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1、 Lecture 14 Twentieth-CenturyLiteraturenTeachingtargetandfocus:nThehistoricalbackgroundofthe20thcenturyandtherepresentativewriters.nLostGenerationn20thcenturypoetsHistoricalBackground:p.150nPolitically, US entered WWI in 1917 forpurityanddemocracy.Theperiodofpeace-makingendedwithgeneraldisillusionme
2、ntaboutthevalueofwar.nEconomically, becauseofthewar,Americanindustrydevelopedfast.nSocially,declineofidealism.Patriotismbecamecynicaldisillusionment.Unityoffamilyweakened.ThereappearedtherevoltoftheYoungerGeneration.Theyescapedresponsibilityandassumedimmorality.LostGeneration（迷惘的一代）&RepresentativeWr
3、iters：p152nreferstothosewriterswhoweredevoidoffaith,valuesandidealsandwhowerealienatedfromthecivilizationthecapitalistsocietyadvocated.nItincludesthewriterssuchas(Hemingway,F.S.Fitzgerald,)andpoets(likeE.E.CummingsandEzraPound),whorebelledagainstformervaluesandideas.nTheyweretotallyfrustratedbytheWW
4、Iandreturnedfromthat“GreatWar”totheirowncountryonlytofindthegrimrealitythatthesocialvaluesandcivilizationwerehollowandaffectedifcomparedtothecruelrealitiesofthebattleground.nThey had cut themselves off from their past and old values in America and yet unable to come to terms with the new era when ci
5、vilization had gone mad. They wandered pointlessly and restlessly, enjoying things like fishing, swimming, bullfight and beauties of nature, but they were aware all the while that the world is crazy and meaningless and futile. nTheir whole life was undercut and defeated. They cast away all past conc
6、epts and values in order to create new types of writing, which was characterized by disillusionment with ideals and further with civilization the capitalist society advocated. They painted the post-war western world as a waste land, lifeless and hopeless due to ethical degradation and disillusionmen
7、t with dreams.LiteraturenPoetry: T.S.EliotThe Wasteland.nNovel:F.S.Fitzgerald The Great Gatsby1926,nErnestHemingway, The Sun Also Rises 1926,A Farewell to Arms,1929,nWilliamFaulknerThe Sound and the Fury,1929,nDrama:EurgeneONeill,The Emperor Jones, 1920, Anna Christie,1921,The Hairy Ape1922,1930s,Gr
8、eatDepressionnI.HistoricalBackground:undertheattackofthegraveworldeconomiccrisis,allcontradictionsinherentinthecapitalistsystemintensified. Slowrecovery,socialupheavals,theworlddriftedtowardanothergreatwar. Theylostconfidenceineverything.nII.Literatureofpoliticalandsocialcriticism. Thenovelsmirrored
9、thethreatstodemocraticthoughtandastrongideologicalcountercurrentwhichcausedgreatideologicalconfusionintoAmericans.nNovels:JohnSteinbeck:The Grapes of Wrath 1939.Post-WWII,50s,nI.HistoricalBackground:nAftertheWWII,thenucleartimehadunmistakablyclaimeditselfandAmericansweresuddenlybroughttofaceacomplet
10、elynewworldinwhicholdrulesandguidelinesturnedouttobehelpless.TheunitedStatesgotevenmoreinvolvedintheinternationalaffairs.n50s,AmericasrivalwithanotherbigpowerofwarvictortheSovietUnionresultedintheinitialoftheColdWar.Literatureinthe50s.nAnewgenerationofAmericanauthorsappearedwritingintheskeptical,iro
11、nictraditionoftheearlierrealistsandnaturalists.ThewritersusedaprosestylemodeledontheworksofErnestHemingway,andF.S.Fitzgerald,narrativetechniquesofWilliamFaulkner,psychologicalinsightsofSigmundFreud.nInthe1950s,the“Beat”writers,inexpressionofdisaffectionwith“official”Americanlife,werebrutallyanddirec
12、tlydominant.Theso-called“BeatGeneration,”（垮掉的一代）thoughnotexpatriateliketheLostGeneration,werealienatedfeelinglikeforeignersintheirowncountry.MainWorksnJack Kerouac, On the Road, poet AllenGinsberg,Howl,nJewishWriterSaulBellow,Seize the Day,1956,nBlackWriterRalphEllison,Invisible Man 1956,nNorman Mai
13、ler, The Man Who Studied Yoga,1952,nJ.D.Salinger,The Catcher in the Rye,1951.nInthe1960sand1970sAmericasprosewritersturnedincreasinglytoexperimentaltechniques,toabsurdhumor,andtomockingexaminationoftheirrationalandthedisordered.(p.154-155)EzraPound(1885-1972):p.155 Group work Imagist movementisamove
14、mentofEnglishandAmerican poets in revolt from romanticism,seekingclarityof expressionthrough the use ofpreciseimages.nAs a broad movement, imagism signals thebeginning of English and American modernism,andadefinitebreakwiththeRomantic-Victoriantradition.InaStationoftheMetro:p.159nQ1:Whydoesthepoetca
15、llthefacesofpedestrians“apparition”?nQ2:Whatdo“petals”and“bough”standfor?comment:这首诗是一个以意象作为叙述语言的典型范例。全诗只这首诗是一个以意象作为叙述语言的典型范例。全诗只有短短两行，甚至还不能构成一个完整的句子，但它有短短两行，甚至还不能构成一个完整的句子，但它却展示了一副色彩丰富、构图生动的画面：雨过天晴，却展示了一副色彩丰富、构图生动的画面：雨过天晴，地铁车站前涌动着熙熙攘攘的人群；在湿漉漉的黑色地铁车站前涌动着熙熙攘攘的人群；在湿漉漉的黑色沥青地面的映衬下，无数行人的脸庞与色彩绚丽的雨沥青地面的映衬下
16、，无数行人的脸庞与色彩绚丽的雨伞和雨衣交相辉映，宛如一个姹紫嫣红、花团锦簇的伞和雨衣交相辉映，宛如一个姹紫嫣红、花团锦簇的花园。花园。n人群在地铁站上行走，不停地发生着擦身而过，却可人群在地铁站上行走，不停地发生着擦身而过，却可以清楚地看见，人与人之间，有着厚厚的冷漠的隔膜，以清楚地看见，人与人之间，有着厚厚的冷漠的隔膜，人们看着的是自己的脚下和人群中的路。人们看着的是自己的脚下和人群中的路。n这让诗人感到这个潮湿昏暗的地铁站是那么的压抑，这让诗人感到这个潮湿昏暗的地铁站是那么的压抑，那么的令人悲哀、令人窒息。死一般的黑色沉重地压那么的令人悲哀、令人窒息。死一般的黑色沉重地压在这座城市的上空，
17、蔓延着它的势力范围，黑色的隧在这座城市的上空，蔓延着它的势力范围，黑色的隧道，黑色的地铁，黑色的站台上，人们黑色的魂灵。道，黑色的地铁，黑色的站台上，人们黑色的魂灵。就在诗人也即将绝望的时候，人群中闪现过一个面孔，就在诗人也即将绝望的时候，人群中闪现过一个面孔，温暖地微笑着的美丽的面孔，那是幸福的女人的面孔，温暖地微笑着的美丽的面孔，那是幸福的女人的面孔，有一个面孔，快乐地微笑着的纯洁的面孔，那是天真有一个面孔，快乐地微笑着的纯洁的面孔，那是天真的孩子的面孔，接着又是一个，又是一个的孩子的面孔，接着又是一个，又是一个世界上世界上不是缺少美，而是缺少发现。不是缺少美，而是缺少发现。n此刻，这些美
18、丽的面孔像散发着光明与温暖的太阳一此刻，这些美丽的面孔像散发着光明与温暖的太阳一样，照亮了周围的黑暗，就像黑色的树枝上开出了鲜样，照亮了周围的黑暗，就像黑色的树枝上开出了鲜艳的花瓣，在原本令人厌恶的潮湿的露水的衬托与点艳的花瓣，在原本令人厌恶的潮湿的露水的衬托与点缀下，愈发地美丽动人。作者的内心就这么被照亮了，缀下，愈发地美丽动人。作者的内心就这么被照亮了，于是他写下了这样的诗句，记下那从绝望中蓦然回首于是他写下了这样的诗句，记下那从绝望中蓦然回首时所发现的这一切。时所发现的这一切。据诗人回忆，诗的灵感来自巴黎地铁车站，当时据诗人回忆，诗的灵感来自巴黎地铁车站，当时写下了一首写下了一首31行的
19、诗，但觉得很不满意，半年行的诗，但觉得很不满意，半年后，它将这瞬间的印象压缩到了后，它将这瞬间的印象压缩到了15行，可仍觉行，可仍觉得表现力欠佳，再过了一年，将该诗浓缩成两得表现力欠佳，再过了一年，将该诗浓缩成两行，才觉得差强人意。行，才觉得差强人意。http:/ worknThe Road Not Taken:p.170n 未选择的路未选择的路 黄色的树林里分出两条路，黄色的树林里分出两条路， 可惜我不能同时去涉足，可惜我不能同时去涉足， 我在那路口久久伫立，我在那路口久久伫立， 我向着一条路极目望去，我向着一条路极目望去， 直到它消失在丛林深处。直到它消失在丛林深处。 但我却选了另外一条路
20、，但我却选了另外一条路， 它荒草萋萋，十分幽寂，它荒草萋萋，十分幽寂， 显得更诱人、更美丽，显得更诱人、更美丽， 虽然在这两条小路上，虽然在这两条小路上， 都很少留下旅人的足迹，都很少留下旅人的足迹， n虽然那天清晨落叶满地，虽然那天清晨落叶满地， 两条路都未经脚印污染。两条路都未经脚印污染。 呵，留下一条路等改日再见！呵，留下一条路等改日再见！ 但我知道路径延绵无尽头，但我知道路径延绵无尽头， 恐怕我难以再回返。恐怕我难以再回返。 也许多少年后在某个地方，也许多少年后在某个地方， 我将轻声叹息把往事回顾，我将轻声叹息把往事回顾， 一片树林里分出两条路，一片树林里分出两条路， 而我选了人迹更少
21、的一条，而我选了人迹更少的一条， 从此决定了我一生的道路。从此决定了我一生的道路。 Questions:n1. What do I do when faced with 2 divergedroads?n2.Whatismyreasonforchoosingtheother?Whatdoyouthinkofthereason?Soundornot?Whatdoes“grassy”indicate?n3.Whatdoes“Leavesnostepshadtroddenblack”suggest?n4.WhatkindofpersondoyouthinkIamfrommychoice?n5.Wha
22、tarethesimilaritiesanddifferencesofthetworoads?Whatdothetworoadsstandfor?Discussion:nWhen facing choices, which road would you like to take? The grassy one or the less-traveled one? Tell your reasons.Stopping by Woods on a Snowy Evening雪夜林畔小驻雪夜林畔小驻:171nWhosewoodstheseareIthinkIknow.想来我认识这座森林，想来我认识这座
23、森林，Hishouseisinthevillagethough;林主的庄宅就在邻村林主的庄宅就在邻村,Hewillnotseemestoppinghere却不会见我在此驻马，却不会见我在此驻马，Towatchhiswoodsfillupwithsnow.看他林中积雪的美景。看他林中积雪的美景。nMy little horse must think it queer 我的小马一定颇惊讶： To stop without a farmhouse near 四望不见有什么农家， Between the woods and frozen lake 偏是一年最暗的黄昏， The darkest even
24、ing of the year. 寒林和冰湖之间停下。 nHe gives his harness bells a shake 它摇一摇身上的串铃， To ask if there is some mistake. 问我这地方该不该停。 The only other sounds the sweep 此外只有轻风拂雪片， Of easy wind and downy flake. 再也听不见其他声音。 nThe woods are lovely, dark, and deep, 森林又暗又深真可羡， But I have promises to keep, 但我还要守一些诺言， And mil
25、es to go before I sleep, 还要赶多少路才安眠， And miles to go before I sleep. 还要赶多少路才安眠。 Summary:nOn the surface, this poem is quite simple. The speaker is stopping by some woods on a snowy evening and takes in the lovely scene in near-silence.nHe is tempted to stay longer, but acknowledges the obligations an
26、d the considerable distance yet to be traveled before he can rest for the night. nComment 1:这首诗描写了一个对生活失去信心的老人，在黑暗中来到森林边，本打算在雪夜的林中结束自己的生命，然而美丽的森林，动听的风声和铃声唤醒了他对人生的热爱，“And miles to go before I sleep”说明老人认为生命不能就此结束，在死之前还要过好余生。这首诗的韵律优美，哲理深奥，文字朴实无华。马儿与老人默默交流，将景色融入老人心中，意境深远。 nComment 2:THOMASSTEARNSELIOT(
27、1888-1965):p.192nAmerican-Englishpoet,playwright,andcritic,aleaderofthemodernistmovementinliterature.EliotwasawardedtheNobelPrizeforliteraturein1948.nGroupworknMAINWORKSnThe Love Song of J. Alfred Prufrock (1915):p.196, writtenduringEliotsundergraduatedaysatHarvard;exploration,throughtheeyesofthepoe
28、msnarrator,amiddle-agedmannamedJ.AlfredPrufrock,ofthemorbidityandspiritualdecayofsociety;Prufrockismoresharplyself-awareoftheworldthanthosearoundhim,butisalsoparalyzedbyasenseofnihilismandfutility.nPortrait of a Lady (1917), poemabouttheinabilityofamanandwomantocommunicate,duetothestiflingconvention
29、sofwhatisseenasadyingsociety;bothareawareoftheirisolation,butunabletoescape;thelady,inherloneliness,wantstoreachouttotheman,butbelievesshehasnothinglefttoofferhim;themanescapesherdemandsbyhidinginhabitsandsocialconventions.nThe Waste Land (1922), longpoem,infiveparts,aboutthesearchformeaninginthemid
30、stofthefragmentation,futility,anddesolationofmodernlife;breaksawayfromconventionalpoetictechniques;itspublicationwasalandmarkinthedevelopmentofmodernEnglishpoetry.nAsh Wednesday (1930), poem,oneofthefirstbyEliotwhichcelebratesthepeaceheapparentlydiscoveredinorthodoxChristianity;poeticliturgyandmedit
31、ationonthemysticalrelationshipwithGod.nMurder in the Cathedral (1935), dramainverse;subjectmatteristheassassinationoftheArchbishopofCanterbury,ThomasBecket(1162-1170)whoopposedKingHenryIIsattempttolimittheprivilegesoftheclergy;inEliotsplay,ThomasistemptedbymaterialrewardbutrejectsittohonorGod,forwhi
32、chheismartyred.nFour Quartets (1943), lengthypoemconsideredbymanycriticstobeEliotsmostimportantpoeticwork;extensiveexplorationofideasoftime,eternity,mortality,andfaith;dividedintofoursectionsorquartetsnamedforfourdifferentlocations;intendedbyEliottoecho,initsconstructionandexplorationofathemeineachsection,asequenceofmusicalcompositions.nTradition and the Individual Talent传统传统与个人才能与个人才能:theearlieststatementofhisaestheticsn1.Tradition：传统观n2.Objectivecorrelative：客观对应物n3.Depersonalization:非个性化思想MyM.A.Thesisn.M.A.Thesis.docnClose-reading of The Love Song of J. Alfred Prufrock
