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1、The18thCenturyLiteratureBackgroundTheEnlightenmentMovementCharacteristicsEffectsLiterarydivisionsNeo-classicismTheRiseoftheModernNovelRevivalofRomanticPoetryBackgroundsTheGloriousRevolution(1688)ReligiousConflictsTheExpansionoftheBritishEmpireTheIndustrialRevolutionTwo-partyPoliticsConnectionBetween
2、Politics&LiteratureTheAmericanWarofIndependenceTheFrenchRevolutionFrenchPhilosophersMontesquieu&VoltaireRousseau,Didero&KantThomasPaine&WilliamGodwinEdmundBurke&EdwardGibbonTheEnlightenmentMovementItreferstothemovementofintellectualliberationthatdevelopedinWesternEuropefromthelate17thcenturytothelat
3、e18th(theperiodoftencalledthe“AgeofReason”).ItculminatedwiththewritingsofRousseau,thephilosophyofKant,andthepoliticalideasoftheAmericanandFrenchrevolutions.Itscentralideawastheneedforandthecapacityofhumanreasontoclearawayancientsuperstition,prejudice,dogmaandinjustice.Itsthinkingencouragedrationalsc
4、ientificinquiry,humanitariantolerance,andtheideaofuniversalhumanrights.Theadvocatesofenlightenmenttendedtoplacetheirfaithinhumanprogressbroughtaboutbythegradualpropagationofrationalprinciples.InEnglish,theattitudesoftheEnlightenmentarefoundinthelate18thcentury,inThomasPaine,WilliamGodwin,EdwardGibbo
5、nandsoon.NeoclassicismLiteraryTheoryTheRestorationLiterature(1660-1700):theAgeofDrydenTheAugustanAge(1700-1745):theAgeofPopeTheNeoclassicalDecline(1745-1785):theTimeofJohnsonNeo-classicismItreferstotheliteraryprincipleaccordingtowhichthewritingandcriticismofpoetryanddramaweretobeguidedbyrulesandprec
6、edentsderivedfromthebestancientGreekandRomanwriters.OftenemployedincontrastwithRomanticism,thistermhasalsobeenusedtodescribethecharacteristicworld-vieworvalue-systemofthis“AgeofReason”,denotingapreferenceforrationality,clarity,restraint,orderanddecorum,forgeneraltruthratherthanparticularinsights.The
7、neo-classicalviewofliteratureincludedtheprincipleofdecorumbywhichthestylemustsuitthesubjectmatter,andthebelievethatartmustbothdelightandinstruct.Thecentralassumptionwasthattheancientauthorshadalreadyattainedperfection,sothatthemodernauthorschieftaskwasjusttoimitatethem.ChiefCharacteristicsofNeoclass
8、icLiterature1.Theneoclassicsmanifestedastrongtraditionalism2.theybelieveliteraturemustbeperfectedbylongstudyandpracticeandlaidmuchemphasisonthecorrect,theappropriate,onrestraintanddiscipline,ontheirstyleandestablishedrulesoftheirart.3.theyregardpoetryasimitationofhumanlifeandemphasizedonrepresentati
9、vecharacteristicsandwidelysharedexperience,thoughts,feelingsandtastes.4.theybelievethatthepoetisthe“makerandhemustpleasethereaderbyhisfictionsandcraft.5.theyinventednewrulesoftheirown6.theneoclassicpoetryismoreformal,moreartificial,polished,prosaicanddull;thechiefformisheroiccoupletTheRestorationLit
10、erature(1660-1700)TheAgeofDrydenChiefCharactersofThisAgeEnglishliteratureofthisperiodwasinfluencedbythatofFrancewhereclassicismwasprevailing.TherewasagreatvarietyinliteraryformswithJohnDrydenasthedominantfigure.JohnDryden(1631-1700)Heroicplay:The Conquest of GrenadaBlankversetragedy: All for LovePro
11、se: An Essay of Dramatic PoesyPoetry: AbsalomandAchitophelTheMedalASongforSt.CecilissDayAlexandersFeastAllforLoveANTONY:HowIloved.Witness,yedaysandnights,andallyehours,Thatdancedawaywithdownuponyourfeet,Asallyourbusinessweretocountmypassion!Onedaypassedby,andnothingsawbutlove;Anothercame,andstilltwa
12、sonlylove:我爱得多么热烈，我爱得多么热烈，白昼和黑夜，你们可以作白昼和黑夜，你们可以作证，还有所有的时刻，证，还有所有的时刻，你们脚上长了羽毛，悄悄你们脚上长了羽毛，悄悄地逝去，你们也是证人，地逝去，你们也是证人，因为你们的一切职责就在因为你们的一切职责就在于计量我的爱情。于计量我的爱情。一天过去了，它看到的只一天过去了，它看到的只有爱情；有爱情；第二天来了，它看到的仍第二天来了，它看到的仍旧是爱情：旧是爱情：Thesunswereweariedoutwithlookingon,AndIuntiredwithloving.Isawyoueveryday,andalltheday;An
13、deverydaywasstillbutasthefirst,SoeagerwasIstilltoseeyoumore.WhilewithinyourarmIlay,Theworldfellmoulderingfrommyhandseachhour一天一天的太阳看够了爱一天一天的太阳看够了爱情，看得疲惫不堪，情，看得疲惫不堪，而我求爱永不疲倦。而我求爱永不疲倦。我每天看着你，整日看着我每天看着你，整日看着你；你；每一天永远好像只是头一每一天永远好像只是头一天：天：我永远是这样迫切着能够我永远是这样迫切着能够更多地看到你更多地看到你当我睡在你的怀抱里，当我睡在你的怀抱里，全世界每时每刻就在我手全
14、世界每时每刻就在我手中崩溃。中崩溃。AlexandersFeastTwasattheroyalfeast,forPersiawonByPhilipswarlikeson;AloftinawfulstateTheGodlikeherosateOnhisimperialthrone;Hisvaliantpeerswereplacedaround;Theirbrowswithrosesandwithmyrtlesbound;(Soshoulddesertinarmsbecrowned).腓力的儿子英武善战，腓力的儿子英武善战，征服了波斯，大开御宴，征服了波斯，大开御宴，这位英雄亚赛天神下凡，这位英雄
15、亚赛天神下凡，高居宝座，高居宝座，尊贵庄严。尊贵庄严。勇敢的臣爵环绕身旁，勇敢的臣爵环绕身旁，头戴衣冠，绚烂芬芳，头戴衣冠，绚烂芬芳，汗马功劳应得的荣光。汗马功劳应得的荣光。ThelovelyThais,byhisside,SatelikeabloomingEasternbrideInflowerofyouthandbeautyspride.Happy,happy,happypair!Nonebutthebrave,Nonebutthebrave,Nonebutthebravedeservesthefair.可爱的泰绮丝偎坐在可爱的泰绮丝偎坐在身旁，身旁，好象是东方的新娘一好象是东方的新娘一般
16、，般，青春焕发，妩媚娇艳。青春焕发，妩媚娇艳。美满、美满、美满缘，美满、美满、美满缘，只有英雄，只有英雄，只有英雄，只有英雄，只有英雄配红颜。只有英雄配红颜。TheAugustanAge(1700-1745)TheAgeofPopeChiefCharactersofThisAgeItistheculminationofNeoclassicism.Theliteratureofthisperiodischieflyaliteratureofwit,concernedwithcivilization,withmaninhissocialrelationshipsandconsequentlyiti
17、scriticalandinsomedegreemoralandsatirical.ThechiefrepresentativesarePope,Swift,AddisonandSteele.AlexanderPope(1688-1744)Heroiccouplets:iambicpentameterrhymedincoupletsMajorWorksOnCriticismOnManTheRapeoftheLockHeroicCoupletApairofrhymediambicpentameterlines.ThoughthisverseformwasintroducedintoEnglish
18、byChaucerinthefourteenthcentury,itsnamederivesfromitsuseinseventeenth-centuryheroic(epic)dramaandpoetry.e.g.THERAPEOFTHELOCKHerlivelylooksasprightlyminddisclose,Quickashereyes,andasunfixedasthose:Favourstonone,toallshesmilesextends;Oftsherejects,butneveronceoffends.Brightasthesun,hereyesthegazersstr
19、ike,And,likethesun,theyshineonallalike.Yetgracefulease,andsweetnessvoidofpride,Mighthideherfaults,ifbelleshadfaultstohide;Iftohersharesomefemaleerrorsfall,Lookonherface,andyoullforgetemall.EssayonManOneTruthAllNatureisbutart,unknowntothee;Allchance,direction,whichthoucanstnotsee;Alldiscord,harmonyno
20、tunderstand;Allpartialevil,universalgood:Onetruthisclear:WhateverIs,isRIGHT.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。凡存在的都合理，乃是清楚的道理。TheNeoclassicalDecline(1745-1785)TheTimeofJohnsonChiefCharactersofThisAgeThisisanagewhenneoclassicismwascomingtoadeclineandnewliterarythemesandforms
21、begantoemerge.Thisis“AgeofProse”.SamuelJohnsonHeisapoet,essayist,literarycriticandalexicographerMajorworksDictionaryTheVanityofHumanWishesLondonTheLivesofGreatPoetsOtherImportantWritersJamesBoswell(1740-1795)OliverGoldsmith(1728-1774)RichardBrinsleySheridan(1751-1816)EdmundBurke(1729-1797)EdwardGibb
22、on(1737-1794)OliverGoldsmith(1728-1774)LifeNovel:TheVicarofWakefieldPlay:SheStoopstoConquerEssay:TheCitizenoftheWorldPoetryTheTravellerTheDesertedVillageRichardB.Sheridan(1751-1816)LifeComedyTheRivalsTheSchoolforScandalTheCriticJamesBoswellbiographicalwork:LifeofJohnsonFictionWhatisfiction?Moregener
23、ally,theword“fiction”refersto“anynarrative,inproseorverse,thatiswhollyorpartlytheproductionofimagination”.(Assuch,playsandsomenarrativepoemscanalsobeclassifiedasfictionbecausetheycontaincertainfictionalelements.)Whatisnon-fiction?Itreferstowritingthatisaboutrealfactsoreventsratherthanimaginedthings.
24、e.g.scientificwritings;historicalaccounts;newsreports;etc.TheElementsofFictionPlotCharacterSettingPointofviewThemeSymbolandallegoryStyleandtonePlotItisawritersartisticarrangementofevents.Itdoesnothavetofollowthechronologicalorder.Aplotincludes:1.Exposition:passageswhichgivethereaderbasicinformationa
25、boutthestoryandthecharacters.2.Conflicts:itrisesasthecentralcharacterencountermoreandmoreobstaclesinpursuitofhisorhergoal.3.Climax:itisapointatwhichthecentralcharactereitherachievedorfailedtoachievedthegoal.4.Denouement:theending.CharacterItreferstotheperformersofaction.Theyareimaginarypeoplewhoinha
26、bitastory,althoughtheyhavetrue-to-lifequality.Protagonist:thehero,thecentralcharacter.Antagonist:acharacterwhoblocktheeffortsoftheherotoattainhisgoal.SettingItreferstotheplacewherethestoryoccurs,whetherindoorsorout,andtheatmosphereassociatedwiththatplace,e.g.thehistoricalperiod,thesocialenvironment,
27、etc.PointofView(PartI)Itistheanglefromwhichastoryispresented;itreferstothepersonornarratorthroughwhoseeyesweobservethecharactersandactionsofthestory,andthepositionfromwhichthenarratorviewstheaction:detachedorinvolved,insideoroutsideorbetween.PointofView(PartII)Thefirst-personpointofview:“I”.Thethird
28、-personpointofview:thestoryistoldbyaninvisible“voice”whichrefersdirectlytothecharactersbytheirnamesorpronouns(heorshe).1.Objective:thewriterjustrecordsdowntheevents,thereisnocommentaries.Itsuptothereadertointerpretorjudgewhatheseesandhearsthroughthewritersreport.2.Omniscient:thewriterknowseverything
29、,likeagod.3.Limitedomniscient:thewriterstandsbehindoneofthecharacters,observestheeventthroughhisorhereyes,sometimesenterhisorhermind.Whatweseeislimitedtowhatonecharactersees.ThemeItisthecentralmeaningthatisimplicitinastory,itisageneralstatementofthestoryscontrollingidea(anoverallconceptionofastorysg
30、eneralpoint)asdiscoveredbythereader.Sowhenwereadastory,wehaveaninterpretation-whatdowelearnfromit,whatknowledgehavewegot.e.g.“TheFoxandtheGrapes”SymbolandAllegorySymbol:athingthatreferstomorethanitself.Thesameobjectcanhavedifferentsymbolicmeaningsaccordingtodifferentcontexts.e.g.avalleyenclosedbetwe
31、enmountainsAllegory:thedoublemeaningofthestory,includingthesurface(primary)meaningandtheunder-the-surface(secondary)meaning,thatis,tofindthemoral,politicalorreligioustruththestoryillustrates.StyleandToneStyle:themannerinwhichawritersaysthings,i.e.,hischoiceofwords,figuresofspeech,theshapeofhissenten
32、ce,indeed,ofeveryaspectofhislanguageandthewayinwhichheusesit.Tone:awritersattitudetowardhisreadersandsubjectwhichareconveyedthroughlanguage,withoutbeingpresenteddirectlyasstatements.e.g.sarcastic;melancholy;ClassificationofFictionI.AllegoryFableFantasyMythII.novelnoveletteshortstoryParablePicaresque
33、RomanceSatireTheRiseofNovels&EssaysJosephAddison&RichardSteelDanielDefoeJonathanSwiftSamuelRichardsonHenryFieldingT.G.SmolletLaurenceSterneGothicnovelsJosephAddison&RichardSteeleThefloweringofthePeriodicalLiteratureNewspaperTheTatlerTheSpectatorSirRogerChiefContributionTheirwritingsshapeacodeofsocia
34、lmoralityTheygiveatruepictureofthesociallifeofEnglandinthe18thcenturyIntheirhands,theEnglishessayhascompletelyestablisheditselfasaliterarygenreDanielDefoe(1661-1731)LifeWorksRobinsonCrusoeCaptainSingletonColonelJackMollFlandersJonathanWildJournalofthePlagueYearRobinsonCrusoeJohnSwift(1667-1745)LifeW
35、orksTheBattleoftheBooksTheTaleofaTubGulliversTravelsGulliversTravelLilliputa&BrobdingnagFlyingIsland&HouyhnhnmsSamuelRichardson(1689-1761)HewrotethefirstEnglishnovel:Pamela, or Virtue RewardedOtherworksClarissa HarloweHewasthediscoverofthenovelofcharacterPamelaorVirtueRewardedHenryFielding(1707-1745
36、)LifeWorksJosephAndrewsJonathanWildTheHistoryofTomJonesaFoundlingAmeliaTheJournalofaVoyagetoLisbonFieldingwasbornin1707,atthefamilyestate,SharphamPark,inSomerset,England.Hismotherdiedwhenhewaselevenyearsold,and,onhisfathersremarriage,hewassenttoschoolatEton.HeleftEtonatseventeenandthenstudiedfor18mo
37、nthsattheUniversityofLeideninHolland.Whenhisfatherstoppedhisallowance,hewasforcedtosupporthimselfanddidsoasaplaywrightinLondon.Hewrote25playsbeforehissatire,HistoricalRegister,FortheYear1736,ridiculingPrimeMinisterRobertWalpole,ledtothepassageoftheLicensingAct.Thisact,requiringgovernmentalapprovalof
38、allnewplays,ledtotheendofhiscareerasaplaywright.Fieldingsoughttosupporthiswifeandtwochildrenbystudyinglawandbecamealawyerin1740.Hispracticewasonlyamodestsuccess,andhesupplementedhisincomebywritingforjournals.Thenin1741hewroteascathingsatireofSamuelRichardsonspopularnovel,Pamela;orVirtueRewardedunder
39、thepseudonymofConnyKeyber.Soonafter,hebeganworkonJosephAndrews,andthiscomicnovel.oftencalledthefirstrealisticnovelinEnglishliterature,waspublishedin1742.Hisbelovedwife,CharlotteCradock,whowasthemodelforcharactersinhisothernovels,diedin1744.HissupportofthegovernmentduringtheJacobiteRebellionof1745,ga
40、inedhimtheappointmentofJusticeofthePeacefortwosectionsofcentralLondonin1847.Therehegainedareputationasanhonestandfairmagistrate.Heandhishalf-brother,John,establishedtheBowStreetRunners,aforerunnerofthemodernpoliceforce,tohelpcurbtherampantcrimein18thcenturyLondon.In1749hissecondnovel,TheHistoryofTom
41、Jones,waspublished,and,twoyearslater,hislastnovel,Amelia,appearedinprint.ThegoutthathadlefthimavirtualcrippleledhimtoseekreliefinthewarmerclimateofPortugalinJune,1754.HediedthereonOctober8,1754.JosephAndrewsMainCharactersJosephAndrews-afootmaninthehouseholdofLadyBoobyPamelaAndrews-Josephssister;wife
42、ofSquireBooby;theheroineofSamuelRichardsonsnovelPamelaParsonAdams-theparsonofBoobyparishwhobefriendsJosephandaccompanieshimonhistravels.LadyBooby-auntofSquireBoobyMrs.Slipslop-maidtoLadyBoobyFanny-JosephssweetheartMr.andMrs.Wilson-akindlycouplewhooffersheltertoJosephandParsonAdamsontheirjourney.Plot
43、Joseph,thevirtuousandtruefootman,isforcedtoleavetheserviceofhismistress,LadyBooby,whenheisnolongerabletowardoffheramorousadvances.Hestartsouttoreunitewithhissweetheart,Fanny.Misfortunesonhisjourneycontinuallywaylayhimandhiskindlytravelingcompanion,ParsonAdams.Theyencounterbothkindnessandvillainy,gen
44、erosityandselfishness,ontheirjourney.JosephandtheParsonmaintaintheirinnocenceandculpabilitythroughouttheirtrialsandtribulations.AllendswellwhenFannyandJosepharereunitedandthesecretsoftheirparentageisrevealed.SettingandHistoricalBackgroundThenoveltakesplaceintheearlyeighteenthcentury.Itmirrorsthelife
45、style,castesystem,hypocrisy,andcorruptionofthetimes.Englandwasbecomingacommercialpowerandwealthwasshiftingfromthelandownerstothemerchants.ThedefeatoftheJacobites(theCatholicswhowishedtorestoretheStuartdynastytothethroneofEngland)atCullodenMoorin1745broughttoacloseanyseriousthreattotheHanoverianlineo
46、fBritishroyalty.Theruralpopulacewasbeingdrawntothecitieswiththelureofhigherwages,butthelivingconditionsofthepoorwerestilldeplorable.Thesocialcastesystemwasrigid,butbeginningtogiveunderthepressureofthenew,moneyedmiddleclasshypocrisysatireroleofwomenmoralityromanticlovecrimeinnocencesocialclassThemesT
47、obiasSmollet(1721-1771)HeisfatherofthenauticalnovelMajorworksThe Adventures of Roderick Random The Adventures of Peregrine PickleGothicNovelsTheGothicNovelisimaginativeandimpulsive,darkandtempestous.Thesettingsareusuallycastlesormonasterieswithhiddenpanels,passagesandtrapdoors.Darkness,manipulationo
48、flight,veiledpaintingsandsuperstitionsmaketheGothicnovelwhatitis.Animportanttoposofthisgenreisthesupernatural.TheSupernaturalisdefinedas:occurringoutsidethenormalexperience,notexplainablebytheknownforcesorlawsofnature,exceedingnormalbounds.Thisisatruedescriptionofthesupernaturaloccurrencesfoundinman
49、yGothicnovels.Manyauthorsusethesupernaturaltoaddtotheirworks,orasthecentralthemeitself.SomeauthorsofGothicnovelsareMatthewLewis,EdgarAllenPoe,NathanialHawthorne,BramStokerandAnneRice.TheseauthorsfoundtheirwayintoGettysburgCollegesGothicNovelsclassbecauseoftheirexceptionalnovels.MajorWriters&WorksHor
50、aceWalpoleThe Castle of OtrantoAnnRadcliffThe Mysteries of UdolphoSentimentalismItreferstoanemotionallyextravagantwritingofakindthatbecamepopularinthelate18thcentury.PartlyinspiredbytheemotionalpowerofSamuleRichardsonsnovelPamela,thesentimentalworksexhibitthecloseconnectionbetweenvirtueandsensibilit
51、y,inrepeatedlytearfulscenes;acharactersfeelingforthebeautiesofnatureandforthegriefsofothersistakenasasignofapureheart.MajorwritersOliverGoldsmithLaurenceSterneThomasGrayLaurenceSterne(1731-1768)RepresentativeofsentimentalismandfatherofthepostmodernistnovelMajorWorksTristram ShandySentimental Journey
52、JamesThomsonPoeticalwork:Four SeasonsThomasGray(1716-1771)LifeElegyWritteninaCountryChurchyardThebestknownpoemintheEnglishlanguageThemostperfectpoemoftheageTHECurfewtollstheknellofpartingday,Thelowingherdwindslowlyoerthelea,Theplowmanhomewardplodshiswearyway,Andleavestheworldtodarknessandtome.Nowfad
53、estheglimmeringlandscapeonthesight,5Andalltheairasolemnstillnessholds,Savewherethebeetlewheelshisdroningflight,Anddrowsytinklingslullthedistantfolds;Savethatfromyonderivy-mantledtowrThemopingowldoestothemooncomplain10Ofsuchas,wandringnearhersecretbowr,Molestherancientsolitaryreign.Beneaththoserugged
54、elms,thatyew-treesshade,Whereheavestheturfinmanyamouldringheap,Eachinhisnarrowcellforeverlaid,15TherudeForefathersofthehamletsleep.Thebreezycallofincense-breathingMorn,Theswallowtwittringfromthestraw-builtshed,Thecocksshrillclarion,ortheechoinghorn,Nomoreshallrousethemfromtheirlowlybed.20Forthemnomo
55、retheblazinghearthshallburn,Orbusyhousewifeplyhereveningcare:Nochildrenruntolisptheirsiresreturn,Orclimbhiskneestheenviedkisstoshare.Oftdidtheharvesttotheirsickleyield,25Theirfurrowoftthestubbornglebehasbroke:Howjocunddidtheydrivetheirteamafield!Howbowdthewoodsbeneaththeirsturdystroke!LetnotAmbitionmocktheirusefultoil,Theirhomelyjoys,anddestinyobscure;30NorGrandeurhearwithadisdainfulsmileTheshortandsimpleannalsofthepoor.Theboastofheraldry,thepompofpowr,Andallthatbeauty,allthatwealtheergave,Awaitsalikethinevitablehour:35Thepathsofgloryleadbuttothegrave.
