英國文學(xué)第八講課件

EnglishLiterature

ChapterEightRomanticisminEngland(1798-1832)1798:thepublicationofLyricalBallads1832:thedeathofWalterScottaRomanticnovelistI.BackgroundThisistheageofrevolutions:

TheAmericanrevolution(1775-1783)whereTheDeclarationofIndependence,writtenbyThomasJefferson,statedthatAmericawasanindependentnation.

TheFrenchrevolution(1789-1815)whichintroducedthedemocraticideals:Liberty,EqualityandFraternityforeverybody.

Theindustrialrevolution(the18th-19thCent.)whichtransformedBritainfromagriculturaltoindustrialcountryinvolvingtheuseofnewsourcesofpower(coalandsteam)andalsoimportanttechnologicalinventionslikethesteamengine.

Socialconflictsandchanges:Themainsocialchangeswereamongtheworkingclasses.Theprincipalsocialeventswere:

-Anenormousincreaseinproductionandwealth

-Periodsofoverproductionandperiodsofdepression

-Workersunionswereformedbutcausedmanyalarmssolawmademeetingofworkersillegal.Workersbegantoattackfactoriesanddestroymachineries(thefamousrevoltoftheLudditiesandthePeterlooMassacre).

-RobertOwenestablishedatextilefactorywhereheimprovedworkers’workingconditions.

-Slaverywasdefinitelyabolishedin1833.

Generallyspeaking,theromanticistsexpressedtheideologyandsentimentofthoseclassesandsocialstratawhowerediscontentwith,andopposedto,thedevelopmentofcapitalism.Butowingtodifferenceinpoliticalattitudes,theysplitintotwoschools.Someromanticwritersreflectedthethinkingofclassesruinedbythebourgeoisie,andbywayofprotestagainstcapitalistdevelopmentturnedtothefeudalpast,i.e.,the“merryoldEngland”,astheirideal,or,frightenedbythecomingofindustrialismandthenightmaretownsofindustry,theywereturningtonatureforprotection.Theseweretheelderandsometimescalledpassiveorescapistromanticists,representedbyWordsworth(華茲華斯),Coleridge(科爾律治)andSouthey(騷塞).

Others(activeromanticists)expressedtheaspirationsoftheclassescreatedbycapitalismandheldoutanideal,thoughavagueone,ofafuturesocietyfreefromoppressionandexploitation.TheseweretheyoungerandsometimescalledactiveromanticistsrepresentedbyByron(拜倫),

Shelley(雪萊)andKeats(濟慈).

Thegeneralfeatureoftheworksofalltheromanticistsisdissatisfactionwiththebourgeoissociety.Theirwritingsarefilledwithstrong-willedheroes,formidableevents,tragicsituations,powerfulconflictingpassions,andexoticpictures.Sometimestheyresorttosymbolicmethods.Withtheactiveromanticists,symbolicpicturesrepresentavagueideaofsomefuturesociety,whilewiththepassiveromanticists,theseoftentakeonamysticcolour(e.g.Coleridge‘s“AncientMariner”“老水手謠”).

Incontrasttotherationalismoftheenlightenersandclassicistsinthe18thcentury,theromanticistspaidgreatattentiontothespiritualandemotionallifeofman.Nature,oftenpersonified,alsoplaysanimportantroleintheirworks.ThepassionsofmanandthebeautiesofnatureappealedstronglytotheimaginationoftheRomanticwriter,andthegloryoflakesandmountains,thelittlejoysorsorrowsofchildren,thewealandwoeofordinary,unculturedpeasants,thewonderofthefairyworld,andthesplendouroftheGreekartallbecamethefountain-headsofthewriter'sinspiration.

Poetry,ofcourse,isthebestmediumtoexpressallthesesentiments.Infact,alltheromanticistsmentionedabovewerepoets.TheRomanticPeriodwasoneofpoeticalrevival.III.Passive/EscapistRomanticistsWilliamWordsworth(1770–1850)

WilliamWordsworthwasamajorEnglishRomanticpoetwho,withSamuelTaylorColeridge,helpedtolaunchtheRomanticAgeinEnglishliteraturewiththe1798jointpublicationLyricalBallads《抒情歌謠集》.Inhis"PrefacetoLyricalBallads",whichiscalledthe"manifesto"ofEnglishRomanticism,Wordsworthcallshispoems"experimental.”Inthe“Preface”,hedescribedpoetryas“thespontaneousoverflowofpowerfulfeelings

…recollectedintranquility.”Wordsworth’smasterpieceisgenerallyconsideredtobeThePrelude《序》,asemiautobiographicalpoemofhisearlyyearswhichherevisedandexpandedanumberoftimes.Itwasposthumouslytitledandpublished,priortowhichitwasgenerallyknownasthepoem“toColeridge”.WordsworthwasBritain’sPoetLaureate(桂冠詩人)from1843untilhisdeathin1850.

Wordsworth’sfamouspoems:“WeAreSeven”(我們七個)“LinesWritteninEarlySpring”(早春)“LinesWrittenaFewMilesAboveTinternAbby”(丁登寺)“TheExcursion”(遠足)“LucyPoems”(露西組詩)“TheSolitaryReaper”(孤獨的割麥人)“IWonderedLonelyasaCloud”(我好似一朵孤獨的流云)(alsoknownas“Daffodils”)(或“詠水仙”)---顧子欣譯Iwanderedlonelyasacloud我好似一朵孤獨的流云，

Thatfloatsonhigho'ervalesandhills,高高地飄游在山谷之上，

WhenallatonceIsawacrowd,突然我看到一大片鮮花，

Ahostofgoldendaffodils;是金色的水仙遍地開放。

Besidethelake,beneaththetrees,它們開在湖畔，開在樹下

Flutteringanddancinginthebreeze.它們隨風(fēng)嬉舞，隨風(fēng)飄蕩。Continuousasthestarsthatshine它們密集如銀河的星星，

andtwinkleontheMilkyWay,像群星在閃爍一片晶瑩；

Theystretchedinnever-endingline它們沿著海灣向前伸展，

alongthemarginofabay:通往遠方仿佛無窮無盡；

TenthousandsawIataglance,一眼看去就有千朵萬朵，

tossingtheirheadsinsprightlydance.

萬花搖首舞得多么高興。Thewavesbesidethemdanced;butthey

粼粼湖波也在近旁歡跳，

Out-didthesparklingwavesinglee:卻不如這水仙舞得輕俏；

Apoetcouldnotbutbegay,詩人遇見這快樂的旅伴，

insuchajocundcompany:又怎能不感到歡欣雀躍；

Igazed-andgazed-butlittlethought

我久久凝視---卻未領(lǐng)悟

whatwealththeshowtomehadbrought:這景象所給鐵精神至寶。Foroft,whenonmycouchIlie后來多少次我郁郁獨臥，

Invacantorinpensive(沉思)mood,感到百無聊賴心靈空漠；

Theyflashuponthatinwardeye這景象便在腦海中閃現(xiàn)，

Whichistheblissofsolitude;多少次安慰過我的寂寞；

Andthenmyheartwithpleasurefills,我的心又隨水仙跳起舞來，

Anddanceswiththedaffodils.我的心又重新充滿了歡樂。

StanzaSummary1IwanderedlonelyasacloudThatfloatsonhigho'ervalesandhills,WhenallatonceIsawacrowd,Ahost,ofgoldendaffodils;Besidethelake,beneaththetrees,Flutteringanddancinginthebreeze.Summary,Stanza1

Whilewanderinglikeacloud,thepoethappenstoseedaffodilsflutteringinabreezeontheshoreofalake,beneaththetrees.Daffodilsareplantsinthelilyfamilywithyellowflowersandacrownshapedlikeatrumpet.2

Continuousasthestarsthatshine

Andtwinkleonthemilkyway,

Theystretchedinnever-endingline

Alongthemarginofabay:

TenthousandsawIataglance,

Tossingtheirheadsinsprightlydance.Summary,Stanza2

Thedaffodilsstretchallalongtheshore.Becausetherearesomanyofthem,theyremindthepoetoftheMilkyWay,thegalaxythatscientistssaycontainsaboutonetrillionstars,includingthesun.Thespeakerhumanizesthedaffodilswhenhesaystheyareengaginginadance.3

Thewavesbesidethemdanced;butthey

Out-didthesparklingwavesinglee:—

Apoetcouldnotbutbegay

Insuchajocundcompany:

Igazed—andgazed—butlittlethought

Whatwealththeshowtomehadbrought:Summary,Stanza3

Inthethirdstanzathepoetcomparesthewavesofthelaketothewavesofdaffodilsanddecidesthateventhoughthelakeis"sparkling,"thedaffodilswinbecausetheyhavemore"glee."Hethencommentsthathe,likeanyotherpoet,couldnothelpbutbehappy"insuchajocundcompany."Helookedatthesceneforalongtime,butwhilehewastherehewasunabletounderstandwhathehadgainedfromtheexperience.

Structure,MeterandRhymeSchemeWordsworthunifiesthecontentofthepoembyfocusingthefirstthreestanzasontheexperienceatthelakeandthelaststanzaonthememoryofthatexperience.Thepoemcontainsfourstanzasofsixlineseach.Ineachstanza,thefirstlinerhymeswiththethirdandthesecondwiththefourth.Thestanzathenendswitharhymingcouplet.Thelinesinthepoemareiniambictetrameter(抑揚格四步詩),asdemonstratedinthethirdstanza.Therhymeschemeis:abab

cc

dede

ff

ghghii

Therhythmisclearandtherhymeisharmonious.Longvowelsand

diphthongs

arewidelyusedtoreducetherhythmofthepoem.

Softvoicelessconsonantsaccountfor65%comparedwith35%ofhardvoicedconsonants,whichmakesthepoemgentleandsmooth.

Theme

Nature'sbeautyupliftsthehumanspirit.Lines15,23,and24specificallyrefertothistheme.Peoplesometimesfailtoappreciatenature'swondersastheygoabouttheirdailyroutines.Lines17and18suggestthistheme.Naturethrivesunattended.Thedaffodilsproliferateinsplendoralongtheshoreofthelakewithouttheneedforhumanattention.

ExamplesofFiguresofSpeech

Stanza1

Alliteration:lonelyasacloud(line1)

higho'ervalesandHills(line2)goldenDaffodils(line4)BesidetheLake,beneaththetrees,Whenallatonce(line3)Simile:Comparison(usingas)ofthespeaker'ssolitarinesstothatofacloud(line1)Personification:Comparisonofthecloudtoalonelyhuman.(line1)

Personification/Metaphor:Comparisonofdaffodilstoacrowdofpeople(lines3-4)

Comparisonofdaffodilstodancinghumans(lines4,6).

Thepoemshowsthefeaturesofsymbolism.In“IWanderedLonelyasaCloud”,thedaffodilsbecomemuchmorethanmereflowers.Theyareasymbolofnaturalbeautyand,moreimportantly,symbolizelivingalifeasrichinexperienceandsensationaswouldmakealifeworthliving.Theyrepresent,intheirlight-hearteddance,thejoyandhappinessoflivinganadoringandfulfillinglife,embracingitforeverydropofnectar(花蜜)itcouldsobring.Romanticism,apoeticphilosophythatWordsworthhimselfengendered,findsmuchvirtueinthismeaning.Thepoet’sheartismergedwiththedaffodils,which

inspiresthepoet’sjoyandhappiness.ThedaffodilsreachingoutandcatchingtheeyeofWordsworth’snarrator,orperhapsWordsworthhimself,andinspiringhimsomuchemotionally,thathewasleftwithlittlechoicethantoexpressthempoetically.Naturallytheimagesbroughtintoourviewbytheauthorarequiteimportanttothethemeofthepoem,andthethemeisthehappinessbroughtaboutbytheauthor'sprivilegeinviewingthedaffodil'sdance.Heconjuresupthatimagelaterandusesittogivehimselfanemotionalboost.Thelocalofthedaffodilsheightensthereactiontothem,astheyarenexttoabodyofwaterwhichtoocanbepersonified,whichtoothepoethasprescribedhuman-likeactionandfeeling.WeexpectademonstrationofnatureinthismannerfromaRomanticPoetamongotherthings,aprominentthemeinthepoetryofthatmovement.Ibelievethatpeoplehavecometorealizethatinourmodernworldweareoutoftouchwithnature,andataspirituallevelmorepeoplearemakinganattempttoreconnectwithnature,inanefforttobringforthpersonalenlightenmentandpeace.2.SamuelTaylorColeridge

(1772–1834)

SamuelTaylorColeridgewasanEnglishpoet,Romantic,literarycriticandphilosopherwho,withhisfriendWilliamWordsworth,wasafounderoftheRomanticMovementinEnglandandamemberoftheLakePoets.HeisprobablybestknownforhispoemsTheRimeoftheAncientMariner

(老水手謠/古舟子詠)andKublaKhan(忽必烈汗),aswellasforhismajorproseworkBiographiaLiteraria

(文學(xué)傳記).Hiscriticalwork,especiallyonShakespeare,washighlyinfluential,andhehelpedintroduceGermanidealistphilosophytoEnglish-speakingculture.Hecoinedmanyfamiliarwordsandphrases.Hewasamajorinfluence,viaEmerson,onAmericantranscendentalism(超驗論).III.ActiveRomanticistsGeorgeByron(1788–1824)

GeorgeGordonByron,commonlyknownsimplyasLordByron,wasanEnglishpoetandaleadingfigureintheRomanticmovement.AmongstByron'sbest-knownworksarethebriefpoemsSheWalksinBeauty(她走在美的光彩中/她在美中徜徉),WhenWeTwoParted(當我們兩個分手/昔日依依別),So,we'llgonomorearoving

(那么，我們不再一起盤桓),inadditiontothenarrativepoemsChildeHarold'sPilgrimage(恰爾德·哈羅爾德游記)DonJuan

/d?nwɑ:n/,(唐璜).

HeisregardedasoneofthegreatestBritishpoetsandremainswidelyreadandinfluential.

Byronwascelebratedinlifeforaristocraticexcessesincludinghugedebts,numerousloveaffairswithbothsexes,andself-imposedexile.HewasdescribedbyLadyCarolineLamb(Byron’sloverandanovelist)as"mad,badanddangeroustoknow".HetravelledtofightagainsttheOttomanEmpireintheGreekWarofIndependence,forwhichGreeksreverehimasanationalhero.Hediedmerely36yearsoldfromafeverinGreece.There-foundingoftheByronSocietyin1971reflectsthefascinationthatmanypeoplehaveforByronandhiswork.

Thissocietyhasbecomeveryactive,publishinganannualjournal.AnInternationalConferencetakesplaceannually.ByronexercisedamarkedinfluenceonContinentalliteratureandart,andhisreputationasapoetishigherinmanyEuropeancountriesthaninBritainorAmerica,althoughnotashighasinhistime,whenhewasoncewidelythoughttobethegreatestpoetintheworld.

Shelley’smajorworksA.Hisclassicanthologyverseworks:Ozymandias(奧西曼迭斯)OdetotheWestWind

(西風(fēng)頌)ToaSkylark

(致云雀)Music(音樂)WhenSoftVoicesDie

(輕柔的聲音寂滅后)TheCloud

(云)TheMasqueofAnarchy

(無政府的假面具)B.Hislongvisionarypoems:QueenMab

(麥布女王)(laterreworkedasTheDaemonoftheWorld

世界的惡魔)Alastor

(阿拉斯托)TheRevoltofIslam

(伊斯蘭起義)Adona?s(阿多尼斯)TheTriumphofLife(生命的凱旋

unfinished)C.Hisdramaticplays:TheCenci

(沈西)PrometheusUnbound

(解放了的普羅米修斯masterpiece)

Ozymandias

---Shelley

奧西曼提斯（王佐良譯）Imetatravellerfromanantiqueland

客自海外歸，曾見沙漠王國

Whosaid:"Twovastandtrunklesslegsofstone

有石像半毀，唯余巨腿

Standinthedesert.Nearthemonthesand,蹲立沙礫間。像頭旁落，

Halfsunk,ashatteredvisagelies,whosefrown

半遭沙埋，但人面依然可畏，

Andwrinkledlipandsneerofcoldcommand

那冷笑，那發(fā)號施令的高傲，

Tellthatitssculptorwellthosepassionsread

足見雕匠看透了主人的心，

Whichyetsurvive,stampedontheselifelessthings,才把那石頭刻得神情唯肖，

Thehandthatmockedthemandtheheartthatfed.而刻像的手和像主的心

Andonthepedestalthesewordsappear:早成灰燼。像座上大字在目：

`MynameisOzymandias,KingofKings:吾乃萬王之王是也，

Lookonmyworks,yemighty,anddespair!‘蓋世功業(yè)，敢叫天公折服！

Nothingbesideremains.Roundthedecay

此外無一物，但見廢墟周圍，

Ofthatcolossalwreck,boundlessandbare,寂寞平沙空莽莽，

Theloneandlevelsandsstretchfaraway".

伸向荒涼的四方。x/x/x/x/x/Imetatravellerfromanantiquelandx/x/x/x/x/

Whosaid:"Twovastandtrunklesslegsofstone

Ozymandiasisasonnet(anoctave+asestet),afourteen-linepoemmeterediniambicpentameter:

TherhymeschemeisABABACDC+EDEFEF.AnalysisofthePoemThespeakerrecallshavingmetatraveller“fromanantiqueland,”whotoldhimastoryabouttheruinsofastatueinthedesertofhisnativecountry.Twovastlegsofstonestandwithoutabody,andnearthemamassive,crumblingstoneheadlies“halfsunk”inthesand.Thetravellertoldthespeakerthatthefrownand“sneerofcoldcommand”onthestatue’sfaceindicatethatthesculptorunderstoodwellthepassionsofthestatue’ssubject,amanwhosneeredwithcontemptforthoseweakerthanhimself,yetfedhispeoplebecauseofsomethinginhisheart(“Thehandthatmockedthemandtheheartthatfed”).Onthepedestalofthestatueappearthewords:“MynameisOzymandias,kingofkings:/Lookonmyworks,yeMighty,anddespair!”Butaroundthedecayingruinofthestatue,nothingremains,onlythe“l(fā)oneandlevelsands,”whichstretchoutaroundit,faraway.Framingthesonnetasastorytoldtothespeakerby“atravellerfromanantiqueland”enablesShelleytoaddanotherlevelofobscuritytoOzymandias’spositionwithregardtothereader—ratherthanseeingthestatuewithourowneyes,sotospeak,wehearaboutitfromsomeonewhohasseenit.Thustheancientkingisrenderedevenlesscommanding;thedistancingofthenarrativeservestounderminehispoweroverusjustascompletelyashasthepassageoftime.Shelley’sdescriptionofthestatueworkstoreconstruct,gradually,thefigureofthe“kingofkings”:firstweseemerelythe“shatteredvisage,”(notehowitis"shattered",amuchstrongerwordthanmerely"broken")andthenthefaceitself,withits“frown/Andwrinkledlipandsneerofcoldcommand”,theharshalliterativeC’sof"coldcommand"reinforcingthepicture.Thenweareintroducedtothefigureofthesculptor,andareabletoimaginethelivingmansculptingthelivingking,whosefaceworetheexpressionofthepassionsnowinferable;thenweareintroducedtotheking’speopleintheline,“thehandthatmockedthemandtheheartthatfed.”Thereisabalanceandparadoxinthislinebetweenthemockeryandthefeeding.Thekingdomisnowimaginativelycomplete,andweareintroducedtotheextraordinary,pridefulboastoftheking:“Lookonmyworks,yeMighty,anddespair!”Withthat,thepoetdemolishesourimaginarypictureoftheking,andinterposescenturiesofruinbetweenitandus:“?‘Lookonmyworks,yeMighty,anddespair!’/Nothingbesideremains.Roundthedecay/Ofthatcolossalwreck,boundlessandbare,/Theloneandlevelsandsstretchfaraway.”Again,thehardconsonantsof"colossalwreck,boundlessandbare"emphasizetheharshreality,andthisisfollowedbythealliterationandlongvowelsof"loneandlevelsands"stretching"faraway",theopenvowelsoundendingthepoemanddisappearingintoeternity.

ButOzymandiassymbolizesnotonlypoliticalpower—thestatuecanbeametaphorfortheprideofallofhumanity,inanyofitsmanifestations.ItissignificantthatallthatremainsofOzymandiasisaworkofartandagroupofwords;Shelleydemonstratesthatartandlanguagelongoutlasttheotherlegaciesofpower.Theme:allisvanity(maybeexceptart)Figuresofspeech:

Irony:theinconsistencyofwhatissaidwiththereality

Alliteration:coldcommand/lonelevelands/kingofkings2.JohnKeats(約翰·濟慈1795

–1821)

JohnKeatswasanEnglishRomanticpoet.AlongwithLordByronandPercyByssheShelley,hewasoneofthekeyfiguresinthesecondgenerationoftheRomanticmovement(activeRomanticism).Althoughhispoemswerenotgenerallywellreceivedbycriticsduringhislife,hisreputationgrewafterhisdeathtotheextentthatbytheendofthe19thcenturyhehadbecomeoneofthemostbelovedofallEnglishpoets.Hehashadasignificantinfluenceonadiverserangeoflaterpoetsandwriters.ThepoetryofKeatsischaracterizedbysensualimagery,mostnotablyintheseriesofodes.Keats’slongpoems:

Hyperion(許佩里翁)

Endymion(恩底彌翁)Keats’sshortpoems:

OdetoaNightingale(夜鶯頌)

OdetoAutumn(秋頌)

OdeonMelancholy(憂郁頌)

OdeonGrecianUrn(希臘古甕頌)

OdetoAutumn

---Keats秋頌

查良錚

譯Seasonofmistsandmellowfruitfulness,

Closebosom-friendofthematuringsun;

Conspiringwithhimhowtoloadandbless

Withfruitthevinesthatroundthethatch-evesrun;

Tobendwithapplesthemoss'dcottage-trees,

Andfillallfruitwithripenesstothecore;Toswellthegourd,andplumpthehazelshells

Withasweetkernel;tosetbuddingmore,

Andstillmore,laterflowersforthebees,

Untiltheythinkwarmdayswillnevercease,

ForSummerhaso'er-brimm'dtheirclammycells.霧氣洋溢、果實圓熟的秋，/你和成熟的太陽成為友伴；你們密謀用壘壘的珠球綴滿茅屋檐下的葡萄藤蔓；使屋前的老樹背負著蘋果，/讓熟味透進果實的心中，使葫蘆脹大，鼓起了榛子殼，/好塞進甜核；又為了蜜蜂一次一次開放過遲的花朵，/使它們以為日子將永遠暖和，因為夏季早填滿它們的粘巢。Whohathnotseentheeoftamidthystore?

SometimeswhoeverseeksabroadmayfindTheesittingcarelessonagranaryfloor,

Thyhairsoft-liftedbythewinnowingwind;

Oronahalf-reap‘dfurrowsoundasleep,

Drows’dwiththefumeofpoppies,whilethyhook

Sparesthenextswathandallitstwinedflowers:

Andsometimeslikeagleanerthoudostkeep

Steadythyladenheadacrossabrook;

Orbyacyder-press,withpatientlook,

Thouwatchestthelastoozingshoursbyhours.誰不經(jīng)?？匆娔惆橹葌}？/在田野里也可以把你找到，你有時隨意坐在打谷場上，/讓發(fā)絲隨著簸谷的風(fēng)輕飄；有時候，為罌粟花香所沉迷，/你倒臥在收割一半的田垅，讓鐮刀歇在下一畦的花旁；/或者，像拾穗人越過小溪，你昂首背著谷袋，投下倒影，/你耐心瞧著徐徐滴下的酒漿?；蛘呔驮谡ス芟伦鴰c鐘。

WherearethesongsofSpring?Ay,wherearethey?

Thinknotofthem,thouhastthymusictoo,

Whilebarredcloudsbloomthesoft-dyingday,

Andtouchthestubble-plainswithrosyhue;Theninawailfulchoirthesmallgnatsmourn

Amongtheriverswallows,bornealoft

Orsinkingasthelightwindlivesordies;

Andfull-grownlambsloudbleatfromhillybourn;

Hedge-cricketssing;andnowwithtreblesoftThered-breastwhistlesfromagarden-croft;

Andgatheringswallowstwitterintheskies.呵，春日的歌哪里去了？但不要/—想這些吧，你也有你的音樂——當波狀的云把將逝的一天映照，/以胭紅抹上殘梗散碎的田野這時呵，河柳下的一群小飛蟲/就同奏哀音，它們忽而飛高，忽而下落，隨著微風(fēng)的起滅；/籬下的蟋蟀在歌唱；在園中紅胸的知更鳥就群起呼哨；/而群羊在山圈里高聲咩叫；叢飛的燕子在天空呢喃不歇。

AppreciatingPoetryWhenyouareas