I
Romanticism in England (1798-1832)
张海霞
课程名程：英国文学史及选读
本课内容：浪漫主义文学流派
授课对象：英语045，046，047，048
授课时间：90分钟
一、教学目的
通过90分钟的教学，使学生对浪漫主义文学流派的产生背景、艺术特征有一个清晰的认识，使学生既可从纵向上掌握英国文学史的发展演变，又可培养学生阅读、欣赏、理解英国文学原著的能力，掌握文学批评的基本知识和方法。
二、教学意义
通过阅读和分析英国文学作品，促进学生语言基本功和人文素质的提高，增强学生对西方文学及文化的了解。
三、教学重点
1.Romanticism: historical background
2.Artistic features
3.Difference between Romanticism and Classicism
四、教学难点
1.Artistic features
2.Difference between Romanticism and Classicism
五、教学方式
1. 多媒体课件课堂教学，采用灵活多样的教学方式（启发式、讨论式、发现式、研究
式等），引导学生在主动积极的思维活动中获取知识、掌握学习方法
2. 校园局域网辅助课堂教学，充分利用网络技术在更新教学内容、改变学习方式、培
养学习自觉性、提高教学效率的优势。
六、讲授内容
1.Romanticism: historical background
2.Artistic features
3.Difference between Romanticism and Classicism
七、讲授方法
1. 重视教材。现采用教材具有先进的教学内容，是国内英国文学课程的优秀教材。课本兼顾了史和作品的两个方面.
2. 课内、课外并行的组织方式。课内，文学史讲主线、框架；文学作品讲精华和代表性作品；课外，布置学生细读史，并查阅作家、背景知识；作品查阅网络评论，以欣赏为主，陶冶情操，提高文学修养与品位。在这种教学组织方式下，达到预期的教学目的，使学生在短短一年的学习中，从对英国文学的一无所知到深深地爱上英国文学和对英国文学有较全面的了解。
3. 理论教学与实践教学相结合的组织方式：将文学评论与欣赏的美学理论贯穿在整个教学中，并由浅入深地渗透在教学中，使学生在英国文学课程中，不仅理论上得到提高，还建立起初步的文学审美观。
4. 讲授与讨论的组织方式：英国文学课程教学时间较少，教学内容繁多，为了解决这一矛盾，在教学组织方式上采取课堂讲授和课外讨论的方式，使有限的学习时间得到充分的拓展。
八、时间分配
本次课程全部用时为90分钟，分配如下：
1.Romanticism: historical background (20‘)
2.Artistic features(40‘)
3.Difference between Romanticism and Classicism(30‘)
九. 讲义
Romanticism in England (1798-1832)
1. Romanticism
A literary movement, which took place in Britain and throughout Europe roughly between
1770 and 1848.
Politically it was inspired by the revolutions in America and France and popular wars of independence in some countries.
Socially it supported progressive causes, though when these were frustrated it often produced a bitter, gloomy, and despairing outlook.
Intellectually it marked a violent reaction to the rationalism of the Enlightenment and Classicism.
Emotionally it expressed an extreme assertion of the self.(emphasis on personal thoughts and feelings, often triggered by observation of nature)
2. Romanticism in England
◆Prevailed during the period of 1798-1832
◆ 2 generations: the 1st generation include Wordsworth, Coleridge and Southey (the Lake
Poets) and the 2nd generation include Byron, Shelley and Keats, who wrote swiftly, travelled widely (Greece, Switzerland, Italy), and died prematurely.
◆Though each of the Romantic poets had their own special qualities, they all had things in
common.
◆The Romantic Period is an age of poetry and the only great novelist is Walter Scott.
3. Artistic features:
● a belief in the innate goodness of man in his natural state;
●individualism;
●reverence for nature;
●exaltation of emotion, sensation, and physical passion;
●and a revolt against political authority and social convention.
The Romantic period is an age of poetry Blake, Wordsworth, Coleridge, Byron, Shelley & Keats are the major Romantic poets. They started a rebellion against the neoclassical literature, which was later regarded as the poetic revolution. Wordsworth & Coleridge were the major representatives of this movement. They explored new theories & innovated new techniques in poetry writing. They saw poetry as a healing energy：they believed that poetry could purify both individual souls & the society. The Romantics not only extol the faculty of imagination, but also stress the concept of spontaneity & inspiration, regarding them as something crucial for true poetry. The natural world comes to the forefront of the poetic imagination. Nature is not only the
major source of poetic imagery, but also provides the dominant subject matter. Wordsworth is the closest to nature.
To escape from a world that had became excessively rational, as well as excessively materialistic & ugly, the Romantics would turn to other times & places, where the qualities they valued could be convincingly depicted. Romantics also tend to be nationalistic, defending the great poets & dramatists of their own national heritage against the advocates of classical rules who tended to glorify Rome & rational Italian & French neoclassical art as superior to the native traditions. To the Romantics, poetry should be free from all rules. They would turn to the humble people & their everyday life for subjects, Romantic writers are always seeking for the Absolute, the Ideal through the transcendence of the actual. They have also made bold experiments in poetic language, versification & design, & constructed a variety of forms on original principles of structure & style.
4. Difference between Romanticism and Classicism
Toward the end of the eighteenth-century, Romanticism emerged as a response to Classicism. Even though this change was gradual, it transformed everything from art and philosophy to education and science. While the Classicsts thought of the world as having a rigid and stern structure, the romanticists thought of the world as a place to express their ideas and believes. The Romaniticists and Classicsts differed in their views of the relationship between an individual and society, their views of nature and the relationship between reason and imagination.
Classicists and Romanticists differed in their views of nature. Classicism was based on the idea that nature and human nature could be understood by reason and thought. Classicist believed that ―nature was, a self-contained machine, like a watch, whose laws of operation could be rationally understood.‖ On the other hand, Romanticists viewed nature as mysterious and ever changing. As William Cullen Bryant states that nature ―speaks a various language.‖ Romantic writes believed that nature is an ever changing living organism, whose laws we will never fully understand. Classicist and Romanticists also differed on their approches towards reason and imagination. Classicism attached much more importance to reason than imagination because imagination could not be explained by their laws. To them, ―;the imagination, though essential to literature, had to be restrained by reason and common sense.‖; The Romanticists, however, emphasized that reason was not the only path t o truth. ―Instead, Romantic writers emphasized intuition, that inner perception of truth which is independent of reason.‖; To the Romantic writers, imagination was ultimately superior to reason.
Yet another area of difference between Classicits and Romanticsts is whether they placed greater importance on tradition or whether they chose to innovate. Classicists thought that it was literature‘s function to show the everyday values of humanity and the laws of human existence. Their idea was that ―classicism upheld tradition, often to the point of resisting change, because tradition seemed a reliable testing ground for those laws.‖; As for the Romantics, they wrote about how man has no boundaries and endless possibilities. ―Who,‖ Emerson asked, ―can set bounds to the possibilities of man?‖; Opposing classicits whose importance is put on human limitation, ―the Romantics stressed the human potential for social progress and spiritual growth.‖.
II
Romanticism ---Wordsworth(1770-1850)
张海霞
课程名程：英国文学史及选读
本课内容：浪漫主义文学领军人物华兹华斯
授课对象：英语045，046，047，048
授课时间：90分钟
一、教学目的
通过90分钟的教学，使学生对华兹华斯的生平、文学贡献和历史地位、作品的思想和艺术特征有一个清晰的认识，使学生既可从纵向上掌握英国文学史的发展演变，又可培养学生阅读、欣赏、理解英国文学原著的能力，掌握文学批评的基本知识和方法。
二、教学意义
通过阅读和分析英国文学作品，促进学生语言基本功和人文素质的提高，增强学生对西方文学及文化的了解。
三、教学重点
a)Wordsworth‘s theory of poetic creation
b)Wordsworth‘s major works
c)Analysis of ―Daffodils‖ and ―A Solitary Reaper‖
四、教学难点
a)Wordsworth‘s theory of poetic creation
b)Analysis of ―Daffodils‖ and ―A Solitary Reaper‖
五、教学方式
1. 多媒体课件课堂教学，采用灵活多样的教学方式（启发式、讨论式、发现式、研究
式等），引导学生在主动积极的思维活动中获取知识、掌握学习方法
2. 校园局域网辅助课堂教学，充分利用网络技术在更新教学内容、改变学习方式、培
养学习自觉性、提高教学效率的优势。
六、讲授内容
a)Wordsworth‘s life;;;
b)Wordsworth‘s theory of poetic creation
c)Wordsworth‘s major works
d)Analysis of ―Daffodils‖ and ―A Solitary Reaper‖
七、讲授方法
1. 重视教材。现采用教材具有先进的教学内容，是国内英国文学课程的优秀教材。课本兼顾了史和作品的两个方面.
2. 课内、课外并行的组织方式。课内，文学史讲主线、框架；文学作品讲精华和代表性作品；课外，布置学生细读史，并查阅作家、背景知识；作品查阅网络评论，以欣赏为主，陶冶情操，提文学修养与品位。在这种教学组织方式下，达到预期的教学目的，使学生在短短一年的学习中，从对英国文学的一无所知到深深地爱上英国文学和对英国文学有较全面的了解。
3. 理论教学与实践教学相结合的组织方式：将文学评论与欣赏的美学理论贯穿在整个教学中，并由浅入深地渗透在教学中，使学生在英国文学课程中，不仅理论上得到提高，还建立起初步的文学审美观。
4. 讲授与讨论的组织方式：英国文学课程教学时间较少，教学内容繁多，为了解决这一矛盾，在教学组织方式上采取课堂讲授和课外讨论的方式，使有限的学习时间得到充分的拓展。
八、时间分配
本次课程全部用时为90分钟，分配如下：
a)Wordsworth‘s life (5‘)
b)Wordsworth‘s theory of poetic creation(15‘)
c)Wordsworth‘s major works (5‘)
d)Analysis of ―Daffodils‖ and ―A Solitary Reaper‖ (65‘)
九、讲义
Wordsworth
1. Wordsworth’s Life
Wordsworth, born in his beloved Lake District, was the son of an attorney. He went to school first at Penrith and then at Hawkshead Grammar school before studying, from 1787, at St John's College, Cambridge - all of which periods were later to be described vividly in The Prelude. In 1790 he went with friends on a walking tour to France, the Alps and Italy, before arriving in France where Wordsworth was to spend the next year.
Whilst in France he fell in love twice over: once with a young French woman, Annette Vallon, who subsequently bore him a daughter, and then, once more, with the French Revolution. Returning to England he wrote, and left unpublished, his Letter to the Bishop of Llandaff - a tract in support of the French Revolutionary cause. In 1795, after receiving a legacy, Wordsworth lived with his sister Dorothy first in Dorset and then at Alfoxden, Dorset, close to Coleridge.
In these years he wrote many of his greatest poems and also travelled with Coleridge and Dorothy, in the winter of 1798-79, to Germany. Two years later the second and enlarged edition of the Lyrical Ballads appeared in 1801, just one year before Wordsworth married Mary Hutchinson. This was followed, in 1807, by the publication of Poems in Two V olumes, which included the poems 'Resolution and Independence' and 'Intimations of Immortality from Recollections of Early Childhood'.
During this period he also made new friendships with Walter Scott, Sir G. Beaumont and De Quincy, wrote such poems as 'Elegaic Stanzas suggested by a Picture of Peele Castle' (1807), and fathered five children. He received a civil list pension in 1842 and was made poet-laureate just one year later.
Today Wordsworth's poetry remains widely read. Its almost universal appeal is perhaps best explained by Wordsworth's own words on the role, for him, of poetry; what he called "the most philosophical of all writing" whose object is "truth...carried alive into the heart by passion". 2．Wordsworth’s Principles of Poetry
?―all good poetry is the spontaneous overflow of powerful feeling‖
?Poetry ―takes its origin from emotion recollected in tranquillity‖
?Function of poetry: ―to give the charm of novelty to things of every day‖
?―endeavoured to bring language near to the real language of men‖ ―by fitting to metrical arrangement a selection of the real language of men‖
from the Preface to ―Lyrical Ballads‖3．Wordsworth’s Poetry
?On nature
?On rural people
4．Wordsworth and Nature
?Nature, in all its forms, was important to Wordsworth, but he rarely uses simple descriptions. Instead he concentrates on the ways in which he responds and relates to the world. He uses his poetry to look at the relationship between nature and human life, and to explore the belief that nature can have an impact on our emotional and spiritual lives. 5．Appreciation and Analysis of Daffodils
(1) Discussion Questions
?What was the speaker‘s mood before he saw the daffodils? How do you know?
?Describe the scene the speaker suddenly comes upon in his wandering.
?Why does the speaker connect daffodils to stars?
?What effect does the scene have on the speaker while he is present? What ―wealth‖ is he later aware of?
?Find the similes used and what is suggested by each?
?Find examples of personification in the poem.
?Wordsworth once described poetry as ―powerful feelings recollected in tranquility‖.
Explain how this famous phrase relates to this poem.
?What is the speaker‘s ―inward eye‖?Why is it the ―the bliss of solitude‖?
(2) Wordsworth and Memory
?Memory is crucial to Wordsworth throughout his poems, because it is memory that enables the individual to regain access to the pure communion with nature enjoyed during childhood. As Wordsworth explains in "Tintern Abbey," memory works upon the individual psyche even when the individual is unaware of it, and pleasant, beautiful memories of nature work to preserve and restore the connection between the individual and the purity of the natural world.
(3) Commentary on this poem
This simple poem, one of the loveliest and most famous in the Wordsworth canon, revisits the familiar subjects of nature and memory, this time with a particularly (simple) spare, musical eloquence. The plot is extremely simple, depicting the poet's wandering and his discovery of a field of daffodils by a lake, the memory of which pleases him and comforts him when he is lonely, bored, or restless.
The poem's main brilliance lies in the reverse personification of its early stanzas. The speaker is metaphorically compared to a natural object, a cloud--"I wandered lonely as a cloud / That floats on high...", and the daffodils are continually personified as human beings, dancing and "tossing their heads" in "a crowd, a host." This technique implies his integration with the natural world and an inherent unity between man and nature.
He tells in the poem the extent of his joy while he was actually among the daffodils, but the wealthier experience seems to have been in the recollection in tranquility of his association with that "jocund company." Though the experience of the "outer" eye was joyful, the
experience of the "inward eye" was more joyful. In fact, the poem suggests that it was necessary for the poet to withdraw from the actual natural scene of the daffodils by the waves for the inward imaginative eye to work its miracle. The poem is obviously about a poet confronting the phenomena of external nature and the relationship with it that his imagination helps him to discover. The recurrent centural image is ―dance‖.
Form: The four six-line stanzas of this poem follow a quatrain-couplet rhyme scheme: ABABCC. Each line is metered in iambic tetrameter.
6. Appreciation and Analysis of A Solitary Reaper
(1) Discussion Questions
1.What event or picture is painted in the poem?
2.Why is it important to Wordsworth's speaker that the Reaper is alone, singing by herself?
What is the value of solitariness?
3. Consider the phrase "the vale profound." Why is it significant that the vale is "overflowing
with the sound" of the woman's voice?
4. Why does the speaker offer us imaginative, exotic interpretations in his attempt to describe
the solitary reaper's singing?
5. Does it matter that he cannot understand her words? What does he understand?
6. How does this poem exemplify the poet‘s poetic theory?
(2) Wordsworth and Solitary Images
?Lone figures (usually hermits, or the meditative poet/poetess) are already popular in 18C paintings & poetry, as symbols of rural retreat & philosophic musings on the meaning of life [a characteristic of the poetry of sensibility] cf Qu Yuan屈原in ancient China [also a lone figure, but grieving over different things]. Wordsworth further develops the lone figure in 2 directions: 1) often he/she is a kind of rural poor or even social outcast (at least someone living on the margin of proper society) 2) instead of giving him/her a voice (let he/she speaks), Wordsworth renders him/her into an ―aesthetic object‖, projecting his own thoughts, feelings and desires.
(3) Compared with a Chinese poem
观刈麦
白居易（时为盩厔县尉）
田家少闲月，五月人倍忙。夜来南风起，小麦覆陇黄。
妇姑荷簟食，童稚携壶浆。相随饷田去，丁壮在南冈。
足蒸暑土气，背灼炎天光。力尽不知热，但惜夏日长。
复有贫妇人，抱子在其傍。右手秉遗穗，左臂悬敝筐。
听其相顾言，闻者为悲伤。家田输税尽，拾此充饥肠。
今我何功德，曾不事农桑。吏禄三百石，岁晏有馀粮。
念此私自愧，尽日不能忘。
-----全唐诗，卷424_6
(4) Commentary on this poem
Along with "I wandered lonely as a cloud," "The Solitary Reaper" is one of Wordsworth's most famous lyrics. T he poet turns an ordinary ―solitary Highland Lass‖ into an object of contemplation and aesthetic experience; her song, particularly, offers him poetic inspirations –the ordinary scene and objects here are ―transcended‖ because of the working of the poet‘s Imagination.
In "Tintern Abbey" Wordsworth said that he was able to look on nature and hear "human music"; in This poem, he writes specifically about real human music encountered in a beloved, rustic setting. The song of the young girl reaping in the fields is incomprehensible to him (a "Highland lass,―She is likely singing in Scots), and what he appreciates is its tone, its expressive beauty, and the mood it creates within him, rather than its explicit content, at which he can only guess..
The poem's structure is simple--the first stanza sets the scene, the second offers two bird comparisons for the music, the third wonders about the content of the songs, and the fourth describes the effect of the songs on the speaker--and its language is natural and unforced. Additionally, the final two lines of the poem ("Its music in my heart I bore / Long after it was heard no more") return its focus to the familiar theme of memory, and the soothing effect of beautiful memories on human thoughts and feelings.
"The Solitary Reaper" anticipates Keats's two great meditations on art, the "Ode to a Nightingale," in which the speaker steeps himself in the music of a bird in the forest--Wordsworth even compares the reaper to a nightingale--and "Ode on a Grecian Urn," in which the speaker is unable to ascertain the stories behind the shapes on an urn. It also anticipates Keats's "Ode to Autumn" with the figure of an emblematic girl reaping in the fields.
Form: The four eight-line stanzas of this poem are written in a tight iambic tetrameter. Each follows a rhyme scheme of ABABCCDD, though in the first and last stanzas the "A" rhyme is off (field/self and sang/work).
可以用葬身大海的雪莱的《当温柔的声音消失时还留下一片谐音》来描绘他们：当温柔的声音消失时/还留下一片谐音回荡在记忆/当甜甜的紫罗兰凋零时/ 还留下一片清香/当玫瑰花枯萎时/花叶儿还为心爱人的床堆放/当你离去时/爱还沉酣在心房/如果你仰望黑夜的星空/偶尔看到一颗流星。
III
Romanticism ----Byron(1788-1824)
张海霞
课程名程：英国文学史及选读
本课内容：浪漫主义文学流派代表诗人拜伦
授课对象：英语045，046，047，048
授课时间：90分钟
一、教学目的
通过90分钟的教学，使学生对浪漫主义文学流派代表诗人之一拜伦的生平、文学贡献和历史地位、作品的思想和艺术特征有一个清晰的认识，使学生既可从纵向上掌握英国文学史的发展演变，又可培养学生阅读、欣赏、理解英国文学原著的能力，掌握文学批评的基本知识和方法。
二、教学意义
通过阅读和分析英国文学作品，促进学生语言基本功和人文素质的提高，增强学生对西方文学及文化的了解。
三、教学重点
拜伦的文学贡献和历史地位、作品的思想和艺术特征
四、教学难点
拜伦作品的思想和艺术特征
五、教学方式
1. 多媒体课件课堂教学，采用灵活多样的教学方式（启发式、讨论式、发现式、研究
式等），引导学生在主动积极的思维活动中获取知识、掌握学习方法。
2. 校园局域网辅助课堂教学，充分利用网络技术在更新教学内容、改变学习方式、培
养学习自觉性、提高教学效率方面的优势。
六、讲授内容
a)Lord Byron: his life;
b)―Byronic Hero‖;
c)Brief analysis of ―Childe Harold‘s Pilgrimage‖ and ―Don Juan‖;
d)Detailed analysis of ―The Isles of Greece‖
七、讲授方法
1. 重视教材。现采用教材具有先进的教学内容，是国内英国文学课程的优秀教材。课本兼顾了史和作品的两个方面.
2. 课内、课外并行的组织方式。课内，文学史讲主线、框架；文学作品讲精华和代表性作品；课外，布置学生细读史，并查阅作家、背景知识；作品查阅网络评论，以欣赏为主，陶冶情操，提高文学修养与品位。在这种教学组织方式下，达到预期的教学目的，使学生在短短一年的学习中，从对英国文学的一无所知到深深地爱上英国文学和对英国文学有较全面的了解。
3. 理论教学与实践教学相结合的组织方式：将文学评论与欣赏的美学理论贯穿在整个教学中，并由浅入深地渗透在教学中，使学生在英国文学课程中，不仅理论上得到提高，还建立起初步的文学审美观。
4. 讲授与讨论的组织方式：英国文学课程教学时间较少，教学内容繁多，为了解决这一矛盾，在教学组织方式上采取课堂讲授和课外讨论的方式，使有限的学习时间得到充分的拓展。
八、时间分配
本次课程全部用时为90分钟，分配如下：
a)Byron‘s life：用时5分钟；
b)―Byronic Hero‖：用时10分钟；
c)Brief analysis of ―Childe Harold‘s Pilgrimage‖ and ―Don Juan‖：用时20分钟；
d)Detailed analysis of ―The Isles of Greece‖: 用时55分钟。
九、讲义
Byron
1. Byron’s life
He and his mother lived in loneliness and poverty until he became 10 when he suddenly inherited the title and estates of a granduncle. He became Lord Byron and inherited a huge mansion.
He was born with a club foot and was very sensitive to his lameness but was very handsome. At the age of 15 he fell in love with an older cousin who was already engaged and she became his symbol of idealized unattainable love. In College he developed a passion for a male friend showing bisexual tendencies.
In 1807, while a college student, he began to publish works,which were attacked by some critics.
In 1809 started on his tour of Europe. This tour had great influence on his life and writings. In 1812, he made his maiden speech in the House of the Lords in defence of the English workers.In 1812 he wrote ―Childe Harold‘s Pilgrimage‖. He achieved fame after the publication of this poem. ―I awoke one morning to find myself famous. ‖He had liaison with several women and most of these women were married. One of them remarked on the first day of knowing him, ―mad, bad and dangerous to know.‖
Then he entered into an intimate relationship with his half-sister. To save himself from this dangerous liaison he started a flirtation with Lady Webster then got married to Annabella and had a daughter by her. Two years later the marriage broke down and there was a big scandal about his relationship with his half sister as well as his bisexuality. He was hurt by the moral indignation of the people and he left England never to return.
He lived in Europe and was associated with Shelley.
He wrote a lot of work and had more affairs and an illegitimate daughter.
He got involved in the Greek revolution against the Turks. He joined the Greek army and supported them financially through the sale of his Abbey. He contracted a fever and died in the war. He was deeply mourned and is considered a Greek national hero.
His body was brought back to England but refused burial in Westminster Abbey. 145 years later he was allowed to be buried in Westminster Abbey.
2. Byronic Hero
Because of the similarities between Byron's life and the life of so many of his characters, the term has been used by critics to describe Romantic male characters who feature some
combination of the following characteristics:
Unusually handsome, or inextricably attractive often to both sexes
Spiritually wounded or physically disabled in some way
Moody, mysterious and gloomy
Passionate (sexually and emotionally)
Remorse laden (for an unnamed sin)
Unrepentant despite remorse
Wandering
Isolated (physically and emotionally)
Self reliant
?"He often harbors the torturing memory of an enormous, nameless guilt that drives him toward an inevitable doom. He holds himself aloof and sees himself as immensely superior in his passions and powers to the common run of humanity, whom he regards with disdain. He inflexibly pursues his own ends according to his self-generated moral code, against all opposition. And he exerts an attraction on other characters that is the more compelling because it involves their terror at his obliviousness to ordinary human concerns."
He left a name to all succeeding times,
Link'd with one virtue and a thousand crimes."
(from the "The Corsair")
3. His Major Works
In 1807, a volume of Byron''s poems, Hours of idleness, was published. In 1809, he wrote a satirical reply to a harsh review in the Edinburgh Review in heroic couplets, entitled English Bards & Scotch Reviewers. The publication in 1812 of the first two cantos of Childe Harold''s Pilgrimage, a poem narrating his travels between 1809 & 1811 in Europe, brought Byron fame. In the following two years. He had written a number of long verse-tales, generally known as the Oriented Tales, with similar kind of heroes. In 1816, he wrote the third canto of Childe Harold & the narrative poem The Prisoner of Chillon. From 1816 to 1819, he produced, among other works, the verse drama Manfred （1817）, the first two cantos of Don Juan （1818-1819）, & the fourth & final canto of Childe Harold （1818）。In 1821, Byron wrote the verse drama Cain & the narrative poem The Island. He published, in 1822, one of the greatest political satires, The Vision of Judgment, with its main attack on Southey, the Tory Poet Laureate. Don Juan, a mock epic in 16 cantos, was finished in 1823.
4. A Brief Analysis of his Two Masterpieces: “Childe Harold’s Pilgrimage” and “Don Juan”（1）Childe Harold's Pilgrimage
The poem is about a gloomy, passionate young wanderer who escaped from the society he disliked & traveled around the continent, questing for freedom. It teems with all kinds of recognizable features of Romantic poetry —— the medieval, the outcast figure, love of nature, hatred of tyranny, preoccupation with the remote & savage, & so on. It also contains many vivid & exotic descriptive passages on mountains, rivers & seas. With his strong passion for liberty & his intense hatred for all tyrants, Byron shows his sympathy for the oppressed Portuguese under French occupation；he gives his strong support to the Spanish people fighting for their national independences；he laments over the fallen Greece, expressing his ardent wish that the suppressed Greek people should win their freedom；he glorifies the French Revolution & condemns the
despotic Napoleon period；& he appeals for the liberty of the oppressed nations while exalting the great fighters for freedom in history.
(2）Don Juan
Don Juan is Byron's masterpiece, a great comic epic of the early 19th century. It is a poem based on a traditional Spanish legend of a great lover & seducer of women. In the conventional sense, Juan is immoral, yet Byron takes this poem as the most moral. He invests in Juan the moral positives like courage, generosity & frankness, which, according to Byron are virtues neglected by the modern society. In addition, though Don Juan is the central figure & all the threads of the story are woven around him, he & his adventures only provide the framework：the poet''s true intention is, by making use of Juan''s adventures, to present a panoramic view of different types of society.
5. Analysis of “The Isles of Greece”
Don Juan, the masterpiece of Byron, is a long satirical poem. Its hero Juan is an aristocratic libertine, amiable & charming to ladies. Byron puts into Don Juan his rich knowledge of his world & his wisdom. It presents brilliant pictures of life in its various stages of love, joy, suffering, hatred & fear. The unifying principle in Don Juan is the basic ironic theme of appearance & reality, i.e. what things seem to be & what they actually are. The selected section, "The Isles of Greece，" is taken from Canto III, which is sung by a Greek singer at the wedding of Don Juan & Haidee, the pure & beautiful daughter of a pirate. In the early 19th century, Greece was under the rule of Turk. By contrasting the freedom of ancient Greece & the present enslavement, the poet appealed to people to struggle for liberty.
鲁迅评“The Isles of Greece”：
―裴伦平时，又至有情愫于希腊，思想所趣，如磁指南。特希腊时自由悉丧，入突厥（土耳其）版图，受其羁縻，不敢抗拒。诗人惋惜悲愤，往往见于篇章，怀千古之光荣，哀后人之零落，或与斥责，或加激励，思使之攘突厥而复兴，更睹往日耀灿庄严之希腊，
如所作?不信者?（The Giaour）暨?堂祥?二诗中，其怨愤谯责之切，与希冀之诚，无不历然可征信也。‖
--- ?摩罗诗力说?
IV
Romanticism---Shelley (1792-1822)
张海霞
课程名程：英国文学史及选读
本课内容：浪漫主义文学流派代表诗人雪莱
授课对象：英语045，046，047，048
授课时间：90分钟
一、教学目的
通过90分钟的教学，使学生对浪漫主义文学流派代表诗人之一雪莱的生平、文学贡献和历史地位、作品的思想和艺术特征有一个清晰的认识，使学生既可从纵向上掌握英国文学史的发展演变，又可培养学生阅读、欣赏、理解英国文学原著的能力，掌握文学批评的基本知识和方法。
二、教学意义
通过阅读和分析英国文学作品，促进学生语言基本功和人文素质的提高，增强学生对西方文学及文化的了解。
三、教学重点
雪莱的文学贡献和历史地位、作品的思想和艺术特征
四、教学难点
雪莱作品的思想和艺术特征
五、教学方式
1. 多媒体课件课堂教学，采用灵活多样的教学方式（启发式、讨论式、发现式、研究
式等），引导学生在主动积极的思维活动中获取知识、掌握学习方法
2. 校园局域网辅助课堂教学，充分利用网络技术在更新教学内容、改变学习方式、培
养学习自觉性、提高教学效率的优势。
六、讲授内容
a)Shelley: his life;
b)Major works ;
c)Brief analysis of ―Prometheus Unbound‖;
d)Detailed analysis of ―Ode to the West Wind‖
七、讲授方法
1. 重视教材。现采用教材具有先进的教学内容，是国内英国文学课程的优秀教材。课本兼顾了史和作品的两个方面.
2. 课内、课外并行的组织方式。课内，文学史讲主线、框架；文学作品讲精华和代表性作品；课外，布置学生细读史，并查阅作家、背景知识；作品查阅网络评论，以欣赏为主，陶冶情操，提文学修养与品位。在这种教学组织方式下，达到预期的教学目的，使学生在短短一年的学习中，从对英国文学的一无所知到深深地爱上英国文学和对英国文学有较全面的了解。
3. 理论教学与实践教学相结合的组织方式：将文学评论与欣赏的美学理论贯穿在整个教学中，如雪莱的文学思想，并由浅入深地渗透在教学中，使学生在英国文学课程中，不仅理论上得到提高，还建立起初步的文学审美观。
4. 讲授与讨论的组织方式：英国文学课程教学时间较少，教学内容繁多，为了解决这一矛盾，在教学组织方式上采取课堂讲授和课外讨论的方式，使有限的学习时间得到充分的拓展。
八、时间分配
本次课程全部用时为90分钟，分配如下：
a)Shelley‘s life：用时5分钟；
b)Major works：用时5分钟；
c)Brief analysis of ―Prometheus Unbound‖：用时10分钟；
d)Detailed analysis of ―Ode to the West Wind‖: 用时70分钟。
九、讲义
Shelley(1792-1822)
1. Shelley, Life and Works
In his youth Shelley was an anti-conformist and a radical. He was expelled from Oxford University in 1811 because of his publishing an anti-religious pamphlet "The Necessity of Atheism".
In 1813 ―Queen Mab‖, his first long poem of importance was written.
In 1816 he married Mary Godwin, another radical, and together they discussed political philosophy, anarchism, individualism, socialism and utopianism.
. But their peaceful life was broken by the sudden death of his first wife Harriet, who drowned herself.
A great scandal was made out of it by Shelley‘s Political enemies. He was compelled to leave England in 1818 and spent all the rest of his life in Italy.
In Italy Shelley and Byron formed a closer connection with each other and from then on the 2 names have been linked up for ever.
In 1818 Shelley's "The Revolt of Islam" was published. The years of his settlement in Italy were great ones in his literary career. Important works: ―Masque of Anarchy‖, ―Prometheus Unbound‖ etc.
In 1821 he wrote an elegy ―Adonais‖ on the death of Keats
In 1822 he was drowned on a sailing trip.
2. About Shelley’s Poetry
The central thematic concerns of Shelley's poetry are largely the same themes that defined Romanticism: beauty, the passions, nature, political liberty, creativity, and the sanctity of the imagination. What makes Shelley's treatment of these themes unique is his philosophical relationship to his subject matter—which was better developed and articulated than that of any other Romantic poet with the possible exception of Wordsworth—and his temperament which possessed an extraordinary capacity for joy, love, and hope. Shelley fervently believed in the possibility of realizing an ideal of human happiness as based on beauty, and his moments of darkness and despair almost always stem from his disappointment at seeing that ideal sacrificed to human weakness.
Keats believed in beauty and aesthetics for their own sake. But Shelley was able to believe that poetry makes people and society better; his poetry is suffused with this kind of inspired moral optimism, which he hoped would affect his readers sensuously, spiritually, and morally, all at the
same. His lyric poems are superb in their beauty, grandeur and mastery of language.
3. Karl Marx on Byron and Shelley
The real difference between Byron and Shelley is: those who understand them and love them rejoice that Byron died at 36, because if he had lived he would have become a reactionary bourgois; they grieve that Shelley died at 29, because he was essentially a revolutionist and he would always have been one of the advanced guard of Socialism.
4. Poetic drama：Prometheus Unbound （1820）
Shelley's greatest achievement is his four-act poetic drama，Prometheus Unbound. According to the Greek mythology，Prometheus，the champion of humanity，who has stolen the fire from Heaven，is punished by Zeus to be chained on Mount Caucasus & suffers the vulture's feeding on his liver. Shelley based his drama on Prometheus Bound by Aeschylus，in which Prometheus reconciles with the tyrant Zeus. Radical & revolutionary as Shelley，he wrote in the preface："In truth，I was averse from a catastrophe so feeble as that reconciling the Champion with the oppressor of Mankind." So he gave a totally different interpretation，transforming the compromise into a liberation. With the strong support of Earth，his mother；Asia，his bride & the help from Demogorgon & Hercules，Zeus is driven from the throne；Prometheus is unbound. The play is an exultant work in praise of humankind's potential，& Shelley himself recognized it as " the most perfect of my pro ducts."
5．Appreciation and Analysis of “Ode to the West Wind”
(1) An ode is a dignified and elaborately structured lyric poem of some length, praising and glorifying an individual, commemorating an event, or describing nature.
(2) In this first of the five sections of the poem, the speaker begins to define the domains and the powers of the West Wind. Section I describes the wind's effects on the land. The autumn wind scatters dead leaves and seeds on the forest soil, where the dead leaves eventually fertilize the earth and the seeds take root as new growth. Both "Destroyer and Preserver of the seasons, the wind ensures the cyclical regularity of death and life, endings and beginnings. The theme of regeneration and the interconnectedness runs throughout "Ode to the West Wind."
Section II addresses the wind's influence on the sky, and the wind helps the clouds shed rain, as it had helped the trees shed leaves in stanza I. Just as the dead foliage nourishes new life in the forest soil, so does the rain contribute to Nature's regenerative cycle.
In stanza III, the West Wind wields its power over the sea; but unlike the first two stanzas, this one is introduced by an image of calm, peace, and sensuality. The Mediterranean Sea is pictured as smooth and tranquil, sleeping alongside the old Italian town of Baiae. Once a playground of Roman emperors, Baiae sunk as a result of volcanic activity and is now the bed of a lush underwater garden. But the wind can also "waken" (line 29) the sea and disturb the summer tranquility of the waters by ushering in an autumn storm.
After three stanzas of describing the West Wind's power, which are all echoed in the first three lines of Stanza IV, the speaker asks to be moved by this spirit. For the first time in "Ode to the West Wind," the wind confronts humanity in the form of speaker of the poem. No longer an idealistic young man, this speaker has experienced sorrow, pain, and limitations. He stumbles, even as he asks to be spiritually uplifted. At the same time, he can recall his younger years when he was "tameless, and swift, and proud" like the wind. These recollections help him to call on the wind for inspiration and new life. In this manner, the poem suggests that humans, too, are part of the never-ending natural cycle of death and rebirth.
While he begins by asking to be moved by the wind in Section 4, he soon in section 5 asks to become one with this power. As a breeze might ignite a glowing coal, the speaker asks for the wind to breathe new life into him and his poetic art. With his last question, the speaker reminds his audience that change is on the horizon, be it personal or natural, artistic or political. The world may not be ready yet, but he hopes that if winter and death come, then spring, representing renewal and change, will not be far behind.
(3) Commentary
Written in the Autumn, 1819, and published in the following year, this poem has become one of the most popular and best-known of Shelley's verses. In a note Shelley outlined the circumstances behind the poem's making:
“This poem was conceived and chiefly written in a wood that skirts the Arno, near Florence, and on a day when the tempestuous wind, whose temperature is at once mild and animating, was collecting the vapors which pour down the autumnal rains. They began, as I foresaw, at sunset with a violent tempest of hail and rain, attended by that magnificent thunder and lightning peculiar to the Cisalpine regions.‖
Although the poem contains reference to this localized setting, it moves out from this to associate the West Wind with biological, so cial and the poet‘s personal significance.
At this time of the year, Autumn, the west wind blowing across Europe from the Atlantic can be extremely violent. In this apocalyptic poem Shelley characterizes it as a destructive and fearsome force, yet it is also a harbinger of the inevitable coming of Spring. It is, therefore, both Destroyer and Creator, and Shelley sees the West Wind as a driving force behind the turning wheel of the seasons and the cycles of Life-and-Death.
In Hebrew, Latin, Greek, and many other languages, the words for wind, breath, soul, and inspiration are all identical or related. Shelley's "West Wind" thus seems to symbolize an inspiring spiritual power that moves everywhere, and affects everything.
In a personal sense Shelley addresses the Wind as a force which will reinvigorate him, the Wind of Spirit and Inspiration, at a time (aged 27) when he feels his own powers as a poet are on the decline.
Socially and politically, the Wind represents the destructive and revolutionary energies which had been seen in Europe over the previous thirty years, overthrowing long-established and corrupt social orders in France and Italy. Would there be a "Spring" to follow the destructiveness of this European Autumn and Winter, leading to a new renaissance in political and social affairs? This symbolism is most clearly evident in Section III of the poem.
Form: Fusion of terza rima and sonnet; Enjambment
The tumbling effect of this rhyme pattern creates a sense of the turbulent, swirling and tumultuous activity of wind as it drives and tosses the leaves, clouds and waves.
Enjambment
A run-on line of poetry in which logical and grammatical sense carries over from one line into the next. An enjambed line differs from an end-stopped line in which the grammatical and logical sense is completed within the line.
V
Romanticism---Keats(1795-1821)
张海霞
课程名程：英国文学史及选读
本课内容：浪漫主义文学流派代表诗人济慈
授课对象：英语045，046，047，048
授课时间：90分钟
一、教学目的
通过90分钟的教学，使学生对浪漫主义文学流派代表诗人之一济慈的生平、文学贡献和历史地位、作品的思想和艺术特征有一个清晰的认识，使学生既可从纵向上掌握英国文学史的发展演变，又可培养学生阅读、欣赏、理解英国文学原著的能力，掌握文学批评的基本知识和方法。
二、教学意义
通过阅读和分析英国文学作品，促进学生语言基本功和人文素质的提高，增强学生对西方文学及文化的了解。
三、教学重点
1. Keats: his life and literary thought;
2. Major works ;
3. Detailed analysis of ―Ode to the Nightingale‖
四、教学难点
1. Keats‘s literary thought;
2. Detailed analysis of ―Ode to the Nightingale‖
五、教学方式
1. 多媒体课件课堂教学，采用灵活多样的教学方式（启发式、讨论式、发现式、研究
式等），引导学生在主动积极的思维活动中获取知识、掌握学习方法
2. 校园局域网辅助课堂教学，充分利用网络技术在更新教学内容、改变学习方式、培
养学习自觉性、提高教学效率的优势。
六、讲授内容
1．Keats: his life and literary thought;
2．Major works ;
3．Detailed analysis of ―Ode to the Nightingale‖
七、讲授方法
1. 重视教材。现采用教材具有先进的教学内容，是国内英国文学课程的优秀教材。课本兼顾了史和作品的两个方面.
2. 课内、课外并行的组织方式。课内，文学史讲主线、框架；文学作品讲精华和代表性作品；课外，布置学生细读史，并查阅作家、背景知识；作品查阅网络评论，以欣赏为主，陶冶情操，提文学修养与品位。在这种教学组织方式下，达到了预期的教学目的，使学生在短短一年的学习中，从对英国文学的一无所知到深深地爱上了英国文学和对英国文学有了较全面的了解。
3. 理论教学与实践教学相结合的组织方式：将文学评论与欣赏的美学理论贯穿在整个教学中，如济慈的文学思想，并由浅入深地渗透在教学中，使学生在英国文学课程中，不仅理论上得到提高，还建立起初步的文学审美观。
4. 讲授与讨论的组织方式：英国文学课程教学时间较少，教学内容繁多，为了解决这一矛盾，在教学组织方式上采取了课堂讲授和课外讨论的方式，使有限的学习时间得到了充分的拓展。
八、时间分配
本次课程全部用时为90分钟，分配如下：
a)Keats‘s life and literary thought：用时20分钟；
b)Major works：用时5分钟；
c)Detailed analysis of ―Ode to the Nightingale‖: 用时65分钟。
九、讲义
John Keats(济慈)(1795-1821)
1．Keats’s life and literary thought
In 1818, Keats's brother Tom was diagnosed with tuberculosis. Keats abandoned his faltering medical studies to care for him. Tom died in his arms in early 1819. By the late summer of 1819, Keats himself had been diagnosed with tuberculosis. Although he had long hoped to marry his sweetheart, Fanny Brawne, he knew by this time he would not live long enough to marry her. All his great odes were written during this period, from May to September, 1819.
―Beauty is truth, truth beauty,‖ ---that is all Ye know on earth, and all ye need to know.--------―Ode on a Grecian Urn‖
?I mean Negative Capability, that is when man is capable of being in uncertainties, Mysteries, doubts, without any irritable reaching after fact and reason.
?I am certain of nothing but the holiness of the Heart‘s affections and the truth of Imagination - What the imagination seizes as Beauty must be truth ，whether it existed before or not；for I have the same Idea of all our Passions as of Love they are all in their sublime, creative of essential Beauty.
- Keats in letter to Benjamin Bailey (Saturday 22 November, 1817)
While still in good health, Keats was ambitious of doing the world some good, instead of focusing on his own sensitive soul. Towards the end of his life he despaired, believing that he had accomplished nothing in his life. He asked that his name not appear on his epitaph and that it read instead, "Here lies one whose name was writ in water." In accordance with his wishes, his friend Joseph Severn had the following engraved on his tombstone: This Grave contains all that wasMortal of a YOUNG ENGLISH POET Who, on his Death Bed, in the Bitterness of his Heart, at the malicious Power of his Enemies Desired these Words to be en-graven on his Tomb Stone: Here lies One Whose Name was writ in Water Feb 24th, 1821.
2．Major works
The first important poem :on First looking into chapman's Homer
Some well-known poems:
?Endymion
?Isabella
?The Eve of St. Agnes
?Lamia
?Hyperion
Mature Odes
?Ode to Autumn
?Ode to Melancholy
?Ode on a Grecian Urn
?Ode to a Nightingale
?Ode to psyche
3．Appreciation and Analysis of Ode to a Nightingale
(1) Background Knowledge
The exact date of composition is uncertain, sometime in the second half of May 1819. Charles Brown, one of Keats‘s closest companions and in whose house Keats commonly resided, recalls the moment when Keats wrote the poem in a letter to Lord Houghton: In the spring of 1819 a nightingale had built her nest near my house. Keats felt a tranquil and continual joy in her song; and one morning he took his chair from the breakfast table to the grass-plot under a plum-tree, where he sat for two or three hours. When he came into the house, I perceived he had some scraps of paper in his hand, and these he was quietly thrusting behind some books.On inquiry, I found those scraps, four or five in number, contained his poetic feeling on the song of our nightingale. The writing was not well legible; and it was difficult to arrange the stanzas on so many scraps. With his assistance I succeeded, and this was his 'Ode to a Nightingale', a poem which has been the delight of every one.
(2) Detailed Analysis
Stanza 1
Questions
?What is the speaker's state of mind in the first stanza?
?How does the nightingale contribute to this mood?
Stanza 1
?The poet falls into a reverie while listening to an actual nightingale sing. He feels joy and pain, an ambivalent response.
? A major concern in "Ode to a Nightingale" is Keats's perception of the conflicted nature of human life, i.e., the interconnection or mixture of pain/joy, intensity of feeling/numbness of feeling, life/death, mortal/immortal, the actual/the ideal, dream or vision/reality, and separation/connection.
?So are Keats’s life and his other poems. Other conflicts appear in Keats's poetry: transient sensation or passion / enduring art, being immersed in passion / desiring to escape passion, etc.
?Douglas Bush noted that "Keats's important poems are related to, or grow directly out of...inner conflicts." For example, pain and pleasure are intertwined in "Ode to a Nightingale" and "Ode on a Grecian Urn"; love is intertwined with pain, and pleasure is intertwined with death in "La Belle Dame Sans Merci," "The Eve of St. Agnes," and "Isabella; or, the Pot of Basil."
?Cleanth Brooks defines the paradox that is the theme of "Ode to a Nightingale" somewhat differently: "the world of imagination offers a release from the painful world of actuality, yet at the same time it renders the world of actuality more painful by contrast."
?All odes grew out of a persistent kind of experience which dominated Keats's feelings, attitudes, and thoughts during that time. Each of them is a unique experience, but each of them is also, as it were, a facet of a larger experience. This larger experience is an intense
awareness of both the joy and pain, the happiness and the sorrow, of human life. This awareness is feeling and becomes also thought, a kind of brooding as the poet sees them in others and feels them in himself. This awareness is not only feeling; it becomes also thought, a kind of brooding contemplation of the lot of human beings, who must satisfy their desire for happiness in a world where joy and pain are inevitably and inextricably tied together. This union of joy and pain is the fundamental fact of human experience that Keats has observed and accepted as true.
Wright Thomas and Stuart Gerry Brown
夜莺颂
我的心在痛，困顿和麻木
刺进了感官，有如饮过毒鸠，
又象是刚刚把鸦片吞服，
于是向着列斯忘川下沉：
并不是我嫉妒你的好运，
而是你的快乐使我太欢欣－－
因为在林间嘹亮的天地里，
你呵，轻翅的仙灵，
你躲进山毛榉的葱绿和荫影，
放开歌喉，歌唱着夏季。
Stanza 2
What desire is expressed in the second stanza? What sort language and imagery does Keats use to articulate his desire?
Keats's Imagery
? Keats's imagery ranges among all our physical sensations: sight, hearing, taste, touch, smell, temperature, weight, pressure, hunger, thirst, sexuality, and movement. Keats repeatedly combines different senses in one image, that is, he attributes the trait(s) of one sense to another, a practice called synaesthesia. His synaesthetic imagery performs two major functions in his poems: it is part of their sensual effect, and the combining of senses normally experienced as separate suggests an underlying unity of dissimilar happenings, the oneness of all forms of life. Richard H. Fogle calls these images the product of his "unrivaled ability to absorb, sympathize with, and humanize natural objects." Synaesthesia
Mixing of sensations. It is the response through several senses to the stimulation of one. For instance, ―hearing‖ a ―colour,‖ or ―seeing‖ a ―smell‖.
Examples of Synaesthetic Images
?In some MELODIOUS plot / Of BEECHEN GREEN (stanza I): Combines sound ("melodious") and sight ("beechen green")
?TASTING of Flora and the country green,
Dance, and Provencal song, and sunburnt mirth!
O for a beaker of the warm South, (stanza II)
Here the poet TASTES the visual ("Flora and the country green"), activity ("Dance"), sound ("Provencal song"), and mood or pleasure ("mirth"); also the visual ("sunburnt") is combined with a pleasurable emotional state ("mirth"). With the beaker there is finally something to taste, but what is being tasted is temperature ("warm") and a location ("South").