英国文学史及作品选读教案-Lecture-8(09级)

英国文学史及选读第二册课程设计课程简介本课程为英国文学史及选读第二册，是一门继续深化学生对英国文学发展历程及经典作品的理解和分析能力的高年级课程。

本课程旨在通过精选包括诗歌、小说、戏剧等不同体裁的英国文学经典作品，让学生从不同角度全面掌握英国文学的发展历程，学习各个时期的文学特色及其代表作品，深入研究各个经典作品的内涵与特点。

教学目标1.理解英国文学的发展历程。

2.了解英国文学在不同时期的文学特色及其代表作品。

3.掌握分析英国文学经典作品的方法和技巧。

4.培养学生的批判性思维和文学分析能力。

教学内容1.光辉时期：伊丽莎白时期的诗歌经典–《神曲》–《弗罗斯特的道路》–《戏剧中的理论》2.追求自由：浪漫主义和维多利亚时代经典小说–《呼啸山庄》–《简爱》–《自由的人》3.认知生命：现代主义小说和戏剧–《达拉斯买家俱乐部》–《加勒比海盗》–《23号春田大道》教学方法1.讲授法。

老师将在讲授课文的基础上，探讨文学作品的文化背景、时代特征、主题意义和写作技巧，并引导学生思考、交流和讨论。

2.分组讨论法。

根据学生的研究兴趣，老师将学生分为若干组，让学生在小组内交流和讨论文学作品，帮助学生更深入地理解课文。

3.分析法。

老师将通过分析文学作品的语言、结构和人物等因素，引导学生对文学作品进行分析，并强化学生的阅读技能和批判思维。

评估方式1.期末论文。

2.期末考试：闭卷笔试。

3.平时作业：包括阅读笔记、小组讨论、课堂出席。

参考书目1.《英国文学史及选读》第二册，主编：李华等。

2.O’Connell, B. (2016). Understanding EnglishLiterature: A Practical Guide. London: Routledge.3.Greenblatt, S. (Ed.). (2012). The Norton Anthologyof English Literature (9th ed., Vol. 2). New York:Norton.学生要求1.具备一定的英语阅读能力和基础写作能力。

英国文学史及作品选读英国文学史及作品选读英国文学是世界文学史上的重要组成部分之一，它源远流长，经历了漫长的历史发展过程。

早期的英国文学以诗歌、戏剧为主，随着时间的推移，小说和散文也渐渐兴起。

本文将介绍英国文学史的主要发展阶段和代表作品。

1. 古老的英国文学：史诗和传说英国文学的源头可以追溯到史前时代，当时的诗歌和传说通过口头传承流传了几个世纪。

直到公元七世纪左右，较早的英国文学作品才被记录下来。

这些作品包括《贝奥武夫》、《海顿和希格力》等史诗和传说。

其中，《贝奥武夫》是最有名的史诗之一，讲述了一个勇敢的勇士与恶龙的战斗故事。

它的作者是一位名叫“贝奥武夫”的盎格鲁-撒克逊战士，他用自己的生命保卫了他的国家。

这个故事反映了英雄主义、勇气和荣誉等价值观。

2. 中世纪的英国文学：中古诗歌和骑士文学中世纪的英国文学以中古诗歌和骑士文学为主，它们通常讲述骑士们与巨龙、独角兽等怪物的战斗，以及他们与公主的爱情故事。

其中最著名的作品是《坎特伯雷故事集》,由乔叟（Geoffrey Chaucer）创作，它是一部描绘中世纪人生活的作品，涵盖面广，内容丰富。

3. 文艺复兴时期的英国文学：诗歌和戏剧文艺复兴时期是英国文学发展的重要时期，以诗歌和戏剧为主。

这个时期的文学作品多以爱情、政治和社会问题为主题，反映了人们在这个时期的思想和价值观。

这个时期最著名的作品是莎士比亚（William Shakespeare）的剧作，如《哈姆雷特》、《罗密欧与朱丽叶》和《李尔王》等。

4. 18世纪和19世纪的英国文学：小说和诗歌18世纪和19世纪是英国文学发展的黄金时代，小说和诗歌成为主要文学形式。

18世纪的英国文学以浪漫主义为主题，以自然、感情和个性为核心，反映了人们对自然、感情和自我表达的追求。

例如，约翰·基茨（John Keats）的诗《仲夏夜之梦》向读者展示了自然的美丽和神秘性。

在19世纪，英国文学进一步发展，以托马斯·哈代（Thomas Hardy）和查尔斯·狄更斯（Charles Dickens）等作家为代表的小说也成为主要文学形式。

英国文学教案教案标题：探索英国文学的魅力教案目标：1. 了解英国文学的历史和发展，培养学生对英国文学的兴趣和欣赏能力。

2. 探索英国文学作品中的主题、情感和文化内涵，提高学生的文学素养和批判性思维能力。

3. 培养学生的阅读和写作能力，通过分析和讨论文学作品，提升学生的语言运用能力。

教案步骤：引入：1. 利用图片、视频或音频等多媒体资源，引起学生对英国文学的兴趣。

例如，播放一段莎士比亚的戏剧表演或展示英国文学名著的封面。

主体：2. 介绍英国文学的历史和发展。

通过讲解英国文学的不同时期和代表作品，让学生了解英国文学的演变和特点。

可以使用时间线、图表等可视化工具，帮助学生更好地理解和记忆。

3. 选取代表性的英国文学作品进行分析和讨论。

根据学生的学习阶段和英语水平，选择适合的文学作品。

例如，初中阶段可以选择简短的诗歌或短篇小说，高中阶段可以选择莎士比亚的戏剧或狄更斯的长篇小说。

4. 阅读和理解文学作品。

引导学生通过阅读和讨论来理解文学作品的主题、情感和文化内涵。

可以组织小组讨论或角色扮演活动，激发学生的思维和表达能力。

5. 提高学生的写作能力。

根据学生的学习阶段，设计不同类型的写作任务，如书评、读后感或创作短篇故事。

通过写作活动，培养学生的语言表达和思维逻辑能力。

总结：6. 总结英国文学的重要性和魅力。

通过回顾学生的学习成果和经验，强调英国文学对世界文化的影响和贡献。

可以邀请学生分享自己的感悟和体会，进一步激发学生对英国文学的兴趣。

评估：7. 设计评估任务，检查学生对英国文学的理解和掌握程度。

可以包括选择题、填空题或写作任务等形式，确保学生对教学内容的掌握和运用能力。

延伸活动：8. 提供延伸阅读和探究的机会。

推荐学生阅读更多的英国文学作品或了解更多英国文学的相关知识。

可以组织文学俱乐部、写作比赛等活动，激发学生对英国文学的深入探索和研究。

教案资源：- 英国文学作品的选段或摘录- 多媒体资源，如图片、视频或音频- 时间线、图表等可视化工具- 学生练习册或工作纸- 评估任务的题目和答案教案评估：- 学生参与度和表现- 学生对英国文学的理解和掌握程度- 学生的写作能力和语言运用能力- 评估任务的完成情况和质量教案指导：- 针对不同年级和学习阶段的学生，适当调整教学内容和难度。

Summary of the Age of Elizabeth ( I )This period is generally regarded as the greatest in the history of English literature. Historically, we note in this age the tremendous impetus received from the Renaissance, from the Reformation, and from the exploration of the New World. It was marked by a strong national spirit, by patriotism, by religious tolerance, by social content, by intellectual progress, and by unbounded enthusiasm.Such an age, of thought, feeling, and vigorous action, finds its best expression in the drama; and the wonderful development of the drama, culminating in Shakespeare, is the most significant characteristic of the Elizabethan period. Though the age produced some excellent prose works, it is essentially an age of poetry; and the poetry is remarkable for its variety, its freshness, its youthful and romantic feeling. Both the poetry and drama were permeated by Italian influence, which was dominant in English literature from Chaucer to the Restoration. The literature of this age is often called the literature of the Renaissance, though, the Renaissance itself began much earlier, and for a century and a half added very little to English literary possessions.In the study of the age we have noted:1.The non-dramatic poetsThe poets who did not write for the stage.a. The center of this group is Edmund Spenser whose Shepherd’s Calendar(1579) marked the appearance of the first national poet since Chaucer’s death in 1400. His most famous work is The Faery Queen .The Shepherd’s Calendar is about his love and his melancholy over the lost love. The themes are generally rural life, nature, love in the fields; and the speakers are shepherds and shepherdesses. It consists of twelve pastoral poems, or eclogues, one for each month of the year.The Faery Queen. The original plan of the poem included twenty four books, each of which was to recount the adventure and triumph of a knight who represented a moral virtue. Spenser completed only six books, celebrating holiness, temperance, chastity, friendship, justice, and courtesy. For The Faery Queen, Spenser invented a new verse form, which has been called since his day the Spenserian stanza. It is in nine lines, eight of five feet each and last of six feet, riming ababbcbcc.Characteristics of Spenser’s po etry:1. perfect melody;2.a rare sense of beauty;3. a splendid imagination;4. a lofty moral purity and seriousness;5.a delicate idealismA Gentle Knight was pricking on the plaine,Ycladd in mightei armes and silver shielde,Wherein old dints of deepe woundes did remaine.The cruell markes of many a bloody fielde;Yet armes till that time did he never wield:His angry steede did chide his foming bitt,As much disdayning to the curbe to yield:Full iolly knight he seemed, and faire did sitt,As one for knightly giusts and fierce encounters fitt.b. minor poets associated with Spenser1. Thomas Sackville 1536-1608 earl of Dorset and Lord High Treasurer of England. In imitation of Dante’s Inferno, he formed the design of a great poem called The Mirror for Magistrates. He wrote also,in connection with Thomas Norton, first English tragedy, Ferrex and Porrex = Gorboduc2. Michael Drayton 1563-1631 most voluminous, chief work is Polyolbion, an enormous poem of many thousand couplets, describing the towns, mountains, and rivers of Britain, with the interesting legends connected with each. Two other long works Baron’s Wars , Heroic Epistle of England and “Ballad of Agincourt”.3. George Chapman 1559-1634, wrote chiefly for the stage. His plays, which were for the most part merely poems in dialogue, fell far below the high dramatic standard of his time and are now almost unread. His most famous work is the metrical translation of the Iliad and of the Odyssey. He is also remembered as the finisher of Marlowe’s Hero and Leander, in which, apart from the drama, the Renaissance movement is seen at perhaps its highest point in English poetry.4. Philip Sidney 1554-1586, the ideal gentleman, more interesting as a man than as a writer. His life expresses, better than any single literary work, the two ideals of the age,--- personal honor and national greatness. As a writer, he is known by three principal works, all published after his death. Arcadia is a pastoral romance. Apologie for Poetrie = Defense of Poesie , appeared in answer to a pamphlet by Stephen Gosson called The School of Abuse, in which the poetry of the age and its unbridled pleasure were denounced with puritan thoroughness and conviction. Astrophel and Stella is a collection of songs and sonnets addressed to Lady Penelope Devereux, to whom Sidney had once been betrothed.2.The rise and development of the drama in EnglandFirst the need, then the story, then the play; that seems to be the natural development of the drama in its simplest form. The great deeds of a people are treasured in its literature and later generations represent in play or pantomime certain parts of the story which appeal most powerfully to the imagination. To act a part seems as natural to humanity as to tell a story; and originally the drama is but an old story retold to the eye, a story put into action by living performers, who for the moment “make believe” or imagine themselves to be the old heroes.In Europe, as in Greece, the drama had a distinctly religious origin. The first characters were drawn from the New Testament, and the object of the first plays was to make the church service more impressive, or to emphasize moral lessons by showing the reward of the good and the punishment of the evil doer. In the latter days of the Roman Empire the church found the stage possessed by frightful plays, which debased the morals of a people already fallen too low. So the corrupt drama was driven from the stage, and plays of every kind were forbidden. But mankind loves a spectacle, and soon the church itself provided a substitute for the forbidden plays in the famous Mysteries and Miracles.a. Miracle and Mystery playsIn France the name miracle was given to any play representing the lives of the saints, while the mystery represented scenes from the life of Christ. In England this distinction was almost unknown;the name miracle was used indiscriminately for all plays having their origin in the Bible or in the lives of the saints; and the name mystery, to distinguish a certain class of plays, was not used until long after the religious drama had passed away. By the year 1300 the miracles were out of ecclesiastical hands and adopted eagerly by the town guilds.b. Morality playsThe second period of drama is shown by the increasing prevalence of the morality plays. In these the characters were allegorical personages,--- life, death, repentance, goodness, love, greed, and other virtues and vices. The morality marks a distinct advance over the miracle in that it gave free scope to the imagination for new plots and incidents. Of the known authors of moralities, two of the best are John Skelton, who wrote Magnificence and David Lindsay. They satirize or denounceabuses of church and state, and introduce living personages thinly disguised as allegories; so that the stage first becomes a power in shaping events and correcting abuses.c. InterludesIt is impossible to draw any accurate line of distinction between the moralities and interludes. In general we may think of the latter as dramatic scenes, sometimes given at banquets and entertainments where a little fun was wanted. The interludes originated, undoubtedly, in a sense of humor and was raised to the distinct dramatic form known as comedy by Heywood 1497?-1580?The Play of the Weather, The Fou r P’sd. Artistic period of the dramaThe artistic is the final stage in the development of the English drama. It differs radically from the other in that its chief purpose is not to point a moral but to represent human life as it is. The first true play in English is the comedy, Ralph Royster Doyster by Nicholas Udall. The story is that of a conceited fop in love with a widow, who is already engaged to another man. Gammer Gurton’s Needle, a domestic comedy, representing the life of the peasant class.The first English tragedy, Gorboduc, was written by Thomas Sackville and Thomas Norton. It is the first play to be written in blank verse.e. Dramatic unitiesIn the classic play the so-called dramatic unities of time, place, and action were strictly observed.Time and place must remain the same, the play could represent a period of only a few hours, and whatever action was introduced must take place at the spot where the play began. The severe simplicity of the classical drama seemed only to hamper the exuberant English spirit. The English drama, on the other hand, strove to represent the whole sweep of life in a single play.f. Two schools of dramaThe university wits generally upheld the classical ideal and ridiculed the crudeness of the new English plays. Sackville, Norton, Sidney were of this class.Lyly, Greene, Peele, Marlowe, these popular playwrights were against these. They recognized the English love of action and disregarded the dramatic unities in their endeavor to present life as it is.John Lyly 1554?-1606, known as having developed the pernicious literary style called euphuism.His two prose works Euphues, the Anatomy of Wit; Euphues and His England. The style is affected and overelegant, abounds in odd conceits, and uses hopelessly involved sentences.Thomas Kyd. Spanish Tragedy, melodrama of passion, copied by Marlow and Shakespeare.Robert Greene 1558-1592, plays the chief part in the early development of romantic comedy. Friar Bacon and Friar BungayChristopher Marlowe 1564—1593. In addition to Hero and Leander, he is famous for four dramas, known as one-man type of tragedy, each revolving about one central personality who is consumed by the lust of power. Tamburlaine, is the story of Timur, the Tartar. Faustus is of a scholar who longs for infinite knowledge. The Jew of Malta, is a study of lust for wealth. Edward II , isa tragic study of a king’s weakness and misery.Marlow is the only dramatist of the time who is ever compared with Shakespeare. When we remember that he died at 29, probably before Shakespeare had produced a single great play, we must wonder what he might have done had he outlived his wretched youth and become a man. Here and there his work is remarkable for its splendid imagination, for the stateliness of its verse, and for its rare bits of poetic beauty; but in dramatic instinct, in wide knowledge of human life, in humor, in delineation of woman’s character, in the delicate fancy----in a word, in all that makes a dramaticgenius, Shakespeare stands alone. Marlow simply prepared the way for the master who was to follow.g. Variety of the early drama1. chronicle plays, founded on historical events and characters. Of Shakespeare’s 37 plays, ten are true chronicle plays of English kings.2. The domestic plays began with crude home scenes introduced into the miracles and developed ina score of different ways, from the coarse humor of Gammer Gurton’s Needle to the comedy of manners of Jonson and the later dramatists. Shakespeare’s The Taming of the Shrew , Merry Wives of Windsor belong to this class.3. The so-called court comedy was marked by elaborate dialogues, jests, retorts, and endless plays on words, rather than by action. It was made popular by Lyly’s success, and was imitated in Shakespeare’s “Lylian” comedies, such as Love’s Labour’s Lost , Two Gentlemen of Verona4. Romantic comedy and tragedy suggest the most artistic and finished types of the drama, brought to perfection in The Merchant of Venice , Romeo and Juliet , The Tempest .5. a. classical plays, favored by cultivated audiences. b. melodrama, favorite of the groundlings.c. tragedy of blood, such as Shakespeare’s Titus Andronicus , Hamlet Lear , Macbeth .3. Conclusion: Shakespeare is the only dramatist whose plays cover the whole range of the drama. He raised the drama from a blundering experiment to a perfection of form and expression which has never since been rivaled.。

英国文学史及作品选读课程授课设计〔第10 讲〕2021-2021 学年第二学期授课时间授课对象15-17 级各专业选修生授课主题授课目标与要求Lecture 10Chapter 7 Emotion and Nature in Romantic Poetry(Lord Byron; Percy Bysshe Shelley; John Keats)Teaching Objectives and Requirements1 Help the students understand George Gordon Byron.2. Help the students understand Shelley3 Help the students understand clearly Shelley’sOde to the West Wind4 Help the students have a good understanding of Keats’Ode to a Nightingale.授课重、难点主要授课方法授课内容的组织与设计Key Points and Difficult Points in Teaching1 Ode to the West Wind2 Ode to a NightingaleTeaching Methods and MeansLecture; Discussion; Multi-media1 George Gordon Byron (1788-1824)1.1 IntroductionByron ’s best poems areDon Juan and Childe Harold . His other works include Hours of Idleness and English Bards and Scottish Reviewers⋯(See Selected Reading P74 and Textbook A New Concise History of English Literature P188-192).1.2 Comments on Byron●Byron’s poetry is one of experience.His heroes are more or less pictures of himself.His hero is known as “ ByronicHero〞a, proud, mysterious rebel figure of noble origin.With immense superiority in his passions and powers, he would carry on his shoulders the burden of righting all the wrongs in a corrupt society. He would rise single-handedly against any kind of tyrannical rules either in government, in religion, or in moral principles with unconquerable wills and inexhaustible energies. For such a hero, the conflict is usually one of rebellious individual against out-worn social systemsand conventions. The figure is, to some extent, modeled on the life and personalityof Byron.●Byron’spoetry exerts great influence on the Romantic Movement. He stands withShakespeareand Scott among the British writers who exert great influence over themainland of Europe.1.3 Discussion of When We Two Parted●It is a love poem, written in a, b, a, b, c, d, c, d.(Pay attention to the contrast the author used in the description of the partingbetween “ us〞 :)BEFORE or PAST: e.g. “ In secret we methe whole⋯〞 (first stanza)BUTNOW or PRESENT: e.g.“ In silence I grieve⋯〞(the rest of the last stanza and second stanza)The description of“ you〞, e.g.:you vows—brokenyou fame—light/unimportant to youname—spoken by everyone=everyone knows you=a shame for me...●In this poem, the poet, making use of the form of monologue, mediates upon thepresent and the past and expresses the feelings and emotions of a man who loseshis love.1.4 Discussion of She Walks in Beauty●It is a lyrical poem written in 1814 and published in 1815.●In June, 1814, several months before he met and married his first wife, Anna Milbanke,Lord Byron attended a party at Lady Sitwell ’ sWhile. at the party, Lord Byron wasinspired by the sight of his cousin, the beautiful Mrs. Wilmot, who was wearing ablack spangled mourning dress. Lord Byron was struck by his cousin’ s dark fair face, the mingling of various lights and shades. This became the essenceof hispoem about her.(Discuss the questions in theSelected Readings.)●The first couple of lines can be confusing if not read properly. Too often readers stopat the end of the first line where there is no punctuation. This is an enjambed line,meaning that it continues without pause onto the second line. That she walks in beauty like the night may not make sense as night represents darkness. However, as the linecontinues, the night is a cloudless one with bright stars to create a beautiful mellowglow. The first two lines bring together the opposing qualities of darkness and light that are at play throughout the three verses.●The remaining lines of the first verse employ another set of enjambed lines that tell usthat her face and eyes combine all that’ s best of dark and bright. No mention is mad here or elsewhere in the poem of any other physical features of the lady. The focus ofthe vision is upon the details of the lady’ s face and eyes which reflect the me and tender light. She has a remarkable quality of being able to contain the opposites of dark and bright.● The third and fourth lines are not only enjambed, but the fourth line begins with anirregularity in the meter called a metrical substitution. The fourth line starts with anaccented syllable followed by an unaccented one, rather than the iambic meter of theother lines, an unaccented syllable followed by an accented one. The result is that the word “Meet〞receives attention, an emphasis. The lady ’uniques feature is that opposites “ meet〞 in her in a wonderful way.●The second verse tells us that the glow of the lady ’s face is nearly perfect. The and raysare in just the right proportion, and because they are, the lady possessesa nameless grace.This conveys the romantic idea that her inner beauty is mirrored byher outer beauty. Her thoughts are serene and sweet. She is pure and dear.●The last verse is split between three lines of physical description and three lines thatdescribe the lady ’morals character. Her soft, calm glow reflects a life of peace andgoodness. This is a repetition, an emphasis, of the theme that the lady ’physicalbeauty is a reflection of her inner beauty.2 Shelley2.1 Life and achievements(See Selected ReadingP77 and TextbookA New Concise History of EnglishLiterature P192-194)2.2 Shelley ’ s Works●Prometheus Unbound◆ Prometheus Unbound, a lyrical drama, is Shelley masterpiece’.◆The story was taken from Greek mythology: Prometheus stole fire from heaven andtaught men how to use it. For this he was punished by Zeus, the supreme god, whochained him to a rock on Mt. Caucasus, where during the daytime a vulture fed on hisliver, which was restored each succeeding night. The figure of Prometheus has beensymbolic of those noble hearted revolutionaries, who devote themselves to the justcause of the people and suffer great pains at the hands of tyrants.◆The theme of this poetical drama is borrowed from the Greek tragedianAeschylus play Prometheus Bound.▼Aeschylus made Prometheus finally reconcile with Zeus, while Shelley made Prometheus finally win over Zeus, expressing his faith in the ultimate victory ofthe people.▼Shelley made Prometheus the representative of mankind, who has four noble qualities: man’ sshaping intellect, his heroic endurance, his defiance againsttyranny and his love of mankind. Though chained to the rock, he has “ great allies“ in the world. Mother Earth supports him by giving him strength to endure allsufferings and sending the spirits of heroes and martyrs to cheer him. Lovelyshapes of Faith and Hope hover around him. His bride Asia awaits him in thedistance. With a firm confidence in the final triumph of his just cause, Prometheusis perfectly calm in his sufferings. He knows the reign of Zeus, the symbol ofreaction, is but a passing period in the life of the universe, so to thelast he refuses to yield to the tyrants in heaven. Finally Zeus is overthrown byDemogorgon, the symbol of change and revolution, and driven into the eternalabyss; Prometheus is set free by Hercules, the most valiant hero in Greekmythology. As Prometheus throws off his fetters, the whole world joins in achorus to celebrate his liberation. Prometheus ’ triumph symbolizes the v mankindover tyranny and oppression.●His short lyrical poems◆ As for his lyrics on nature, the two best known ones are Ode to the West Wind(1819) and To a Skylark (1820).◆His other lyrics on nature are mainly Hymn of Apollo, The Cloud and To the Moon.Shelley ’loves lyrics, numerous and widely known, including mainly love ’ sPhilosophy, I Fear Thy Kisses , Gentle Maiden, One Word Is Too Often Profaned◆In his love lyrics, Shelley regards love as the noblest thing in the universe, as thething of extreme purity and as a feeling of devotion and worship. He believes thatthe noblest love in the human world may lead mankind to a state of harmony,happiness, peace and perfection. He advocates that love should be elevatedhigh above the vulgar, practical attitude toward it.2.3 Comments on Shelley●Byron said of Shelley that he“was, without exception, the best and least selfish manever knew. I never knew one who was not a beast in comparison 〞 . Matthew Arno thought that Shelley ’ s characterowassensitiveto for a really great writer and calledhim a “ beautiful and ineffectual angel, beating in the void his luminous wings in vainBut Shelley was not ineffectual, and he was not so cut off from the realities of life asArnold suggests.●Shelley has a shrewd and informed comprehension of the complexities of earthly life.And his generous, unselfish personality also contained elements of sophisticatedplayfulness and good humor--- he was not beyond laughing at himself.●Intellectually, he was an immensely learned and well-read man capable of more refinedand original philosophical thinking than any other English Romantic, includingColeridge. And as a poet, as Wordsworth said, “ Shelley is one of the best artists all! Mean in workmanship of style. 〞2.4 Discussion of Ode to the west Wind(Discuss the questions in theSelected Readings)●Motif of the poem: his desire for freedom and his resolution to sacrifice for the struggle forfreedom. To the poet, the west wind, powerful as it is, is not merely a natural phenomenon.It is a “spirit〞, the “breath of Autumn ’s being〞that can spread messages of freedomfar and wide that both destroys and preserves the revival in the spring. The west windsymbolizes rebirth and creative power. To some extent, the west wind is thesymbol of revolutionary spirit.◆Stanza I---The west wind has swept the foliages off the tree and carried seeds tothe earth. She is both destroyer and preserver.◆Stanza II---The west wind has awakened the sky. In this stanza, the west wind iscompared to the rainstorm that bursts out of the dark clouds.◆Stanza III---The west wind has awakened the Mediterranean. The poet thinks thatthe billow results from the trembling of the sea-blooms (trees) for fear of thecoming west wind.◆ Stanza IV---I would have the same strength and free spirit as the west wind if Iwere brought up like him. Unfortunately, I was chained and bowed by thevicissitudes of life.◆Stanza V---I wish we could unite to fight for a bright future. I want to spread mywords among mankind. I ’ m optimistic about the future. If winter comes, can springbe far behind?●Images◆Life images: seeds, spring, clarion, buds;◆Death images: dead leaves, ghosts, hectic, pestilence, dark wintry bed, corps, grave.These life and death images on the one hand are associated with the two functions ofthe West Wind: destroyer and preserver, on the other hand, remind us ofresurrection and a cycle of life and death3 John Keats (1795-1821)3.1 Life and achievements(See Selected ReadingP82 and TextbookA New Concise History of EnglishLiterature P196-198)3.2 Keats ’majors works●A short and miserable life as he has, Keats has produced voluminous literary works. He has writtenfive long poems: Endymion , Isabella , The Eve of St. Agnes, Lamia, and Hyperion .◆Endymion (1818) is a poem of 4000 lines. The story is taken from Greek mythology, telling theromantic love story of between Endymion (a handsome shepherd of Mount Latmos) and themoon goddess Cynthia. It is often interpreted as an allegory representing the poet ’s quest foran ideal feminine counterpart and flawless beauty.◆Isabella is based on a story in Decameron by Boccaccio. The poet retold the tragic love storybetween Lorenzo and Isabella. The poem expresses sympathy for the oppressed and indignationat human cruelty.◆Lamia takes its story from Burton Anatomy of Melancholy’s . Lamia is a serpent maiden. Sheloves a young man named Lycius. They get married and hold their wedding banquet. Amongtheir guests comes the sophist Apollonius who sees through Lamia ’ disguise. Lamia asksApollonius to keep it a secret, but Apollonius refuses. He reveals Lamia’ s iden Then Lamia vanishes. It is obvious that this story is parallel to The Tale of the White Serpent in◆The Eve of St Agnes is a young people ’poetics version of Romeo and Juliet , written inSpenserian stanzas, telling the story between the young maiden Madeline and her loverPorphyro). St Agnes is the patron saint of virgins. The poem is full of beautiful imaginary, rich colourand word music. Keat s’fondness for sensuous beauty and his ability to paint exquisite world-pictures find their best expression in his poem.◆Hyperion is an unfinished long epic, regarded as Keats’greatest achievement in poetry. Itincludes two fragments, Hyperion and The Fall of Hyperion . The poem describes a struggle forpower in heaven. Keats wanted to convey in this poem that the victory of life and youth overthe forces of decadence and retrogression is inevitable. The old order must give way to the newsystem— this is the eternal law of nature.● Keats has written many short lyrical poems, of which the odes and the sonnets are best known . Theodes are generally regarded as Keats ’s most important and mature works . His odes include: Ode toAutumn , Ode to a Nightingale , Ode on Melancholy , and Ode on a Grecian Urn . His best knownsonnets include: Bright Star , When I Have Fear , and The Grasshopper and The Cricket .3.3 Discussion of Ode to a Nightingale(Discuss the questions in the Selected Readings.)●In this poem, Keats not only expresses his raptures upon hearing the beautiful songsof the nightingale and his desire to go to the ethereal world of beauty together with the bird, but also shows his deep sympathy for and his keen understanding of humanmiseries in the society in which he lived.●This poem expresses the contrast between the happy world of natural loveliness andhuman world of agony.◆At first, opiates and wine seems to be a way to transcend the human misery.◆At last poetry itself is seen the most effective way to release misery and to reachparadise. The bird’s song roused in the poet’s heart a form of spiritualhomesickness, a longing to be at one with beauty.◆Keats manages to keep a precarious balance between mirth and despair, rapture andgrief. Through the power of language, a world of beauty is visualized. But theexcitement created through words is also subtly destroyed by them. The ultimateimaginative view evaporates in its extremity as the full associations of the lastword “toll 〞the poet back from his near loss of selfhood to the real and humanworld of sorrow and death. The title of F. Scott Fitzgerald Tender’s is the Nightderives itself from this poem.▼Stanza I---I was falling asleep after taking opiates when I heard a nightingale singing in thebeechen forest.▼Stanza II—I ’d like a cup of red wine to soothe my trouble.▼Stanza III — The nightingale was singing in ecstasy while I am suffering on earth.▼Stanza IV —I wish I could fly to the moon together with the nightingale.▼Stanza V---I realize that I was in a beautiful garden full of fragrant flowers.▼Stanza VI---The nightingale, regardless of my imminent death, kept singing in an ecstasy. Her melody was floating over the grassland aimlessly since her bosom friend cannot hear it anylonger.▼Stanza VII--- The nightingale ’s melody has magical power to arouse the nostalgia of Ruth, a female in the Bible.▼ Stanza VIII---The nighti ngale ’s melody faded away, but I was still absorbed in it. I was half awake and half asleep.Assignments1 Read Ode on a Grecian Urn.2 Pre-read Chapter 8 Female Novelists in 19 th-century England.作业部署3 Read the excerpt of Pride and Prejudice5 Self-study Samuel Taylor Coleridge.主要参照资料备注。

英美文学史及选读电子备课本英国文学部分教案首页（总）备注：教学进程一栏可根据教学内容的多少自定页数。

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备注：教学进程一栏可根据教学内容的多少自定页数。

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备注：教学进程一栏可根据教学内容的多少自定页数。

备注：教学进程一栏可根据教学内容的多少自定页数。

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Lecture OnePart One General Introduction to British LiteratureI. The British ConquestsThe Roman conquest, 55B.C.—410 A.D. (about 400 years, during which the Romans built a network of highways called the Roman roads. Along these roads grew up scores of towns, and London became an important trading center. Christianity was introduced to Britain.The English Conquest: After the Roman armies left, Britain was invaded by swarms of pirates from Northern Europe. Especially the Angles, Saxons and Jutes. Gradually seve n kingdoms arose in Britain. By the 7th century these small tribes were combined into a united kingdom called England, or the land of Angles. The three tribes had mixed into a whole people called English. The three dialects naturally grew into a single language called Anglo-Saxon, or Old English..The Norman Conquest, 1066—1381. The French-speaking Normans under Duke William came in 1066 and became king of England. Feudalism was established.II. An Outline of British Literature1.Medieval literature (5th century –1485):Beowulf (7th century)Sir Gawain and the Green Knight, 1375-1400)Chaucer’s The Canterbury Tales (1400) (father of English poetry)2.Renaissance literatureFrances Bacon, essayist, ―Of Studies‖Edmund Spencer, poet, The Fairy Queen （poet’s poet）Christopher Marlowe, dramatist, The Tamburlaine, The Tragical History of the Life andDeath of Dr. Faustus, The Jew of MaltaShakespeare, poet and dramatist, Hamlet, King Lear, Othello, Macbeth3.17th century literatureJohn Milton, poet, Paradise Lost, Paradise Regained, Samson AgonistesJohn Donne, the founder of the metaphysical school of poetry, a poet of peculiar conceits.Marvel, poet, ―To His Coy Mistress‖John Bunyan, novelist, The Pilgrim’s ProgressJohn Dryden, poet, essayist, dramatist4.Enlightenment literature (late 17th century --- middle 18th century)Alexander Pope, neo-classical poetJonathan Swift, essayist and satirist, Gulliver’s TravelsSamuel Johnson, critic, essayist and dictionary lexicographer. A Dictionary of English LanguageDaniel Defoe, novelist, Robinson CrusoeHenry Fielding, novelist, father of English novels, Tom JonesLaurence Sterne, novelist, The Life and Opinions of Tristram Shandy, which is called themost typical novel in the world, which first used stream of consciousness Oliver Goldsmith, sentimentalist poet, ―The Deserted Village‖, Chinese LettersThomas Grey, sentimentalist poet, ―Elegy written in a country churchyard‖5.Romantic literature (1798-1832)Robert Burns, poet, ―My love’s like a red, red rose‖, ― Auld Lang Syne‖William Wordsworth, poet, Lyrical Ballads, The PreludeSamuel Coleridge, poet, ―The Rime of the Ancient Mariner‖, ―Kubla Khan‖George Byron, poet, Don JuanPercy Bysshe Shelley, ―Ode to the West Wind‖John Keats, ―Ode on a Grecian Urn‖6.Realist literatureRobert Browning, poet, ―The Last Duchess‖Alfred Tennyson, poet, ―Break, Break, Break‖Mathew Arnold, poet, ―Dover Beach‖Jane Austen, novelist, Pride and Prejudice, Emma, Sense and SensibilityCharlotte Bronte, novelist, Jane AyreEmily Bronte, novelist, Wuthering HeightsAnne Bronte, novelist, Agnes GreyGeorge Eliot, novelist, The Mill on the FlossCharles Dickens, novelist, Oliver Twist, David Copperfield,, Great Expectation s, A Tale of Two CitiesWilliam Thackeray, novelist, Vanity FaireThomas Hardy, fatalistic novelist, Tess of the D’Urbervilles, Jude the Obscure,Return of the NativeWilliam Maugham, novelist, Of Human BondageE.M. Foster, novelist, A Passage to IndiaOscar Wilde, dramatist, The Importance of Being EarnestBernard Shaw, dramatist, Pygmalion, Saint Joan7.Modernist literatureD.H. Lawrance, novelist, Sons and Lovers, The Rainbow, Women in Love, Lady Chatterley’sLoverVirginia Woolfe, novelist and critic, Mrs. Dalloway, To the LighthouseJames Joyce, novelist, The Portrait of an Artist as a Young Man, UlyssesT.S. Eliot, poet and critic, ―The Love Song of J. Alfred Prufrock‖, ―The Waste Land‖W.B. Yeats, poet, The Wind Among the ReedsPart Two The National Epic: BeowulfI. The main plotII. Select ReadingIII. What a Man Is Beowulf ?Beowulf is a grand hero.He is faithful to his people. He goes alone, in a strange land, to rescue his people. He forgets himself in face of danger, thinking only that it profits others.IV. Features of BeowulfAlliteration: There are generally four accents in a line, three of which show alliteration.Metaphor: ring-giver= king; whale’s road=sea. Such metaphors occur in great number.Understatement: not troublesome=very welcome; need not praise=condemnPart Three Geoffrey Chaucer (1343-1400)I. Introduction to ChaucerII. Select Reading: The Prologue of The Canterbury TalesIII. Define the termsV. Summarize Chaucer’s literary career and the representative works of each period.Lecture TwoShakespeare (1564-1616)I. A list of Shakespeare’s playsThe first period (historical plays, comedies)1590 Henry VI, Part IIHenry Vi, Part III1591Henry VI, Part I1592Richard IIIThe Comedy of Errors1593Titus AndronicusThe Taming of the Shrew1594The Two gentlemen of VeronaLove’s Labbour’s Lost 《空爱一场》Romeo and JulietThe second period (great comedies and mature historical plays)1595Richard IIA Midsummer Night’s Dream 《仲夏夜之梦》1596The Life and Death of King John 《约翰王》The Merchant of Venice1597Henry IV, Part IHenry IV, Part II1598Much Ado About Nothing 《无事自扰》Henry VThe Merry Wives of Windsor 《温莎的风流妇人》1599Julius CaesarAs You Like It 《如愿》1600Twelfth NightThe third period (great tragedies and dark comedies)1601Hamlet1602Troilus and Cressida 《脱爱勒斯与克莱西达》1603All’s Well That Ends Well 《皆大欢喜》1604Measure for Measure 《恶有恶报》Othello1605King LearMacbeth1606Antony and Cleopatra 《安东尼与克柳巴》1607Coriolanus 《科里奥拉那斯》Timon of Athens 《雅典的泰蒙》The fourth period(romantic drama)1608Pericles 《波里克利斯》1609Cymberline 《辛伯林》1610The Winter’s Tale 《冬天的故事》1611The Tempest 《暴风雨》1612Henry IIIII. Selected Readings:sonnet 18,―To be, or not to be‖,Romeo and Juliet’ SCENE II. Capulet's Orchard.IV. How many periods does Shakespeare’s dramatic career fall into?Roughly four periods: (1) the early histories of the 1590s; (2)the romantic comedies around the turn of the century, roughly from 1594-1600; (3) the great tragedies of the early 1600s, from 1600 to 1608; (4) the romances of the 1610s.V. What are the unique features of Shakespeare’s sonnets?Two features: (1) the principle person addressed by the poet is not a woman but a young man and a mysterious dark lady. (2) the structure of three quatrains and a concludin g couplet is typically Shakespearean.Lecture ThreePart One Francis Bacon (1561-1626)I. Introduction to Francis BaconII. Selected Reading―Of Marriage and Single Life‖Part Two John Donne (1572-1631)I. Introduction to John DonneII. Selected ReadingThe FleaHoly SonnetsA Valediction: Forbidding MourningIII. Define the termConceit: metaphor or simile presenting a surprisingly apt parallel between two apparently dissimilar things or feelings.Metaphysical poetry: Poem that deals with philosophical or spiritual matters. It is generally limited to works written by a group of 17th century poets such as John Donne.IV. Fill in the blanks1.The writings of Francis Bacon mainly fall into three categories: philosophical, literaryand professional.2.The poems of John Donne belong to two categories: the youthful love lyrics and the latersacred verse.3.John Donne is the founder of the school of metaphysical poetry. His works arecharacterized by mysticism in content and fantasticality in form.V. Choose the best answer. ―Some books are to be tasted, others to be swallowed, and some few to be chewed and digested‖ is oen of the epigrams found in___.A. Bacons’“Of Studies”B. Thomas More’s UtopiaC. Bunyan’s The Pilgrim’s ProgressD. Fielding’s Tom JonesJohn Milton (1608-1674)I. Introduction to John MiltonII. Select ReadingA SonnetParadise LostIII.Give supporting reasons for the statement: Samson in Samson Agonistes is John Milton the author himself.Samson Agonistes is a poetical drama modeled on the Greek tragedies. It deals with the story of Samson from the ―Book of Judges‖in the Old Testament. Samson is an athlete of the Israelites. He stands as the champion fighting for the freedom of his country. But he is betrayed by his wife Dalilah and blinded by his enemies the Philistines. Led into the temple to make them sport, he wreaks his vengeance upon his enemies by pulling down the temple upon them and upon himself in a common ruin.There is much in common between Samson and John Milton. Like Samson, Milton had also been embittered by an unwise marriage, persecuted by his enemies, and suffered from blindness. And yet he was unconquerable.Samson’s miserable blind servitude among his enemies, his agonizing longing for sight and freedom, and the last terrible triumph all strongly suggest Milton’s passionate longing that he too could bring destruction down upon the enemy at the cost of his own life.Therefore Samson in the drama is Milton himself in life.IV. Analyze the character of Satan in John Milton’s Paradise Lost.Satan, a conquered and banished giant, remains obeyed and admired by those who follow him down to hell. He is firmer than the rest of the angels. It is he , passing the guarded gates, makes man revolt against God.Satan is the spirit of questioning the authority of God. When he gets to the Garden of Eden, he believes why Adam and Eve should not taste the fruit of the Tree of Knowledge.Though defeated, Satan prevails, since he has won from God a third part of his angels.Though wounded, he triumphs, for the thunder which hits upon his head leaves his heart invincible. Though feebler in force, he remains superior in nobility, since he prefers independence to happy servility. He welcomes his defeat and his torments as a glory, a liberty and a joy.Part One Daniel Defoe (1660-1731)I. Introduction to Daniel DefoeII. Introduction to Robinson CrusoeIII. InterpretationsNovelist James Joyce eloquently noted that the true symbol of the British conquest is Robinson Crusoe: "He is the true prototype of the British colonist… The whole Anglo-Saxon spirit is in Crusoe: the manly independence, the unconscious cruelty, the persistence, the slow yet efficient intelligence, the sexual apathy, the calculating taciturnity".Robinson is not a hero, but an everyman. He begins as a wanderer, aimless on a sea he does not understand; he ends as a pilgrim, crossing a final mountain to enter the promised land. The book tells the story of how Robinson gets closer to God, not through listening to sermons in a church but through spending time alone amongst nature with only a Bible to read. This view was not welcomed by the established Anglican church of the time, which thought the message in the book was anarchic and close to heresy. Defoe's views are reflected in those of Christian anarchism .IV. Cultural influencesThe book proved so popular that the names of the two main protagonists have entered the language. The term "Robinson Crusoe" is virtually synonymous with the word "castaway" and is often used as a metaphor for being or doing something alone. Robinson Crusoe usually referred to his servant as "my man Friday", from which the term "Man Friday" (or "Girl Friday") originated, referring to a personal assistant, servant, or companion.In Jean-Jacques Rousseau's treatise on education, Emile: Or, On Education, the main character, Emile, is allowed to read before the age of twelve is Robinson Crusoe. Rousseau wants Emile to identify himself as Crusoe, required to rely upon himself for all of his needs. In Rousseau's view, Emile needs to imitate Crusoe's experience, allowing necessity to determine what is to be learned and accomplished. This is one of the main themes of Rousseau's educational model.III. Selected ReadingRobinson CrusoePart Two Jonathan Swift (1667-1745)I. Introduction to SwiftII. Main Plot of Gulliver’s TravelsThe book is divided into four parts, which are as follows:Part I: A Voyage To LilliputPart II: A Voyage to BrobdingnagPart III: A Voyage to Laputa, Balnibarbi, Glubbdubdrib, and LuggnaggPart IV: A Voyage to the Country of the HouyhnhnmsMajor themes: Gulliver's Travels has been called a lot of things from a satire to a children's story, from proto-Science Fiction to a forerunner of the modern novel. Possibly one of the reasons for the book's classic status is that it can be seen as many things to many people. It is even funny. Broadly, the book has three themes:1) a satirical view of the state of European government, and of petty differences be tweenreligions.2) an inquiry into whether man is inherently corrupt or whether men are corrupted3) a restatement of the older "ancients v. moderns" controversy previously addressed bySwift in the Battle of the Books.In terms of storytelling and construction the parts follow a pattern:1) The causes of Gulliver's misadventures become more malignant as time goes on - he isfirst shipwrecked, then abandoned, then attacked by strangers, then attacked by his own crew.2) Gulliver's attitude hardens as the book progresses —he is genuinely surprised by theviciousness and politicking of the Lilliputians but finds the behavior of the Yahoos in the fourth part reflective of the behavior of "civilised" people3) Each part is the reverse of the preceding part — Gulliver is big/small/sensible/ignorant,the countries are sophisticated/simple/scientific/natural, forms of Government are worse/better/worse/better than England's.4) Gulliver's view between parts contrasts with its other coinciding part — Gulliver sees thetiny Lilliputians as being vicious and unscrupulous, and then the king of Brobdingnag sees Europe in exactly the same light. Gulliver sees the Laputians as unreasonable, and Gulliver's houyhnhm master sees humanity (well, Yahoos) equally so.5) No form of government is ideal —the simplistic Brobdingnagians enjoy publicexecutions and have streets infested with beggars, the honest and upright Houyhnhnms who have no word for lying are happy to suppress the true nature of Gulliver as a Yahoo and equally unconcerned about his reaction to being expelled6) Specific individuals may be good even where the race is bad — Gulliver finds a friend ineach of his travels and, despite Gulliver's rejection of and horror toward all Yahoos, is treated very well by the Portuguese captain, Don Pedro, who returns him to England at the novel's end.Of equal interest is the character of Gulliver himself — he progresses from a cheery optimist at the start of the first part to the pompous misanthrope of the book's conclusion and we may well have to filter our understanding of the work if we are to believe the final misanthrope wrote the whole work. In this sense Gulliver's Travels is a very modern and complex novel.There are subtle shifts throughout the book, such as when Gulliver begins to see all humans, not just those in Houyhnhnm-land, as Yahoos.Despite the depth and subtlety of the book, it is often derided as a children's story because ofthe popularity of the Lilliput section as a book for children. It is still p ossible to buy books entitled Gulliver's Travels which contain only parts of the Lilliput voyage.Cultural Influences1) The popularity of Gulliver is such that the term Lilliputian has entered the language as anadjective meaning "small and delicate". There is even a brand of cigar called Lilliput which is, obviously, small.2) In like vein, the term Yahoo is often encountered as a synonym for ruffian or thug.Brobdingnagian also can be occasionally found as a synonym for 'very large' or 'gigantic'.3) In the discipline of Computer Architecture, the terms big-endian and little-endian areused to describe two possible ways of laying out bytes in memory . One of the conflicts in the book is between people who preferred cracking open their soft-boiled eggs from the little end, and the people who preferred the big end.III. Selected ReadingChapter 7Lecture SixPart One William Blake (1757-1827)I. Introduction to William BlakeII. Selected ReadingThe LambThe tigerThe sick roseThe chimney sweeperPart Two Robert Burns (1759-1796)I. Introduction to Robert BurnsII. Selected ReadingAuld Lang SyneA Red, Red RosePart Three George Gordon Byron (1788-1824)I. Introduction to ByronII. Selected ReadingShe Walks in BeautyWhen A Man Hath No Freedom to Fight for at HomePart Four Percy Bysshe Shelley (1792-1822)I. Introduction to ShelleyII. Select ReadingOde to the West WindIII.Tell the theme of “Ode to the West Wind”.1.It expresses Shelley’s optimistic belief that old world must go, a new world must comewith the spring.2.The poet asks the wind to work in him, restoring him to spiritual health and creativevigor.IV. What is the symbolic meaning of “the west wind”?3.It symbolizes regeneration which follows the destruction and death of winter.4.Personally, Shelley sees it as a force that will reinvigorate him.5.Socially and politically, the wind represents the destructive and revolutionary energies.6.It is the spirit within nature, a driving force behind the turning wheel of the seasons andthe cycles of life and death.Lecture SevenPart One William Wordsworth (1770-1850)I. Introduction to William WordsworthII. Selected ReadingI Wandered Lonely as a CloudComposed Upon Westminster Bridge, Sept. 3, 1802Part Two Samuel Taylor Coleridge (1772-1834)I. Introduction to ColeridgeII. Selected ReadingKubla KhanPart Three John Keats(1795–1821)I. Introduction to John KeatsII. Selected ReadingOde on a Grecian UrnIII. The theme of Keats’“Ode on a Grecian Urn”.The poet has absorbed himself into the timeless beautiful scenery on the antique Grecian urn: the loves, musicians and worshippers carved on the urn exist simultaneously and forever in their intensity of joy. They are unaffected by time, stilled in expectation. This is at once the glory and the limitation of the world conjured up by an object of art. The urn celebrates intuitions of ecstasy by denying our painful knowledge of transience and suffering.Keats shows the contrast between the permanence of art and the transience of human passion. IV. Five of Keats’ immortal odes.―Ode to a nightingale‖, To Autumn‖, ―Ode on Melancholy‖, ―Ode on a Grecian Urn‖, ―Ode on Indolence‖.V. Coleridge’s artistic ideas.1. His poetic themes range from the supernatural to the domestic.2.Coleridge is one of the first critics to give close critical attention to language, maintaining tthat the true end of poetry is to give pleasure ―through the medium of beauty‖.3.He thinks that art is the medium between man and nature. Imagination is the means to unitethe thoughts and passions. Art is the only permanent revelation of the nature of reality.VI. Wordsworth’s contribution to poetry.1.He has started the modern poetry, the poetry of the growing inner self.2. he has changed the course of English poetry by using ordinar y speech of the language andby advocating a return of nature.Lecture EightJane Austen (1775-1817)I. Introduction to Jane AustenII. Selected ReadingPride and Prejudice (1813)III. Major themes1) As the original title First Impressions suggests, the text can be read as a conservativecriticism of the Romantic movement and in particular its conceit of love at first sight. Early in the story Charlotte Lucas declares that happiness in marriage is a matter of chance and thata woman has equal odds of being happy with a man if she marries immediately after meetinghim or if she studies his character for a year - yet she speaks from cynicism. Elizabeth Bennet's first suitor, Mr. Collins, mouths Romantic clichés without a trace of genuine feeling when he proposes marriage and claims to have experienced love at first sight for Elizabeth although the reader already knows that his first interest was in Elizabeth's more beautiful sister Jane. Immediately after Elizabeth's refusal he proposes to Charlotte, who te sts her theory of marital happiness with dubious success.2)Irony also permeates the novel. Immediately after the opening sentence, which sets forthmatchmaking as a postulate of social mathematics, the text undercuts its premise. Superficial ironies describe several minor characters such as Lady de Bourgh's pompousness in boasting her expertise about music despite not knowing how to play any instrument and Miss Bingley's insincerity in declaring how well she likes books while she yawns and sets one down. A deeper irony is that, despite Elizabeth's insistence to Mr. Collins that she would never want a man to propose to her twice, she spends much of the story regretting her refusal of Mr. Darcy.3)Unlike most novels of its era, which describe fantastic or improbable events, the novel depicts ordinary provincial life with keen observation.4) Marriage plays a huge role in the novel. Some characters marry for security, some marry for wealth, and some marry for love. The idea of marriage is very important throughout the novel, primarily because it was often the only way for a woman of the period to secure her freedom, social status, and living standard.5) Social classes are also taken into account and play a major role as a theme in Pride and Prejudice. People of higher class are very proud of themselves and do not like to socialise with those of lower class. A good example is Darcy when he first appears. Also, the Bingley sisters often talk together about the way people of lower classes act and look bitterly upo n them. A notable exception is Colonel Fitzwilliam, the polite and intelligent younger son of an earl who exhibits embarrassment at his wealthier relatives' rudeness. It is also seen as bad for people of higher classes to mingle with lower classes, but Bingley puts this idea away and proves to be a very social character. Jane Austen ridicules almost all of her aristocratic characters, and her heroes tend to be the landed gentry or the upper-middle class. Lizzy Bennet insists that she is of the same class as Mr. Darcy, and snobbery is one of the characteristics of a villain in Jane Austen's novels.6)Appearance versus reality is a recurring motif all throughout the novel. Near the beginning of the novel, Mr. Darcy points out that humility is the most deceitful appearance of all, and that it is often a careless remark, but can be a way to uplift one's view among others.7)An important theme of all of Jane Austen's novels is how one correctly assesses the characters of the people one meets. Because Elizabeth Bennet and her sisters need to marry, and need to marry well, it is vital that they be able to "read" the men in their social circle—or they might end up married to unprincipled, immoral men like Wickham. The "pride" of the book's title refers not only to Mr. Darcy's pride, but also to Lizzy's pride in her ability to read characters, which turns out to be faulty.8)Pride and prejudice both stand in the way of relationships, as embodied in the persons of Darcy and Elizabeth respectively. Pride narrows the vision of a person and causes one to underestimate other mortals. Prejudice blinds the vision and leads to false perceptions about others. Darcy’s pride and Elizabeth’s prejudice come in their way of understanding each other and keep them apart. Only when Darcy becomes more humble and Elizabeth becomes more accepting can they relate to one another and find happiness together.9)Family. Austen portrays the family as primarily responsible for the intellectual and moral education of children. Mr. and Mrs. Bennet's failure to provide this education for theirdaughters leads to the utter shamelessness, foolishness, frivolity, and immorality of Lydia.Elizabeth and Jane have managed to develop virtue and strong characters in spite of the negligence of their parents, perhaps through the help of their studies and the good influence of Mr. and Mrs. Gardiner, who are the only relatives in the novel that take a serious concern in the girls' well-being and provide sound guidance. Elizabeth and Jane are constantly forced to put up with the foolishness and poor judgment of their mother and the sarcasm and detachment of their father. Even when Elizabeth advises her father not to allow Lydia to go to Brighton, he ignores the advice because he thinks it would be too difficult to de al with Lydia's complaining. The result is the scandal of Lydia's elopement with Wickham. It is only when Lydia elopes with Wickham that Mr. Bennet is moved ineffectively to action. The conclusion indicates that Mr. Bennet has learned little from the crisis, as he indulges in sarcastic comments at his younger daughters' expense.Lecture NinePart One Charlotte BrontëI. Introduction to Charlotte BronteII. Selected ReadingJane Eyre(1847)Part Two Emily Bronte (1818-1848)I. Introduction to Emily BrontePart Three Ann Bronte(1820-1868)I. Introduction to Emily BronteII. Why is Jane Eyre a successful novel?1.The story opens with the titular heroine, Jane Eyre, a plain little orphan.2.it sharply criticizes the existing society, e.g, the religious hypocri sy of charity institutionssuch as Lowood School where poor girls are trained.3.It introduced the first governess to English novel.Lecture TenPart One Alfred Tennyson (1809-1892)I. Introduction to Alfred TennysonII. Selected ReadingThe EagleBreak, break, breakPart Two Robert Browning (1812-1889)I Introduction to Robert Browning and Mrs. BrowningII Selected ReadingMy Late DuchessMeeting at NightPart Three Elizabeth Barrett Browning (1806-1861).Selected ReadingPart Four Matthew Arnold(1822-1888)I. Introduction to Mathew ArnoldII. ReadingDover BeachIII. Robert Browning’s principle achievement in English poetry.His principle achievement lies in his introducing to English poetry the dramatic monologue.Lecture ElevenCharles Dickens (1840-1928)I. Introduction to Charles DickensII. Selected ReadingGreat Expectations Chapter 39III. The symbols and images in Great Expectations.The notable images are the graveyard which symbolizes the underworld with its violence and threat and danger, the huge rotten wedding cake of Miss Havisham’s, which is the symbol of the corrupted and corrupting society, and the journeys Pip makes from the country to Miss。

《英国文学史及作品选读》教学大纲一、课程说明1. 课程中文名称：英国文学史及作品选读2 课程英文名称：History and Selected Readings of English Literature3. 课程总学时数：324. 课程学分数： 25. 授课对象：英语专业本科学生6. 本课程的性质、地位和作用本课程为面向英语专业高年级（三年级）学生开设的一门专业选修课，在学科体系中居重要地位。

要求学生以先修英语阅读、综合英语、英美文化和英美概况等课程为基础。

通过教学，使学生对英国文学有一个概观了解，同时初步培养学生对英国文学作品的鉴赏能力，增强学生对西方文学及文化的了解。

该课程有助于增强学生的语言基本功，丰富学生的人文知识、充实学生的文化修养，提高学生的精神素质。

二、教学基本要求1. 本课程的目的、任务英国文学史及文学作品包含着历史的记忆和哲学的睿智，是英语语言艺术的结晶。

本课程旨在介绍英国文学各个时期的主要文化思潮，文学流派，主要作家及其代表作，使学生对英国文学的发展脉络有一个大概的了解和认识，提高他们对文学作品的阅读鉴赏能力，并能掌握文学批评的基本知识和方法。

要求学生在阅读和分析英国文学作品的基础上了解英国的历史、社会、政治等方面的情况及传统，促进学生对西方文学及文化的了解，提高学生对文化差异的敏感性、宽容性，培养学生对作品的洞察批判能力，从而丰富提升学生人文素养。

2. 本课程的教学要求了解英国文学的发展概况，熟悉发展过程中出现的历史事件，文学思潮，文学流派；熟悉具体作家的文学生涯，创作思想，艺术特色和所属流派；能读懂代表作家的经典作品，并能分析评介作品的主题思想，人物形象，篇章结构、语言特点、修辞手法、文体风格；能掌握文学批评的基本知识和方法，对重要的文学术语有相当的了解并能在文学批评中加以运用。

重点放在代表作家的经典作品的主题思想、人物形象、文体风格、语言特点及其在文学史上的地位与影响，其中作品的主题思想、人物形象、文体风格及语言特点为难点。