英国文学计划和补充材料（201209S).doc

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1、【精品文档】如有侵权，请联系网站删除，仅供学习与交流英国文学计划和补充材料（201209S).精品文档.英国文学课程计划和补充材料(S201209) Proportion of the final scores (100): 50 % made up of the class examination, 40 % made up of group work, and 10 % made up of the attendanceTeaching PlansWeek 1: A Brief Introduction to the Western LiteratureWeek 2: Middle Eng

2、lish Literature, The Canterbury TalesWeeks 3: Renaissance Period, Thomas Marlowe and Thomas NasheWeek 4: William ShakespeareWeek 5: The Metaphysical Poets, John DonneWeek 6: The Age of Classicism, Alexander PopeWeek 7: Sentimentalism, Thomas GrayWeek 8: Robert Burns, William BlakeWeek 9: William Wor

3、dsworth, Samuel Taylor ColeridgeWeek 10: George Gordon Byron, Percy Bysshe ShelleyWeek 11: The Love Song and The Waste Land by T. S. Eliot (1888-1965)Week 12: The Second Coming by William Butler Yeats (1865-1939) A Refusal To Mourn The Death, By Fire, Of A Child In London by Dylan Thomas (1914-1953)

4、Week 13: Hawk Roosting by Ted Hughes (1930-1998) Daddy by Sylvia Plath (1932-1963) Week 14: Heart of Darkness (Excerpts from Part Two) by Joseph Conrad (1857-1924)Week 15: Sons and Lovers by D. H. Lawrence (1885-1930)Week 16: Mrs. Dalloway by Virginia Woolf (1882-1941), Ulysses by James Joyce (1882-

5、1941)Week 17: Lord of the Flies by William Golding (1911-1993)Week 18: A Woman on a Roof by Doris Lessing (1919-)The Change of the English PoetrySpecial terms1. Formsrhymed verses (sonnets)blank versesfree verses2. Rhythmiambusiambic 抑扬格trocheetrochaic 扬抑格anapaestanapaestic 抑抑扬格dactyldactylic扬抑抑格spo

6、ndeespondaic 扬扬格pyrrhicpyrrhic 抑抑格amphibrachamphibrachy 抑扬抑格3. Footmonometerdimetertrimetertetrameterpentameterhexameterheptameteroctameter4. Rhymealliteration 头韵assonance 腹韵（From the cradle to the grave）pararhyme 类尾韵(sitsat, sendsold, great-groat, sweetsweatend rhymeperfect rhymeimperfect rhymemasc

7、uline rhymefeminine rhymerunning rhymealternating rhyme1. Alliteration/ Head Rhyme/ Initial RhymeThe Canterbury Tales by Geoffrey Chaucer When April with its sweet-smelling showers Has pierced the drought of March to the root, And bathed every vein (of the plants) in such liquid By which power the f

8、lower is created; When the West Wind also with its sweet breath, Inspired hath in every holt and heath (In every wood and field has breathed life into) The tender new leaves, and the young sun Has run half its course in Aries, And small fowls make melody, That slepen al the nyght with open ye Those

9、that sleep all the night with open eyes (So priketh hem Nature in hir corages), (So Nature incites them in their hearts), Thanne longen folk to goon on pilgrimages, Then people long to go on pilgrimages, And professional pilgrims to seek foreign shores.Iambic PentameterSonnet 18 by Shakespeare (an i

10、ambic pentameter with the rhyme: abab, cdcd, efef, gg)Shall I compare thee to a summers day? Thou art more lovely and more temperate: Rough winds do shake the darling buds of May, And summers lease hath all too short a date: Sometime too hot the eye of heaven shines, And often is his gold complexion

11、 dimmd; And every fair from fair sometime declines, By chance or natures changing course untrimmd; But thy eternal summer shall not fade Nor lose possession of that fair thou owst; Nor shall Death brag thou wanderst in his shade, When in eternal lines to time thou growst: So long as men can breathe,

12、 or eyes can see, So long lives this, and this gives life to thee.HAMLET:To be, or not to be: that is the question:Whether tis nobler in the mind to sufferThe slings and arrows of outrageous fortune,Or to take arms against a sea of troubles,And by opposing end them? To die: to sleep;No more; and by

13、a sleep to say we endThe heart-ache and the thousand natural shocksThat flesh is heir to, tis a consummationDevoutly to be wishd. To die, to sleep;To sleep: perchance to dream: ay, theres the rub;For in that sleep of death what dreams may comeWhen we have shuffled off this mortal coil,Must give us p

14、ause: theres the respectThat makes calamity of so long life;For who would bear the whips and scorns of time,The oppressors wrong, the proud mans contumely,The pangs of despised love, the laws delay,The insolence of office and the spurnsThat patient merit of the unworthy takes,When he himself might h

15、is quietus makeWith a bare bodkin? who would fardels bear,To grunt and sweat under a weary life,But that the dread of something after death,The undiscoverd country from whose bournNo traveller returns, puzzles the willAnd makes us rather bear those ills we haveThan fly to others that we know not of?

16、Thus conscience does make cowards of us all;And thus the native hue of resolutionIs sicklied oer with the pale cast of thought,And enterprises of great pith and momentWith this regard their currents turn awry,And lose the name of action.-Soft you now!The fair Ophelia! Nymph, in thy orisonsBe all my

17、sins rememberd.Iambic Tetrameter with a rhyme (aa bb cc dd, running rhyme)Discussions:1. What kind of meter is used in the poem?2. What is the rhyme scheme?3. How does the writer develop the theme “love” in the poem?4. How does the writer present the theme “love” in the poem?5. Can you feel the eter

18、nity of Love in the verse?1. The Passionate Shepherd to His Love (Christopher Marlowe)1599)Come live with me and be my love,And we will all the pleasures proveThat valleys, groves, hills, and fields,Woods, or steepy mountain yields.And we will sit upon rocks,Seeing the shepherds feed their flocks,By

19、 shallow rivers to whose fallsMelodious birds sing madrigals.And I will make thee beds of rosesAnd a thousand fragrant poises,A cap of flowers, and a kirtleEmbroidered all with leaves of myrtle;A gown made of the finest woolWhich from our pretty lambs we pull;Fair lined slippers for the cold,With bu

20、ckles of the purest gold;A belt of straw and ivy buds,With coral clasps and amber studs;And if these pleasures may thee move,Come live with me, and be my love.Thy silver dishes for thy meat,As precious as the gods do eat,Shall on an ivory table bePrepared each day for thee and me.The shepherdss swai

21、ns shall dance and singFor thy delight each May morning:If these delights thy mind may move,Then live with me and be my love.SPRINGby Thomas Nashe (1567-1601)Spring, the sweet Spring, is the years pleasant king;Then blooms each thing, then maids dance in a ring,Cold doth not sting, the pretty birds

22、do sing,Cuckoo, jug-jug, pu-we, to-witta-woo!The palm and may make country houses gay,Lambs frisk and play, the shepherds pipe all day,And we hear aye birds tune this merry lay,Cuckoo, jug-jug, pu-we, to-witta-woo!The fields breathe sweet, the daisies kiss our feet,Young lovers meet, old wives a-sun

23、ning sit,In every street theses tunes our ears do greet,Cuckoo, jug-jug, pu-we, to-witta-woo!Spring! the sweet Spring!Iambic Monometer (masculine rhyme, aaa perfect rhyme and bbb imperfect rhyme)Thus I Pass byAnd dieAs one UnknownAnd gone(by Robert Herrick, 1591-1674)The Sun Rising (John Donne)BUSY

24、old fool, unruly Sun, Why dost thou thus,Through windows, and through curtains, call on us ? Must to thy motions lovers seasons run ? Saucy pedantic wretch, go chide Late school-boys and sour prentices, Go tell court-huntsmen that the king will ride, Call country ants to harvest offices ;Love, all a

25、like, no season knows nor clime, Nor hours, days, months, which are the rags of time.Thy beams so reverend, and strong Why shouldst thou think ? I could eclipse and cloud them with a wink, But that I would not lose her sight so long. If her eyes have not blinded thine, Look, and to-morrow late tell

26、me, Whether both th Indias of spice and mine Be where thou leftst them, or lie here with me. Ask for those kings whom thou sawst yesterday, And thou shalt hear, “All here in one bed lay.”Shes all states, and all princes I ;Nothing else is ; Princes do but play us ; compared to this, All honours mimi

27、c, all wealth alchemy. Thou, Sun, art half as happy as we, In that the worlds contracted thus ; Thine age asks ease, and since thy duties be To warm the world, thats done in warming us. Shine here to us, and thou art everywhere ; This bed thy center is, these walls thy sphere.An Essay on Criticism:

28、Part 2 An Essay on Criticism: Part 2 (ALEXANDER POPE 16881744) Of all the causes which conspire to blind Mans erring judgment, and misguide the mind, What the weak head with strongest bias rules, Is pride, the never-failing vice of fools. Whatever Nature has in worth denied, She gives in large recru

29、its of needful pride; For as in bodies, thus in souls, we find What wants in blood and spirits, swelld with wind; Pride, where wit fails, steps in to our defence, And fills up all the mighty void of sense! If once right reason drives that cloud away, Truth breaks upon us with resistless day; Trust n

30、ot yourself; but your defects to know, Make use of evry friendand evry foe. A little learning is a dangrous thing; Drink deep, or taste not the Pierian spring: There shallow draughts intoxicate the brain, And drinking largely sobers us again. Fird at first sight with what the Muse imparts, In fearle

31、ss youth we tempt the heights of arts, While from the bounded level of our mind, Short views we take, nor see the lengths behind, But more advancd, behold with strange surprise New, distant scenes of endless science rise! So pleasd at first, the towring Alps we try, Mount oer the vales, and seem to

32、tread the sky; Th eternal snows appear already past, And the first clouds and mountains seem the last; But those attaind, we tremble to survey The growing labours of the lengthend way, Th increasing prospect tires our wandring eyes, Hills peep oer hills, and Alps on Alps arise! A perfect judge will

33、read each work of wit With the same spirit that its author writ, Survey the whole, nor seek slight faults to find, Where nature moves, and rapture warms the mind; Nor lose, for that malignant dull delight, The genrous pleasure to be charmd with wit. But in such lays as neither ebb, nor flow, Correct

34、ly cold, and regularly low, That shunning faults, one quiet tenour keep; We cannot blame indeedbut we may sleep. In wit, as nature, what affects our hearts Is not th exactness of peculiar parts; Tis not a lip, or eye, we beauty call, But the joint force and full result of all. Thus when we view some

35、 well-proportiond dome, (The worlds just wonder, and evn thine, O Rome! No single parts unequally surprise; All comes united to th admiring eyes; No monstrous height, or breadth, or length appear; The whole at once is bold, and regular. Whoever thinks a faultless piece to see, Thinks what neer was,

36、nor is, nor eer shall be. In evry work regard the writers end, Since none can compass more than they intend; And if the means be just, the conduct true, Applause, in spite of trivial faults, is due. As men of breeding, sometimes men of wit, T avoid great errors, must the less commit: Neglect the rul

37、es each verbal critic lays, For not to know such trifles, is a praise. Most critics, fond of some subservient art, Still make the whole depend upon a part: They talk of principles, but notions prize, And all to one lovd folly sacrifice. Once on a time, La Manchas knight, they say, A certain bard enc

38、ountring on the way, Discoursd in terms as just, with looks as sage, As eer could Dennis of the Grecian stage; Concluding all were desprate sots and fools, Who durst depart from Aristotles rules. Our author, happy in a judge so nice, Producd his play, and beggd the knights advice, Made him observe t

39、he subject and the plot, The manners, passions, unities, what not? All which, exact to rule, were brought about, Were but a combat in the lists left out. What! leave the combat out? exclaims the knight; Yes, or we must renounce the Stagirite. Not so by Heavn (he answers in a rage) Knights, squires,

40、and steeds, must enter on the stage. So vast a throng the stage can neer contain. Then build a new, or act it in a plain. Thus critics, of less judgment than caprice, Curious not knowing, not exact but nice, Form short ideas; and offend in arts (As most in manners) by a love to parts. Some to concei

41、t alone their taste confine, And glittring thoughts struck out at evry line; Pleasd with a work where nothings just or fit; One glaring chaos and wild heap of wit. Poets, like painters, thus, unskilld to trace The naked nature and the living grace, With gold and jewels cover evry part, And hide with

42、 ornaments their want of art. True wit is nature to advantage dressd, What oft was thought, but neer so well expressd, Something, whose truth convincd at sight we find, That gives us back the image of our mind. As shades more sweetly recommend the light, So modest plainness sets off sprightly wit. F

43、or works may have more wit than does em good, As bodies perish through excess of blood. Others for language all their care express, And value books, as women men, for dress: Their praise is stillthe style is excellent: The sense, they humbly take upon content. Words are like leaves; and where they m

44、ost abound, Much fruit of sense beneath is rarely found. False eloquence, like the prismatic glass, Its gaudy colours spreads on evry place; The face of Nature we no more survey, All glares alike, without distinction gay: But true expression, like th unchanging sun, Clears, and improves whateer it s

45、hines upon, It gilds all objects, but it alters none. Expression is the dress of thought, and still Appears more decent, as more suitable; A vile conceit in pompous words expressd, Is like a clown in regal purple dressd: For diffrent styles with diffrent subjects sort, As several garbs with country,

46、 town, and court. Some by old words to fame have made pretence, Ancients in phrase, mere moderns in their sense; Such labourd nothings, in so strange a style, Amaze th unlearnd, and make the learned smile. Unlucky, as Fungoso in the play, These sparks with awkward vanity display What the fine gentle

47、man wore yesterday! And but so mimic ancient wits at best, As apes our grandsires, in their doublets dressd. In words, as fashions, the same rule will hold; Alike fantastic, if too new, or old; Be not the first by whom the new are tried, Not yet the last to lay the old aside. But most by numbers judge a poets song; And