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A Guide to English-Speaking Countries
Chapter 6 Literature
CONTENT
The Old English Period and Middle English Period (450-1500)
1.1 General Knowledge
In practice， works of literature fall into four categories or genres:
narrative fiction
drama
poetry
non-fiction prose
1.1 General Knowledge
The two kinds of narrative fiction you will read most often are short stories and novels.
Myths (神话)， parables (寓言)， romances (传奇)， and epics (史诗) are also part of the genre.
1.2 The Old English Period
Old English: the epic Beowulf
A folk legend brought to England by the Anglo-Saxons from their continental homes.
1.3 The Middle English Period
With the Norman Conquest in 1066， Britain entered the Middle Ages (1066-1485).
Middle English: The Canterbury Tales (1387-1400) Geoffrey Chaucer (1340?-1400)
The Renaissance (1500-1660)
Renaissance is characterized by admiration of the Greek and Latin classic works.
sonnet (十四行诗)
drama
The drama types are tragedy， comedy and farce (滑稽剧) .
2.2 William Shakespeare (1564-1616)
2.2 William Shakespeare (1564-1616)
English playwright William Shakespeare was born in that house on Henley Street in Stratford-upon-Avon in April 1564. Shakespeare’s father， John， purchased the building in two stages， in 1556 and 1572. Today， Shakespeare’s birthplace is a museum， furnished as it might have been in Shakespeare’s time. It also houses an exhibit on Shakespeare’s life.
Comedy
A Midsummer Night’s Dream (1595)
The Merchant of Venice (1598)
As You Like It (1599)
Twelfth Night (1601)
2.2 William Shakespeare (1564-1616)
Historical plays
Richard III (1591)
Henry IV (1597)
Antony and Cleopatra (1606)
2.2 William Shakespeare (1564-1616)
Tragedies
Hamlet (1601)
Othello (1604)
King Lear (1605)
Macbeth (1606)
Romeo and Juliet (1595)
2.2 William Shakespeare (1564-1616)
Jaques:
All the world's a stage， And all the men and women merely players; They have their exits and their entrances， And one man in his time plays many parts， His acts being seven ages.
—As You Like It (Act 2， scene 7， 139–143)
2.2 William Shakespeare (1564-1616)
To be， or not to be (from Hamlet 3/1)
To be， or not to be: that is the question:
Whether 'tis nobler in the mind to suffer
The slings and arrows of outrageous fortune，
Or to take arms against a sea of troubles，
And by opposing end them?
2.2 William Shakespeare (1564-1616)
2.2 William Shakespeare (1564-1616)
The Neo-classical Period (1660-1785)
The 17th century witnessed the Bourgeois Revolution and the Restoration.
The 18th century is a comparatively peaceful development period. (The Industrial Revolution)
3.1 Historical Background
Classicism prevailed for the most part of the century with Alexander Pope as its representative.
Satire (讽刺文学)， making fun of people， came to full growth in this century.
Alexander Pope
Jonathan Swift
Daniel Defoe
3.2 Representatives
John Milton (1608-1674)
Paradise Lost (1667)
Paradise Regained (1671)
Samson Agonistes (1671)
3.2.2 Alexander Pope
Alexander Pope (1688-1744)
An Essay on Criticism (1711)
The Rape of the Lock (1712-1714)
translated Homer’s Iliad and part of Odyssey
the first English poet who could lived off the sales of his works
3.2.3 Jonathan Swift
Jonathan Swift (1667-1745)
Gulliver’s Travels (1726)—an unparalleled satirical depiction of vice， folly and mere weakness of mankind.
Yahoo—a creature representing the human race， is inferior to and governed by a noble breed of reasoning and high-minded horses.
3.2.4 Daniel Defoe
Daniel Defoe (1660?-1731)
Robinson Crusoe (1719)
The Romantic Period (1785-1830)
4.1 Pioneers of Romantic Poets
Pioneers:
William Wordsworth (1770-1850)
“I Wandered Lonely as a Cloud”
Samuel Taylor Coleridge (1772-1834)
“The Rime of the Ancient Mariner”
“Declaration of Independence” of romantic poetry—Lyrical Ballads (1798)
a volume of poems written by Wordsworth and Coleridge
4.2 The Major “Second Generation” of Romantic Poets
A: The major “second generation” of Romantic poets
included Lord Byron， Percy Bysshe Shelley， John
Keats.
4.2 The Major “Second Generation” of Romantic Poets
George Gordon Byron (1788-1824)， known as Lord Byron
Child Harold’s Pilgrimage (1812， 1816， 1818)
Don Juan (1818-1823)
4.2 The Major “Second Generation” of Romantic Poets
Percy Bysshe Shelley (1792-1822)
long poem—“The Revolt of Islam” (1818)
political lyric—“The Masque of Anarchy” (1819)
essay—“A Defense of Poetry” (1821)
lyrical drama—Prometheus Unbound (1819)
short poems— “Ode to the West Wind” (1819) and “Ode to a Skylark” (1820)
The Victorian Period (1832-1901)
5.1 Critical Realism
A: The critical realists described the chief traits of
the society and criticized the capitalist system
from a democratic viewpoint.
5.2 Representatives
5.2.1 Charles Dickens
Charles Dickens (1812-1870)
a fierce critic of the poverty and social stratification of Victorian England
5.2.1 Charles Dickens
The Pickwick Papers (1836-1837)—brought him immediate fame
Great Expectations (1860-1861)
Oliver Twist (1837)
A Tale of Two Cities (1859)
David Copperfield (1849-1850)
5.2.1 Charles Dickens
A: In his enormous body of works， Dickens combined
masterly storytelling， humor， pathos (伤感)， and
irony with sharp social criticism and acute
observation of people and places， both real and
imagined. His works had great social relevance，
psychological insight， and narrative and symbolic
complexity.
5.2.1 Charles Dickens
5.2.2 Jane Austen
Jane Austen (1775–1817)
Sense and Sensibility (1811)
Pride and Prejudice (1813)
Mansfield Park (1814)
Emma (1816)
5.2.3 Bronte Sisters
Bronte sisters:
Charlotte (1816-1855)
Jane Eyre (1847)
Emily (1818-1848)
Wuthering Heights (1847)
Anne (1820-1849)
5.2.4 George Eliot
George Eliot (1819-1880)—“philosophical writer”
Adam Bede (1859)
The Mill on the Floss (1860)
Silas Marner (1861)
Middlemarch (1871-1872)
5.2.5 Thomas Hardy
Thomas Hardy (1840-1928)
The Return of the Native (1878)
The Mayor of Casterbridge (1886)
Tess of the D’Urbervilles (1891)
Jude the Obscure (1895)
The Modern Period (1914-1945)
6.1 Fiction
Fiction
Joseph Conrad (1857-1924)
Virginia Woolf (1882-1941)
James Joyce (1882-1941)
D. H. Lawrence (1885-1930)
6.1 Fiction
Joseph Conrad (1857-1924)
The Heart of Darkness (1902)
6.1 Fiction
Virginia Woolf (1882-1941)—a central figure of
the “Bloomsbury Group”
Mrs. Dalloway (1925)
To The Lighthouse (1927)
Orlando (1928)
A Room of One’s Own (1929)
6.1 Fiction
A: Stream of consciousness makes it first appearance
in the late 19th century. It is a kind of literary
technique which depicts the characters’ mental and
emotional reactions in an unpunctuated or
disjointed form.
6.1 Fiction
James Joyce (1882-1941)
Ulysses (1922)
Finnegans Wake (1939)
6.1 Fiction
D. H. Lawrence (1885-1930)
Sons and Lovers (1913)
Rainbow (1915)
Lady Chatterley’s Lover (1928)
6.2 Poetry
Poetry
William Butler Yeats (1865-1939)
Thomas Stearns Eliot (1888-1965)
6.2 Poetry
William Butler Yeats (1865-1939)—won the Nobel Prize for Literature in 1923
“The Wild Swans at Coole”
“Michael Robartes and the Dancer”
“The Tower”
6.2 Poetry
Thomas Stearns Eliot (1888-1965)
The Waste Land (1922)
Four Quartets (1935-1942)
6.3 Drama
Drama
George Bernard Shaw (1856-1950)
Plays Pleasant and Unpleasant (1898)
Widower’s Houses (1892)
Mrs. Warren’s Profession (1893)
Arms and the Man (1894)
Pygmalion (1913)
Saint Joan (1924)
The Postmodern Period (1945- )
7.1 Fiction
A: 1) Modernism tends to present a fragmented
view of human subjectivity (主观)， but presents
that fragmentation as something tragic，
something to be lamented as a loss. While
Postmodernism doesn’t lament the idea of
fragmentation but rather celebrates it.
7.1 Fiction
2) Modernists look for buried meaning below confusing surfaces， while Postmodernists abandon that search.
7.1 Fiction
George Orwell (1903-1950)
Nineteen Eighty Four (1984)
7.2 Drama
Samuel Beckett (1906-1989)
Waiting for Godot (1952)
Awarded the Nobel Prize in Literature in 1969 "for his writing， which—in new forms for the novel and drama—in the destitution of modern man acquires its elevation".
7.2 Drama
“Mr. Godot told me to tell you he won't come this evening but surely tomorrow.”
7.2 Drama
ESTRAGON:
—No， nothing is certain.
—Vladimir slowly crosses the stage and sits down beside stragon.
VLADIMIR:
—We can still part， if you think it would be better.
ESTRAGON:
—It's not worthwhile now.
(Silence)
7.2 Drama
VLADIMIR:
—No， it's not worthwhile now.
(Silence)
ESTRAGON:
—Well， shall we go?
VLADIMIR:
—Yes， let's go.
—They do not move.
Questions
Topics for Discussion
展开
