cametoserveasamottoforthepoetsVictoriancontemporaries.vhewasamodelofindividualself-assertionandtheRomanticrebellionagainstbourgeoisconformity.vthefigureofUlyssesheldnotonlymythologicalmeaning,butstoodasanimportantco
94、ntemporaryculturalicon.vUlyssesincompetenceasaruler:hispreferenceforpotentialquestsratherthanhispresentresponsibilities.vHedevotesafull26lines(the2ndstanza)tohisownegotisticalproclamationofhiszealforthewanderinglife,vandanother26lines(the4thstanza)totheexhortationofhismarinerstoroamtheseaswithhim.vH
95、owever,heoffersonly11lines(the3rdstanza)oflukewarm微温的微温的praisetohissonconcerningthegovernanceofthekingdominhisabsence,andameretwowordsabouthisagedwifePenelope(the1ststanza).vConflicts:vSpiritualquestv.s.responsibilitiesvSelffulfillmentv.s.dutytonation,familyvTheme:vThespirittoexplore,tobravethehards
96、hipsoflife.vthepoemsherolongstofleethetediumofdailylifeamongthesebarrencrags(line2)andtoenteramythicaldimensionbeyondthesunset,andthebathsofallthewesternstars(lines60-61)vForm:blankverse(unrhymediambicpentameter)CrossingtheBar(1889)vMovingimagery+pleasantsoundvOnthethemeofhisowndeathinhis81styearvFo
97、rm:fourquatrainstanzasrhymingABABvthefirstandthirdstanzasarelinkedtooneanotherasarethesecondandfourthvTone:peacefulandacceptingattitudetowarddeathvImage:call/Crossing/Thebar/TheSeavThebar:theboundarybetweenlifeanddeathvItisadangeronlyifthetideishigh.vCrossingvcrossingoverintothenextworldvTheSeaRober
98、tBrowning(1812-1889)vstrongportrayalofcharacters,BoldandunconventionalinmeterandstylevintroducingtoEnglishpoetrythenewformofdramaticmonologue,inwhichhemadehischaractersthinkaloudsoastodisplaytheirinnermostthinkingandpersonality.ImportantWorks:vPippa Passes vThe Ring and the Book-Browningsmasterpiece
99、andhisgreatesttriumphinthedramaticmonologue.v“MyLastDuchess”,“MeetingatNight”,“PartingatMorning”我的前公爵夫人我的前公爵夫人v墙上的这幅面是我的前公爵夫人，墙上的这幅面是我的前公爵夫人，看起来就像她活着一样。如今，看起来就像她活着一样。如今，我称它为奇迹：潘道夫师的手笔我称它为奇迹：潘道夫师的手笔经一日忙碌，从此她就在此站立。经一日忙碌，从此她就在此站立。你愿坐下看看她吗？我有意提起你愿坐下看看她吗？我有意提起潘道夫，因为外来的生客（例如你）潘道夫，因为外来的生客（例如你）凡是见了画中描绘的面容、凡
100、是见了画中描绘的面容、那真挚的眼神的深邃和热情，那真挚的眼神的深邃和热情，没有一个不转向我（因为除我外没有一个不转向我（因为除我外再没有别人把画上的帘幕拉开），再没有别人把画上的帘幕拉开），似乎想问我可是又不大敢问；似乎想问我可是又不大敢问；是从哪儿来的是从哪儿来的这样的眼神？这样的眼神？vAsTheDukeshowsthevisitorthroughhispalace,hestopsbeforeaportraitofthelateDuchess,apparentlyayoungandlovelygirl.vTheDukebeginsreminiscingabouttheportrait,th
101、enabouttheDuchessherself.v你并非第一个人回头这样问我。你并非第一个人回头这样问我。先生，不仅仅是她丈夫的在座先生，不仅仅是她丈夫的在座使公爵夫人面带欢容，可能使公爵夫人面带欢容，可能潘道夫偶然说过：潘道夫偶然说过：“夫人的披风夫人的披风盖住她的手腕太多，盖住她的手腕太多，”或者说：或者说：“隐约的红晕向颈部渐渐隐没，隐约的红晕向颈部渐渐隐没，这绝非任何颜料所能复制。这绝非任何颜料所能复制。”这种无聊话，却被她当成好意，这种无聊话，却被她当成好意，也足以唤起她的欢心。她那颗心也足以唤起她的欢心。她那颗心怎么说好呢？怎么说好呢？要取悦容易得很，要取悦容易得很，也太易感动。
102、她看到什么都喜欢，也太易感动。她看到什么都喜欢，而她的目光又偏爱到处观看。而她的目光又偏爱到处观看。 v先生，她对什么都一样！她胸口上先生，她对什么都一样！她胸口上佩戴的我的赠品，或落日的余光；佩戴的我的赠品，或落日的余光；过分殷勤的傻子在园中攀折过分殷勤的傻子在园中攀折给她的一枝樱桃，或她骑着给她的一枝樱桃，或她骑着绕行花圃的白骡绕行花圃的白骡所有这一切所有这一切都会使她同样地赞羡不绝，都会使她同样地赞羡不绝，或至少泛起红晕。她感激人好的！或至少泛起红晕。她感激人好的！但她的感激（我说不上怎么搞的）但她的感激（我说不上怎么搞的）仿佛把我赐她的九百年的门第仿佛把我赐她的九百年的门第与任何人的赠
103、品并列。谁愿意与任何人的赠品并列。谁愿意屈尊去谴责这种轻浮举止？即使屈尊去谴责这种轻浮举止？即使 vHismusingsgivewaytoherdisgracefulbehavior:heclaimssheflirtedwitheveryoneanddidnotappreciatehisgiftofanine-hundred-years-oldname.v你有口才（我却没有）能把你的意志你有口才（我却没有）能把你的意志给这样的人儿充分说明：给这样的人儿充分说明：“你这点你这点或那点令我讨厌。这儿你差得远，或那点令我讨厌。这儿你差得远，而那儿你超越了界限。而那儿你超越了界限。”即使她肯听即使她肯
104、听你这样训诫她而毫不争论，你这样训诫她而毫不争论，毫不为自己辩解，毫不为自己辩解，我也觉得我也觉得这会有失身份，所以我选择这会有失身份，所以我选择绝不屈尊。哦，先生，她总是在微笑，绝不屈尊。哦，先生，她总是在微笑，每逢我走过；但是谁人走过得不到每逢我走过；但是谁人走过得不到同样慷慨的微笑？发展至此，同样慷慨的微笑？发展至此，我下了令：于是一切微笑都从此制止。我下了令：于是一切微笑都从此制止。 vAshismonologuecontinues,thereaderrealizeswithever-morechillingcertaintythattheDukeinfactcausedtheDuch
105、esssearlydemise:whenherbehaviorescalated,hegavecommands;/Thenallsmilesstoppedtogether.v她站在那儿，像活着一样。请你起身她站在那儿，像活着一样。请你起身客人们在楼下等。我再重复一声：客人们在楼下等。我再重复一声：你的主人你的主人伯爵先生闻名的大方伯爵先生闻名的大方足以充分保证：我对嫁妆足以充分保证：我对嫁妆提出任何合理要求都不会遭拒绝；提出任何合理要求都不会遭拒绝；当然如我开头声明的，他美貌的小姐当然如我开头声明的，他美貌的小姐才是我追求的目标。别客气，让咱们才是我追求的目标。别客气，让咱们一同下楼吧。但请看
106、这海神尼普顿一同下楼吧。但请看这海神尼普顿在驯服海马，这是件珍贵的收藏，在驯服海马，这是件珍贵的收藏，是克劳斯为我特制的青铜铸像。是克劳斯为我特制的青铜铸像。 vHavingmadethisdisclosure,theDukereturnstothebusinessathand:arrangingforanothermarriage,withanotheryounggirl.vAstheDukeandtheemissarywalkleavingthepaintingbehind,theDukepointsoutothernotableartworksinhiscollection.MyLast
107、Duchess(1842)vPlot:vDukeofFerraraisnegotiatinghissecondmarriagethroughanagentoftheCountofTyrolvAsthedukeattemptstopaintaninaccuratepictureofhimselftotheagent,desiringtoappearasanoble,caringandlovinghusbandwhohadnochoicebuttomurderhisprideful,disrespectfulwife,thedukestruecontrolling,manipulative,jea
108、lousnatureisrevealed.vRobertBrowningrevealsthehorrifyingstoryofthemurderofthedukespreviouswifethroughthedukesconversationwiththeagent.SettingvonthegrandstaircaseoftheducalpalaceatFerrarainnorthernItalyofRenaissancetime(16thcentury)vtheItalianRenaissanceheldaparticularfascinationforBrowningandhiscont
109、emporaries,foritrepresentedthefloweringoftheaestheticandthehumanalongside,orinsomecasesintheplaceof,thereligiousandthemoral.Voice:SpeakerandTone:vThespeakerisaddressinganotherpersonasthereaderwatcheshimtalk.vTherefore,thepoemusesalimitedthirdpersonpointofviewbecausethereisalackofunderstandinghowthem
110、aincharacterfeels.vThetoneofthespeakerreflectsarroganceandaweforthebeautyofhisproperty.Thespeakeralsoreflectsasenseofconfidenceinhimselfandafeelingofgreatloss.Language/Dictionvbasicanddown-to-earth;Usedasinafreeverselectureratherthanapoem,thepoemuseslittleelaboratedwordswithdeepermeaning.vHowever,in
111、describingtheduchess,adequatelydescriptivewordssuchaspassionateandearnesthelptodistinguishbeautyandgraceinthedescribedfigure.Imagery:vTheimageofalecturingelitistisgiventothereaderbytheloose,casualspeechpatternbythespeaker.Thelackofelaboratewordshelpsdeveloptheideaofacasualconversationorlectureincomp
112、arisontoadeepmelodramaticsituation.vYetthesuddentwistinevents(murder?)thenallsmilesstoppedtogether,“suddenlycontraststhepreviousimage.vThesituationthenturnsgrimratherthananexhibitionofboastingbeautyandgrace.Form:adramaticmonologueviambicpentameterAABBcoupletsvThelinesdonotemployend-stops;rather,they
113、useenjambment-thatis,sentencesandothergrammaticalunitsdonotnecessarilyconcludeattheendoflines.vConsequently,therhymesdonotcreateasenseofclosurewhentheycome,butratherremainasubtledrivingforcebehindtheDukescompulsiverevelations.vTheDukeisquiteaperformer:hemimicsothersvoices,createshypothetical假设假设的的si
114、tuations,andusestheforceofhispersonalitytomakehorrifyinginformationseemmerelycolorful.vIndeed,thepoemprovidesaclassicexampleofadramaticmonologue:thespeakerisclearlydistinctfromthepoet;anaudienceissuggestedbutneverappearsinthepoem;andtherevelationoftheDukescharacteristhepoemsprimaryaim.Dukescharacter
115、vlustforpower/selfpridevTheDukehaswantedtotametheDuchessandsubjecthertototaldominationandoverpoweringcontrol;howevershehascontinuallydefiedhimbysimplysmiling.vjealousyvhislustforempowerment:theenjambmentusedinfactexaggeratesthetonehewouldbeusing;hewasangrywithher,whichledhimtohaveherkilled.vHisinabi
116、litytocontroltheliveduchessherself,resultedinherdeath,andnowallthatremainsisanothervaluedobject(theportrait),whichheisincompletecontrolof.vafterlookingatthepicture,hebringstheenvoytolookathisnextworkofart,aneffigy雕像雕像ofcompletecontrolandtameoverabeast.vDukeisinlovewithpowerandcontrolratherthanwithhi
117、swifeorbeauty.vTheironyisonametaphysicallevel,theDukeisinfactbeingcontrolledbythepoet.Thisgivesthepoemevenmoredepth,andperhapsastrangeinsightintoRobertBrowning(Couldthisbeamanifestationofthepowercravinghehasontheinside?).ElizabethBarrettBrowning(1806-1861)vHerlifewasamixtureoftragicyouth,romanticlov
118、eandhappymarriage.v“ThecryoftheChildren”,deepsocialsympathyandunderstandingofhumanity.vHome-Thoughts, From AbroadvSonnets from the PortugueseSonnetsfromthePortuguese43:HowdoILovethee?1HowdoIlovethee?Letmecounttheways.v2Ilovetheetothedepthandbreadthandheightv3Mysoulcanreach,whenfeelingoutofsightv4For
119、theendsofBeingandidealGrace.v5Ilovetheetothelevelofeverydaysv6Mostquietneed,bysunandcandlelight.v7Ilovetheefreely,asmenstriveforRight;v8Ilovetheepurely,astheyturnfromPraise.v9Ilovetheewiththepassionputtousev10Inmyoldgriefs,andwithmychildhoodsfaith.v11IlovetheewithaloveIseemedtolosev12Withmylostsaint
120、s,-Ilovetheewiththebreath,v13Smiles,tears,ofallmylife!-and,ifGodchoose,v14Ishallbutlovetheebetterafterdeath.MeetingatNight,PartingatMorningvTheme:vTone:vRhymescheme:abccba;abbavImages:vMansworldwomansworldmansworldvSealandsunmaleimagesvExcitementofanticipationvJourneyoflovesoft,shadowy,sexualimagesv
121、PerfectintegrationofthestateofmindwiththesymbolsThomasHardy(1840-1928)voneofthegreatestEnglishnovelistsoftheVictorianage;voneofthemajorEnglishpoetsinthefirsthalfofthe20thcentury.Asanovelist:vtheWessexnovels,i.e.,thenovelsdescribingthecharactersandenvironmentofhisnativecountryside.vThedominanttheme:t
122、hefutilityofmanseffortstostruggleagainsthostileandintelligibleFate,ChanceorCircumstances.vCharacterizedbystoicalpessimismandsenseoftragedyinhumanlife.vTHE POOR MAN AND THE LADY (destroyedbyhimafterseveralrejections)vFAR FROM THE MADDING CROWD (1874) vTESS OF THE DURBERVILLES (1891)vJUDE THE OBSCURE
123、(1895)vIn1896,disturbedbythepublicuproarovertheunconventionalsubjectsoftwogreatnovels,Hardyannouncedthathewouldneverwritefictionagain.Abishopsolemnlyburntthebook,probablyinhisdespairatnotbeingabletoburnme“.TESS OF THE DURBERVILLES (1891)A Pure Woman Faithfully PresentedvPassionleadshumantodestructio
124、n.vPlot:thepoorvillagergirlTessDurbeyfieldisseducedbythewealthyAlecDUberville.Shebecomespregnantbutthechilddiesininfancy.TessfindsworkasadairymaidonafarmandfallsinlovewithAngelClare,aclergymansson,whomarriesher.vWhenTesstellsAngelaboutherpast,hehypocriticallydesertsher.TessbecomesAlecsmistress.Angel
125、returnsfromBrazil,repentinghisharshness,butfindsherlivingwithAlec.TesskillsAlecindesperation,sheisarrestedandhanged.vHardybravelychallengedmanyofthesexualandreligiousconventionsoftheVictorianage.v1870-1901:decayofVictorianvalues,variouskindsofpessimismvHardyadoptedthemechanical-deterministviewofuniv
126、ersescruelty,reflectedintheinevitablytragicandself-destructivefatesofhischaracters.vEffortsofhumanbeingsvs.relentlessforceoftheImmanentWillvManisatthemercyofdifferentpowers.Assignment:1.ReadthroughP390-411,466-472.2.Generalintroductiontothe20thCentury:李堃(Poetry),张巧炜(Fiction),李吕华(Drama),程茜(Criticism)
127、W.B.Yeats徐丹；hisfourpoems张欣，林晓梅，阎亮，王温妮ChapterVNonfictionalProsevForVictorians,proseisaninstrumentofpersuasionvWiderangeofsubjectspolitics,religion,history,personalbiography,art,religionvThomasCarlyle:combinedhistorywiththepresentvJohnRuskin:revealedtherelationshipbetweenartandsocietyChapterVITheNinet
128、iesvSpiritofthedecade:Melancholy,notgaietyvFin-desiecle(endofcentury)prosevJosephRudyardKipling:glorifiedthecolonialexpansionofGreatBritainvRobertLouisStevenson:The Treasure Island Aestheticismvartabovelife,lifeshouldimitateart,artshouldbefreefromanyinfluenceofegoismvReactionagainstthematerialism&co
129、mmercialismoftheindustrialeravOnlywhenartisforartssake,canitbeimmortal.(unconcernedwithcontrovercialissues,suchasmorality/politics)vhighlypolishedstyleOscarWilde(1856-1900)vIrishpoet,dramatist,novelistandessayist;vthemostreprehensiveoftheaestheticism,(“Artfroartssake”,escapisminessence,aliterarytren
130、dinthelateVictorianperiod)Hisaestheticismledhimtodecadence,whichispreoccupiedwithhedonism.(享乐主义享乐主义)vThe Happy Prince and Other Tales (fairytale)vThe Picture of Dorian Gray(novel,hismasterpiece)vLady Windermeres Fan (acomedy)vSalome莎乐美莎乐美(atragedy,writteninFrench)vWe are all in the gutter, but some
131、of us are looking at the stars.v“我们都处在沟中，但是其中一些人在仰望我们都处在沟中，但是其中一些人在仰望着天空中的星星。着天空中的星星。”Hardyspoetry(since1896)vInhispoemsHardydepictedrurallifewithoutsentimentality-stoicallyhopeless.vthesamephilosophyandtoneasnovelsvexceedinglyplaininstyle,sharpinthoughtsandprofoundinsympathy.vHap(1866)/NeutralTones
132、(1866)TheDarklingThrush(1900)偶然偶然vv可惜并无此事。为什么欢乐被杀戮，可惜并无此事。为什么欢乐被杀戮，但求有个复仇之神从天上喊我，但求有个复仇之神从天上喊我，并且大笑着说；并且大笑着说；“受苦受难的东西！受苦受难的东西！要明白你的哀戚正是我的娱乐，要明白你的哀戚正是我的娱乐，你的爱之亏损正是我的恨之盈利！你的爱之亏损正是我的恨之盈利！”v那时啊，我将默然忍受，坚持至死，那时啊，我将默然忍受，坚持至死，在不公正的神谴之下心如铁石；在不公正的神谴之下心如铁石；I同时又因我所流的全部眼泪同时又因我所流的全部眼泪均由比我更强者判定，而稍感宽慰。均由比我更强者判定，而稍感
133、宽慰。v可惜并无此事。为什么欢乐被杀戮，可惜并无此事。为什么欢乐被杀戮，为什么播下的美好希望从未实现？为什么播下的美好希望从未实现？是纯粹的偶然遮住了阳光雨露，是纯粹的偶然遮住了阳光雨露，v掷子的时运不掷欢欣却掷出悲叹掷子的时运不掷欢欣却掷出悲叹这些盲目的裁判本来能在我的旅途这些盲目的裁判本来能在我的旅途播撒幸福，并不比播撒痛苦更难。播撒幸福，并不比播撒痛苦更难。HapvTheme:vTone:NeutralTones灰色调灰色调王道余译vWestoodbyapondthatwinterday,Andthesunwaswhite,asthoughchiddenofGod,Andafewleav
134、eslayonthestarvingsod,-Theyhadfallenfromanash,andweregray.v冬日池塘边我们伫立，冬日池塘边我们伫立，太阳惨白得如遭天谴，太阳惨白得如遭天谴，饥饿草皮上枯叶几片，饥饿草皮上枯叶几片，落自白蜡树，灰灰的。落自白蜡树，灰灰的。vYoureyesonmewereaseyesthatroveOvertediousriddlessolvedyearsago;Andsomewordsplayedbetweenustoandfro-Onwhichlostthemorebyourlove.v你的双眼游移在我的脸，你的双眼游移在我的脸，像猜出多年的乏味谜语
135、；像猜出多年的乏味谜语；几句话在我们之间来去几句话在我们之间来去越变越少如爱消逝已天边。越变越少如爱消逝已天边。vThesmileonyourmouthwasthedeadestthingAliveenoughtohavestrengthtodie;AndagrinofbitternessswepttherebyLikeanominousbirda-wing.v你嘴角的笑意死气沉沉，你嘴角的笑意死气沉沉，还有点活力也仅够赴死；还有点活力也仅够赴死；忽然一丝苦涩掠过那里，忽然一丝苦涩掠过那里，v像不祥的鸟儿双翅翻振像不祥的鸟儿双翅翻振vSincethen,keenlessonsthatloved
136、eceives,Andwringswithwrong,haveshapedtomeYourface,andtheGod-curstsun,andatree,Andapondedgedwithgrayishleaves.v自此我记取，爱会把人欺、自此我记取，爱会把人欺、绞肝肠，总是看见你面目、绞肝肠，总是看见你面目、遭到天咒的太阳、一棵树，遭到天咒的太阳、一棵树，还有四周灰叶的死水一池。还有四周灰叶的死水一池。vTheme:vTone:vImages:NeutralTones黑暗中的画眉黑暗中的画眉我倚在通向林间的栅门上我倚在通向林间的栅门上万物胧上幽灵般的灰白万物胧上幽灵般的灰白冬天的沉渣使一
137、切变得荒芜冬天的沉渣使一切变得荒芜天眼亦是如此的衰弱天眼亦是如此的衰弱虬缠的蔓藤划破了苍穹虬缠的蔓藤划破了苍穹宛如竖琴的弦断宛如竖琴的弦断所有出没于附近的人所有出没于附近的人都已还家坐于火炉旁都已还家坐于火炉旁v看大地廓影直锐看大地廓影直锐犹似世纪横躺的尸体犹似世纪横躺的尸体黑暗笼胧的云是他的墓黑暗笼胧的云是他的墓风也为他之死悲泣风也为他之死悲泣古老脉动着的新生幼芽古老脉动着的新生幼芽也早已干枯萎缩也早已干枯萎缩所有地上的生灵所有地上的生灵和我一样，热情全无和我一样，热情全无v突然，独响升融突然，独响升融于细枝瑟缩的顶间于细枝瑟缩的顶间那是虔诚的晚祷那是虔诚的晚祷满怀无限的喜悦满怀无限的喜悦一
138、只老画眉，憔悴、瘦小一只老画眉，憔悴、瘦小在风中被吹皱了羽毛在风中被吹皱了羽毛它选择将心灵它选择将心灵沉沉地掷向大地沉沉地掷向大地此时的周环此时的周环多时狂喜的声响多时狂喜的声响我也只能作如此的沉思我也只能作如此的沉思在他欢欣地晚安声中在他欢欣地晚安声中一些神圣的祈福一些神圣的祈福他知而我不知他知而我不知vTheme:vTone:vImages:TheDarklingThrushPartVITheTwentiethCenturyvI.SocialandPoliticalBackgroundv1.theEndofVictorianism/anti-VictorianismvVictorianst
139、andardsandthezestformoralitywereseverelycriticizedandreplacednewstandards.vThelossoffaithandtheriseofpessimismv2.theBreakupoftheBritishEmpirevUsheredbytheFirstWorldWarvIrishFreeStatein1921vcoloniesBritishCommonwealthin1931vWWIdownwardslideofGreatBritainvWWIIfinallydestroyedasagreatworldpowerv3.theCh
140、angeofWomensPositionII. ModernismModernism is a rather vague term that is used to apply to the works of a group of writers between 1910 and the early years after the World War II. This term includes various trends or schools, such as imagism, expressionism, dadaism, stream of consciousness, symbolis
141、m and existentialism. Alienation and loneliness are the basic themes of modernism. The characteristics of modernist writings can be roughly summed up as below: complexity and obscurity, the use of symbols, allusion and irony. ChapterIIThe20thCenturyPoetryvattheturnofthecenturyv1.ThomasHardyv2.A.E.Ho
142、usmanII.TheGeorgians&theFirstWorldWarv1.TheGeorgians:publishedduringthereignofGeorgeVvexpressedtraditionalthemesandusedtraditionalpoetictechniquesv2.threeyoungwarpoets/fullhorrorofthewar&exposeitsterribletruth/sympathyvRupertBrookevWilfredOwenvSiegfriedSassoonvChieftraitsofmodernpoetry:1.Directtreat
143、mentofthings2.Freermetricalmovement3.Intellectualcomplexity4.Suggestivenessandovertones暗示暗示5.Colloquialexpressions&slangs6.Irony&puns7.InternationalandurbaninthemeWilliamButlerYeats(1865-1939)v“thegreatestpoetofourage-certainlythegreatestinthislanguage(English)”(byT.S.Elist);vborninDublin,Irelandand
144、awardedtheNobelPrizeforLiteraturev11volumesofpoetry,26plays,9booksofprose,5autobiographicalvolume,4volumesofpoetryvtheearlyyears:undertheinfluenceofthePre-Raphaelitesandaestheticists,depictingthebeautyofnaturevLater:modernism,acelebratedandaccomplishedsymbolistpoet.dealingwiththefallofwesternciviliz
145、ation,theeternalbeautyofart,andthecontrastbetweenyouthandoldage.Hisimportantworks:v“The wild swans at Coole”, “the Lake Isle of Innisfree”,v “Easter 1916”, “The Second Coming”, “Sailing to Byzantium湖心岛茵尼斯弗利岛湖心岛茵尼斯弗利岛v我就要起身走了，到茵尼斯弗利岛，我就要起身走了，到茵尼斯弗利岛，造座小茅屋在那里，枝条编墙糊上泥；造座小茅屋在那里，枝条编墙糊上泥；我要养上一箱蜜蜂，种上九行豆角，我
146、要养上一箱蜜蜂，种上九行豆角，独住在蜂声嗡嗡的林间草地。独住在蜂声嗡嗡的林间草地。v那儿安宁会降临我，安宁慢慢儿滴下来，那儿安宁会降临我，安宁慢慢儿滴下来，从晨的面纱滴落到蛐蛐歇唱的地方；从晨的面纱滴落到蛐蛐歇唱的地方；那儿半夜闪着微光，中午染着紫红光彩，那儿半夜闪着微光，中午染着紫红光彩，而黄昏织满了红雀的翅膀。而黄昏织满了红雀的翅膀。我就要起身走了，因为从早到晚从夜到朝我就要起身走了，因为从早到晚从夜到朝我听得湖水在不断地轻轻拍岸；我听得湖水在不断地轻轻拍岸；不论我站在马路上还是在灰色人行道，不论我站在马路上还是在灰色人行道，总听得它在我心灵深处呼唤。总听得它在我心灵深处呼唤。vTheme
147、:thequietlifelullsthereaderintohisidyllicfantasyvForm:tranquil,hypnotic催眠的催眠的hexameters六部格六部格vTone:vImages:simpleimageryTheLakeIsleofInnisfree当你老了v躯佝鬓衰昏欲睡，躯佝鬓衰昏欲睡，凭炉捧书眉已垂。凭炉捧书眉已垂。慢吟低哦应犹梦，慢吟低哦应犹梦，曾见韶华不可追。曾见韶华不可追。v美人一笑乃倾城，美人一笑乃倾城，攘攘说爱假或真。攘攘说爱假或真。窈窕只得君子逑，窈窕只得君子逑，更怜岁月添新痕。更怜岁月添新痕。合书为枕卧栅边，合书为枕卧栅边，伤爱已逝喋喋叹。
148、伤爱已逝喋喋叹。思绪飞到云山处，思绪飞到云山处，容颜没入群星间。容颜没入群星间。v【路【路15:11】耶稣又说，一个人有两个儿子。耶稣又说，一个人有两个儿子。vAndhesaid,Acertainmanhadtwosons:v【路【路15:12】小儿子对父亲说，父亲，请你把我应得小儿子对父亲说，父亲，请你把我应得的家业分给我。他父亲就把产业分给他们。的家业分给我。他父亲就把产业分给他们。vAndtheyoungerofthemsaidtohisfather,Father,givemetheportionofgoodsthatfallethtome.Andhedivideduntothemhis
149、living.v【路【路15:13】过了不多几日，小儿子就把他一切所有过了不多几日，小儿子就把他一切所有的，都收拾起来，往远方去了。在那里任意放荡，浪的，都收拾起来，往远方去了。在那里任意放荡，浪费赀财。费赀财。vAndnotmanydaysaftertheyoungersongatheredalltogether,andtookhisjourneyintoafarcountry,andtherewastedhissubstancewithriotousliving.v【路【路15:14】既耗尽了一切所有的，又遇着那地方大遭既耗尽了一切所有的，又遇着那地方大遭饥荒，就穷苦起来。饥荒，就穷苦起来
150、。vAndwhenhehadspentall,therearoseamightyfamineinthatland;andhebegantobeinwant.v路路15:15】于是去投靠那地方的一个人，那人打发他到于是去投靠那地方的一个人，那人打发他到田里去放猪。田里去放猪。vAndhewentandjoinedhimselftoacitizenofthatcountry;andhesenthimintohisfieldstofeedswine.v【路【路15:16】他恨不得拿猪所吃的豆荚充饥。也没有人他恨不得拿猪所吃的豆荚充饥。也没有人给他。给他。vAndhewouldfainhavefill
151、edhisbellywiththehusksthattheswinedideat:andnomangaveuntohim.v【路【路15:17】他醒悟过来，就说，我父亲有多少的他醒悟过来，就说，我父亲有多少的雇工，口粮有余，我倒在这里饿死吗？雇工，口粮有余，我倒在这里饿死吗？vAndwhenhecametohimself,hesaid,Howmanyhiredservantsofmyfathershavebreadenoughandtospare,andIperishwithhunger!v【路【路15:18】我要起来，到我父亲那里去，我要起来，到我父亲那里去，向他说，父亲，我得罪了天，又得罪
152、了你。向他说，父亲，我得罪了天，又得罪了你。vIwillariseandgotomyfather,andwillsayuntohim,Father,Ihavesinnedagainstheaven,andbeforethee,v【路【路15:19】从今以后，我不配称为你的儿子，把从今以后，我不配称为你的儿子，把我当作一个雇工吧。我当作一个雇工吧。vAndamnomoreworthytobecalledthyson:makemeasoneofthyhiredservants.v【路【路15:20】于是起来往他父亲那里去。相离还远，于是起来往他父亲那里去。相离还远，他父亲看见，就动了慈心，跑去抱着
153、他的颈项，连他父亲看见，就动了慈心，跑去抱着他的颈项，连连与他亲嘴。连与他亲嘴。vAndhearose,andcametohisfather.Butwhenhewasyetagreatwayoff,hisfathersawhim,andhadcompassion,andran,andfellonhisneck,andkissedhim.v【路【路15:21】儿子说，父亲，我得罪了天，又得罪儿子说，父亲，我得罪了天，又得罪了你，从今以后，我不配称为你的儿子。了你，从今以后，我不配称为你的儿子。vAndthesonsaiduntohim,Father,Ihavesinnedagainstheave
154、n,andinthysight,andamnomoreworthytobecalledthyson.v【路【路15:22】父亲却吩咐仆人说，把那上好的袍子父亲却吩咐仆人说，把那上好的袍子快拿出来给他穿。把戒指戴在他指头上。把鞋穿在快拿出来给他穿。把戒指戴在他指头上。把鞋穿在他脚上。他脚上。vButthefathersaidtohisservants,Bringforththebestrobe,andputitonhim;andputaringonhishand,andshoesonhisfeet:vForthismysonwasdead,andisaliveagain;hewaslost,an
155、disfound.Andtheybegantobemerry.v【路【路15:23】把那肥牛犊牵来宰了，我把那肥牛犊牵来宰了，我们可以吃喝快乐。们可以吃喝快乐。vAndbringhitherthefattedcalf,andkillit;andletuseat,andbemerry:v【路【路15:24】因为我这个儿子，是死而因为我这个儿子，是死而复活，失而又得的。他们就快乐起来。复活，失而又得的。他们就快乐起来。vTheme:vTone:vImages:WhenYouAreOld基督重临基督重临v叶芝的代表作叶芝的代表作借助借助中基督中基督重临的教义和重临的教义和伪基督伪基督的原始意象的原始
156、意象,宣称即将宣称即将到来的新时代不是太平盛世到来的新时代不是太平盛世,而是伪基督降临而是伪基督降临的天下大乱的天下大乱,表达了西方战后的恐怖景象和危表达了西方战后的恐怖景象和危机意识机意识,是一首取材于基督教末世论神学的先是一首取材于基督教末世论神学的先知诗篇知诗篇.v【太【太24:3】耶稣在橄榄山上坐着，门徒暗暗耶稣在橄榄山上坐着，门徒暗暗地来说，请告诉我们，什么时候有这些事？地来说，请告诉我们，什么时候有这些事？你降临和世界的末了，有什么预兆呢？你降临和世界的末了，有什么预兆呢？vAsJesuswassittingontheMountofOlives,thedisciplescameto
157、himprivately.Tellus,theysaid,whenwillthishappen,andwhatwillbethesignofyourcomingandoftheendoftheage?v【太【太24:4】耶稣回答说，你们要谨慎，免得耶稣回答说，你们要谨慎，免得有人迷惑你们。有人迷惑你们。vJesusanswered:Watchoutthatnoonedeceivesyou.v【太【太24:5】因为将来有好些人冒我的名来，因为将来有好些人冒我的名来，说，我是基督，并且要迷惑许多人。说，我是基督，并且要迷惑许多人。vFormanywillcomeinmyname,claiming,
158、IamtheChrist,andwilldeceivemany.v【太【太24:6】你们也要听见打仗和打仗的风声，你们也要听见打仗和打仗的风声，总不要惊慌。因为这些事是必须有的。只是总不要惊慌。因为这些事是必须有的。只是末期还没有到。末期还没有到。vYouwillhearofwarsandrumorsofwars,butseetoitthatyouarenotalarmed.Suchthingsmusthappen,buttheendisstilltocome.v【太【太24:7】民要攻打民，国要攻打国。多处民要攻打民，国要攻打国。多处必有饥荒，地震。必有饥荒，地震。vNationwillri
159、seagainstnation,andkingdomagainstkingdom.Therewillbefaminesandearthquakesinvariousplaces.v【太【太24:8】这都是灾难的起头。（灾难原文这都是灾难的起头。（灾难原文作生产之难）。作生产之难）。vAllthesearethebeginningofbirthpains.vInYeatsview,v西方文明已进入末日前最后二百年，基督就西方文明已进入末日前最后二百年，基督就要重临，极度黑暗的时代要重临，极度黑暗的时代v2000B.C.BirthofChrist2000A.D.Greco-RomanChristi
160、anityfullofCivilizationupheavals20thcenturyistheendofthe2ndperiodofhistory,startingthe3rdperiod.v在向外扩张的旋体上旋转呀旋转，在向外扩张的旋体上旋转呀旋转，猎鹰再也听不见主人的呼唤。猎鹰再也听不见主人的呼唤。一切都四散了，再也保不住中心，一切都四散了，再也保不住中心，世界上到处弥漫着一片混乱，世界上到处弥漫着一片混乱，血色迷糊的潮流奔腾汹涌，血色迷糊的潮流奔腾汹涌，到处把纯真的礼仪淹没其中；到处把纯真的礼仪淹没其中；优秀的人们信心尽失，优秀的人们信心尽失，坏蛋们则充满了炽烈的狂热。坏蛋们则充满了炽
161、烈的狂热。v无疑神的启示就要显灵，无疑神的启示就要显灵，无疑基督就将重临。无疑基督就将重临。基督重临！这几个字还未出口，基督重临！这几个字还未出口，刺眼的是从大记忆来的巨兽：刺眼的是从大记忆来的巨兽：荒漠中，人首狮身的形体，荒漠中，人首狮身的形体，如太阳般漠然而无情地相觑，如太阳般漠然而无情地相觑，慢慢挪动腿，它的四周一圈圈，慢慢挪动腿，它的四周一圈圈，沙漠上愤怒的鸟群阴影飞旋。沙漠上愤怒的鸟群阴影飞旋。黑暗又下降了，如今我明白黑暗又下降了，如今我明白二十个世纪的沉沉昏睡，二十个世纪的沉沉昏睡，在转动的摇篮里做起了恼人的恶梦，在转动的摇篮里做起了恼人的恶梦，何种狂兽，终于等到了时辰，何种狂兽，
162、终于等到了时辰，懒洋洋地倒向圣地来投生？懒洋洋地倒向圣地来投生？vYeatsbelievedthattheworldwasonthethresholdofanapocalypticrevelation,ashistoryreachedtheendoftheoutergyre(tospeakroughly)andbeganmovingalongtheinnergyre.vTheme:vTone:vForm:veryroughiambicpentameter,butthemeterissoloosevImages:gire(acircleofhistory)TheSecondComing驶向拜占庭
163、驶向拜占庭v那不是老年人的国度。青年人那不是老年人的国度。青年人在互相拥抱；那垂死的世代，在互相拥抱；那垂死的世代，树上的鸟，正从事他们的歌唱；树上的鸟，正从事他们的歌唱；鱼的瀑布，青花鱼充塞的大海，鱼的瀑布，青花鱼充塞的大海，鱼、兽或鸟，一整个夏天在赞扬鱼、兽或鸟，一整个夏天在赞扬凡是诞生和死亡的一切存在。凡是诞生和死亡的一切存在。沉溺于那感官的音乐，个个都疏忽沉溺于那感官的音乐，个个都疏忽万古长青的理性的纪念物。万古长青的理性的纪念物。v一个衰颓的老人只是个废物，一个衰颓的老人只是个废物，是件破外衣支在一根木棍上，是件破外衣支在一根木棍上，除非灵魂拍手作歌，为了它的除非灵魂拍手作歌，为了它
164、的皮囊的每个裂绽唱得更响亮；皮囊的每个裂绽唱得更响亮；可是没有教唱的学校，而只有可是没有教唱的学校，而只有研究纪念物上记载的它的辉煌，研究纪念物上记载的它的辉煌，因此我就远渡重洋而来到因此我就远渡重洋而来到拜占庭的神圣的城堡。拜占庭的神圣的城堡。v哦，智者们！立于上帝的神火中，哦，智者们！立于上帝的神火中，好像是壁画上嵌金的雕饰，好像是壁画上嵌金的雕饰，从神火中走出来吧，旋转当空，从神火中走出来吧，旋转当空，请为我的灵魂作歌唱的教师。请为我的灵魂作歌唱的教师。把我的心烧尽，它被绑在一个把我的心烧尽，它被绑在一个垂死的肉身上，为欲望所腐蚀，垂死的肉身上，为欲望所腐蚀，已不知它原来是什么了；请尽快
165、已不知它原来是什么了；请尽快把我采集进永恒的艺术安排。把我采集进永恒的艺术安排。v一旦脱离自然界，我就不再从一旦脱离自然界，我就不再从任何自然物体取得我的形状，任何自然物体取得我的形状，而只要希腊的金匠用金釉而只要希腊的金匠用金釉和锤打的金子所制作的式样，和锤打的金子所制作的式样，供给瞌睡的皇帝保持清醒；供给瞌睡的皇帝保持清醒；或者就镶在金树枝上歌唱或者就镶在金树枝上歌唱一切过去、现在和未来的事情一切过去、现在和未来的事情给拜占庭的贵族和夫人听。给拜占庭的贵族和夫人听。v哦，智者们！立于上帝的神火中，哦，智者们！立于上帝的神火中，好像是壁画上嵌金的雕饰，好像是壁画上嵌金的雕饰，从神火中走出来吧
166、，旋转当空，从神火中走出来吧，旋转当空，请为我的灵魂作歌唱的教师。请为我的灵魂作歌唱的教师。把我的心烧尽，它被绑在一个把我的心烧尽，它被绑在一个垂死的肉身上，为欲望所腐蚀，垂死的肉身上，为欲望所腐蚀，已不知它原来是什么了；请尽快已不知它原来是什么了；请尽快把我采集进永恒的艺术安排。把我采集进永恒的艺术安排。v一旦脱离自然界，我就不再从一旦脱离自然界，我就不再从任何自然物体取得我的形状，任何自然物体取得我的形状，而只要希腊的金匠用金釉而只要希腊的金匠用金釉和锤打的金子所制作的式样，和锤打的金子所制作的式样，供给瞌睡的皇帝保持清醒；供给瞌睡的皇帝保持清醒；或者就镶在金树枝上歌唱或者就镶在金树枝上歌
167、唱一切过去、现在和未来的事情一切过去、现在和未来的事情给拜占庭的贵族和夫人听。给拜占庭的贵族和夫人听。vTheme:theagonyofoldageandYeatsssolutionistoleaveforByzantiumtoachieveimmortalityofyouth(eternity),wherethesagesinthecitysfamousgoldmosaics(completedmainlyduringthesixthandseventhcenturies)couldbecomethesinging-mastersofhissoul.vTone:vForm:iambicpen
168、tameterrhymedABABABCCSailingtoByzantiumT.S.Eliot(1888-1965)vborninAmerica,receivedaverybroadeducation,masteredFrench,ItalianandEnglishliterature,andsettledinEnglandvaleaderofthemodernistmovementinEnglishpoetryandagreatinnovatorofversetechnique;adramatistandcritic;,.vThemainthemeofhispoetryismodernsp
169、iritualbarrenness,thedespairanddepressionthatfollowedtheFirstWorldWar,thedeclineofWesternCulture.vhisaccumulatingimages,hisphilosophyandthemusicofwordsareallharmoniouslyblended.vHisimportantworks:v“TheLoveSongofJ.AlfredPrufrock”(hisfirstimportantpoem)v“TheWasteLand”(hismasterpiece)v“FourQuartets”(It
170、enabledhimtowinNobelPrize)v“MurderintheCathedral”(hisbestplay)v19.D.H.Lawrence(1885-1930)vTwotendencies:vTraditionofrealismfrom19thcenturyvmodernism/psychoanalysis&existentialism,streamofconsciousnessChapterIIIThe20thCenturyFictionvJohnGalsworthy(1867-1933)The Man of Property vArnoldBennett(1867-193
171、1)The Old Wives TalevH.G.Wells(1866-1946)agreatwriterofsciencefiction;The Time MachineandThe War of the WorldModernisminfictionvHenryJamesvJosephConrad/symbolism&impressionism/Heart of DarknessvE.M.Foster/turefriendshipdespiteofsocialandreligiousdifferences/A Passage to IndiavVirginiaWoolf/spiritual
172、lifeofEnglishupperclass/To the Lighthouse vD.H.Lawrence,JamesJoyceStreamofConsciousnessvThenarrativemethodofcapturingandrepresentingtheinnerworkingsofacharactersmind.SomeFeatures:1.Revealsplotthroughthementalprocess2.Characterdevelopmentisachievedthroughrevelationofpersonalthought3.Movesbackandforth
173、throughpresenttomemoriesofpastanddreamsoffuture4.Replacesnarrationwithinteriormonologue&freeassociationvHenryJames(1843-1916)v-aforerunnerofthe“Streamofconsciousness”;bornandeducatedinAmerica,traveledinmanyEuropeancountriesandfinallynaturalizedasaBritishcitizenv-HismainthemeistheinnocenceoftheNewWor
174、ldandthecorruptionoftheOld,shownbythecontrastandclashofAmericanandEuropeancharacters.Importantworks:v“ThePortraitofaLady”v“TheWingsoftheDove”v“TheAmbassadors”v“TheGoldenBowl”D.H.Lawrencevtrulyworking-classbackground;amostoriginalnovelistoftheearly20thcenturyvinfluencedbyFreudstheoryofpsychologicalan
175、alysis,revealingthedeepestinstinctsofhumannaturevpsychologicalanalysis+socialcriticismvThenaturalharmonybtwmen&men,men&womenhasbeendestroyedbyindustryandmoderncivilization.Importantworks&characters:Inhisnovels,Laurencemadeaboldpsychologicalexplorationofvarioushumanrelationships,especiallythosebetwee
176、nmanandwoman,withagreatfrankness.v“SonsofLovers”:PaulMorelv“TheRainbow”:Anna,Willv “WomeninLove”v“LadyChatterleysLover”:Constance,Clifford,MellorsTheRocking-HorseWinnervfirstpublishedin1926inHarpers Bazaarmagazine.vTheme:moralizeonthevalueofloveandthedangersofmoneyvStyle:afairytalesardonictaleemploy
177、ingdevicesoftheandamockinglyvTone:detachedvSymbols:JamesJoyce(1882-1941)voneofthemostoriginalnovelistsofthe20thcentury,whoseworkshowsauniquesynthesisofrealism,the“streamofconsciousness”andsymbolism.ManycriticsjudgethatheissecondonlytoShakespeareinhismasteryoftheEnglishlanguage.HiswritingsaresetinDub
178、lin,hisbirthplace.v“Dubliners”,acollectionof15shortstories,allrealisticandimpressionisticstudiesofthelife,thoughts,dreams,aspirationsandfrustrations.ThesestoriesarewritteninaccordancewithJoycestheoryof“epiphanies”.vHisfirstnovel,“A Portrait of the Artist as a Young Man”islargelyautobiographical.Hism
179、asterpiecev“Ulysses”hasbeencalled“amodernproseepic”.InplotthenovelbearsaparalleltoHomersgreatepic“Odyssey”.Ittells,entirelythrough“streamofconsciousness”,ofthewanderingsand“adventures”ofLeopoldBloom,amodernUlysses,duringthe24hoursofasingleday.SocialsatiresvEvelynWaughvAldousHuxley/“BraveNewWorld”vGe
180、orgeOrwell/“NineteenEighty-four”,“AnimalFarm”TheAngryYoungMenvHostiletoanything“highbrow”or“phoney”intheirwords,createdakindof“antihero”whocamefromlowerclassanddisgustedwithEnglishculture&ridiculedEnglishsociety.vLedbyKingsleyAmis/“LuckyJim”&JohnOsborne/“LookBackinAnger”vWilliamGoldingvRecurringthem
181、s:InnatehumanevilthatconstantlydestroyseffortstomakeagoodworldvFirstnovel:“LordofFlies”vGrahamGreene/ExistentialistvThemes:theinsecurityofmodernman&hisfailuretocommunicateinlovev“ThePowerandtheGlory”ShortStoriesvInfluencedbyGuydeMaupassant,AntonChekhovvKatharineMansfield(1888-1923)vborninNewZealanda
182、ndsettledinEnglandv“In a German Pension”, “Bliss” and “The Garden Party”vWilliamSomersetMaughamWomenWritersvIrisMurdock/“UndertheNet”vMurielSpark/“TheGirlsofSlenderMeans”vDorisLessing/“GoldenNotebook”vElizabethBowen/“TheHotel”vBernardShaw(1856-1950)voneofthebestofEnglishdramatists;oneofthemostimport
183、antrepresentativesofcriticalrealisminmodernEnglishliteraturevborninDublin,IrelandandlaterbecamealeadingmemberoftheFabiansociety,theEnglishreformistorganization;theNobelPrizewinner.ChapterIVThe20thCenturyDramavShawlivedalonglifeandwrotealtogether51plays.Bymeansofwittyremarks,surprise,andparadoxes,het
184、riedtoshockhisaudiencesoutoftheirunthinkingacceptanceofsocialconventions.v“WindowsHouse”:Trench,Mr.Sartorius,Blanchev“Mrs.WarrensProfession”:Mrs.Warren,SirGeorgeCrofts,Viviev“MajorBarbara”:Barbara,Undershaftv“HeartbreakHouse”:ShotoverTheatreoftheAbsurdvBothdespairingandhumorous,expressingtheabsurdit
185、y&meaninglessnessofhumanexistenceinastyleof“absurd”.vOriginatedinthemid50sv“TheBirthdayParty”,“TheCaretaker”vTheMoralApproachvTheSocialApproachvTheFormalisticApproach/mostinfluentialmethodvThePsychologicalApproachvTheArchetypalApproachChapterVThe20thCenturyLiteraryCriticismvOliverTwistvThenovelisfam
186、ousforitsvividdescriptionsoftheworkhouse&lifeoftheunderworldinthe19th-centuryLondon.Theauthorsintimateknowledgeofpeopleofthelowestorder&ofthecityitselfapparentlycomesfromhisjournalisticyears.HerethenovelalsopresentsOliverTwistasDickenssfirstchildhero.vPlot OverviewvOliver Twist is born in a workhous
187、e in 1830s England. His mother, whose name no one knows, is found on the street and dies just after Olivers birth. Oliver spends the first nine years of his life in a badly run home for young orphans and then is transferred to a workhouse for adults. After the other boys bully威逼威逼 Oliver into asking
188、 for more gruel稀粥稀粥 at the end of a meal, Mr. Bumble, the parish beadle教区领队教区领队, offers five pounds to anyone who will take the boy away from the workhouse. vOliver narrowly escapes being apprenticed当学徒当学徒 to a brutish chimney sweep and is eventually apprenticed to a local coffin boss, Mr. Sowerberr
189、y. When Mr. Sowerberrys other apprentice, Noah Claypole, makes disparaging侮侮蔑的蔑的 comments about Olivers mother, Oliver attacks him and incurs招致招致 the Sowerberrys wrath愤怒愤怒. Desperate, Oliver runs away at dawn and travels toward London. Outside London, Oliver, starved and exhausted, meets Jack Dawkin
190、s, a boy his own age. vJack offers him shelter避难所避难所 in the London house of his boss, Fagin. It turns out that Fagin is a career criminal who trains orphan boys to pick pockets for him. After a few days of training, Oliver is sent on a pickpocketing mission with two other boys. When he sees them sto
191、le a handkerchief from an elderly gentleman, Oliver is horrified and runs off. He is caught but narrowly escapes being convicted of the theft. Mr. Brownlow, the man whose handkerchief was stolen, takes the sick Oliver to his home and nurses him back to health. vMr. Brownlow is struck by Olivers rese
192、mblance类似之处类似之处 to a portrait of a young woman that hangs in his house. Oliver thrives成长成长 in Mr. Brownlows home, but two young adults in Fagins gang, Bill Sikes and his lover Nancy, capture Oliver and return him to Fagin. Fagin sends Oliver to assist Sikes in a burglary入室盗窃入室盗窃. Oliver is shot by a
193、 servant of the house and, after Sikes escapes, is taken in by the women who live there, Mrs. Maylie and her beautiful adopted niece Rose. They grow fond of Oliver, and he spends an idyllic田园般的田园般的 summer with them in the countryside. vBut Fagin and a mysterious man named Monks are set on recapturin
194、g Oliver. Meanwhile, it is revealed that Olivers mother left behind a gold locket小盒子小盒子 when she died. Monks obtains and destroys that locket. When the Maylies come to London, Nancy meets secretly with Rose and informs her of Fagins designs, but a member of Fagins gang overhears偷听偷听 the conversation
195、. When word of Nancys disclosure揭发揭发 reaches Sikes, he brutally murders Nancy and flees London. Pursued by his guilty conscience and an angry mob群众群众, he accidentally hangs himself while trying to escape.vMr. Brownlow, with whom the Maylies have reunited Oliver, confronted Monks and found out the tr
196、uth about Olivers parentage身份身份 from him. It is revealed that Monks is Olivers half brother. Their father, Mr. Leeford, was unhappily married to a wealthy woman and had an affair with Olivers mother, Agnes Fleming. Monks has been pursuing Oliver all along in the hopes of ensuring that his half-broth
197、er is deprived剥夺剥夺 of his share财产财产 of the family inheritance遗产遗产. Mr. Brownlow forces Monks to sign over Olivers share to Oliver. Moreover, it is discovered that Rose is Agnes younger sister, hence Olivers aunt. vFagin is hung for his crimes. Finally, Mr. Brownlow adopts Oliver, and they and the Ma
198、ylies retire to a blissful existence in the countryside. vCharacter ListvOliver Twist - The novels protagonist. Oliver is an orphan born in a workhouse, and Dickens uses his situation to criticize public policy toward the poor in 1830s England. Oliver is between nine and twelve years old when the ma
199、in action of the novel occurs. Though treated with cruelty and surrounded by coarseness粗劣粗劣 for most of his life, he is a pious虔诚的虔诚的, innocent child, and his charms draw the attention of several wealthy benefactors赞助者赞助者. His true identity身份身份 is the central mystery of the novel.vAs the child hero
200、of a melodramatic情节剧情节剧 novel of social protest抗议抗议, Oliver Twist is meant to appeal more to our sentiments感情感情 than to our literary sensibilities. On many levels, Oliver is not a believable character, because although he is raised in corrupt surroundings, his purity and virtue are absolute. Through
201、out the novel, Dickens uses Olivers character to challenge the Victorian idea that paupers乞丐乞丐 and criminals are already evil at birth, arguing instead that a corrupt environment is the source of vice罪恶罪恶. vFagin - A conniving密谋密谋 career criminal. Fagin takes in homeless children and trains them to
202、pick pockets for him. He is also a buyer of other peoples stolen goods. He rarely commits crimes himself, preferring to employ others to commit them. Dickenss portrait of Fagin displays the influence of anti-Semitic反犹太的反犹太的 stereotypes. He is ugly, miserly吝啬吝啬, and avaricious贪婪的贪婪的. Constant referen
203、ces to him as “the Jew” seem to indicate that his negative traits are intimately connected to his ethnic identity. However, Fagin is more than a statement of ethnic prejudice. He is an embodiment of terrifying villainy罪恶罪恶. vNancy - A young prostitute妓女妓女 and one of Fagins former child pickpockets.
204、Nancy is also Bill Sikess lover. Her love for Sikes and her sense of morality come into conflict when Sikes abuses Oliver. Despite her criminal lifestyle, she is among the noblest characters in the novel. In effect, she gives her life for Oliver when Sikes murders her for revealing Monkss plots. A m
205、ajor concern of Oliver Twist is the question of whether a bad environment can irrevocably不可撤销的不可撤销的 poison someones character and soul. As the novel progresses, the character who best illustrates the contradictory issues brought up by that question is Nancy. vShe is immersed in the vices condemned被责
206、难被责难 by her society, but she also commits perhaps the most noble act in the novel when she sacrifices her own life in order to protect Oliver. Nancys moral complexity is unique among the major characters in Oliver Twist. vRose Maylie - sister of olivers mother, raised by Mrs. Maylie after the death
207、of Roses father. A beautiful, compassionate, and forgiving young woman, Rose is the novels model of female virtue. She establishes a loving relationship with Oliver even before it is revealed that the two are related.vMr. Brownlow - A well-off, erudite博学的博学的 gentleman who serves as Olivers first ben
208、efactor. Mr. Brownlow owns a portrait of Olivers mother and was engaged to Olivers fathers sister when she died. Throughout the novel, he behaves with compassion and common sense and emerges as a natural leader.vMonks - A sickly, vicious young man, prone倾向倾向于于 to violence and teeming富于富于 with inexpl
209、icable莫名的莫名的 hatred. With Fagin, he schemes to give Oliver a bad reputation.v Bill Sikes - A brutal professional burglar夜贼夜贼 brought up in Fagins gang. Sikes and Nancy are lovers, and he treats both her and his dog Bulls-eye with an odd combination of cruelty and grudging吝啬的吝啬的 familiarity亲密亲密. His
210、murder of Nancy is the most heinous可憎可憎 of the many crimes that occur in the novel.vMr. Bumble - The pompous华而不实华而不实, self-important beadle游行领队游行领队a minor church officialfor the workhouse where Oliver is born. Though Mr. Bumble preaches鼓吹鼓吹 Christian morality, he behaves without compassion toward th
211、e paupers under his care. Dickens mercilessly satirizes his greed, hypocrisy, and folly, of which his name is an obvious symbol. Themes, Motifs & SymbolsvThemes vThemes are the fundamental and often universal ideas explored in a literary work.vThe Failure of CharityvMuch of the first part of Oliver
212、Twist challenges the organizations of charity run by the church and the government in Dickenss time. Dickens describes with great sarcasm挖苦挖苦 the greed, laziness, and arrogance of charitable workers like Mr. Bumble and Mrs. Mann. In general, charitable institutions only reproduced the awful conditio
213、ns in which the poor would live anyway. vThe Folly of Individualism利己主义的愚蠢利己主义的愚蠢vWith the rise of capitalism during the Industrial Revolution, individualism was very much in vogue流行流行 as a philosophy. Victorian capitalists believed that society would run most smoothly if individuals looked out for
214、their own interests. Ironically, Fagin, who operates in the illicit违法的违法的 businesses of theft and prostitution, thought himself as an individualist. vThe Countryside IdealizedvAll the injustices and privations穷困穷困 suffered by the poor in Oliver Twist occur in citieseither the great city of London or
215、 the provincial city where Oliver is born. When the Maylies take Oliver to the countryside, he discovers a “new existence.” Moreover, country scenes have the potential to “purify our thoughts” and erase some of the vices that develop in the city. Hence, in the country, “the poor people are so neat a
216、nd clean,” living a life that is free of the squalor肮脏肮脏 that torments折磨折磨 the urban poor. Oliver and his new family settle in a small village at the novels end, as if a happy ending would not be possible in the city. Dickenss portrait of rural life in Oliver Twist is more approving yet far less rea
217、listic than his portrait of urban life. This fact does not contradict, but rather supports, the general estimation of Dickens as a great urban writer. It is precisely Dickenss distance from the countryside that allows him to idealize it. vMotifs vMotifs are recurring structures, contrasts, or litera
218、ry devices that can help to develop and inform the texts major themes.vDisguised or Mistaken Identities vThe plot of Oliver Twist revolves around the various false identities that other characters impose upon Oliver, often for the sake of advancing their own interests. The novels resolution revolves
219、 around the revelation of the real identities of Oliver, Rose, and Monks. Only when every characters identity is known with certainty does the story achieve real closure. vHidden Family Relationships vThe revelation of Olivers familial ties is among the novels most unlikely plot turns: Oliver is rel
220、ated to Brownlow, who was married to his fathers sister; to Rose, who is his aunt; and to Monks, who is his half-brother. The coincidences involved in these facts are quite unbelievable and represent the novels rejection of realism in favor of fantasy. vSymbols vSymbols are objects, characters, figu
221、res, or colors used to represent abstract ideas or concepts.vCharacters Names vThe names of characters represent personal qualities. Oliver Twist himself is the most obvious example. The name “Twist,” though given by accident, alludes to the outrageous reversals of fortune that he will experience. R
222、ose Maylies name echoes her association联想联想 with flowers and springtime, youth and beauty. vBulls-eye vBill Sikess dog, Bulls-eye, has “faults of temper in common with his owner” and is a symbolic emblem象征象征 of his owners character. The dogs viciousness邪恶邪恶 reflects and represents Sikess own animal-
223、like brutality. Somequestionsaboutthenovelv1.aboutthecharacteristicofOlivertwistAmongthecharactersofthelowerPeople,Oliveristheonlyonewhoemergeshappyandsuccessfulintheend.ThishappyissuewhichDickensnovelsusuallyendincomesaboutasaresultofhisoptimisticbeliefintheinevitabletriumphofgoodoverevil.v2.thechi
224、efdefectofthenovelincludetheimprobabilityoftheplotandtheunconvicingnessofsomecharacters.vHisLiteraryCreation&LiteraryAchievementsvCharlesDickensisoneofthegreatestcriticalrealisticwritersoftheVictorianAge.Itishisseriousintentiontoexpose&criticizeinhisworksallthepoverty,injustice,hypocrisy&corruptness
225、hesawallaroundhim.Inhisworks,Dickenssetsafullmap&alarge-scalecriticismofthe19th-centuryEngland,particularlyLondon.vAcombinationofoptimismaboutpeople&realismaboutsocietyisobviousintheseworks.vCharlesDickensisamasterstory-teller.Hislanguagecould,inaway,becomparedwithShakespeares.Hishumor&witseeminexha
226、ustible.Character-portrayalisthemostoutstandingfeatureofhisworks.ImportantWorks&CharactersvThefirstperiodyouthfuloptimistv“The Pickwick Papers” (thesupremeepicofEnglishlife):Mr.Pickwick,SamWellerv“Oliver Twist ”(adescriptionofthelower-depth)v“Nicholas Nickleby” :Mr.Squeersv“The Old Curiosity Shop”:T
227、rent,Nellv2)Thesecondperiodexcitement&irritationv“Martin Chuzzlewit”:Chuzzlewit.Mr.Pecksniffv“AChtistmasCaro”lvDombey and Son :Dombey.Edith,CarkervDavid Copperfield(Dickenssownfavourite):Mr.Murderstone,ClaraPeggotty,Steerforth,Dora,UriahHeepvTheThirdPeriodHislossofhopeforEnglishbourgeoissocietyv“Bleak House ”:LordChancellorv“Hard Times”: Mr.Gradgrindv“Little Dorrit”:WilliamDorritv“A Tale of Two Cities”:Dr.Manetter,Lucie,Defoarge,CharlesDarnay,SidneyCarton,MademeDefargev“Great Expections”
