I. Old English Literature & The Late Medieval Ages
Epic: long narrative poems that record the adventures or heroic deeds of a hero enacted in vast landscapes. The style of epic is grand and elevated. e.g. Homer?s Iliad and Odyssey
Artistic features:
https://www.doczj.com/doc/9c4459789.html,ing alliteration
Definition of alliteration: a rhetorical device, meaning some words in a sentence begin with the same consonant sound（头韵）Some examples on P5
https://www.doczj.com/doc/9c4459789.html,ing metaphor and understatement
Definition of understatement: expressing something in a controlled way Understatement is a typical way for Englishmen to express their ideas
Geoffery Chaucer 杰弗里?乔叟1340(?)~1400
(首创“双韵体”，英国文学史上首先用伦敦方言写作。约翰·德莱顿（John Dryden）称其为“英国诗歌之父”。代表作《坎特伯雷故事集》。)
The father of English poetry. writing style: wisdom, humor, humanity.
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Medieval Ages’ popular Literary form: Romance(传奇故事)
Famous three：King Arthur Sir Gawain and the Green Knight Beowulf
II The Renaissance Period文艺复兴
A period of drama and poetry. The Elizabethan drama is the real mainstream of the English Renaissance. Renaissance: the activity, spirit, or time of the great revival of art, literature, and learning in Europe beginning in the 14th century and extending to the 17th century, marking the transition from the medieval to the modern world.英国16th 开始
Three historical events of the Renaissance – rebirth or revival:
1.new discoveries in geography and astrology
2.the religious reformation and economic expansion
3.rediscovery of ancient Roman and Greek culture
The most famous dramatists: Christopher Marlowe William Shakespeare Ben Johnson.
1.Edmund Spenser埃德蒙?斯宾塞1552~1599
（后人称之为“诗人的诗人”。）The poets? poet.The first to be buried in the Poet?s corner of Westerminster Abbey
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The theme is not “Arms and the man”, but something more romantic “Fierce wars and faithfull loves”. Artistic features:
https://www.doczj.com/doc/9c4459789.html,ing Spenserian Stanza
Definition of Spenserian Stanza:a stanza of nine lines ababbcbcc. Eight lines in iambic pentameter, and last line in iambic hexameter.
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2. Thomas More托马斯?莫尔1478~1535 One of the greatest English humanists ①
3. Francis Bacon弗兰西斯?培根1561~1626
（哲学家、散文家；在论述探究知识的著作中提出了知识就是力量这一著名论断；近代唯物主义哲学的奠基人和近代实验科学的先驱。）
Philosopher, scientist, lay the foundation for modern science. The first English essayist.
Writing style:brevity, compactness&powerfulness, well-arranging and enriching by Biblical allusions, metaphors and philosophy to man?s reason.
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The theme of Of Studies: uses and benefits of study and different ways adopted by different people to pursue studies.
4. Ben Jonson ①
5. Christopher Marlowe柯里斯托弗?马洛1564~1595
“University Wits”, the pioneer of English drama （完善了无韵体诗。）
Blank verse: written in unrhymed iambic pentameter.
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6. William Shakespeare威廉?莎士比亚1564~1616
①Historical plays:Henry VI ; Henry IV : Richard III ; Henry V ；Richard II；Henry VIII
②Four Comedies:
③Four Tragedies:
④Shakespeare Sonnet :154
A sonnet is a lyric consisting of 14 lines, usually in iambic pentameter restricted to a definition rhyme scheme. III The 17th Century
1. John Milton约翰?弥尔顿1608~1674（诗人、政论家;失明后写《失乐园》、《复乐园》、《力士参孙》。）
①Epics:
②Dramatic poem: < Samson Agonistes>力士参孙
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This sonnet is written in iambic pentameter rhymed in abba abba cde cde, typical of Italian sonnet.
Its theme is that people use their talent for God, and they serve him best sho can endure the suffering best.
2. John Bunyan约翰?班扬1628~1688
（代表作《天路历程》，宗教寓言，被誉为“具有永恒意义的百科全书”，是英国文学史上里程碑式著作。与但丁的《神曲》、奥古斯丁的《忏悔录》并列为世界三大宗教题材文学杰作。）
Puritan poet(清教徒派诗人) ①Religionary Allegory:
3. John Donne t he Metaphysical poet(玄学派诗人).herbert，marvell
Metaphysical Poetry(玄学诗)：（用语）the diction is simple, the imagery is from the actual, (形式)the form is frequently an argument with the poet’s beloved, with god, or with himself.（主题：love, religious, thought）Artistic features:
1.conceits or imagery奇思妙喻
2. syllogism三段论
① Meditations 沉思录The Flea 虱子② Songs And Sonnets Holy Sonnets
③Valediction:
IV The 18th Century
A revival of interest in the old classical works, order, logic, restrained emotion(抑制情感) and accuracy
The Age of Enlightenment/Reason:the movement was a furtherance of the Renaissance of the 15th and 16th centries, a progressive intellectual movement, reason(rationality), equality&science(the 18th century) universal education
小说崛起：In the mid-century, the newly literary form, modern English novel rised(realistic novel现实主义小说)
Gothic novel(哥特式小说)：mystery, horror, castles(from middle part to the end of century)
1. Alexander Pope亚历山大?蒲柏1688~1744
（18世纪英国最伟大的诗人，其诗多用“英雄双韵体”/ “ heroic couplets”。词句工整、精练、富有哲理性。）One of the first to introduce rationalism to England.
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2. Samuel Johnson塞缪尔?约翰逊1709~1784①Dictionary 英语大词
3. Jonathan Swift乔纳森?斯威夫特1667~1745（十八世纪杰出的政论家和讽刺小说家a master satirist。）
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Four parts:
Lilliput 小人国Brobdingnag 大人国Flying Island 飞岛Houyhnhnm 马岛
4. Daniel Defoe丹尼尔?笛福1660~1731
（小说家，新闻记者，小册子作者；十八世纪英国现实主义小说的奠基人。）
He is the first writer study of the lower-class people,hislanguage is smooth, easy, colloquial and mostly vernacular, and he is the founder of realistic novel.
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It praise the fortitude of the human labor and the Puritan.
Robinson grew from a naive and artless youth into a shrewd and hardened man,tempered by numerous trials in his eventful life.
It is an adventure story, Robinson, narrates how he goes to sea, gets shipwrecked and marooned on a lonely island, struggles to live for 24-years there and finally gets relieved and returns to England.
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5. Henry Fielding亨利?菲尔丁1707~1754（英国小说家，戏剧家，被誉为“英国小说之父”。）
He is called “Father of English novel”. He was the first to write a “Comic epic in prose”(散文体史诗), and the first to give the modern novel its structure and style.
① novels
② plays:
6. Oliver Goldsmith奥利弗?格尔德斯密斯1730~1774
①poems
② novel:
7. Richard Brinsley Sheridan理查德?布林斯利?施莱登1751~1816
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8. William Blake威廉?布莱克1757~1827
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A word of misery, poverty, disease, war and repression with a melancholy tone from men eyes. Include:
Lamb is a symbol of peace and purity. Tyger is a symbol of dread and oiolence
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9.Robert Burns罗伯特?彭斯1759~1796 The greatest Scottish poet in the late 18th century.
Poems Chiefly in the Scottish Dialect主要用苏格兰方言写的诗
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V The Romantic Period
The romantic period began in 1798 the publication of Wordsworth and Coleridge’s
Romanticism:It emphasize the specialqualitie of each individual?s mind.(人应该是独立自由的个体) In it, emotion over reason, spontaneous emotion, a change from the outer world of social civilization to the inner world of the human spirit, poetry should be free from all rules, imagination, nature, commonplace.
Two major novelists of the Romantic period are Jane Austen (realistic) and Walter Scott (romantic).
“The Lake Poets”湖畔诗人，who lived in the lake district.
William Wordsworth; Samuel Taylor Coleridge; Robert Southey
1. William Wordsworth威廉?华兹华斯1770~1850（与柯尔律治、骚塞同被称为“湖畔派”诗人.The Lake Poets）
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Theme:1.Nature embodies human beings in their diverse circumstance. It is nature that give him “strength and knowledge fullof peace”
2.It is bliss to recolled the beauty of nature in poet mind while he is in solitude.
Comment:The poet is very cheerful with recalling the beautiful sights. In the poem on the beauty of nature, the reader is presented a vivid picture of lively and lovely daffodils(水仙) and poet?s philosophical ideas and mystical thoughts.
③Lines Composed A Few Miles Above Tintern Abbey④The Solitary Reaper孤独的割麦女
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2. Samuel Taylor Coleridge塞缪尔?泰勒?科尔律治1772~1834
The Lake Poets ①
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Artistic features: mysticism, demonism with strong imagination, a strange territory
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3. George Gordon Byron乔治?戈登?拜伦1788~1824
（拜伦式英雄Byronic heroes孤傲、狂热、浪漫，却充满了反抗精神。内心充满了孤独与苦闷，却又蔑视群小。恰尔德·哈罗德是拜伦诗歌中第一个“拜伦式英雄”。）
“Byronic hero”is a proud, mysterious rebel figure of noble origin, against tyrannical rules or moral principles.
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4. Persy Bysshe Shelley波西?比希?雪莱1792~1822
①Poetic Drama：
Theme: the drama celebraies man?s victory over tyranny and oppression
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③Lyrics:
Theme: The author express his eagerness to enjoy the boundless freedom from the reality. Compare the west wind to destroyer of the old who drives the last signs of life from the trees, and preserver of the new who scatter the seads shich sill come to life in the spring. This is a poem about renewal, about the wind blowing life back into dead things, implying not just an arc of life (which would end at death) but a cycle, which only starts again when something dies.
Comment: Percy Bysshe Shelley's "Ode to the West Wind" is written in iambic pentameter. It contains five sonnet length stanzas, each with a closing couplet. The rhyming scheme form is aba bcb cdc ded ee. The tone is poignant. Many will agree that this poem is an invocation for an unseen force to take control and revive life.
Artistic features: Using rerza rima(三行诗aba bcb cdc ded efe …)
5. John Keats约翰?济慈1795~1821(“美即是真，真即是美”是他的著名诗句。)
①Four great odes:
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Theme: The theme of John Keats' poem, "To Autumn", is that change is both natural and beautiful. The poem praises the glories of the fall season by using almost every type of imagery to both charm and appeal to the reader.
Comment: The speaker in the poem acknowledges that time passes by, but also asserts that this change usually yields something new and better than what came before. Each of the poem's three stanzas represents the evolving of two different types of change. One type of change shown in the poem is the change of periods in a day.
6. Jane Austen简?奥斯丁1775~1817
She compared her works to a fine engraving upon a literary piece of ivory only inches squire.
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【Elizabeth Bennet & Darcy】in the end false pride is humbled and prejudice dissolved
【Collins & Charlotte Lucas】see the reality of marriage as a necessary step if a woman is to avoid the wretchedness of aging spinsterhood
【Lydia & Wickham】shown the dangers of feckless relationships unsupported by money.
【Mr.&Mrs. Bennet, Mr. Collins, Lady Catherine de Burgh】comic characters
7. Walter Scott沃尔特?斯科特1771~1832 (历史小说之父”)Father of history novels
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VI The Victorian Period
Common sense and moral propreity, again became the predominant preoccupation. Critical realists were all concerned about the fate of the common people and everyday events.
1. Charles Dickens查尔斯?狄更斯1812~1870 （批判现实主义小说家）critical realist writer
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2. William Makepeace Thackeray威廉?麦克匹斯?萨克雷1811~1863
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3. Charlotte Bronte夏洛蒂?勃朗特1816~1855 ①
Jane Eyre, a plain little orphan, was sent to Lowood, a charity school. There she suffer a lot and 8 years later she left school and became a boverness at Thornfield Hall. There she falls in love with the master,Mr. Rochester.It is noted for its sharp criticism of the existing society, e.g. charity institution such as Lowood SchoolIt is a successful introduction to the first governess heoine in the English novel, whom represents those middle-class working women struggling for recognition of their basic rights and equality as a human being.
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4. Emily Bronte艾米莉?勃朗特1818~1854① < Wuthering Heights>呼啸山庄② < Old Stoic>
A story about two familie and an intruding stranger.
【TheEarnshaw Family】Mr. Earnshaw, his wife, the son Hindley, the daughter Catherine, Heathcliff
【The Linton Family】Mr.Linton, his wife, son Edgar, daughter Isabella
5. George Eliot乔治?艾略特1819~1880
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③ < Silas Marner>织工马南④ < Middlemarch>米德尔马契
6. Alfred Tennyson阿尔弗莱德?丁尼生1809~1892（维多利亚时代最具代表性的伟大诗人）
Poet Laureate （桂冠诗人）① < In Memoriam>悼念To memorialize his friend
② < Break, Break, Break>冲击、冲击、冲击③ < Idylls of the King>国王叙事诗
7. Robert Browning罗伯特?白朗宁1812~1889
① < My Last Dutchess>我已故的公爵夫人②
Elizabeth Barrett Browing: ①
8. Robert Louis Stevenson①
9. Thomas Hardy托马斯?哈代1840~1928
（小说多以农村生活为背景；自然主义小说家。Wessex novels; novels of character and environment）?Novels ①
? Poems Wessex Poems And Other Verses Poems Of The Past And PresentThe Dynasts 列国
1.Which of the following is not the feature of Romanticism__ D) to follow the Classics
2.Marlowe and some other dramatists as Shakespeare?s contemporaries are called “University Wits”
3.“To be, or not to be: that is the question: …” is a D) dramatic monologue in Hamlet.
4.Shylock?s profession is a ____ D) money-lender _______ in “ The Merchant of Venice.”
5.Bacon is regarded as ___ the father of English essays ______.
6.Th e word “renaissance” means __ B) revival _________.
7.The typical figurative device applied by Metaphysical poets is __ D) conceit _______.
8.The prevailing form of medieval English literature is the __ C) romance ___________.
9.John Bunyan?s masterpiece is ___C) The Pilgrim?s Progress ________.
10.The Age of Enlightenment in England is the period of ___ C) 18th century _________.
11.“Gothic novel” is the term arising from __horror story in medieval times _____.
15. A) ballads are anonymous narrative songs that have been preserved by oral transmission.
16 .“The Tatler” and “The Spectator” ar e the two magazines started by A) Addison and Steele.
17The History of Tom Jones, a Foundling” is written by ___ D) Henry Fielding ______.
18T he term “elegy” means ___ a poem or song expressing sorrow, esp for the dead ______.
19 “Elegy Written in a Country Churchyard” is the masterpiece written by _________.
A) John Donne B) John Keats C) Thomas Gray D) William Blake
20T he word “epitaph” means words written about a de ad person, esp words inscribed on a tombstone
21.The theme of the poem “My Heart?s in the Highlands” is __ A) patriotism __________.
22.“Lake Poets” include __ C)Wordsworth, Coleridge, Southey _______.
23.“Lucy Poems” are written by __ D) Wordsworth _______.
24.B yron created a “Byronic hero” in his ____Childe Harold Pilgrimage ___.
25.The keynote of the Renaissance is ___ A. humanism _________.
29.“It is a truth universally acknowledged that a single man in positionof good fortune must be in
want of a wife.” This sentence is quoted fromfrom Jane Austen?s ____D) Pride and Prejudice
30. “Tales from Shakespeare” is written by ______ B) Charles Lamb and Mary Lamb _____-.
31 The greatest English realist of the Victorian Age is _____ D) Dickens ___.
32. Most of Dickens? novels have a ____ A) reunion ending ___.
33. The subtitle of the novel “Vanity Fair” is ___ D)Novel without a Hero ___________.
34. Who is the author of Jane Eyre. C) Charlotte Bronte
36.Tennyson?s poem “In Memoriam” was written in memory of ____A) a late friend _____.
37. ____ B) Soliloquy _____ is a natural means of writing in revealing the prince' s inner conflict
and psychological predicament in Shakespeare' s Hamlet.
38. Jonathan Swift showed his strong sarcasm to the rich in his __ D) A Modest Proposal
39. Christian is the most allegorical name in ___ B) John Bunyan's The Pilgrim' s Progress
40. __A) Bitter satire___is a typical feature of Swift?s writings.
41. The literary principle which governs the novel writing in 19th century is B) Social Realism.
42. Who is not the poet who belongs to the School of Neo-classicism in England? D) Oliver Goldsmith
43. Metaphysical Poetry was initiated by John Donne and it thrived in__ B) Late Renaissance
44. The Satanic School in Romantic Age refers to__ A) Shelley and Byron ___.
46. The avenger in the novel Wuthering Heights is named as____ C) Heathcliff ____.
47. Which kind of Figure of Speech is used in the verse "My love is like a red rose"? A) Simile
48. Virginia Woolf uses___ A) Streams of consciousness _literary technique in her novel Mrs Dallaway and The Mark on the Wall to express the chaos and fragmentation of inner world.
49. __ C) Epic_____is a lengthy narrative poem, ordinarily concerning a serious subject containing details of heroic deeds and events significant to a culture or nation.
50. In literature, __A) elegy _____is a mournful, melancholic or plaintive poem, especially a
funeral song or a lament for the dead.
Mr. Bennet
He's suffering consequences. He made the life-changing mistake of marrying someone just because she was cute and flirty, and all it got him was a "discontented" and ridiculous wife and five daughters.
He doesn't start drinking or buying expensive cars—the narrator tells us that, which is a fancy way of saying that he doesn't become an alcoholic. Instead, he seeks comfort in being a sarcastic jerk: Basically, he gets his kicks making fun of his silly wife.
Funny Man
Still, though not a great husband or a really responsible dad, we think he's hysterical. Mr. Bennet is sarcastic, witty, and insightful. The man is frequently a bemused spectator in the midst of unpleasant situations—namely, his marriage—but he always has some pithy comment or observation to voice. Let's look at a couple:
Okay, pause. We have to try and make one last stand in defense of Mr. Bennet. Though he can be pretty obnoxious with his younger daughters, he does care for Elizabeth. He warns Elizabeth against marrying someone she doesn't care for or respect, saying that " Guess he doesn't want his daughter to repeat his big mistake.
Mrs. Bennet
You think your mother's embarrassing? She's got nothing on Mrs. Bennet. Mrs. Bennet is a small-minded, vulgar woman with no tact—and we mean none.
Mrs. Bennet is mainly comic relief, and is a pretty savage caricature. She has no
self-awareness, she's kind of dumb, she's all surface and no substance, and she's fixated on getting her daughters married without any concern about their future lives. (Elizabeth and Mr. Collins? That would have been a recipe for misery!)
Single Ladies
Think about it. She got married before she was ready to a man who doesn't respect or love her, and who actually spends most of his time amusing himself by making fun of her: Now she has to run a fairly complex household despite the fact that she's a woman of. She has a totally unhelpful, passive husband, who has failed to put any money aside as savings for his daughters, even though he knows full well that he can't leave the house or estate to them. At the same time, she has five daughters who are too high-status to have jobs but will be too poor to be able to support themselves.
No wonder that all she thinks about is when the next eligible bachelor is coming from.
Say what you will about Mrs. Bennet (and Austen says a lot), she does seem to understand how guys work. Note the little throwaway line where we learn that she "always kept a very good table" (53.60), meaning that she serves good food. And we all know the way to a man's heart.
Charlotte Lucas
Charlotte is Elizabeth Bennet's best friend. She's introduced as a "sensible, intelligent young woman, about twenty-seven" (5.2). And right away, we feel sorry for her, because a single woman past 25 who is neither particularly pretty nor particularly rich is on the fast track to spinsterhood.
On the surface, Charlotte's story looks like a disaster. Her super-practical, almost robotically logical approach to marriage leads her into a match that would make most of us feel pretty happy about being 27 and single. But not Charlotte. She wants to get out of her parents' house, and she's not getting any younger, so she hooks up with the gross Mr. Collins, knowing that he is probably her last chance to be the mistress of her own house:
Take My Advice
Charlotte also gives us a counterpoint to Jane's approach to marriage. Where Jane is quiet and shy, Charlotte, on the other hand, has no problem making it clear immediately to Mr. Collins that she's up for it if he is: she sets out specifically to "secure [Lizzy] from any return of Mr. Collins's addresses, by engaging them towards herself" (22.1).
That's not all! We have even a third idea about what Charlotte's point in the novel is—she is another lesson in empathy for Elizabeth. Check out how horrified Elizabeth first is when Charlotte tells her she's going to marry Mr. Collins. Seriously, she almost throws up a little in her mouth. But Charlotte lays it out for her:
Elizabeth Bennet
Funny Girl
When we meet Lizzy Bennet, she seems awesome: smart, funny, pretty, and loyal.
On the one hand, she's joking by making herself seem like a gold-digger who loves Darcy's estate and money, and not him. On the other hand—it's kind of true. She did have a change of heart at Pemberley. Lizzy's constant joking makes her character a little hard to read, like that friend who can never tell you straight up how she feels. Learning to be straightforward with Darcy (and herself) is one of the many changes she undergoes.
Her Eyes Were Watching You
Elizabeth also prides herself on being a good judge of character. (This from a girl who's twenty years old, mind you.) And she is good at reading situations. When she watches Mr. Collins sidle up to Mr. Darcy, she can tell how it's going even from across the room:
The Change
After Lizzy reads the letter in which Darcy explains the Wickham situation, she spends a lot of time berating herself for her actions:
She grew absolutely ashamed of herself. Of neither Darcy nor Wickham could she think without feeling she had been blind, partial, prejudiced, absurd.
True Romantic
And now let's settle something. Jane Austen has a reputation for writing romances, right? And Lizzy is one of her heroines, so she must be romantic.
First, she certainly doesn't believe that it should just be a matter of "worldly advantage" (22.18). At the same time, she's not about to marry an unreliable flirt like Wickham just because she wants to hop into bed with him. She'd also never marry a poor man: she tells her aunt that she has come to "the mortifying conviction that handsome young men must have something to live on as well as the plain" (26.28). Typical Lizzy, she makes a joke out of it—but that doesn't change the fact that it's true.
Mr. Wickham
A seemingly perfect gentleman from a poor family, Wickham turns out to be the Bennet family's worst nightmare. He is super-charming, really good-looking, great to be with, and generally delightful to all the senses. We're pretty sure he smells nice, too.
Charm School
Just look at this guy:
Anyway, it's no wonder that she immediately believes everything he says, like that Darcy is a no-good jerk. It's only after Darcy himself has cleared his own character and pointed out that Wickham isn't quite the angel he seemed that she realizes he's been taken in. In retrospect, Wickham's manners were actually, well, kind of bad:
In other words, he's a liar, a coward, and a conman. Gee. We almost feel sorry for Lydia. Robinson Crusoe
Man of Faith
Robinson Crusoe is a (fictional) spiritual autobiography. Crusoe is first the rebellious son, then the repentant castaway, and finally the faithful Christian convert. We begin the novel with Crusoe's rebellion: the defiance of his father's plan for him, which is framed as defying the authority of God himself. Crusoe then suffers a series of misfortunes that land him on the island. Once there, he must atone for his sins, and undergoes a serious religious conversion.
Man of Business
Sure, Crusoe's goal is adventure, but also adventure by way of major profit. Crusoe is involved in early mercantile capitalism. He buys and sells things and is very interested in making cashola. Notice how he tallies up his earnings:
Man of Reason
After landing on the island, Crusoe quantifies and calculates nearly everything. He makes a calendar and records all of his observations in his journal. For Crusoe, even the natural world is knowable and quantifiable.
Man and Nature
Crusoe sees nature as something that must be useful. He isn't into all that
getting-out-and-connecting-with-nature stuff, nor is he interested in the beauty of nature. Nope, Crusoe colonizes the island and turns it into his own dominion:
As we see here, Crusoe believes in private property. It's not so much the beauty of the island that brings him pleasure as the idea that he can own the island – that it's his to possess.
Man of Many Cultures
As a mariner and world traveler, Crusoe has an interesting role in terms of the different cultures he comes into contact with. No longer a proper English gentleman, Crusoe modifies his look while on the island.
Man as King
Crusoe sees himself as the top of the island's social order. This becomes especially apparent as the island gains more and more inhabitants. We'll let Crusoe explain the situation himself:
Crusoe sees himself as the ruler – the king, even – of the small society on the island. Oliver Twist
Character Analysis
Oliver might be the main character, but he’s not all that complicated…but the way he is interpreted and shuffled around by all the other characters sure gets messy.
What does Oliver’s inherent simplicity and inno cence have to say about criminality? Oliver is the hero of the novel. But he’s also a child, and can’t always act for himself. We often find that we know things that he doesn’t, just by virtue of being older and wiser than he is. We don’t always sympathize with him the way we do with protagonists that are older and more worldly. So Oliver’s status as a child protagonist is one element that bears more consideration.
Also, think about all those names that are ascribed to Oliver at various points in the novel. Why does Oliver have so many different names associated with him? Who is allowed to name him, and what might those names signify?
Finally, and perhaps most important, is the central question of the novel: how does Oliver escape corruption? If the novel is suggesting that the source of criminality comes from outside influence – most commonly, from a combination of poverty, desperation, and bad company – what kinds of alternatives does it offer for folks who find themselves in that pickle? Does the example of Oliver offer any kind of solution? Or is his innocence totally unrealistic?
Considering how "not complicated" Oliver’s character is, there sure are a lot of unresolved questions about him. Time to look for answers.
Child protagonists are great fuel for irony
When we say that Oliver’s being a child means that we don’t "sympathize with him" the same way we do with adult protagonists, that doesn’t mean that we don’t feel sorry for him. We’re using "sympathy" to mean something more precise than "pity." It means that we don’t react to events in the novel the same way Oliver does. And that difference between the reaction Dickens is trying to create in us, the reader, and the reaction he shows in Oliver, creates some distance. Let’s look at some examples.
Whe n Oliver first meets the Artful Dodger, Oliver doesn’t understand his cant, or criminal slang –but then, neither do we. Dickens doesn’t expect the reader to understand it, and so our reaction to the Dodger parallels Oliver’s. It’s one instance in which th e reader is in sympathy with Oliver, and you can tell from the text that that’s the reaction Dickens was
after.
But then, the reader figures out pretty quickly that the Dodger is a seedy character and that Fagin is bad news. For example, right when Oliver arrives at Fagin’s house, the narrator tells us that "one young gentleman […] was so obliging as to put his hands in [Oliver’s] pockets, in order that, as he was very tired, he might not have the trouble of emptying them when he went to bed" (8.50). Even though the narrator doesn’t come right out and say that the boys are picking Oliver’s pockets as soon as he comes in the door, the reader is able to pick up on it. Oliver, on the other hand, doesn’t figure it out until he actually sees the Dodger and Charl ey picking Mr. Brownlow’s pockets. At this point, we’re not in sympathy with Oliver –we’re not reacting to events in unison with him. And that disparity between what the reader sees is actually going on, and what seems to be going on to Oliver, is called irony.
Ignore any definitions of irony you’ve picked up from listening to that song by Alanis Morissette. Most of the situations she describes are unfortunate, but not necessarily ironic. We point out irony a fair amount in this module, because Oliver Twist is just dripping with it.
Since irony can be defined loosely as a gap between what seems to be going on, and what is actually going on, you can see how the presence of a child protagonist makes room for lots of ironic commentary. The narrator can innocently pretend to be describing things from Oliver’s point of view, in order to say things like "one young gentleman […] was so obliging as to put his hands in [Oliver’s] pockets […]" (8.50). Obviously the "young gentleman" isn’t really being "obliging" – he’s trying to see if Oliver has anything in his pockets worth stealing (he doesn’t). But from Oliver’s point of view, the boy isn’t just a thief, he’s a "young gentleman," and he’s being very polite and "obliging." See the disparity? That’s irony.
What’s in a name, anyway?
When Oliver is born, the narrator tells us that he could be anybody – the "the child of a nobleman or a beggar" (1.14). But then the parish authorities step in, wrap him in the parish clothes that are like a uniform, and just like that, he is "badged and ticketed, and fell into his place at once – a parish child –the orphan of a workhouse" (1.14). There’s a constant struggle in the novel between the imposed and exterior identity that the parish authorities want to press on him, and his own natural and interior identity that the authorities want to suppress.
Oliver’s name is an important marker of his identity, too: his mother dies before she can name him, and his father is dead before he’s even born. So again, it’s up to the parish authorities to name him, and Mr. Bumble chooses the name "Oliver Twist." Mr. Bumble tells Mrs. Mann that the name was pretty much arbitrary – he just "made it up" because it was time for a "T" name. He doesn’t explain what the inspiration was.
Which means we have to go digging. What is going on with the word "Twist?" Well, basically, "Twist" implies death by hanging – think about the body "twisting" on the rope at the gallows, the "twisting" that goes into making the rope, and the rope "twisting" around the neck of a soon-to-be-very-dead person. "Twist" is just full of gallows implications, even if it weren’t a common slang term for hanging, which, by the way, it is.
It’s fitting that almost everyone Oliver meets assumes that he’s going to be hanged. Do they assume as much because workhouse orphans often end up in the gallows, or because of the unfortunate name Oliver’s been assigned as a baby? It’s unclear. The parish authorities in the novel are certainly blinded by their prejudice against Oliver, but it’s hard to say whether that prejudice stems from Oliver’s poverty and his status as a workhouse orphan, or from the implications of the name that Mr. Bumble assigned him.
It’s important to remind ourselves that Oliver’s name doesn’t really have much of an impact on our interpreta tion of his character, because we see him through the narrator’s sympathetic eyes, and we know he’s a good kid from the beginning. But once we start to notice how other people react to his name, and what kind of emphasis is placed on knowing his right name, we start to see how his name can be seen as a stand-in for his whole identity.
Let’s look at another example of a scene in which Oliver’s name (and whole identity) is suppressed by the authorities. When Oliver is brought before Fang, the magistrate, on suspicion of being a pickpocket, he’s too sick to give his own name. The officer who brings him in doesn’t even care to ask –he just calls Oliver "young gallows" (11.3). As we’ve already realized, "Twist" is more-or-less a synonym for hanging, anyway, so "young gallows" isn’t too far off the mark.
Later, in the same scene, Mr. Fang asks Oliver what his name is. Oliver’s about to faint, so another officer just makes up a name for him – "Tom White" (11.49). Why Tom White? "Tom" is about as generic a name as he could come up with – it was one of the most common boy names of the period. But "Tom" had other implications, as well (surprise, surprise). A very popular play about criminals and the London underworld during the period was called Tom and Jerry (no, it wasn’t about a cartoon cat and mouse). So the name "Tom" could have criminal implications, even if the man didn’t mean for it to. And the name "White" –again, totally random and generic, right? It’s like he was making Oliver a white, blank slate. If Oliv er’s a blank slate, he can be made into anything, depending on who has access to him. For a novel that’s all about innocence and corruption, light and dark, white and black (see "Symbols, Imagery, Allegory" for more on that), the name "White" is obviously not a random choice on Dickens’s part.
So, again, a name is assigned to Oliver from an outside source –and it’s a name that has some pretty heavy symbolic weight associated with it. The underlying tension in these scenes isn’t just over what to call a na meless orphan –it’s about what kind of role the authorities want Oliver to play. It’s up to Oliver, who is only a child, to assert his own interior and natural identity against the external influences of the authorities.<
Oliver’s Innocence
"White" wouldn’t actually be a bad name for Oliver. He is a child of goodness and light. Somehow, he seems totally immune to the corruption and crime around him. What’s the deal with that? Did someone give him a crime vaccine when he was a baby? Is he just inherently good? Serious question.
Oliver’s constantly surrounded by darkness and death, and his own innocence and commitment to life forms a stark contrast to his surroundings. He’s the child living among coffins and funerals at Mr. Sowerberry’s, and the one innocent child locked up at Fagin’s
house and among Fagin’s gang. He’s so innocent that he doesn’t even realize that Fagin is training the boys up to be pickpockets, until he actually sees them in action.
Does Oliver lose his innocence as he progresses? No, we re ally don’t think he does. His bright, shiny goodness just doesn’t seem to tarnish, and all the bad stuff he’s been through just makes his virtue seem shinier. He’s just as squeaky clean at the end of the novel as he was at the beginning. Morally speaking, that is. Physically, he’s pretty grimy at the beginning of the novel from all the dirt and filth at the workhouse.
The Big Question: Why Can’t Fagin Corrupt Oliver?
This is the question that’s at the front of our minds for most of the novel. The questions of Oliver’s innocence, his status as a child protagonist, and the importance of his name all come back to the central question of where criminality comes from. Is criminality something you’re born with, or something you develop from your environment? In ot her words, is it a natural part of your identity, or something imposed from the outside? Turning kids into criminals is pretty much Fagin’s M.O., and corrupting Oliver in particular turns out to be the main goal of Monks’s life. So why isn’t Fagin able to corrupt Oliver? What’s so special about this particular orphan?
The Inherent Goodness Hypothesis
The obvious answer to this question would be that Oliver is just inherently good. He feels naturally repulsed by the idea of crime, despite his rough childhood. Look at his gut reaction when he sees the Dodger and Charley pick Mr. Brownlow’s pocket:
In one instant the whole mystery of the handkerchiefs, and the watches, and the jewels, and the Jew, rushed upon the boy’s mind. He stood for a moment with the bloo d tingling so through all his veins from terror, that he felt as if he were in a burning fire; then, confused and frightened, he took to his heels, and, not knowing what he did, made off as fast as he could lay his feet to the ground. (10.15)
This is a climactic moment –it could mark the loss of Oliver’s innocence (it certainly does open his eyes to the real characters of Fagin and his gang), but instead, it reinforces his innocence. He doesn’t pause to reflect or to philosophize on the nature of crime, o r the unfortunate conditions that must have driven the Dodger and Charley to pick pockets for a living, but responds by instinct –he runs away. He’s terrified. He seems to recognize the danger of being associated with thieves on some gut level, and his first response is to run off. That kind of automatic, instinctive revulsion to crime suggests that Oliver is naturally good.
Oliver's response to the book of criminal biographies that Fagin offers another example:
In a paroxysm of fear the boy closed the book and thrust it from him. Then, falling upon his knees, he prayed Heaven to spare him from such deeds, and rather to will that he should die at once, than be reserved for crimes so fearful and appalling. (20.17)
After reading about the grisly murders and famous heists and escapes of various famous criminals listed in the Newgate Calendar (see "In A Nutshell" for more on what that was), Oliver’s response is to "thrust [the book] from him." He seems to want to distance himself
physically from those criminals, the way his gut response was to run away from Charley and the Dodger when he realized they were pickpockets.
It seems like this passage just reinforces the "Inherent Good Hypothesis," but if you look at the preceding paragraph, in which Oliver first picks up the volume, it gets a little bit messier:
He turned over the leaves carelessly at first, but, lighting on a passage which attracted his attention, soon became intent upon the volume. It was a history of the lives and trials of great criminals, and the pages were soiled and thumbed with use. Here, he read of dreadful crimes that make the blood run cold; of secret murders that had been committed by the lonely wayside […] (20.16).
When Oliver first picks up the book, he’s fascinated – his response is initially the same as the earlier readers of the book, who "soiled" the pages "with use." His attention is "attracted" to the "dreadful crimes." His terror and his fascination are like the combination of terror and fascination that attract us to horror movies and mystery novels and violent video games. Does this initial attraction to the book suggest that his inherent goodness has some cracks in it? This ambiguity leads us to hypothesis number two…
The Saved-Just-in-Time Hypothesis
The main problem with the "Inherent Goodness Hypothesis" is that Dickens spends so much time and energy describing the conditions of poverty and social injustice that drive people to crime. So, if Oliver can’t be corrupted because he’s inherently good, isn’t the flip side of that that other people can be corrupted because they’re inherently bad? The "Inherent Goodness Hypothesis" would kind of take the wind out of Dickens’s argument that criminality is something that comes from outside influence, and not from inherent wickedness.
The last passage we looked at for the "Inherent Goodness Hypothesis" was slightly ambiguous – Oliver seems to be struggling between a fascinated "attraction" to the "dreadful crimes" described in the Newgate Calendar, and his natural repulsion. There are other passages that suggest that Oliver’s natural goodness could potentially be cracked by the bad environment in which he’s brought up:
The simple fact was, that Oliver, instead of possessing too little feeling, possessed rather too much, and was in a fair way of being reduced to a state of brutal stupidity and sullenness for life, by the ill usage he had received. (4.36)
"Stupidity" here doesn’t mean "unintelligent," but rather, unresponsive and unfeeling. In other words, Oliver is responding to all the bad treatment the way anyone would –he’s becoming numb to it as a coping mechanism. And becoming less sensitive to bad treatment from other people could make him less sensitive to bad treatment in general. Maybe Oliver could be corrupted. If that’s the case, then Oliver’s escape from Mr. Sowerberry and his later rescue by Mr. Brownlow come only just in time. This hypothesis certainly makes the conflicts of the novel over the fate of Oliver seem more dramatic – if he’s immune to corruption because of his inherent goodness, there wouldn’t be a lot of suspense in the novel.
So Which Is It? Interpreting Oliver Twist
Obviously, the hypothesis you choose affects your interpretation not only of Oliver, but of the entire novel. If Oliver just can’t be corrupted, Dickens’s whole argument about how the parish system for dealing with poverty makes more criminals and just perpetuates the cycle of crime is undermined. If Oliver is a good kid, but could still be corrupted if left in the system or in Fagin’s hands for too long, Dickens’s argument is backed up. However, one might argue that Oliver’s character isn’t as unambiguously good and innocent as he at first seems.
So our interpretation of Oliver Twist (the character) is central to our interpretation of Oliver Twist(the novel). If you don’t believe us, just look at how often other characters discuss Oliver’s character, misread him, or make up wrong versions of his story. Dickens seems to be consciously making the process of interpreting Oliver Twist’s character one o f the themes of the novel. Take, for example, Noah Claypole’s version of the scene in which Oliver knocks him down:
‘Mr. Bumble! Mr. Bumble!’ cried Noah, with well-affected dismay, and in tones so loud and agitated that they not only caught the ear of Mr Bumble himself who happened to be hard by, but alarmed him so much that he rushed into the yard without his cocked hat […]
‘Oliver has […] tried to murder me, sir; and then he tried to murder Charlotte, and then missis. Oh, what dreadful pain it is! such a gony, please sir!’ and here Noah writhed and twisted his body into an extensive variety of eel-like positions […] (7.3-6)
Noah’s version of the story is immediately believed by all the parish officials, who never want to believe anything good about Oliver, and are always happy to believe the worst. So Oliver’s character is constantly in discussion – is he bad, as the parish officials, the Sowerberrys, Mr. Grimwig, Mr. Fang, and many others want to believe? Or is he actually a pretty good kid, as Mr. Brownlow, Mrs. Bedwin, the Maylies, and the narrator (and the reader) want to believe? Oliver himself seems conflicted on this point: he is "[…] overpowered by the conviction of the bystanders that he was really the hardened little wretch he was described to be" (15.63). In other words, the unflattering stories that are circulating about him are overpowering his own sense of self.
The reader never has much doubt about Oliver’s character, of course. We see all the negative and unflattering stories that circulate about Oliver, but we know that they’re false, because the narrator gives us an inside view into what Oliver’s thinking and feeling. So even if Oliver feels, at certain points, "overpowered" by the negative stories that are going around about it, the reader is still on his side. But the importance of understanding Oliver’s character is still a bone of contention in the novel –it’s constantly under discussion.
So even though Dickens lets the reader know that Oliver isn’t really the "hardened little wretch h e was described to be" (15.63), he still doesn’t make it clear what it is about Oliver that keeps him from being corrupted. He’s certainly a good kid from the get-go, but whether that goodness makes him immune to corruption is left ambiguous. The quotations above certainly make it seem that, given enough time, Fagin would be able to turn him to crime. Either way, though, the tension between these two hypotheses about why Fagin can’t corrupt Oliver keeps Dickens’s central question – where does criminal behavior come from? –at the front of readers’ minds.
What’s Up With the Ending?
George Gissing, another Victorian novelist, said that one "blemish" of Oliver Twist as a novel was "the feeble idyllicism of the Maylie group." Remember that the final chapter of the book features the "good" characters all gathered together in some idyllic little country town, living happily ever after, cut off from all the badness of London and the wider world. The bad guys, meanwhile, get what is coming to them. Monks dies far from home in prison, and Fagin is completely alienated from the entire human race in the days leading up to his public execution – rather extreme punishments. Even after the narrator has told us what happened to all the main characters, good and bad, he says that he wants to "linger yet" with the good ones, and "share their happiness by endeavouring to depict it"
(53.14). Then he gives us that final description of Rose and Harry’s happy little family.
Now why does Gissing dislike the ending of the novel? Why does he call the happiness of the good characters "feeble idyllicism"? Maybe because, at the close of a novel that’s all about the gritty realism of everyday life in London, this seems like a cop-out. It’s unrealistic to have the characters cut off from all the grime and poverty that Dickens had been so keen on describing before.
And what is going on with the very last lines of the novel? Agnes gets the final words, even though she only appeared in the novel for about four paragraphs in the first chapter before kicking the bucket. Dickens comes in with a rare first-person moment – he says, in the last sentence of the novel, "I do believe that the shade of that poor girl often hovers about that solemn nook – ay, though it is a church, and she was weak and erring." Almost all of the earlier descriptions of churches and church organizations (like the workhouse or the baby farm) are negative – they make the Church of England seem institutionalized, unforgiving, and removed from real human life (see, for example, 2.1 and 2.59). But these last lines suggest that Agnes could find a place in the church – could even find forgiveness there, despite the fact that (gasp! scandal!) she had a baby without being married. And that seems like a hopeful place to end the book, until you remember that, oh right, she’s DEAD. Would she have been able to find forgiveness if she had lived?
Remember that the other "fallen woman" of the novel, Nancy, died as well. Given this, we have to ask whether Dickens ends his novel on an optimistic note or not. You could really argue either way. It’s an important point to consider, because the way you interpret the ending of the novel can impact the way you interpret the novel as a whole. For example, if you read the final lines as offering some hope for change in a system that Dickens has condemned for the whole preceding novel, you’re left with an optimistic sense that the system may already be moving in that direction. If, on the other hand, you read the final lines as retaining some doubt or pessimism about the system, you, the reader, may feel that the author is calling on you to do something about it. So the way you read these final lines can impact not only your attitude towards the whole novel, but your attitude towards the system it condemns: are you being called to action, or asked to stay comfortable, because the system is already mending itself?
英国文学史资料British Writers and Works I. Old English Literature & The Late Medieval Ages
开放英语（2）形成性考核册正确答案 学前准备： 1.A 2.B 3.B 4.B 5.A 6.B 7.C 8.B 9.C 10.A 学习记录卡1 三种时态之1: 一般过去时 从你学过的动词中各找出两个规则动词和不规则动词,写出动词原形和过去式: 规则动词:work worked 不规则动词:go went finish finished is was 写出下面句子的否定句和疑问句: Tom went to see his parents in the country. 否定句: Tom didn’t go to see his parents in the country. 疑问句: Did Tom go to see his parents in the country? 三种时态之2:用现在进行时、will和be going to表示将来 将下面三个句子翻译成汉语： Dave’s picking up the van tomorrow.戴维明天要用大篷车运货。
I’m go ing to buy him a violin for his birthday. 我打算买一把小提琴给他过生日. I’m tired. I’ll take a taxi to go there.我累了,我要坐出租车去那儿. 三种时态之3:现在完成时 举例说明现在完成时的用法。 （1）表示过去发生的动作或事情对现在或将来的影响或产生的结果。 例：She has lost her wallet. 她丢了钱包。（所以现在没钱买票。） （2）表示某人的经历 例：I’ve been to Beijing. 我曾经到过北京. 三组近义词语的区分:(选择正确答案) prefer rent do play 两个句型的用法:(翻译下面的句子) 他直到10点才起床. He didn’t get up until ten o’clock. 这件衬衫太小了. This shirt is too small. 不,我觉得够大了. No, I feel it’s big enough. 两个语言功能:
出国出境常用英语 1、境外填表常用词汇 姓family name, surname 名first name, given name 性别sex, gender 男、女male, female 国籍nationality, country of citizenship 护照号passport number 原住地country of origin 前往国destination country 登机城市city where you boarded 签证签发地city where your visa was issued 签发日期date of issue 出生日期date of birth, birth date 年、月、日year, month, day 偕行人数number of accompanying people 签名signature 官方填写official use only 职业occupation 护照passport 签证visa 登机、启程embarkation 登岸disembarkation 商务签证business visa 观光签证tourist visa 2、在机场 航站、终点站terminal 入境大厅arrival lobby 出境大厅departure lobby 登机门号码gate number 登机证boarding card, boarding pass 机场税airport tax 登机手续办理处check-in counter 海关申报处customs service area 货币申报currency declaration
考试课程：英国文学史及选读考核类型：A 卷 考试方式：闭卷出卷教师: XXX 考试专业：英语考试班级：英语xx班 I.Multiple choice (30 points, 1 point for each) select from the four choices of each item the one that best answers the question or completes the statement. 1._____，a typical example of old English poetry ,is regarded today as the national epic of the Anglo-Saxons. A.The Canterbury Tales B.The Ballad of Robin Hood C.The Song of Beowulf D.Sir Gawain and the Green Kinght 2._____is the most common foot in English poetry. A.The anapest B.The trochee C.The iamb D.The dactyl 3.The Renaissance is actually a movement stimulated by a series of historical events, which one of the following is NOT such an event? A.The rediscovery of ancient Roman and Greek culture. B.England’s domestic rest C.New discovery in geography and astrology D.The religious reformation and the economic expansion 4._____is the most successful religious allegory in the English language. A.The Pilgrims Progress B.Grace Abounding to the Chief of Sinners C.The Life and Death of Mr.Badman D.The Holy War 5.Generally, the Renaissance refers to the period between the 14th and mid-17th centuries, its essence is _____. A.science B.philosophy C.arts D.humanism 6.“So long as men can breathe, or eyes can see,/So long lives this, and this gives life to thee.”(Shakespeare, Sonnets18)What does“this”refer to ? A.Lover. B.Time. C.Summer. D.Poetry. 7.“O prince, O chief of my throned powers, /That led th’ embattled seraphim to war/Under thy conduct, and in dreadful deeds/Fearless, endangered Heaven’s perpetual king”In the third line of the above passage quoted from Milton’s Paradise Los t, the phrase“thy conduct”refers to _____conduct. A.God’s B.Satan’s C.Adam’s D.Eve’s
Beowulf English literature began with the Anglo-Saxon settlement in England.Beowulf is the national epic of the English people. Beowulf is a folk legend brought to England by Anglo-Saxons from their continental homes.Its main stories are evidently folk legends of primative Northern tribes.The most striking feature of Beowulf is the use of alliteration（头韵）.In alliterative verse,certain accented word in a line begin with the same consonant sound,there are generally 4 accents in a line,three of which show alliteration.Other features are the use of metaphors and of understatements(掩饰). ―Ring-giver‖ is used for king, ―sea-wood‖for ship.Ironical humour is often regarded as a permanentcharacteristic of English. Chaucer (About 1340-1400.) His literature career can be divided into three periods:French Period (The Romaunt of the Rose) ,Italian Period,England period.Troilus and Criseyde is his longest complete poem(8000 lines) and his greatest artistic achievement.The Canterbury Tales is Chaucer’s masterpiece and one of the monumental works in English literature.Taking the stand of the rising bourgeoisie,he affi rms men and women’s right to pursue their happiness on earth and opposes the dogma of asceticism(禁欲主义) preached by the church.As a forerunner of humanism,he praises man’s energy,intellect,quick wit and love of life.Chaucer’s language,called Middle English,is vivid and exact.Contribution to English poetry lies chiefly in the fact that he introduced from France the rhymed stanza of various types,especially the rhymed couplet(双韵诗体)of 5 accents in iambic(抑扬格) meter(the heroic couplet)to English poetry,instead of the old Anglo-Saxon alliterative verse. Marlowe(1564-1593)
出国旅行常用英语一览表 一、办理入境有关用语 请问哪里是移民局办事处？ Where is the immigration? 这是我的护照和入境申请表。 Here is my passport and entry form. 我是跟考察团来的。 I am in a technical visit delegation. 我将在这里停留3天（星期、个月） I will stay here for 3days (weeks, months) 我打算住在宾馆里，这是旅馆的地址。 I am going to stay at hotel, this is the hotel address. 二、过海关用语 请问海关在哪里？ Where is the custom? 我有东西要申报 I have something to declare. 这是我的关税申报单。 Here is my declaration. 我要缴纳税金吗？ Do I have to pay duty on this? 三、在邮局的有关用语 我想要买些明信片以及寄到中国的邮票 I want to buy these postcards and some stamps to China, please. 请帮我把这些信（明信片）发出好吗？ Would you please send these letters (postcards) for me? 请帮我接通到中国的电话，这是电话号码。 Please connect me to China, here is the phone number. 四、货币兑换有关用语
华南农业大学xx文学史期末考试题 (下)注:本文档主要用作题型参考,非100%原题。 考试范围:启蒙运动时期,浪漫主义时期。 一选择题。(共50题,每题1分) 类型1:作品来源。(约10-15道题) 1.” Some village-Hampden, that with dauntless breast. The littletyrant of hisfields withstood, Some mute inglorious Milton here mayrest. SomeCromwell,guiltless of his country's blood.” is from ( )A.I Wandered Lonely As A Cloud B. The Cloud C. Bright Star D. Elegy 2. “But now your brow is beld, John. Your locks are lik e the snaw;But bless ingson your frosty pow…” is from ( ) A. John Anderson, My Jo B.A Red, Red Rose C. Tintern Abbey D. When We two parted 3.” I am assured by our merchants, that a boy or a girl beforetwelve years old isno saleable commodity, and even when they come tothis age, they will not yieldabove three pounds, or three pounds andhalf a crown at most, on the exchange.” isfrom ( ) A. Gulliver’s Travel B. Robinson Crusoe
一．作家作品连线 1.GeoffreyChaucer乔叟——TheCanterburyTales(坎特伯雷故事)，TheBookofTheDuchess（公爵夫人之书）、TheParliamentofFowls（百鸟会议）TheHouseofFame(声誉之堂)、TroilusandCriseyde（特罗勒斯与克丽西德） 2.WilliamShakespeare莎士比亚——Hamlet,RomeoandJuliet,Sonnet TheMerchantofVenice，HenryIV，TwelfthNight，KingLear，Macbeth Othello,Winter’sTale,TheTempest 3.FrancisBacon培根——OfMarriageandSingleLife（论婚姻和单身）,OfStudies,AdvancementofLearning,NewAtlantis,Essays 4.JohnDonne邓恩(Metaphysicalpoems玄学派诗人)——SongandSonnets（歌与十四行诗）TheGood-Morrow,BreakofDay,HolySonnets（圣十四行诗）,AttheRou ndEarth’sImaginedCorners,Below,Death,BenotProud,Eleg ies,OnHisMistress,ToHisMistressGoingtoBed 5.JohnMilton弥尔顿——ParadiseLost（失乐园）、ParadiseRegained（复乐园）SamsonAgonistes（力士参孙）,Lycidas(利西达斯），Areopagitica, 6.DanielDefoe笛福——TheLifeandstrangeSurprisingAdventuresofRobinsonCrusoe（鲁滨孙漂流记）、CaptainSingleton(辛格顿船长)、MollFlanders（摩尔·弗兰德斯）AJournalofthePlagueYear（大疫年日记）、Roxana（罗克萨娜） 7.JonathanSwift斯威夫特——Gulliver’sTravels（格列佛游记）ATaleofaTub（一只桶的故事）,AModestProposal（一个温和的建议）,TheBattleoftheBooks,TheDrapier’sLetter,JournaltoStella
美式论文、报告写作技巧 编者按：美式教育的特点即是课程内容强调学生参与及创新运用，因此，报告便成了常见的考核学生学习成果的方式，比如实验报告、学期报告、专题报告、研究报告及论文（含毕业论文）等。研究生presentation 及seminar 的机会更是占很大的比重，有些甚至占学期成绩很大比例。如何完成报告、论文同时得到良好的成绩，是本文提供给有志留学的有心人参考的目的。 美国大学生由於自小已养成自动寻找答案习惯，在启发式的教育环境下，写报告、论文对他们来说比较不陌生，虽然专业知识上美国学生不见得比外籍学生强，但是表达能力由於自小培养，加上英语能力的优势，常比外籍学生在报告、论文方面有较隹的利基。反之中国学生比较缺乏报告写作的训练，因此如果在留学过程中无法适应美式教育会比较辛苦，其实论文、报告的写作要领其实不难，只要把握技巧就可水到渠成。 通常论文由篇首(Preliminaries)，本文(Texts)以及参考资料(References)三部分构成；而这三大部分各自内容如下： (一) 篇首： 封面(Title) 序言(Preface) 谢词(Acknowledge) 提要(Summary) 目录(Tables and Appendixes) (二) 本文： 引言(Introduction) 主体，含篇(Part)、章(Chapter)、节(Section) 、以及注释(Footnotes) (三)参考资料： 参考书目(References or Bibliography) 附录资料(Appendix)。 进行论文或报告写作之前，先要确定想要表达的主题，主题确定后，将其具体表达，即为题目。题目可以提供研究者： 一.研究的方向 二.研究的范围 三.资料搜集的范围 四.预期研究成果 通常在确定题目之後就开始找资料从事研究，建议在找资料之前最好去问教授有哪些参考资
英国文学史及作品选读 （模拟试题二） Ⅰ. Multiple Choice（1′×20=20分） 1．______can be justly termed England’s national epic. A. The Canterbury Tales B. Sir Gawain and the Green Knight C. The Song of Beowulf D. The Romance of the Rose 2. Among of the following dramas, which is one of Shakespeare’s four tragedies? A.Macbeth B.As You Like it C. Twelfth Night D. The Merchant of Venice 3. _______ is called as “ father of English novels” A. William Shakespeare B. Christopher Marlowe C. Daniel Defoe D.John Donne 4. It was ____who made blank verse the principal vehicle of expression in drama. A. Thomas Wyatt B. William Shakespeare C. Edmund Spenser D. Christopher Marlowe 5. Absoulute monarchy in England reached its summit during the reign of ____, especially Britain’s sea power was established. A.James I B. Henry VIII C. Queen Elizabeth D. Charles I 6. Hamlet, the most popular of Shakespeare's plays for readers and theater audiences, tells about the story of Hamlet, Prince of _______, and son of the dead king, who seeks revenge for his father’s death. A. England B. Norway C. Scotland D. Denmark 7. Which comment on John Donne is wrong? A. He is the leading figure of metaphysical poetry. B. His poetry is characterized by mysticism and peculiar conceit. C. John Donne’s poetry is characterized regularity among irregularity D. He never shows positive attitude towards love. 8. Robinson Crosue can be termed as____. A. a self-dependent person B. a person with colonial mind C. an adventuous person D. all of the above 9. Robert Burns is the representative of _____. A. Sentimentalism B. Pre-Romanticism C. Romanticism D. English Renaissance 10. William Blake’s ____ paint a world of misery, poverty, disease, war and repression with a melancholy tone. A.Poetical Sketches B. The Book of Thel C. Songs of Experience D. Songs of Innocence 11. The notorious “Peterloo Massacre” happened in _____. A. English Romantic period B. English Renaissance C. period of Restoration D. Neo-classical period 12. Lyrical Ballads are made by ____. A. Wordsworth and Shelley B. Wordsworth and Southey C. Wordsworth and Coleridge D. Shelley and Byron 13. According to____, poetry is the spontaneous overflow of powerful feelings which originates in emotion and recollected in tranquillity.
V The Romantic Period The romantic period began in 1798 the publication of Wordsworth and Coleridge’s
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班级_________________学号姓名考试科目英美文学史及作品选读【（1）】B卷闭卷共 5 页 学生答题不得超过此线····································密························封························线································
1.Classicism(古典主义):A movement or tendency in art, literature, or music th at reflects the principles manifested in the art of ancient Greece and Rome. Cl assicism emphasizes the traditional and the universal, and places value on reas on, clarity, balance, and order. 2. Critical Realism 批判现实主义: Realism is a mode of writing that gives the impression of recording or reflecting faithfully an a ctual way of life. The term refers, sometimes confusingly, both to a literary meth od based on detailedaccuracy1of description (i. e. verisimilitude) and to a more gene ral attitude that rejects idealization, escapism, and other extravagant qualities of roma nce in favor of recognizing soberly the actual problems of life.4. Enlightenment 启蒙主义: Enlightenment is an intellectual movement in Europe in 18th century. It w as an expression of the struggle of the bourgeoisie against feudalism. The enlightener s fought against class inequality, stagnation, prejudices and other feudal survivals. I t was so called because it considered the chief means for the betterment of the societ y was the enlightenment or—educationof the people. 5. Renaissanee文艺复兴：Re naissance marks a transition from the medieval to the modern world. Generally, it ref ers to the period between the 14th and mid 17th centuries. It first started in Italy, wit h the flowering of painting, sculpture and literature. From Italy the movement went t o embrace the rest of Europe. Twofeatures are striking of this movement. The one i s a thirsting curiosity for the classical literature. Another feature of the Renaissance i s the keen interest in the activities of humanity. Hence, humanism, which reflected th e new outlook of the rising bourgeois class, is the key-note of the Renaissance. The gr eatest of the English humanists were Thomas More and William Shakespeare. 6 Soliloquy( 独白)： Soliloquy, in drama, means a moment when a character is alone and speaks his or her thoughts aloud.. 7. Neoclassicism 新古典主义:th e Enlightenment brought about a revival of interest in Greek and Roman works. This t endency is known as Neoclassicism.8. Romanticism 浪漫主义: imagination, emoti on and freedom are certainly the focal points of romanticism. The particular characteri stics of the literature of romanticism include: subjectivity and an emphasis on individu alism; freedom from rules; solitary life rather then life in society; the beliefs that imag ination is superior to reason; and love of and worship of nature9. . Sentimentalism 感伤主义:it came into being as a result of a bitter discontent on thepart of certain En lighteners in social reality. (The representatives of sentimentalismcontinued to strug gle against feudalism but they vaguely sensed at the same time the contradictions of b ourgeois progress that brought with it enslavement and ruinto the people. ) The phil osophy of the enlighteners, through rational and materialistic in its essence, did not ex clude senses, or sentiments, as a means of perception and learning. Moreover, the cul t of nature and, a cult of a "natural man" whose feelings display themselves in a mos t human and natural manner, contrary to the artful and hypocritical aristocrats1.0. So nnet 十四行诗:Sonnet is a type of poem consisting of one single fourteen-line stanz a. It was perfected by the Italian poet in the 13th century and introduced into Englan d in the early 16th century. English sonnets in terms of structure, largely fall into tw o classes: Italian form (It consists of 14 iambic pentameter