維多利亞時(shí)代簡(jiǎn)介 (權(quán)威英文版)

維多利亞時(shí)代簡(jiǎn)介(權(quán)威英文版)EnglishLiteratureintheVictorianPeriodQueenVictoriaEnglishLiteratureintheVictorianPeriodVictoria:1819-1901QueenVictoriatookthronein1837(at18)Longreign,diedin1901(at82)andbecameoneofthemostpowerfulandsuccessfulrulersinEnglishhistory.Her63-yearreignwasthelongestinBritishhistory.GreatBritainreachedtheheightofitspowerduringthisperiod.

EnglandbecamewealthiestnationAsaresult,thetimeofVictoria’sreign

isoftencalledtheVictorianAge.Victoria’sachievementDuringtheVictoriaAge,greateconomic,social,andpoliticalchangesoccurredinBritain.Economically:Britainwentthroughaperiodofrapidindustrializationandenjoyedtremendousindustrialexpansionathome.Railroadsandlandscrisscrossedthecountry.Scienceandtechnologymadegreatadvances.Politically:ItbuiltagreatcolonialempireandtheBritishEmpirereachesitsheightandcoveredaboutthefourthoftheworld’sland.“ThesunneversetsonEngland.”Queen-empressover200millionpeoplelivingoutsideGreatBritainIndia,NorthAmerica,SouthPacific,etc.Socially:Thesizeofthemiddle-classgrewenormously.Btthe1850s,moreandmorepeopleweregettingeducation.Thegovernmentintroduceddemocraticreforms.Forexle,anincreasingnumberofpeoplereceivedtherighttovote.ProblemsInspiteoftheprosperityoftheVictorianAge,factoryworkersandfarmworkerslivedinterriblepoverty.Richpeoplelivedonpoorpeoplewiththecoverofreligion.Englandwastwonations,onerichandonepoor.Newscientifictheoriesseemedtochallengemanyreligiousbeliefs.ThemostcontroversialtheoryappearedintheOriginofSpecies(1859)bythebiologistCharlesDarwinledmanypeoplefeelthattraditionalvaluescouldnolongerguidetheirlives.Writersalsoanalyzedthelossoffaithintraditionalvalues.CriticalRealismArealisticpresentationofthesufferingsoftheworkingclass,tothecriticismofEnglishinstitutions,andtotheeducationofthemasses.FeaturesofCriticalRealism1.Todisclosethegreedandhypocrisyoftheupperclassesandshowprofoundsympathyforthecommonpeople2.TheuseofhumorandsatireintheEnglishrealisticnovelsof19thcentury.3.Stronglycriticalofthesocialrealityofthetimebutneverhadthethoughtofoverthrowingtheexistingsocialoverthattheycouldestablishanewone.4.oftenhavehappyendingoranimportantcompromisetocurrentsociety5.Sofarastheliteraryformorgenreisconcerned,themajorcontributionmadebythe19thcenturycriticalrealistsliesintheirperfectionofthenovel.TheVictorianNovelThenovelwasthedominantforminVictorianliterature.Victoriannovelsarerealistic.ThewritersinVictorianAgecriticizedthecourts,theclergy,andtheneglectofthepoor.CharlesDickens’OliverTwist,WilliamThackery’sVanityFairthethreeBronteSisters---JaneEyre,allthesewritersattackedthegreedandhypocrisytheysawinsociety,discusstherelationshipbetweensocietyandtheindividual.

ImagesoftheVictorianPeriodMajorNovelistsofthePeriodCharlesDickensOliverTwistGreatExpectationsEmilyBronteWutheringHeightsCharlotteBronteJaneEyreThomasHardyTessoftheD’Uberville’sGeorgeEliot(MaryAnnEvans)SilasMarnerMiddlemarchVictorianPoetryAlwaysseemsinferiorwhencomparedtoRomanticismDevelopnewwaystotellstories—e.g.dramaticmonologueDonotshareRomantics’confidenceintheimaginationEmphasisonvisualimageryandsoundMajorPoetsofthePeriodLordAlfredTennysonRobertBrowningdramaticmonologueElizabethBarretBrowningThomasHardyVictorianPoetryDramaticmonologue–theideaofcreatingalyricpoeminthevoiceofaspeakerironicallydistinctfromthepoetisthegreatachievementofVictorianpoetry.VictorianDramaThetheaterwasaflourishingandpopularinstitutionduringtheVictorianperiod.Thepopularityoftheaterinfluencedothergenres.BernardShawandOscarWildetransformedBritishtheaterwiththeircomicmasterpieces.OtherWriter’softhePeriodBernardShawPygmalionMrs.Warren’sProfessionMajorBarbaraCharlesDarwinTheOriginoftheSpeciesNaturalselectionSurvivalofthefittestCharlesDarwin(達(dá)爾文）CharlesDickens

(1812-1870)CharlesDickensPickwickPapers(1836-7)《匹克威克外傳》OliverTwist(1837-1838)《奧利佛.退斯特》TheOldCuriosityShop(1841)《老古玩店》DombeyandSon:(1846_48)《董貝父子》DavidCopperfield:(1849-50)《大衛(wèi)*科波菲爾》BleakHouse(1854)《荒涼山莊》HardTimes(1854)《艱難時(shí)世》

LittleDorrit(1855-57)《小杜麗》

ATaleOfTwoCities(1859)《雙城記》

GreatExpectations(1860_61)

《遠(yuǎn)大前程》

CharlotteBront?(1816-1855)Emily(Jane)Bront?(1818-1848)AnneBront?(1820-1849)Bront?SistersCharlotte,1816-1855Emily,1818-1848Anne,1820-1849CharlotteBront?Bront?SistersEmilyAnneBront?SistersCharlotteBronteBornofIrishancestryin1816LivedatHaworth,aparsonageMotherdiedofcancerwhenCharlottewas5yearsold.TheBrontesistersCharlottehad4sistersand1brother.WhileattheClergyDaughter’sSchool,her2oldersisters(Maria&Elizabeth)diedoftuberculosisCharlotte’sfamilycon.’tTheClergyDaughter’sSchoolatCowanBridgebecamethemodelforLowood,thefictitiousgirls’schoolinJaneEyre.AnneandEmilyBrontewerealsosuccessfulwriters.Charlotte’sbrother,Branwell,wasagiftedpainter.MoreonCharlotte’sFamilyIn1846,Charlotte&hersistersstartedpublishingpoemsandbeganwritingnovels:TheProfessorwasCharlotte’sattempttofictionalizeherloveforacollegeprofessorshehadmetatBrussels.In1847WutheringHeightswassisterEmily’sfirstsuccess.CharlottefollowedwithJaneEyre.All3BronteSisters…UsedamasculinepennamebecausewomenwriterswerenottakenseriouslyatthattimeinVictorianEngland.CharlotteusedthenameCurrerBell.MarriageBellsIn1854Shemarriesherfather'scurate,ArthurBellNichols.Thenextyear,shebecamepregnant,thenill.

Shediedamonthbeforeher39thbirthdayHometown:HaworthHaworthstreet博物館的標(biāo)志“BronteParsonageMuseum”三姐妹的故鄉(xiāng)HaworthHaworth博物館的花園中三姊妹的雕像。三姐妹的故鄉(xiāng)HaworthParishChurch教區(qū)教堂的墓地。Bronte的父親就在此教堂任職。

三姐妹的故鄉(xiāng)HaworthBront?sisters’novelsCharlotte:JaneEyre(1847,byCurrerBell)Shirley(1849,byCurrerBell,《雪莉》)Villette(1853，《維萊特》)TheProfessor:ATale(1857,herfirstwrittenbutlastpublished，《男教師》)Emily:WutheringHeights(1847)Anne:AgnesGrey(1847)TheTenantofWildfellHall(1848，《懷德菲爾莊園的房客》)夏洛蒂的主要作品簡(jiǎn)·愛JaneEyre(1847)雪利Shirley(1844)維萊特Villette(1853)教授TheProfessor(1855)CharlotteBront?’s

JaneEyre《簡(jiǎn)·愛》JaneEyreJaneEyre’sdevelopmentTherearefivedistinctstagesofdevelopment,eachlinkedtoaparticularplace:Jane’schildhoodatGateshead,hereducationattheLowood

School,hertimeasAdele’sgovernessatThornfield,hertimewiththeRiversfamilyatMoorHouse,andherreunionwithandmarriagetoRochesteratFerndean.《簡(jiǎn)·愛》EducationClergyDaughter’sSchool,CowanBridgeRoeHeadSchoolLowoodSchoolinJaneEyreJaneEyreasAutobiographyJaneEyre(1)Janeisanorphanwhogrowsuplonelywithoutnobodycaringforher.Janeisasmall,plainandpoorgovernessofVictorianerainsteadoftherich,gentle,frail,modestandvirtuousbeautiesoftheconventionalheroine.Janeonlyhasanintensefeeling,areadysympathyandastrongsenseofequalityandindependence.JaneEyre(2)Mostimportantly,Janedarestolovehermasterandmarrieshimopenlyindefianceofthesocialconventionandprejudices.ItmakesherasanentirelynewwomanintheeraofVictorian.Janeisaspiritedandintelligentwomantoacceptherappointedplaceinsocietywithunusualfranknessandwithapassionatesenseofthedignityandneedsofhersex.ConflictsandstrugglesinJaneEyreTheouterconflictsbetweenJaneandothers:Appearance,status,wealth,educationandsoonTheinnerstrugglesinJane:ReasonandemotionRealityandimaginationHerdependentpositionandherdesireforindependenceHeractualinferiorityandspiritualsuperiorityIgrievetoleaveThornfield:

IloveThornfield:Iloveit,becauseIhavelivedinitafullanddelightfullife,momentarilyatleast.Ihavenotbeentrledon.

Ihavenotbeenpetrified.Ihavenotbeenburiedwithinferiorminds,andexcludedfromeveryglimpseofcommunionwithwhatisbrightandenergeticandhigh.

Ihavetalked,facetoface,withwhatIreverence,withwhatIdelightin,withanoriginal,avigorous,anexpandedmind.

Ihaveknownyou,Mr.Rochester;anditstrikesmewithterrorandanguishtofeelIabsolutelymustbetornfromyouforever.

Iseethenecessityofdeparture;anditislikelookingonthenecessityofdeath."“要離開桑菲爾德，我感到憂傷，因?yàn)槲覑凵７茽柕?；我愛它，因?yàn)槲以谶@里過了一段充實(shí)而愉快的生活，盡管是短暫的。我沒有被人踩在腳下。我沒有被嚇倒。我沒有跟一些頭腦遲鈍的人一起遭到埋沒，而且沒有被排斥在同聰明、能干和崇高的人交往的圈子之外。我曾經(jīng)面對(duì)面地與我所敬重所喜愛的人，與一個(gè)有獨(dú)到見解、充滿活力而開朗的心靈促膝談心。我已經(jīng)對(duì)您有所了解，羅切斯特先生，要我非得從您這里永遠(yuǎn)走開，我感到恐懼和痛苦。我看到我非走不可，就仿佛看到我非死不可一樣?！薄?3章，戴侃譯?！甀tellyouImustgo!’Iretorted,rousedtosomethinglikepassion.‘DoyouthinkIcanstaytobecomenothingtoyou?DoyouthinkIamanautomaton?-amachinewithoutfeelings?andcanbeartohavemymorselofbreadsnatchedfrommylips,andmydropoflivingwaterdashedfrommycup?Doyouthink,becauseIampoor,obscure,plain,andlittle,Iamsoullessandheartless?Youthinkwrong!——Ihaveasmuchsoulasyou-andfullasmuchheart!AndifGodhadgiftedmewithsomebeautyandmuchwealth,Ishouldhavemadeitashardforyoutoleaveme,asitisnowformetoleaveyou.Iamnottalkingtoyounowthroughthemediumofcustom,conventionalities,norevenofmortalflesh:itismyspritthataddressesyourspirit;justasifbothhadpassedthroughthegrave,andwestoodatGod’sfeet,equal----asweare!’“我告訴您我一定要走，”我有些惱火地反駁說?！澳詾槲夷芰粝聛碜鲆粋€(gè)對(duì)您毫無意思的人嗎？您以為我只是臺(tái)自動(dòng)機(jī)器，一臺(tái)沒有感情的機(jī)器嗎？您以為我能容忍別人把我那一小口面包從嘴里搶走，把我那一滴賴以活命的水從杯子里潑掉嗎？您以為我既然又窮又賤，長(zhǎng)得又不美，個(gè)子又小，我就沒有靈魂，沒有心肝了嗎？您想錯(cuò)了！我的靈魂跟您的一樣高尚，心也跟您的一樣充實(shí)！要是上帝能賜給我一點(diǎn)美和許多的財(cái)富，我也會(huì)讓您難以離開我，就像我現(xiàn)在難以離開您一樣。我現(xiàn)在并不是從世俗習(xí)慣、甚至也不是從凡人的軀體出發(fā)對(duì)您講這番話，這是我的靈魂在跟您的靈魂對(duì)話，仿佛我們倆穿過了墳?zāi)?，一起站在上帝的腳下。彼此平等——因?yàn)槲覀兙褪瞧降鹊难?！”?jiǎn)·愛

JaneEyre(1847)JaneEyreMr.RochesterThecentertheme:womenshouldhaveequalrightswithman.Theproblemoforphan;Theproblemofthebourgeoissystemofeducation;Thepositionofwomaninsociety.Charlotte’sfeaturesofhernovels1.presentsavividrealisticpictureoftheEnglishsociety.2.showsasintenseloveforthebeautyofnature.3.GreatlyinfluencedbyByronandScott,hernovelsareallaboutlonelyandneglectedyoungwomenwithafiercelongingforlifeandlove.4.Charlotteisexceptionallygoodatlandscapepaintingandpresentationofatmospheresofmystery,horrorandprophesy.5.Charlotteisknownasagreatimpressionisticverbalpainter.呼嘯山莊(WutheringHeights,1847)Heathcliff-IsabellaCatherine–EdgarLintonHindleyHareton(Hindley’sson)Cathy(Catherine’sdaughter)WutheringHeights呼嘯山莊所描述的“Moor”荒原

WutheringHeightsItisoneofthemostintensenovelswrittenintheEnglishlanguage.Itisastoryofdoomedloveandrevenge.TheprotagonistsarecharacterizedasfiguresofviolentemotionsandtypicalYorkshirecharacters.TheGothictraditionandtranscendingincludingitssophisticatedobservationandartisticsubtlety.ThegothicnovelTheGothicnovelisaliterarygenre,inwhichtheprominentfeaturesaremystery,doom,decay,oldbuildingswithghostsinthem,madness,hereditarycursesandsoon.Featuresofthisnovel1.Thereisthecombinationofextremelysimplelanguagewiththemostmightyandintensifiedeffects.2.Itsconfusingnarrativeformsandnarrators.Thefirstpersonandthethirdperson.3.Theapparentabsenceofsocialmortality.Narratorornarrators?Lockwood,anewcomertothelocaleofWutheringHeights,narratestheentirenovelasanentryinhisdiary.ThestorythatLockwoodrecordsistoldtohimbyNelly,aservant,andLockwoodwritesmostofthenarrativeinhervoice,describinghowshetoldittohim.SomepartsofNelly’sstoryarenarratedbyothercharacters.Somequestions1.What’sthemeaningof“intense”?2.Whatmakeslovedoomed?3.Whatdoyouthinktherevengeinthisnovel?4.What’sthepointofthe“moors”?5.Whydoestheauthormention“ghosts”sometimes?6.What’sthethemeofthisnovel?moorsThelandscapeinthenoveliscomprisedprimarilyofmoors:wide,wildexpanses,highbutsomewhatsoggy,andthusinfertile.Themoorsserveverywellassymbolsofthewildthreatposedbynature.AsthesettingforthebeginningsofCatherineandHeathcliff’sbond(thetwoplayonthemoorsduringchildhood),themoorlandtransfersitssymbolicassociationsontotheloveaffair.ghostsGhostsappearthroughoutWutheringHeights,astheydoinmostotherworksofGothicfiction,yetBront?alwayspresentstheminsuchawaythatwhethertheyreallyexistremainsambiguous.Thustheworldofthenovelcanalwaysbeinterpretedasarealisticone.Certainghosts—suchasCatherine’sspiritwhenitappearstoLockwoodinChapterIII—maybeexplainedasnightm