英国浪漫主义文学的特点

英国浪漫主义文学的特点

1.Spontaneous overflow of powerful feeling

2.creation of a world of imagination

3.return to nature for material

4.sympathy with the humble and glorification of commonplace

5.expression of individual genius

6.interest in Milton and Elizabethan Age for literature model

7.interest in old stories and medieval romances

8.rebellius spirit

9.expression of melancholy and gloomy mood

Defining the nature of Romanticism may be approached from the starting point of the primary importance of the free expression of the feelings of the artist. The importance the Romantics placed on untrammelled feeling is summed up in the remark of the German painter Caspar David Friedrich that "the artist's feeling is his law".[7]

Critical realism

simply, critical realism highlights a mind-dependent aspect of the world, which reaches to understand (and comes to understanding of) the mind independent world.

Aestheticism (or the Aesthetic Movement) is an art movement supporting the emphasis of aesthetic values more than socio-political themes for literature, fine art, music and other arts

1莎士比亚十四行诗结构The sonnets are almost all constructed from three four-line stanzas(called

quatrains) and a final couplet composed in iambic pentameter[18](a meter used extensively in Shakespeare's plays) with the rhyme scheme abab cdcd efef gg(this form is now known as the Shakespearean sonnet).....

主题One interpretation is that Shakespeare's sonnets are in part a pastiche or parody of the

three-centuries-old tradition of Petrarchan love sonnets; Shakespeare consciously inverts conventional gender roles as delineated in Petrarchan sonnets to create a more complex and potentially troubling depiction of human love.[27]He also violated many sonnet rules, which had been strictly obeyed by his fellow poets: he plays with gender roles (20), he speaks on human evils that do not have to do with love (66), he comments on political events (124), he makes fun of love (128), he speaks openly about sex (129), he parodies beauty (130), and even introduces witty pornography (151).

Sonnet 29结构follows the same basic structure as Shakespeare's other sonnets, containing fourteen lines and written in iambic pentameter, and composed of three rhyming quatrains with a rhyming couplet at the end. However, it does not follow the traditional English rhyme scheme of ABAB CDCD EFEF GG. Rather, the scheme is ABAB CDCD EBEB FF.

主题Camille Paglia states that there is nothing in the poem that would provide a clue as to whether the poem is directed towards a man or a woman, but assumes, as many do, that Sonnet 29 was written about the young man[6]Both Paglia and Frank agree that the first octave is about the Speaker’s current depression caused by his social ostracism in his "outcast state” (line 2) and personal misfortune that has “curse[d] my fate” (line 4). The Speaker proclaims his jealousy of those that are “rich in hope” (line 5) and “with friends possess'd” (line 6), once again referring to his hopelessness and low social status. Paglia refers to this section of the poem as a “list of half-imaginary grievances.” Frank seems to agree with her

statement of “half imaginary” since he believes the Speaker wills his own misery.

2 Joseph Addison (1 May 1672 – 17 June 1719) was an English essayist, poet, playwright and politician. He was a man of letters, eldest son of Lancelot Addison. His name is usually remembered alongside that of his long-standing friend,Richard Steele, with whom he founded The Spectator magazine.

3 Addison's character has been described as kind and magnanimous, albeit somewhat cool and unimpassioned. His appealing manners and conversation made him one of the most popular men of his day; and while he laid his friends under obligations for substantial favours, he showed great forbearance towards his few enemies. His essays are noted for their clarity and elegant style, as well as their cheerful and respectful humour. One flaw in Addison character was a tendency to con vivial excess, which nonetheless should be judged in view of the somewhat lax manners of his time.

4 造谣学校谢里丹

Scene I: Lady Sneerwell, a wealthy young widow, and her hireling Snake discuss her various scandal-spreading plots. Snake asks why she is so involved in the affairs of Sir Peter Teazle, his ward Maria, and Charles and Joseph Surface, two young men under Sir Peter's informal guardianship, and why she has not yielded to the attentions of Joseph, who is highly respectable. Lady Sneerwell confides that Joseph wants Maria, who is an heiress, and that she wants Charles. Thus she and Joseph are plotting to alienate Maria from Charles by putting out rumors of an affair between Charles and Sir Peter's new young wife, Lady Teazle. Joseph arrives to confer with Lady Sneerwell. Maria herself then enters, fleeing the attentions of Sir Benjamin Backbite and his uncle Crabtree. Mrs. Candour enters and ironically talks about how "tale-bearers are as bad as the tale-makers". Soon after that, Sir Benjamin and Crabtree also enter, bringing a good deal of gossip with them. One item is the imminent return of the Surface brothers' rich uncle Sir Oliver from the East Indies, where he has been for sixteen years; another is Charles' dire financial situation.

7 Oscar wilde The Picture of Dorian Gray

The novel tells of a young man named Dorian Gray, the subject of a painting by artist Basil Hallward. Basil is impressed by Dorian's beauty and becomes infatuated with him, bel ieving his beauty is responsible for a new mode in his art. Dorian meets Lord Henry Wotton, a friend of Basil's, and becomes enthralled by Lord Henry's world view. Espousing a new hedonism, Lord Henry suggests the only things worth pursuing in life are beauty and fulfilment of the senses. Realizing that one day his beauty will fade, Dorian (whimsically) expresses a desire to sell his soul to ensure the portrait Basil has painted would age rather than he. Dorian's wish is fulfiled, and when he subsequently pursues a life of debauchery, the portrait serves as a reminder of the effect each act has upon his soul, with each sin displayed as a disfigurement of his form, or through a sign of aging.