英国文学史习题第二、三部分

Part=2\*ROMANIITheRenaissance=1\*romani．Fillintheblanks.The16thcenturyinEnglandwasaperiodofthebreakingupof_____________relationsandtheestablishingofthefoundationsof_______________.____________brokeoffwiththePope,dissolvedallthemonasteriesandabbeysinthecountry,confiscatedtheirlandsandproclaimedhimselfheadof______________________.TheoldEnglisharistocracyhavingbeenexterminatedinthecourseoftheWarof________,anewnobility,totallydependentonKing’spower,cometothefore.AbsolutemonarchyinEnglandreacheditssummitduringthereignof__________._____________wasthefirsttointroducethesonnetintoEnglishliterature.InElizabethantime,thethreegreatestsonnetwritersareWilliamShakespeare,__________________and_________________.Hamlet,Othello,KingLear,and___________aregenerallyregardedasShakespeare’sfourgreattragedies.Duringthetwenty-twoyearsofhisliterarywork,Shakespeareproduced______plays,_____narrativepoemsand______sonnets.TheTragicalHistoryofDoctorFaustusisoneof______________’sbestplays.Anditishimwhomade__________theprincipalvehicleofexpressionindrama._____________isoftenreferredtoasthepoets’poet.PopedescribedFrancisBaconasthe___________,___________,_____________ofmankind.Bacon’sworksmaybedividedintothreeclasses,the__________,the__________,the_________works.=2\*ROMANII.FindoutthematchfromcolumnBforeachitemincolumnA.(=1\*ROMANI)Findouttheauthorandhiswork.AB1.()ThomasMorea.GorgeGreen2.()EdmundSpenserb.Eupheus3.()JohnLylyc.TheFairyQueen4.()Marlowed.Utopia5.()RobertGreenee.TheJewofMalta(=2\*ROMANII).TherelationshipwithHamlet.AB1.()Ghosta.friend2.()Claudius.b.mother3.()QueenGertrudec.father4.()Horatiod.girlfriend5.()Polonius..e.girlfriend’sfather6.()Ophelia.f.uncle(=3\*ROMANIII).Thecharacterintheplay.AB1.()TheMerchantofVenicea.Desdemona2.()AsYouLikeItb.Cordelia3.()Hamletc.Juliet4.()KingLeard.Ophelia5.()Othelloe.Portia6.()RomeoandJulietf.Rosalind=3\*ROMANIII.Definetheliterarytermslistedbelow.Renaissance:Theword,meaning“rebirth”,iscommonlyappliedtothemovementorperiodwhichmarksthetransitionfromthemedievaltothemoderninWesternEurope.Intheusualsenseoftheword,Renaissancesuggestsespeciallythe14th,15th,16th,andearly17thcenturies,thedatesdifferingfordifferentcountries.(ItisbesttoregardtheRenaissanceastheresultofanewemphasisuponandanewcombinationoftendenciesandattitudesalreadyexiting,stimulatedbyaseriesofhistoricalevents.)ThenewhumanisticlearningresultedfromtherediscoveryofclassicalliteratureisfrequentlytakenasthebeginningoftheRenaissanceonitsconscious,intellectualside,sinceitwastothetreasuresofclassicalcultureandtotheauthorityofclassicalwritersthatthepeopleoftheRenaissanceturnedforinspiration.sonnet:Itisalyricpoemof14lineswithformalrhymescheme,expressingdifferentaspectsofasinglethought,mood,orfeeling,sometimesresolvedorsummedupinthelastlinesofthepoem.TheformoriginatedfrommedievalItalyinabout1230-1240,andreacheditspeakwiththeItalianpoetPetrarch.Inthefirsthalfofthe16thcentury,ThomasWyattintroducedtheItaliansonnetintoEnglandandestablishedEnglishsonnet.ThemostfamousEnglishsonnetsequencesappearedinElizabethantimes,includingSirPhilipSidney’sAstrophilandStella(1591),EdmundSpenser’sAmoretti(1595)andShakespeare’sSonnets(1593-1598).ThetwomainformsofthesonnetarethePatrarchan,orItalian,andtheEnglish,orShakespearean.Theformerconsistsofanoctave,oreight-linestanza,andasestet,orsix-linestanza.Theoctavehastwoquatrains,rhymingabba,abba;thefirstquatrainpresentsthetheme,theseconddevelopsit.Thesestetisbuiltonafewdifferentrhymes,arrangedcddcee,cdecde,cdccdc,orcdedce;thefirstthreelinesexemplifyorreflectonthetheme,andthelastthreelinesbringthewholepoemtoaunifiedclose.PhilipSidney’ssonnetsareexcellentexamplesofthisstyleintheEnglishlanguage.TheEnglishsonnetconsistsofthreequatrains,eachrhymeddifferently,withafinal,independentlyrhymedcoupletthatmakesaneffective,unifyingclimaxtothewhole.Therhymeschemeisabab,cdcd,efef,gg.humanism:Broadly,thistermsuggestsanyattitudewhichtendstoexaltthehumanelementsorstresstheimportanceofhumaninterests,asopposedtothesupernatural,divineelements—orasopposedtothegrosser,animalelements.Inamorespecificsense,humanismsuggestsadevotiontothosestudiessupposedtopromotehumanculturemosteffectively—inparticular,thosedealingwiththelife,thought,language,andliteratureofancientGreeceandRome.InliteraryhistorythemostimportantuseofthetermistodesignatetherevivalofclassicalculturewhichaccompaniedtheRenaissance.tragedy:Tragedyisconcernedwiththeharshnessandapparentinjusticeoflife.Itusuallyrecountsanimportantandcausallyrelatedseriesofeventsinthelifeofapersonofsignificance.Theeventswouldculminateintrialsandcatastrophesofahero,whofallsdownfrompowerandwhoseeventualdeathleadstothedownfallofothers.Oftenthehero’sfallfromhappinessisduetoaweaknessinhischaracter,aweaknesssuchastheexcessiveprideofFaustus,theoverweeningambitionofMacbeth,ortheuncontrolledjealousyofOthello,whichbringsself-destruction.Thetragicactionarousedfeelingsofaweintheaudience,whooftenleavethetheatrewitharenewedsenseoftheseriousnessandsignificanceofhumanlife.Thewordcatharsisisoftenusedtodescribetheaudience’sfeelings.Itmeansthepurgingfromthemindofthefeelingsofpityandfeartheplayhasaroused.essay:Thetermreferstoliterarycompositiondevotedtothepresentationofthewriter’sownideasonatopicandgenerallyaddressingaparticularaspectofthesubject.Oftenbriefinscopeandinformalinstyle,theessaydiffersfromsuchformalexpositoryformsasthethesis,dissertation,ortreatise.ThedevelopmentoftheformmaybeconsideredaresultoftheRenaissanceemphasisontheindividual,whichfosteredexplorationofone’sinnerselfinrelationtotheoutsideworld.classicism:1)Asacriticalterm,classicismisabodyofdoctrinethoughttobederivedfromortoreflectthequalitiesofancientGreekcriticism.Classicismstandsforcertaindefiniteideasandattitudes,mainlydrawnfromthecriticalutterancesoftheGreeksandRomansordevelopedthroughanimitationofancientartandliterature.Theseincluderestraint,restrictedscope,dominanceofreason,senseofform,unityofdesignandaim,clarity,simplicity,balance,attentiontostructureandlogicalorganization,chastenessinstyle,severityofoutline,moderation,self-control,intellectualism,decorum,respectfortradition,imitation,conservation,andgoodsense.=4\*ROMANIV.Answerthefollowingquestions.GiveasummaryabouttheEnglishliteratureduringtheRenaissanceperiod.Answer:EnglishliteratureintheRenaissancePeriodisusuallyregardedasthehighlightinthehistoryofEnglishliterature.InthesecondperiodofEnglishRenaissance,thatis,inElizabethanPeriod,Englishliteraturedevelopedwithagreatspeedandmadeamagnificentachievement.ThegreatestandmostdistinctiveachievementofElizabethanliteratureisthedrama.Thusappearedagroupofexcellentdramatists.TheyareJohnLyly,ThomasKyd,GeorgePeele,RobertGreene,ChristopherMarlowe,WilliamShakespeare,andBenJohnson.Nexttothedramaisthelyricalpoetry.Elizabethanpoetryisremarkableforitsvariety,itsfreshness,itsyouthfulness,anditsromanticfeeling.Agroupofgreatpoetsappeared,suchasThomasWyatt,HenryHoward,PhilipSidney,andEdmundSpenser.Inthattime,writingpoetrybecameafashion,andQueenElizabethherselfwasalsoapoet.Besidesdramaandpoetry,therewerealsosomeprosewritings,thoughnotsomany,suchasThomasMore’sUtopia,whichmaybethoughtasthefirstliterarymasterpieceoftheEnglishRenaissance,andFrancisBacon’sEssays,whichmakestheauthoroneofthebestessayistsinEnglishliterature.GiveabriefcommentonTheMerchantofVenice.Answer:OfShakespeare’searliercomedies,TheMerchantofVeniceiscertainlythemostoutstandingoneinwhichShakespearecreatestension,ambiguity,aself-consciousandself-delightingartificethatisatonceintellectuallyexcitingandemotionallyengaging.Thesophisticationderivesinpartfromtheplaybetweenhigh,outgoingromanceanddarkforcesofnegativityandhate.ThetraditionalthemeoftheplayistopraisethefriendshipbetweenAntonioandBassano,toidealizePortiaasaheroineofgreatbeauty,witandloyalty,andtoexposetheinsatiablegreedandbrutalityoftheJew,butlater,especiallyaftertheholocaustcommittedbytheNaziGermanyduringtheSecondWorldWar,itisverydifficulttoseeShylockasaconventionalevilfigure.AndmanypeopletodaytendtoregardtheplayasasatireoftheChristianhypocrisyandtheirfalsestandardoffriendshipandlove,theircunningwaysofpursuingworldlinessandtheirunreasoningprejudiceagainstJews.ReadBacon’s“OfStudies”carefully,anduseitasanexampletoillustrateBacon’swritingstyle.Answer:Bacon’sessaysarefamousfortheirbrevity,compactness,andpowerfulness.YetthereisanobviousstylisticchangeinhisEssays.Thesentencesinthefirsteditionarechargedandcrowdedwithsymmetries.Theyarecomposedinaratheraffectedway.However,thefinaleditionnotonlyenlargestherangeoftheme,butalsobringsforththelooserandmorepersuasivestyle.Theessaysarewellarrangedandenrichedbybiblicalallusions,metaphors,andcadence.=5\*ROMANV.Foreachofthequotationlistedbelowpleasegivethetitleoftheliteraryworkfromwhichitistaken,thengiveabriefanalysisofthem.Tobe,ornottobe:thatisthequestion:Whether’tisnoblerinthemindtosufferTheslingsandarrowsofoutrageousfortune,Ortotakearmsagainstaseaoftroubles,Andbyopposingendthem.Todie,tosleep:……Withthisregardtheircurrentsturnawry,Andlosethenameofaction.Answer:1)ThisquotationistakenfromHamlet.2)Analysis:=1\*GB3①Hamletisurgedbytheghosttoseekrevengeforhisfather’sfoulandmostunnaturalmurder.ButHamlethasnoneofthesingle-mindedbloodlustoftheearlierrevenges.Itisnotbecauseheisincapableofaction,butthecastofhismindissospeculative,soquestioning,andsocontemplative.Thataction,whenitfinallycomes,seemsalmostlikedefeat,diminishingratherthanaddingtothestatureofthehero.=2\*GB3②Trappedinanightmareworldofspying,testingandplotting,andapparentlybearingtheintolerableburdenofthedutytorevengehisfather’sdeath,Hamletisobligedtoinhabitashadowworld,tolivesuspendedbetweenfactandfiction,languageandaction.Hislifeisoneofconstantrole-playing,examiningthenatureofactiononlytodenyitspossibility;forheistoosophisticatedtodegradehisnaturetotheconventionalroleofastagerevenger.=3\*GB3③Forsuchafigure,soliloquyisanaturalmedium,anecessaryreleaseofhisanguish,andsomeofhisquestioningmonologuespossesssurpassingpowerandinsight,whichhavesurvivedcenturiesofbeingtornfromtheircontext.=4\*GB3④ButourinterestisnotonlyinHamletthetragicheroforthisplaybutalsoShakespeare’smostdetailedexposureofacorruptedcourt—“anunweededgarden”inwhichthereisnothingbutafoulandpestilentcongregationofvapours.Byrevealingthepower-seeking,thejostlingforplace,thehiddenmotive,thecourteoussuperficialitiesthatveillustandguilt,Shakespearecondemnsthehypocrisyandtreacheryandgeneralcorruptionattheroyalcourt.ShallIcomparetheetoasummer’sday?Thouartmorelovelyandmoretemperate:……Solongasmencanbreathe,oreyescansee,Solonglivesthis,andthisgiveslifetothee.Answer:1)ThispoemistakenfromShakespeare’sSonnets.2)Analysis:ThoughtheyarewellwiththegeneraltraditionofElizabethansonnetcycles,Shakespeare’ssonnetsareinseveralwaysunique.=1\*GB3①Theprincipalpersonaddressedbythepoetisnotawomanbutayoungman;thedarklady,whensheappears,isvastlydifferentfromtheDeliasandCeliasofPetrarchanconvention.Moreimportantly,thedepthsofmoralandaestheticcontemplationinShakespeare’ssonnetsarefarmoreprofoundthanwefindinotherElizabethancycle.=2\*GB3②With3exceptions(99,126and154)ShakespeareusesthesonnetinthepopularEnglishform,firstfullydevelopedbyShakespeare.Thecoupletusuallytiesthesonnettooneofthegeneralthemesoftheseries,leavingthequatrainsfreetodevelopthepoeticintensity,whichmakestheseparatesonnetssomemorable.=3\*GB3③Shakespeare’ssonnetsconstituteavastlandscapeofmetaphor,surprisingoftenbecauseitseemstoanticipatetheatmosphereofsomeofthelaterplays.Inthislandscapearesomevividlyrecognizablefigures—thepoet,thefriend,theDarkLady,and,moreindefinite,therivalpoetPart=3\*ROMANIIIThePeriodofRevolutionandRestoration=1\*ROMANI.Fillintheblanks.The17thcenturywasaperiodwhen_________________impededthefurtherdevelopmentofcapitalisminEnglandandthe____________couldnolongerbeartheswayof______________.Therewerereligiousdivisionandconfusionandalongbitterstrugglebetweenthepeople’sParliamentandtheThrone—___________fightingagainstthe____________whohelpedtheking.After_________’sdeath,monarchywasagainrestored(1660).Itwascalledtheperiodofthe______________.TheGloriousRevolutionin_______meantthreethings:thesupremacyof__________,thebeginningof__________________,andthefinaltriumphoftheprincipleof_____________.ThePuritansbelievedin____________oflife.Underthepowerfulinfluenceofthem,thetheatreswereclosedin________.AndtheRevolutionPeriodisalsocalled______________,becausetheEnglishRevolutionwascarriedoutunderareligiouscloak.Restorationcreatedaliteratureofitsown,thatwasoften______and_______,butonthewhole__________and_________.ThemostpopulargenreintheliteratureoftheRestorationwasthatof____________whosechiefaimwastoentertainthelicentiousaristocrats.Donneenteredthechurchin1615,whereheroserapidlytobeDeanof______________.ThefirstthingtostrikethereaderisDonne’sextraordinary____________andpenetrating___________.Thenextisthe___________whichmarkscertainofthelighterpoemsandwhichrepresentsaconsciousreactionfromtheextreme_____________ofwomanencouragedbythePetrachantradition.Miltonopposedthe____________partyandgaveallhisenergiestothewritingof_____________dedicatedtothepeople’sliberties.ParadiseLost,consistingof______books,tellshow________rebelledagainstGodandhow_______and________weredrivenoutofEden.Anditpresentstheauthor’sviewinan_________,___________form.InRevolutionPeriod_________towersoverhisageasWilliamShakespearetowersovertheElizabethanAgeandasChaucertowersovertheMedievalPeriod.Duringthecivilwarandcommonwealth,thereweretwoleadersinEngland,Cromwell,themanofaction,and__________,themanofthought.MiltonandBunyanrepresentedtheextremeofEnglishlifeinthe17thcentury.Onegaveustheonlyepicsince_____________,theothergaveustheonlygreat___________.Bunyan’smostimportantworkis______________________________,writtenintheold-fashioned,medievalformof___________anddream.Inthebook,Bunyangivesavividandsatiricaldescriptionof___________________,whichisthesymbolofLondonatthetimeofRestoration.Theliteratureofthemiddleandlaterperiodsofthe17thcenturycultivatedinthepoetryof___________,intheprosewritingof_________,andalsointheplaysandliterarycriticismof___________.=2\*ROMANII.Definetheliterarytermslistedbelow.threeunities:Threerulesorabsolutesof16th-17th-centuryItalianandFrenchdrama,broadlyadaptedfromAristotle’sPoetics:theunityoftime,whichlimitsaplaytoasingleday,theunityofplace,whichlimitsaplay’ssettingtoasinglelocation,andtheunityofaction,whichlimitsaplaytoasinglestoryline.conceit:ItcomesfromtheItalianconcetto,meaning“concept”or“idea”,andwasusesinRenaissancepoetrytomeanapreciseanddetailedcomparisonofsomethingmoreremoteorabstractwithsomethingmorepresentorconcrete;andoftendetailedthroughachainofmetaphorsorsimiles.Twotypesofconceitareoftendistinguishedbyspecificnames：=1\*GB3①ThePetrarchanconceitisatypeoffigureusedinlovepoemsthathadbeennovelandeffectiveintheItalianpoetPetrarch,butbecamehackneyedinsomeofhisimitatorsamongtheElizabethansonneteers.=2\*GB3②ThemetaphysicalconceitisacharacteristicfigureinJohnDonneandothermetaphysicalpoetsofthe17thcentury.Themetaphysicalpoetsexploitedallknowledgeforthevehicleofthesefigures;andtheircomparisons,whethersuccinctorexpanded,wereoftennovelandwitty,andattheirbeststartlinglyeffective.3)Themetaphysicalconceitfelloutoffavorinthe18thcentury,whenitcametoberegardedasstrainedandunnatural.Butwiththegreatrevivalofinterestinthemetaphysicalpoetsduringtheearlydecadesofthe20thcentury,anumberofmodernpoetsexploitedthistypeoffigure.Atthebeginningof“TheLoveofJ.AlfredPrufrock”,forexample,T.S.Eliotcomparestheeveningto“apatientetherizeduponatable”.masque:Anelaborateformofcourtentertainment——amixtureofdrama,music,song,anddance——developedintheRenaissanceItalyandtransportedtoEnglandduringElizabethantimes.Thespeakingcharacters,whowereoftencourtiers,woremasks.Comus(1634)byJohnMiltonisprobablythemostimportantmasqueinEnglishliterature.pastoral:Aliteraryworkdealingwith,andoftencelebrating,aruralworldandawayoflifelivedclosetonature.Pastoraldenotessubjectmatterratherthanform;hence,thetermspastorallyric,pastoralode,pastoralelegy,pastoraldrama,pastoralepic,andpastoralnovel.ApoeticexampleofEnglishpastoralpoeticconventionsoccursinChristopherMarlowe’sThePassionateShepherdtoHisLove.allegory:Itisafictionalliterarynarrativeorartisticexpressionthatconveysasymbolicmeaningparalleltobutdistinctfrom,andmoreimportantthantheliteralmeaning.Allegoryhasalsobeendefinedasanextendedmetaphor.Thesymbolicmeaningisusuallyexpressedthroughpersonificationsandothersymbols.Relatedformsarethefableandtheparable,whicharedidactic,comparativelyshort,andsimpleallegories.TheartofallegoryreacheditsheightduringtheMiddleAges,especiallyintheworksoftheItalianpoetDanteandtheEnglishpoetGeoffreyChaucer,andduringtheRenaissance.TwoearlyexampleofallegoryareLeRomandelaRose(《玫瑰传奇》,byFrenchwriterDanielPoirionandwastranslatedintoEnglishbyChaucer.)andPiersthePlowman.Theformerisanallegoryofhumanlove,thelatteranallegoricalprotestagainsttheclergy.InTheFaerieQueentheEnglishpoetEdmundSpenserconceals,beneathasurfaceofchivalricromance,acommentaryonreligiousandethicaldoctrinesandonsocialconditionsin16thcenturyEngland.OneofthegreatestofallallegoriesisPilgrim’sProgressbytheEnglishwriterJohnBunyan,aprosenarrativesymbolicallyconcerningthesearchforspiritualsalvation.Althoughmodernauthorsgenerallyfavorlessabstract,morepersonalsymbolism,allegoriesarestillwritten.OneextremelypopularexampleisAnimalFarm(1945)bytheEnglishwriterGeorgeOrwell.genre:Aform,class,ortypeofliterarywork,e.g.,theshortstory,novel,poemplay,oressay;oftenusedtodenotesuchliterarysubclassificationsasthedetectivestory,theGothicnovel,thepastoralelegy,ortherevengetragedy.=3\*ROMANIII.FindouttheworkfromcolumnAanditscontentfromcolumnB.1.()IlPenserosoa.defenseoftheRevolution2.()Lycidasb.SatanagainstGod3.()Comusc.aboutdearfriend4.()Areopagiticad.happiness5.()Eikonolastese.meditation6.()DefensefortheEnglishPeoplef.masque7.()ParadiseLostg.attackonthecensorship8.()L’Allegroh.justifyingtheexecution=4\*ROMANIV..Answerthefollowingquestions.WhatarethedifferentaspectsbetweentheliteratureofElizabethanPeriodandthatoftheRevolutionPeriod?Answer:TheRevolutionPeriodwasofconfusioninliterature.EnglishliteratureofthePeriodwitnessedadeclineanddegeneration.WecanseethatitisdifferentfromtheliteratureofElizabethanPeriodinthreeaspects.ElizabethanliteraturehadamarkedunityandthefeelingofpatriotismanddevotiontotheQueen,butintheRevolutionPeriod,allthiswaschanged,thekingbecametheopenenemiesofthepeople,andthecountrywasdividedbythestruggleforpoliticalandreligiousliberty.Soliteraturewasasdividedinspiritaswerethestrugglingparties.Elizabethanliteraturewasgenerallyinspiring.Itthrobbedwithyouth,hope,andvitality.LiteratureinthePuritanAgeexpressedageandsadness.Evenitsbrightnesshourswerefollowedbygloomandpessimism.Elizabethanliteraturewasintenselyromantic.Theromancesprangfromtheheartofyouth.Peoplebelievedallthings,eventheimpossible.ButinliteratureofthePuritanPeriod,wecannotfindromanticardor.MakeabriefintroductiontoParadiseLost.Answer:ParadiseLostisMilton’smasterpiece,andthegreatestEnglishepic.Beforeitsactualwriting,hehadthesubjectinhismindforaquarterofacentury,andmadedraftsaboutthecharactersandplot.Itisalongepicin12books,doneinblankverse.ThestoriesweretakenfromtheOldTestament:Thecreation;therebellioninHeavenofSatanandhisfellow-angels;theirdefeatandexpulsionfromHeaven;thecreationoftheearthandofAdamandEve;thefallenangelsinhellplottingagainstGod;Satan’stemptationofEve;andthedepartureofAdamandEvefromEden.WhydopeoplesaySamsonisMilton?SamsonAgonistesisapoeticaldramamodeledontheGreektragedies.ThestorywastakenfromtheOldTestament.SamsonwasanathleteoftheIsraelites.Hestoodastheirchampionfightingforthefreedomoftheircountry.Buthewasbetrayedbyhiswifeandblindedbyhisenemies,thePhilistines.Onedayhewassummonedtoprovideamusementforhisenemiesbyfeatsofstrengthinatemple.Therehewreakedhisvengeanceuponhisenemiesbypullingdownthetempleuponhimselfinacommonruin.Inthispoeticdrama,Miltonistellingushisownstory.LikeSamson,hehasbeenbetrayedbyhiswife.Hehassufferedfromblindnessandbeenscornedbyhisenemies,andyethehasstruggledheroicallyagainsthisenemies.Samson’smiserableblindservitudeamonghisenemies,hisagonizinglongingforsightandfreedom,andthelastterribletriumphareallall