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      英國(guó)文學(xué)史資料總結(jié)(各個(gè)時(shí)期主要作家及其著作)British
      
        
       時(shí)間：2019-05-14 04:02:01下載本文作者：會(huì)員上傳
      
      
      
      
      
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      第一篇：英國(guó)文學(xué)史資料總結(jié)(各個(gè)時(shí)期主要作家及其著作)British
      

      英國(guó)文學(xué)史資料British Writers and Works
      一、中世紀(jì)文學(xué)（約5世紀(jì)—1485）
      ? 《貝奧武甫》（Beowulf）（英國(guó)的民族史詩(shī)）
      《高文爵士和綠衣騎士》（Sir Gawain and the Green Knight)（中古英語(yǔ)傳奇最精美的作品之一）
      杰弗利·喬叟（Geoffrey Chaucer)（標(biāo)志著以本土文學(xué)為主流的英國(guó)書(shū)面文學(xué)歷史的開(kāi)始）
      ―英國(guó)詩(shī)歌之父。（Father of English Poetry）（首創(chuàng)英雄詩(shī)行，即五步抑揚(yáng)格雙韻體）《坎特伯雷故事》（The Canterbury Tales）
      二、文藝復(fù)興時(shí)期文學(xué)（15世紀(jì)后期—17世紀(jì)初）? 托馬斯·莫爾（Thomas More）
      《烏托邦》（Utopia）（開(kāi)創(chuàng)了英國(guó)哲理幻想小說(shuō)傳統(tǒng)的先河）? 埃德蒙·斯賓塞（Edmund Spenser）（“斯賓塞詩(shī)體”）
      《仙后》（The Faerie Queene)? 弗蘭西斯·培根（Francis Bacon）《論說(shuō)文集》（Essays)克里斯托弗·馬洛 Christopher Marlowe ? 《帖木兒大帝》（Tamburlaine）
      《浮士德博士的悲劇》（The Tragical History of the Life and Death of Dr.Faustus）? 《馬耳他島的猶太人》（The Jew of Malta）威廉·莎士比亞William Shakespeare（兩首長(zhǎng)詩(shī)，154首十四行詩(shī)，38部（另說(shuō)39部）戲?。┫矂?《仲夏夜之夢(mèng)》（A Midsummer Night’s Dream）、《威尼斯商人》（The Merchant of Venice）
      悲劇 《羅密歐與朱麗葉》（Romeo and Juliet）、《哈姆萊特》（Hamlet）、《奧賽羅》（Othello）、《李爾王》（King Lear）、《麥克白》（Macbeth）歷史劇 《亨利四世》（Henry IV）傳奇劇 《暴風(fēng)雨》（The Tempest）本·瓊生 Ben Johnson ?
      《人人高興》（Every Man in His Humor）
      《狐貍》（Volpone）
      《練金術(shù)士》（The Alchemist）
      三、17世紀(jì)文學(xué) 約翰·彌爾頓 John Milton  《失樂(lè)園》（Paradise Lost）
      《復(fù)樂(lè)園》（Paradise Regained）詩(shī)劇《力士參孫》（Samson Agonistes）
      玄學(xué)派詩(shī)歌代表：約翰·鄧恩（John Donne）
      安德魯·馬韋爾（Andrew Marvell）
      ? 約翰·班揚(yáng)（John Bunyan）
      《天路歷程》（The Pilgrim’s Progress）? 威廉·康格里夫（William Congreve）
      《以愛(ài)還愛(ài)》（Love for Love）《如此世道》（The Way of the World）約翰·德萊頓（John Dryden）
      四、啟蒙時(shí)期文學(xué)（17世紀(jì)后期—18世紀(jì)中期）
      18世紀(jì)初，新古典主義成為時(shí)尚。新古典主義推崇理性，強(qiáng)調(diào)明晰、對(duì)稱、節(jié)制、優(yōu)雅，追求藝術(shù)形式的完美與和諧。亞歷山大·蒲柏（Alexander Pope）是新古典主義詩(shī)歌的代表。
      理查德·斯梯爾（Richard Steele和約瑟夫·愛(ài)迪生(Joseph Addison)創(chuàng)辦《閑談?wù)摺罚═atler）與《旁觀者》(Spectator)等刊物
      ? 喬納森·斯威夫特 Jonathan Swift（英國(guó)文學(xué)史上最偉大的諷刺散文作家）
      《格列佛 游記》（Gulliver’s Travels）
      塞繆爾·約翰遜（Samuel Johnson）18世紀(jì)英國(guó)人文主義文學(xué)批評(píng)的巨擘 《莎士比亞戲劇集序言》（Preface to Shakespeare）《詩(shī)人傳》(Lives of the Poets)《英語(yǔ)詞典》（A Dictionary of the English Language）詹姆斯·鮑斯韋爾
      《約翰遜傳》(The Life of Samuel Johson)(標(biāo)志著現(xiàn)代傳記的開(kāi)端)? 丹尼爾·笛福 Daniel Defoe 英國(guó)小說(shuō)之父
      《魯濱孫漂流記》（Robinson Crusoe）(現(xiàn)實(shí)主義小說(shuō)的創(chuàng)始之作)《摩爾·弗蘭德斯》（Moll Flanders）? 亨利·菲爾丁 Henry Fielding  《湯姆·瓊斯》（Tom Jones）塞繆爾·理查遜（Samuel Richardso）《帕米拉》（Pamela）
      《克拉麗莎》（Clarissa Harlowe）托比亞·斯莫萊特（Tobias Smollett）
      《藍(lán)登傳》（The Adventures of Roderick Random）
      勞倫斯·斯特恩（Laurence Sterne）
      《項(xiàng)狄傳》（The Life and Opinions of Tristram Shandy）(世界文學(xué)中最典型的小說(shuō))? 奧利弗·哥爾德斯密斯 Oliver Goldsmith  《荒村》（The Deserted Village）
      《世界公民》（The Citizen of the World）后改為 《中國(guó)人信札》（Chinese Letters）? 詹姆斯·湯姆遜James Thomson  《四季歌》（The Seasons）? 威廉·柯林斯 William Collins  《黃昏頌》（Ode to Evening）? 托馬斯·格雷 Thomas Gray  《墓園哀歌》（Elegy Written in a Country Churchyard）
      五、浪漫主義時(shí)期文學(xué)（1798-1832）? 羅伯特·彭斯 Robert Burns ? 威廉·布萊克 William Blake ? 威廉·華茲華斯 William Wordsworth ? 塞繆爾·泰勒·柯勒律治 Samuel Taylor Coleridge  合作出版《抒情歌謠集》（Lyrical Ballads）·喬治·戈登·拜倫（George Gordon Byron）
      波西·比?！ぱ┤R（Percy Bysshe Shelley）《西風(fēng)頌》Ode to the West Wind 約翰·濟(jì)慈（John Keats）
      六、現(xiàn)實(shí)主義時(shí)期文學(xué)（19世紀(jì)30年代-1918）（維多利亞時(shí)代1832-1901）? 羅伯特·布朗寧 Robert Browning
      戲劇獨(dú)白 《皮帕走過(guò)了》（Pippa Passes）
      《指環(huán)與書(shū)》（The Ring and the Book）? 阿爾弗雷德·丁尼生 Alfred Tennyson 《悼念》（In Memoriam A.H.H）馬修·阿諾德（Matthew Arnold, 1822-1888）
      《寫(xiě)于雄偉的卡爾特寺院的詩(shī)章》（Stanzas from the Grande Chartreuse）沃爾特·司各特（Walter Scott, 1771-1832）“西歐歷史小說(shuō)之父” 《密得洛西恩監(jiān)獄》（The Heart of Midlothian）《艾凡赫》（Ivanhoe）
      簡(jiǎn)·奧斯?。↗ane Austen,）
      《傲慢與偏見(jiàn)》（Pride and Prejudice）《愛(ài)瑪》（Emma）勃朗特三姐妹 ：
      ? 夏洛蒂·勃朗特  Charlotte Bronte  《簡(jiǎn)·愛(ài)》（Jane Eyre）? 艾米麗·勃朗特Emily Bronte  《呼嘯山莊》（Wuthering Heights)? 安妮·勃朗特 Anne Bronte  《阿格尼斯·格雷》（Agnes Grey）。
      喬治·艾略特（George Eliot, 1819-1880）原名：瑪麗·安·伊萬(wàn)斯（Mary Ann Evans）19世紀(jì)現(xiàn)實(shí)主義小說(shuō)的真正代表
      《弗羅斯河上的磨房》（The Mill on the Floss）《織工馬南》（Silas Marner）《米德?tīng)栺R契》（Middlemarch）查爾斯·狄更斯Charles Dickens ? 《霧都孤兒》（Oliver Twist）? 《大衛(wèi)·科波菲爾》（David Copperfield）? 《遠(yuǎn)大前程》（Great Expectations）? 《荒涼山莊》（Bleak House）? 《雙城記》（A Tale of Two Cities）
      威廉·麥克皮斯·薩克雷（William Makepeace Thackray, 1811-1863）《名利場(chǎng)》（Vanity Fair）
      《亨利·埃斯蒙德》（The History of Henry Esmond）
      安東尼·特羅洛普（Anthony Trollope, 1815-1882）多產(chǎn)作家，發(fā)表小說(shuō)達(dá)47部之多，主要作品是“巴塞特郡系列小說(shuō)”（Barchester Series）塞繆爾·勃特勒（Samuel Butler, 1835-1902）《埃瑞璜》“埃瑞璜”是英文nowhere的倒寫(xiě) 《眾生之路》（The Way of All Life）托馬斯·哈代 Thomas Hardy ? 《德伯家的苔絲》（Tess of the D’Urbervilles）? 《無(wú)名的裘德》（Jude the Obscure）
      拉迪亞德·吉卜林（Rudyard Kipling, 1865-1936）《吉姆》（Jim）
      《吉姆老爺》（Lord Jim）
      《黑暗的心》（Heart of Darkness）
      阿諾德·本涅特（Arnold Bennett, 1867-1931）《老婦譚》（Old Wives’ Tale）
      威廉·薩默塞特·毛姆（WilliamSomerset Maugham,1874-1965）《人性的枷鎖》（Of Human Bondage）赫伯特·喬治·威爾斯（Herbert George Wells, 1866-1946）《時(shí)間機(jī)器》（The Time Machine）
      約翰·高爾斯華綏（John Galsworthy, 1867-1933）《福爾賽世家》（The Forsyte Saga）E.M.福斯特（E.M.Forster, 1879-1970）《霍華茲別墅》（Howards End 《印度之行》（A Passage to India）
      柯南道爾（Arthur Conan Doyle, 1859-1930）塑造了智力超凡、邏輯嚴(yán)密、個(gè)性鮮明的福爾摩斯這一著名偵探形象
      18世紀(jì)：哥爾德斯密斯的《屈身求愛(ài)》（She Stoops to Conquer）與理查德·布林斯利·謝里登（Richard Brinsley Sheridan, 1751-1816）的諷刺喜劇《造謠學(xué)?！罚═he School for Scandal）
      喜劇天才奧斯卡·王爾德（Oscar Wilde, 1854-1900）的風(fēng)俗喜劇對(duì)上層社會(huì)進(jìn)行揶揄諷刺，妙語(yǔ)連珠，充滿似非而是的怪論、機(jī)智詼諧的俏皮話 蕭伯納（George Bernard Shaw, 1856-1950）《皮格馬利翁》（Pygmalion）《圣女貞德》（Saint Joan）王爾德和蕭伯納是戲劇復(fù)興的里程碑
      七、現(xiàn)代主義文學(xué)時(shí)期）Modern Literature period（1918-1945）
      按照弗吉妮亞·伍爾芙（Virginia Woolf, 1882-1941）的說(shuō)法，1910年是英國(guó)小說(shuō)從傳統(tǒng)現(xiàn)實(shí)主義到現(xiàn)代主義變化的重要年份。D.H.勞倫斯（D.H.Lawrence）
      《查特萊夫人的情人》（Lady Chatterley’s Lover）
      《兒子與情人》（Sons and Lovers）、《虹》（The Rainbow）、《戀愛(ài)中的女人》（Women in Love）
      弗吉妮亞·伍爾芙（Virginia Woolf, 1882-1941）《達(dá)羅衛(wèi)夫人》（Mrs.Dalloway）《到燈塔去》（To the Lighthouse）
      來(lái)自愛(ài)爾蘭的詹姆斯·喬伊斯（James Joyce, 1882-1941）被認(rèn)為是繼莎士比亞后英語(yǔ)文學(xué)史上最偉大的作家 曠世之作《尤利西斯》（Ulysses）
      表現(xiàn)了西方“現(xiàn)代社會(huì)的全部生活和全部歷史” T.S.艾略特（T.S.Eliot, 1888-1965）《荒原》（The Waste Land）
      愛(ài)爾蘭詩(shī)人威廉·勃特勒·葉芝（William Butler Yeats, 1865-1939）努力建立自己的神秘主義象征體系，深入探討人生哲學(xué)問(wèn)題
      伊夫林·沃（Evelyn Waugh, 1903-1966）在《罪惡的軀體》（Vile Bodies）、《一捧塵土》（A Handful of Dust）
      J.B.普里斯特利（J.B.Priestley, 1894-1984）以具有喜劇意味的形式講述社會(huì)各階層的人生故事，展現(xiàn)英國(guó)廣大地區(qū)的生活百態(tài) 《權(quán)力與光榮》（The Power and the Glory）格雷厄姆·格林（Graham Greene, 1904-1991）《布賴頓硬糖》（Brighton Rock）
      “偵探小說(shuō)女皇”阿加莎·克里斯蒂（Agatha Christie, 1891-1976）在《東方快車(chē)上的謀殺案》（Murder on the Orient Express）、《尼羅河上的慘案》（Death on the Nile）
      格雷厄姆·格林（Graham Greene, 1904-1991）
      《布賴頓硬糖》（Brighton Rock）與《權(quán)力與光榮》（The Power and the Glory）奠定了他作為20世紀(jì)英國(guó)重要小說(shuō)家的地位 羅伯特·格雷夫斯（Robert Graves, 1895-1985）古羅馬帝國(guó)三部曲《我，克勞迪斯》（I, Claudius）
      《克勞迪斯神和他的妻子梅薩利納》（Claudius the God and His Wife Messalina）、《貝利薩里烏斯伯爵》（Count Belisarius）是現(xiàn)代歷史小說(shuō)經(jīng)典之作
      八、當(dāng)代文學(xué)Contemporary Literature（1945— 今）喬治·奧威爾（George Orwell, 1903-1950）的政治寓言小說(shuō)《動(dòng)物農(nóng)場(chǎng)》（Animal Farm）和《一九八四年》（Nineteen Eighty Four）
      表現(xiàn)出強(qiáng)烈的社會(huì)責(zé)任心和對(duì)極權(quán)主義威脅的憂慮，獨(dú)樹(shù)一幟 戈?duì)柖。╓illiam Golding, 1911-1993）《蠅王》（Lord of the Flies）
      金斯利·艾米斯（Kingsley Amis, 1922--）和約翰·韋恩（John Wain, 1925-1994）等人被稱為“憤怒的青年”
      金斯利·艾米斯的《幸運(yùn)兒吉姆》（Lucky Jim）編織的“不幸者意想不到地得到幸運(yùn)”的情節(jié)深受讀者的喜愛(ài)，是“憤怒的青年”一派的代表作。約翰·福爾斯（John Fowles, 1926--）是實(shí)驗(yàn)主義作家的杰出代表 長(zhǎng)篇小說(shuō)《法國(guó)中尉的女人》（The French Lieutenant’s Woman）多麗絲·萊辛（Doris Lessing, 1919--）是戰(zhàn)后英國(guó)最杰出的婦女作家，她的小說(shuō)帶有強(qiáng)烈的現(xiàn)實(shí)主義傾向和鮮明的時(shí)代特色。
      穆麗爾·斯帕克（Muriel Spark, 1918--）是一個(gè)信奉天主教的作家，她以獨(dú)特的方式表達(dá)她對(duì)現(xiàn)代罪人的關(guān)切。
      艾麗絲·默多克（Iris Murdoch,1919-1999）是一位在哲學(xué)上有很深造詣的小說(shuō)家
      《在網(wǎng)下》（Under the Net）、《沙堡》（The Sandcastle）、《鐘》（The Bell 塞繆爾·貝克特（Samuel Beckett, 1906-）的《等待戈多》（Waiting for Gogot）約翰·奧斯本（John Osborne, 1929--）的《憤怒的回顧》（Look Back in Anger）貝克特和奧斯本兩位劇作家的創(chuàng)作分別代表五六十年代英國(guó)戲劇發(fā)展的兩個(gè)主要方向，即荒誕派戲劇和寫(xiě)實(shí)主義戲劇。
      阿諾德·韋斯克（Arnold Wesker, 1932--）的《大麥雞湯》（Chicken Soup with Barley）
      哈羅德·品特（Harold Pinter, 1930--）的“威脅喜劇”明顯帶有荒誕色彩 湯姆·斯托帕德（Tom Stoppard, 1937--）
      《羅森格蘭茲和吉爾登斯特恩都已死去》（Rosencrantz and Guildenstern Are Dead）
      彼得·沙弗（Peter Shaffer, 1926--）《上帝的寵兒》（Amadeus）
      迪倫·托馬斯（Dylan Thomas, 1914-1953）以他獨(dú)特的方式繼續(xù)推進(jìn)現(xiàn)代主義詩(shī)歌的實(shí)驗(yàn)和創(chuàng)新
      20世紀(jì)上半葉，艾略特雄踞英美詩(shī)壇，他的詩(shī)歌創(chuàng)作和文學(xué)批評(píng)思想對(duì)同時(shí)代和隨后的詩(shī)人產(chǎn)生深遠(yuǎn)影響。
      30年代，迪倫·托馬斯（Dylan Thomas, 1914-1953）以他獨(dú)特的方式繼續(xù)推進(jìn)現(xiàn)代主義詩(shī)歌的實(shí)驗(yàn)和創(chuàng)新
      50年代，以菲力普·拉金（Philip Larkin, 1922-1985）為代表的“運(yùn)動(dòng)派”詩(shī)人反對(duì)托馬斯的浪漫主義風(fēng)格，力圖恢復(fù)18世紀(jì)以前英國(guó)詩(shī)歌傳統(tǒng) 特德·休斯（Ted Hughes, 1930--1998）的許多詩(shī)都是寫(xiě)動(dòng)物的，但傾注于其間的是人類(lèi)的感情
      愛(ài)爾蘭詩(shī)人西默斯·希尼（Seamus Heaney, 1939--）的詩(shī)歌題材是農(nóng)村的傳統(tǒng)生活，他對(duì)田園景象的描寫(xiě)使人想起華茲華斯。1995年希尼獲諾貝爾文學(xué)獎(jiǎng)。八九十年代
      馬丁·艾米斯（Martin Amis, 1949--）《鈔票：絕命書(shū)》（Money: A Suicide Note）《時(shí)光之箭》（Time’s Arrow）
      “新型歷史小說(shuō)：格雷厄姆·斯威夫特（Grahm Swift, 1949--）描寫(xiě)東英吉利地方史的《水之鄉(xiāng)》（Waterland），彼得·艾克羅伊德（Peter Ackroyd, 1949--）的《王爾德的最后證詞》（The Last Testament of Oscar Wilde）、朱利安·巴恩斯（Julian Barnes, 1946--）的《福樓拜的鸚鵡》（Flaubert’s Parrot）等
      新一代婦女作家的杰出代表是A.S.拜厄特（A.S.Byatt, 1936--）和瑪格麗特·德拉布爾（Margaret Drabble, 1939--）姐妹倆
      拜厄特的《占有》（Possession）把維多利亞時(shí)代詩(shī)人的精神境界與現(xiàn)代學(xué)者的精神狀態(tài)作比較，故事情節(jié)在歷史與現(xiàn)代的兩段感情經(jīng)歷中平行展開(kāi)，過(guò)去與現(xiàn)在相互交融，前者對(duì)后者產(chǎn)生影響。
      英國(guó)少數(shù)裔作家：V.S.奈保爾（V.S.Naipaul）《畢司沃斯先生的房子》(A House for Mr.Biswas)《河灣》(A Bend in the River)《抵達(dá)之謎》(The Enigma of Arrival)薩爾曼·拉什迪（Salman Rushdie, 1947--）
      《撒旦詩(shī)篇》（Satanic Verses）因?yàn)椴磺‘?dāng)?shù)赜吧湎戎汀豆盘m經(jīng)》，引起穆斯林世界廣泛抗議
      《子夜誕生的孩子》（Midnight’s Children）是部杰作，1981年獲布克獎(jiǎng) “25年來(lái)最佳小說(shuō)布克獎(jiǎng)”
      石黑一雄（Kazuo Ishguro, 1954--）是日本裔作家 《長(zhǎng)日留痕》（The Remains of the Day）
      《未能安慰的人》（The Unconsoled）《上海孤兒》（When We Were Orphans）（世紀(jì)末英國(guó)文壇異彩紛呈，現(xiàn)實(shí)主義與實(shí)驗(yàn)主義交錯(cuò)重疊，婦女作家和少數(shù)裔作家異軍突起，英國(guó)文學(xué)呈多元化發(fā)展趨勢(shì)。）
      第二篇：英國(guó)文學(xué)史 英語(yǔ)專業(yè) 大三 作家作品名
      Beowulf 英國(guó)的民族史詩(shī)
      Sir Gawain and the Green Knight
      The Canterbury Tales(Geoffrey Chaucer)
      Utopia(Thomas More)
      The New Atlantis;Essays(Francis Bacon)
      Gulliver’s Travels(Jonathan Swift)
      Erewhon 勃特勒
      The Faerie Queene(Edmund Spenser)
      Tamburlaine;The Tragical Histroy of the Life and Death of Dr.Faustus;The Jew of Malta(Christopher Marlowe)
      A Midsummer Night’s Dream;The Merchant of Venice;Romeo and Juliet;Hamlet;Othello;King Lear;Macbeth;Henry IV;The Tempest(William Shakespeare)
      Every Man in His Humor;Volpone;The Alchemist(Ben Jonson)
      Paradise Lost;Paradise Regained;Samson Agonistes(John Milton)
      The Pilgrim’s Progress(John Bunyan)
      Love for Love;The Way of the World(William Congreve)
      Tatler;Spectator(Richard Steele & Joseph Addison)
      Preface to Shakespeare;Lives of the Poets;A Dictionary of the English Language(Samuel Johnson)
      The Life of Samuel Johnson(James Boswell)
      Robinson Crusoe;Moll Flanders(Daniel Defoe)
      Tom Jones(Henry Fielding)
      Pamela;Clarissa Harlowe(Samuel Richardson)
      The Adventures of Roderick Random(Tobias Smollett)
      The Life and Opinions of Tristram Shandy(Lawrence Sterne)
      The Deserted Village;The Citizen of the World = Chinese Letters(Oliver Goldsmith)
      The Seasons(James Thomson)
      Ode to Evening(William Collins)
      Elegy Written in a Country Churchyard(Thomas Gray)
      Lyrical Ballads(William Wordsworth & Samuel Taylor Coleridge)
      Pippa Passes;The Ring and the Book(Robert Browning)
      In Memoriam A.H.H(Alfred Tennyson)
      Stanzas from the Grande Chartreuse(Matthew Arnold)
      The heart of Midlothian;Ivanhoe(Walter Scott)
      第三篇：教育學(xué)發(fā)展史上各個(gè)時(shí)期代表人物、著作及其主要觀點(diǎn)
      教育學(xué)發(fā)展史上各個(gè)時(shí)期代表人物、著作及其主要觀點(diǎn)
      一、萌芽階段
      1、我國(guó)
      人物 著作
      樂(lè)正克 《學(xué)記》孔子 《論語(yǔ)》墨翟
      主要觀點(diǎn)
      評(píng)價(jià)
      教學(xué)相長(zhǎng)——“學(xué)然后知不足，教然后知困?！?尊師重道——“當(dāng)其為師，則弗臣也。” 藏息相輔——“藏焉修焉，息焉游焉?！闭n內(nèi)
      與課外、勞與逸相結(jié)合 世界上最早的一篇專門(mén)論述教
      啟發(fā)誘導(dǎo)——“道而弗育教學(xué)問(wèn)題的論著。
      牽，強(qiáng)而弗抑，開(kāi)而弗達(dá)?！?/p>
      長(zhǎng)善救失——“教也者，長(zhǎng)善而救其失也?！?循序漸進(jìn)——“不陵節(jié)而施”?！坝薪虩o(wú)類(lèi)” “因材施教” “學(xué)而不思則罔，思而不學(xué)則殆”
      “不憤不啟，不悱不發(fā)” “學(xué)而知之” “溫故而知新” 注重實(shí)用技術(shù)——“親
      知”“聞知”和“說(shuō)
      知”
      老子 董仲舒 《老子》 “道法自然”
      “罷黜百家，獨(dú)尊儒
      術(shù)”
      重視品德教育——“明朱熹
      人倫”
      學(xué)習(xí)方法和讀書(shū)方法
      王陽(yáng)明 王夫之
      2、西方 人物 蘇格拉
      底
      “寓學(xué)習(xí)于游戲”的最柏拉圖 《理想國(guó)》 亞里士
      多德 昆體良
      育》
      二、創(chuàng)立階段 人物 著作
      《新工
      經(jīng)驗(yàn)化教學(xué)
      具》
      首次提出應(yīng)把“教育學(xué)”作培根 《論科學(xué)
      為獨(dú)立的學(xué)科分離出來(lái)。的價(jià)值和發(fā)展》
      教育學(xué)成為一門(mén)獨(dú)立學(xué)科的夸美《大教學(xué)
      “泛智教育”
      紐斯 論》
      父”
      盧梭 《愛(ài)彌自然主義兒童本位的教育觀
      標(biāo)志，被稱為“教育學(xué)之
      科學(xué)歸納法 主要觀點(diǎn)
      評(píng)價(jià)
      習(xí)”三階段
      法的書(shū)
      則
      學(xué)家
      《論演說(shuō)家教學(xué)習(xí)過(guò)程分為“模仿—理論—練世界上第一部研究教學(xué)
      “理性說(shuō)”
      早提倡者
      首次提出“教育遵循自然”的原古希臘百科全書(shū)式的哲
      “產(chǎn)婆術(shù)”
      著作
      主要觀點(diǎn)
      評(píng)價(jià)
      “致良知” 學(xué)思結(jié)合、知行結(jié)合
      兒》
      《教育漫洛克
      話》 康德
      “白板說(shuō)”
      “紳士教育”
      在大學(xué)里講授教育學(xué)的第一
      人。
      西方教育史上第一位將“教裴斯《哈林德
      育與生產(chǎn)勞動(dòng)相結(jié)合”思想泰洛與葛篤奇 德》
      “慈愛(ài)的兒童之父”。提出“教育心理學(xué)化”的主張
      付諸實(shí)踐的教育家。被稱為將倫理學(xué)和心理學(xué)作為教育學(xué)的基礎(chǔ)；標(biāo)志著教育學(xué)作為規(guī)范、獨(dú)赫爾《普通教教育性教學(xué)原則；“四階段”教學(xué)理論立的學(xué)科正式誕生，被稱為巴特 育學(xué)》 和“五段教學(xué)法”；“三中心”論即“科學(xué)教育學(xué)之父”是傳統(tǒng)“教師中心、教材中心、課堂中心”
      教育的代表
      斯賓《教育塞 論》 《民主主杜威 義與教
      “教育預(yù)備說(shuō)”
      “什么知識(shí)最有價(jià)值” 新三中心論即“兒童中心”“活動(dòng)中
      實(shí)用主義教育家
      心”“經(jīng)驗(yàn)中心” “教育即生活”“教育即生長(zhǎng)”
      現(xiàn)代教育的代表人物
      育》
      “學(xué)校即社會(huì)” “生活即教育”
      陶行《中國(guó)教
      “社會(huì)即學(xué)?！?/p>
      知 育改造》
      “教學(xué)做合一”
      三、發(fā)展階段 人物
      著作
      主要觀點(diǎn)
      評(píng)價(jià)  加里寧
      馬卡連柯 克魯普斯卡婭
      凱洛夫
      楊賢江
      贊科夫
      布魯納 瓦根舍因
      克拉夫斯基
      皮亞杰
      蘇霍姆林斯基
      布魯姆 《論共產(chǎn)主義教
      育》
      《教育詩(shī)》 集體主義教育思想
      《國(guó)民教育與民
      主制度》
      世界上第一部馬克《教育學(xué)》
      思主義教育學(xué)著作。我國(guó)第一部以馬克《新教育大綱》
      思主義為指導(dǎo)的教育學(xué)著作。
      發(fā)展性教學(xué)理論
      《教學(xué)與發(fā)展》 高難度、高速度等五條教
      學(xué)原則 結(jié)構(gòu)主義教學(xué)理論
      《教學(xué)過(guò)程》
      倡導(dǎo)發(fā)現(xiàn)教學(xué)法
      范例教學(xué)理論
      《教育科學(xué)與兒
      兒童認(rèn)知發(fā)展階段理論
      童心理學(xué)》 《給教師的建
      議》 《把整個(gè)心靈獻(xiàn)
      全面和諧教育理論
      “活的教育學(xué)”
      給孩子》 《帕夫雷什中
      學(xué)》 《教育目標(biāo)分類(lèi)
      掌握學(xué)習(xí)理論
      學(xué)》
      第四篇：英美文學(xué)各個(gè)時(shí)期主要作家及作品原文中世紀(jì)
      英美文學(xué)各個(gè)時(shí)期主要作家及作品原文/節(jié)選之 中世紀(jì)文學(xué)（自己整理的）時(shí)間：1066年諾曼征服—14世紀(jì)下半葉
      這個(gè)時(shí)期可以分為2部分，中世紀(jì)早期，即1066—17世紀(jì)中葉，因?yàn)樽诮虊浩?，沒(méi)
      有文學(xué)作品出現(xiàn)，是文學(xué)荒漠；而到了14世紀(jì)下半葉，英國(guó)文學(xué)才開(kāi)始興盛起來(lái)。代表人物：杰弗里-喬叟、威廉-蘭格倫、約翰-高厄 代表作品：《高文爵士與他的綠衣騎士》（約翰-高厄）；《坎特伯雷故事集》（杰弗里-喬叟）
      《農(nóng)夫皮爾斯》（威廉-蘭格倫）
      特點(diǎn)：這一時(shí)期，民間通俗文學(xué)占重要位置，展現(xiàn)當(dāng)時(shí)人們的各種生活。但創(chuàng)作上有失新
      穎。此外還大量反映中世紀(jì)基督教的教義，表現(xiàn)人類(lèi)自救。
      中世紀(jì)盛行的文學(xué)形式還有騎士抒情詩(shī)。這種詩(shī)歌以敘述性的韻文或者散文歌頌騎
      士的冒險(xiǎn)以及其它的英雄事跡。主題常常是尋找妖怪、解救美女。最為著名的代表人物是喬叟，他從法國(guó)文學(xué)之中引進(jìn)了各種壓尾韻的詩(shī)章，取代了古英詩(shī)之中的頭韻（如《貝爾武弗》）。在《坎特伯雷故事集》中他運(yùn)用了英雄雙行體（關(guān)于英雄雙行體我將在以后后的貼子之中介紹）。這在這個(gè)英國(guó)文學(xué)史上都是首創(chuàng)。在這一作品之中，他將詩(shī)歌藝術(shù)進(jìn)一步向戲劇和小說(shuō)靠攏。他是英詩(shī)之父。
      以下是英美文學(xué)界三位大師的介紹和《坎特伯雷故事集》介紹；《農(nóng)夫皮爾斯》節(jié)選；《高文爵士與他的綠衣騎士》節(jié)選 中世紀(jì)文學(xué)
      （一）概述
      古英語(yǔ)文學(xué) 英格蘭島的早期居民凱爾特人和其他部族，沒(méi)有留下書(shū)面文學(xué)作品。5世紀(jì)時(shí)，原住北歐的三個(gè)日耳曼部族——盎格魯、撒克遜和朱特——侵入英國(guó)。他們的史詩(shī)《貝奧武甫》傳了下來(lái)。詩(shī)中的英雄貝奧武甫殺巨魔、斗毒龍，并在征服這些自然界惡勢(shì)力的過(guò)程中為民捐軀。它的背景和情節(jié)是北歐的，單摻有基督教成分，顯示出史詩(shī)曾幾經(jīng)修改，已非原貌。按照保存在一部10世紀(jì)的手抄本里的版本來(lái)看，詩(shī)的結(jié)構(gòu)完整，寫(xiě)法生動(dòng)，所有的頭韻、重讀字和代稱體現(xiàn)了古英語(yǔ)詩(shī)歌的特色。
      6世紀(jì)末，基督教傳入英國(guó)，出現(xiàn)了宗教文學(xué)。僧侶們用拉丁文寫(xiě)書(shū)，其中比德所著的《英國(guó)人民宗教史》（731年完成）既有難得的史料，又有富于哲理的傳說(shuō)，受到推崇，并已成了英文。
      此后，丹麥人入侵，不少寺院毀于兵火，學(xué)術(shù)凋零。9世紀(jì)末，韋塞克斯國(guó)王阿爾弗雷德大力抗丹，同時(shí)著手振興學(xué)術(shù)，請(qǐng)了一批學(xué)者將拉丁文著作譯成英文，并鼓勵(lì)編寫(xiě)《盎格魯—薩克遜編年史》，這是用英國(guó)當(dāng)?shù)卣Z(yǔ)言寫(xiě)史的開(kāi)始。
      中古英語(yǔ)文學(xué) 1066年諾曼人入侵，帶來(lái)了歐洲大陸的封建制度，也帶來(lái)了一批說(shuō)法語(yǔ)的貴族。古英語(yǔ)受到了統(tǒng)治階級(jí)語(yǔ)言的影響，本身也在起著變化，12世紀(jì)后發(fā)展為中古英語(yǔ)。文學(xué)上也出現(xiàn)了新風(fēng)尚，盛行用韻文寫(xiě)的騎士傳奇，它們歌頌對(duì)領(lǐng)主的忠和對(duì)高貴婦人的愛(ài)，其中藝術(shù)性較高的有《高文爵士和綠衣騎士》，它用頭韻體詩(shī)寫(xiě)成，內(nèi)容是古代亞瑟王屬下一個(gè)“圓桌騎士”的奇遇。
      14世紀(jì)后半葉，中古英語(yǔ)文學(xué)達(dá)到了高峰。這時(shí)期的重要詩(shī)人喬叟的創(chuàng)作歷程，從早期對(duì)法國(guó)和意大利作品的仿效，進(jìn)到后來(lái)英國(guó)本色的寫(xiě)實(shí)，表明了英國(guó)文學(xué)的自信。他的杰作《坎特伯雷故事集》用優(yōu)美、活潑的韻文，描寫(xiě)了一群去坎特伯雷朝圣的人的神態(tài)言談；他們來(lái)自不同階層和行業(yè)，各人所講的故事或雅或俗，揭示了多方面的社會(huì)現(xiàn)實(shí)。同時(shí)，還有教會(huì)小職員蘭格倫寫(xiě)的頭韻體長(zhǎng)詩(shī)《農(nóng)夫皮爾斯》（一譯《農(nóng)夫彼得之夢(mèng)》），用夢(mèng)幻的形式和寓意的象征，寫(xiě)出了1381年農(nóng)民暴動(dòng)前后的農(nóng)村現(xiàn)實(shí)，筆鋒常帶嚴(yán)峻的是非之感。同樣宣泄下層人民情緒的還有民間歌謠，它們往往是在長(zhǎng)時(shí)間的口頭流傳之后才寫(xiě)成的，其中最初見(jiàn)于15世紀(jì)抄本的羅賓漢歌謠，描繪了一群農(nóng)民劫富濟(jì)貧、打擊教會(huì)僧侶和執(zhí)法吏的事跡，傳頌至今。（王佐良）
      《貝奧武甫》
      《貝奧武甫》 英國(guó)的一部英雄史詩(shī)，是英國(guó)文學(xué)中第一部重要作品。它用古英語(yǔ)寫(xiě)成，是繼希臘、羅馬史詩(shī)之后歐洲最早的一部用本民族語(yǔ)言寫(xiě)成的史詩(shī)。
      全部古英語(yǔ)詩(shī)歌現(xiàn)在保存下來(lái)的不過(guò)3萬(wàn)行，其中有英雄詩(shī)、宗教詩(shī)、抒情挽歌、格言、謎語(yǔ)、咒語(yǔ)，而以《貝奧武甫》為最長(zhǎng)（3，182行），為最完整。
      史詩(shī)中的歷史人物，據(jù)記載生活在5至6世紀(jì)。史詩(shī)故事發(fā)生在和當(dāng)于現(xiàn)在的丹麥和瑞典南部——當(dāng)時(shí)盎格魯—薩克遜人居住的地方。從5世紀(jì)中葉起，這些民族不斷向不列顛移民。大約8世紀(jì)前半葉，關(guān)于貝奧武甫的傳說(shuō)才在他們定居的不列顛寫(xiě)成文字。現(xiàn)存的唯一手抄本約成于10世紀(jì)末。1731年手抄本在一次火災(zāi)中被燒毀幾行，但基本完整，于1815年第一次排印出版。
      全詩(shī)除開(kāi)場(chǎng)白外，共分43節(jié)，由兩個(gè)故事組成，第一個(gè)故事又可分為兩個(gè)部分。第一部分包括開(kāi)場(chǎng)白，寫(xiě)丹麥王朝的始祖許爾德的葬禮，接著寫(xiě)許爾德的后裔丹麥王赫羅斯加建造了一座宮殿，取名鹿廳，但經(jīng)常受到附近沼澤地帶一個(gè)半人半獸的怪物格倫德?tīng)柕囊u擊，一夜就被殺死30名守衛(wèi)武士。它騷擾的12年，消息傳到耶阿特族（今瑞典南部）國(guó)王許耶拉克的侄子貝奧武甫耳中，他率領(lǐng)14名武士前往援助。赫羅斯加在鹿廳設(shè)宴招待他們。宴會(huì)之后，貝奧武甫和武士們留在廳內(nèi)守候。夜間格倫德?tīng)柶崎T(mén)而入，摸著一個(gè)武士，把他吃了；再要摸時(shí)，被貝奧武甫扭住，經(jīng)過(guò)一場(chǎng)搏斗，怪物斷了一只胳膊，負(fù)傷逃回沼澤。第二天赫羅斯加設(shè)宴慶祝，王后贈(zèng)送禮物，歌手歌唱芬恩的故事。第二部分寫(xiě)夜間格倫德?tīng)柕哪赣H前來(lái)替子報(bào)仇，搶走了一個(gè)大臣。次日貝奧武甫追蹤到沼澤，獨(dú)自潛入湖底把女妖殺死，把格倫德?tīng)栴^顱割下，回到鹿廳。赫羅斯加又設(shè)宴慶祝，并向貝奧武甫致辭。貝奧武甫攜帶大批禮物回到許耶拉克宮廷，在宴席上把禮物獻(xiàn)給許耶拉克，許耶拉克也給他大量犒賞。
      第二個(gè)故事寫(xiě)許耶拉克死后，他的兒子赫阿德勒德繼位。赫阿德勒德死后，貝奧武甫繼位，統(tǒng)治了50年。這時(shí)有個(gè)逃亡奴隸盜得一些窖藏的寶物，被看守寶物的火龍發(fā)現(xiàn)，為了報(bào)復(fù)，它到處騷擾為害。年老的貝奧武甫決定為民除害，帶領(lǐng)威耶拉夫等11名武士處罰。在投入戰(zhàn)斗前，他向隨從的武士講了耶阿特人過(guò)去和互殘殺的一段歷史。然后獨(dú)自去同火龍廝殺。他的劍斷了，又被龍吐的火炙傷。隨從的武士都逃跑了，只剩下威耶拉夫一人上前幫助貝奧武甫把龍殺死，貝奧武甫也因傷勢(shì)過(guò)重而死。威耶拉夫悲憤地譴責(zé)那些逃跑的武士，并派人回去報(bào)告消息。最后，耶阿特人在海濱把貝奧武甫火化，把他的骨灰連同火龍的寶物埋葬了。貝奧武甫的陵墓成為航海者的燈塔。
      這部史詩(shī)的內(nèi)容一部分是史實(shí)，一部分是傳說(shuō)，其中提到的人物如赫羅斯加、許耶拉克都是歷史人物，詩(shī)中一些插曲也提到歷史任務(wù)。而主要人物貝奧武甫和他的事跡則基本上來(lái)自傳說(shuō)。歷史因素和傳說(shuō)因素結(jié)合起來(lái)反映了氏族社會(huì)解體時(shí)期的生活。詩(shī)中反映了血仇必報(bào)和部落之間頻繁的戰(zhàn)爭(zhēng)，也反映了氏族內(nèi)部國(guó)王與他的親屬和臣屬之間矛盾的激化。貝奧武甫無(wú)論作為親屬和臣屬都無(wú)懈可擊。作為國(guó)王，他是氏族的保衛(wèi)者，直至獻(xiàn)出生命。對(duì)于鄰族，一反互和仇視的態(tài)度，而是助其除害，對(duì)鄰族國(guó)王，也克盡臣屬效忠的精神。從各方面說(shuō)，他都是一個(gè)理想人物。
      這部史詩(shī)基本上是氏族社會(huì)的產(chǎn)物。但從5、6世紀(jì)起經(jīng)過(guò)近300年口頭流傳，到8世紀(jì)才在英國(guó)寫(xiě)成。這時(shí)英國(guó)已基督教化，寫(xiě)者大半是僧侶，因此史詩(shī)里也有基督教色彩，如氏族社會(huì)和信的命運(yùn)有時(shí)同上帝等同起來(lái)，把代表自然力或惡的格倫德?tīng)栒f(shuō)成是該隱的后代。詩(shī)中也反映了現(xiàn)世的一切都將消亡以及宿命觀點(diǎn)。不過(guò)從整體說(shuō)，史詩(shī)仍保存了基督教以前的特色，高貴的品性，如仁愛(ài)、榮譽(yù)感、慷慨、勇敢等美德被充分肯定。
      史詩(shī)結(jié)構(gòu)嚴(yán)謹(jǐn)，選材集中。它以葬禮開(kāi)始以葬禮結(jié)束，中間寫(xiě)貝奧武甫一生中兩件大事。詩(shī)中有大量插曲，起到對(duì)比或類(lèi)比或暗示的作用，如宴會(huì)上有人即席唱希格蒙德斬龍的故事，來(lái)同50年后貝奧武甫斬龍呼應(yīng)。歌者唱芬恩的妻子調(diào)停血仇失敗的故事，來(lái)烘托赫羅斯加嫁女與鄰族消弭血仇的企圖的失敗。這些插曲今天讀來(lái)顯得突兀，但對(duì)當(dāng)時(shí)聽(tīng)眾卻是很熟悉的。
      史詩(shī)節(jié)奏悠閑而莊嚴(yán)，對(duì)話和敘述交替，有時(shí)加入詩(shī)人的議論，如格倫德?tīng)栠M(jìn)入鹿廳看到武士時(shí)，大喜過(guò)望，準(zhǔn)備飽餐一頓（，）詩(shī)人就從旁評(píng)論道：“但今夜以后，他就再也遇不到吃人的運(yùn)氣了。”詩(shī)人善用這種壓低語(yǔ)氣的修辭手法來(lái)表現(xiàn)對(duì)命運(yùn)的諷刺。
      《貝奧武甫》象古英語(yǔ)其他詩(shī)歌一樣，不用尾韻，而用頭韻，即每個(gè)字開(kāi)頭的輔音或元音和同或和似算對(duì)韻。每行詩(shī)分為兩個(gè)半行，各有兩個(gè)重讀字，重讀字一般押頭韻，因此每行最多可以有四個(gè)頭韻，（用句號(hào)“?！备茫轰浫胝咦ⅲ┮话闱鞍胄袃蓚€(gè)，后半行一個(gè)頭韻的詩(shī)句較多。另一個(gè)特點(diǎn)是使用“代用詞”，如詩(shī)中把海稱為“鯨魚(yú)之路”，國(guó)王是“頒賞金環(huán)的人”，武士叫“持盾的人”等，增強(qiáng)了語(yǔ)言的形象性。史詩(shī)的形式也顯示出維吉爾史詩(shī)的影響。（楊周翰）
      （三）喬叟
      喬叟（約1343~1400）英國(guó)詩(shī)人。出生于倫敦一家富裕的中產(chǎn)階級(jí)家庭，父親是酒商兼皮革商。喬叟可能上過(guò)牛津大學(xué)或劍橋大學(xué)。1357年進(jìn)入宮廷，任英壬愛(ài)德華三世的兒媳阿爾斯特伯爵夫人身邊的少年侍從。1359午，隨愛(ài)德華三世出征法國(guó)，被法軍俘虜，后被愛(ài)德華贖回。1366年，喬叟和菲莉帕結(jié)婚。菲莉帕的妹妹后來(lái)嫁給愛(ài)德華的次子蘭開(kāi)斯特公爵，喬叟因而受到蘭開(kāi)斯特公爵的保護(hù)。同時(shí)，喬叟也是愛(ài)德華三世的侍從騎士。1369年，蘭開(kāi)斯特公爵責(zé)特約翰的元配夫人布蘭希逝世，喬叟寫(xiě)了悼亡詩(shī)《公爵夫人的書(shū)》（1369~1370）來(lái)安慰他的保護(hù)人。1370至1378年之間，喬叟經(jīng)常出國(guó)訪問(wèn)歐洲大陸，執(zhí)行外交談判任務(wù)。他曾兩度訪問(wèn)意大利（1372~1373；1378），這對(duì)他的文學(xué)創(chuàng)作起了極為重要的作用。他發(fā)現(xiàn)了但丁、薄傲丘和彼特拉克的作品，這些作品深刻地影響了他的創(chuàng)作，使他從接受法國(guó)文學(xué)傳統(tǒng)轉(zhuǎn)向接受意大利文學(xué)傳統(tǒng)。從而74年開(kāi)始，喬叟擔(dān)任了二些公職。他先被任命為倫敦港口羊毛、皮革關(guān)稅總管（1374~1386），后來(lái)被英王理查二世任命為皇室修建大臣（1389~1391），主管維修公共建筑、公園、橋梁等。喬叟還擔(dān)任過(guò)肯特郡的治安官（1386），并當(dāng)選為代表肯特郡的國(guó)會(huì)議員（1386）。后來(lái)喬叟還擔(dān)任過(guò)管理薩默塞特郡皇家森林的森林官（1391）。喬叟于1400年10月25日在倫敦逝世，葬于威斯敏斯特教堂里的“詩(shī)人之角”。
      喬叟把屬于中古英語(yǔ)的東中部方言——倫敦方言——提高成為英國(guó)的文學(xué)語(yǔ)言。他又善于繼承和吸收法國(guó)詩(shī)人和意大利詩(shī)人的詩(shī)歌技巧，并且運(yùn)用這些技巧來(lái)豐富和提高英詩(shī)的表達(dá)能力。喬叟的最早的作品之一是他翻譯的法文詩(shī)《玫瑰傳奇》（1370）。這個(gè)英譯本的前1，700行詩(shī)一般公認(rèn)為出自喬叟的手筆。這個(gè)作品和上面提到的《公爵夫人的書(shū)》都是用八音節(jié)雙韻詩(shī)體寫(xiě)成的，都顯示出法國(guó)愛(ài)情詩(shī)的影響。后來(lái)，喬叟寫(xiě)了《聲譽(yù)之官》（1379或1380），也是用八音節(jié)雙韻詩(shī)體寫(xiě)成，但是這個(gè)作品卻早示出意大利詩(shī)人但丁的《神曲》的影響。因此可以把《聲譽(yù)之宮》看成是喬叟從接受法國(guó)文學(xué)傳統(tǒng)轉(zhuǎn)變到意大利文學(xué)傳統(tǒng)的過(guò)渡時(shí)期的作品。不久后，喬叟翻譯了羅馬哲學(xué)家博埃齊鳥(niǎo)斯的著作《哲學(xué)的安慰》（約524），易名為《博埃齊馬斯》（1381或1382），是英文散文譯本。約在同一時(shí)期，喬叟還寫(xiě)了《百鳥(niǎo)會(huì)議》（1382），是用“君王詩(shī)體”寫(xiě)成的。這種詩(shī)體采用七行詩(shī)段的形式，每行為十個(gè)音節(jié)，韻腳為ababbcc。喬叟是第一個(gè)使用這種詩(shī)體的英國(guó)詩(shī)人，但“君王詩(shī)體”的名稱卻來(lái)自蘇格蘭國(guó)王詹拇斯一世，他曾用這個(gè)詩(shī)體寫(xiě)拙蘇格蘭方吉愛(ài)情詩(shī)《國(guó)王的書(shū)》。實(shí)際上這個(gè)作品受了喬叟的影響。在寫(xiě)成《百鳥(niǎo)會(huì)議》數(shù)年以后，喬叟寫(xiě)了《派拉蒙和阿色提》，后來(lái)改編成為《騎士講的故事》。在《貞節(jié)婦女的傳說(shuō)》（1386）里，喬叟第一次使用于音節(jié)雙韻詩(shī)體。這個(gè)詩(shī)體非常重要，因?yàn)閱疼诺慕茏鳌犊蔡夭坠适录罚?387~1400）就是用這個(gè)詩(shī)體寫(xiě)成的。這個(gè)詩(shī)體后來(lái)演化成為“英雄雙韻體”，在新古典主義時(shí)期壟斷了英國(guó)詩(shī)壇。除上述作品外，喬叟還寫(xiě)了愛(ài)炭故事長(zhǎng)詩(shī)《特羅伊拉斯和克菜西德》（1385）。這部作品是甩“君王詩(shī)體”寫(xiě)成的。以上的作品都屬于喬叟創(chuàng)作的意大利時(shí)期。在這個(gè)時(shí)期內(nèi)，喬叟在意大利文學(xué)的影響下，進(jìn)一步發(fā)展了法國(guó)文學(xué)的騎士愛(ài)情詩(shī)歌的傳統(tǒng)，把現(xiàn)實(shí)主義因素逐漸加入到這個(gè)詩(shī)歌傳統(tǒng)里來(lái)。這主要表現(xiàn)在喬叟的最早的杰作《特羅伊拉斯和克萊西德》一詩(shī)里。這部作品取材于薄咖丘的愛(ài)情故事詩(shī)《菲洛斯特拉托》。喬叟擴(kuò)展、發(fā)揮、改動(dòng)了薄仇丘的作品，把他自已的現(xiàn)實(shí)生活經(jīng)驗(yàn)放進(jìn)這個(gè)古老的愛(ài)情故事里面，以至于有些批評(píng)家把喬叟的《特羅伊拉斯和克萊西德》看成是最早的一部現(xiàn)實(shí)主義小說(shuō)。
      1387年開(kāi)始了喬叟創(chuàng)作的成熟期。他寫(xiě)了《坎特伯雷故事集》的總序。他一生的最后十幾年大約都用在寫(xiě)這個(gè)故事案上面，但并未完成。盡管如此，喬叟的《坎特伯雷故事集》在西方中世紀(jì)和文藝復(fù)興時(shí)期的故事集當(dāng)中卻是獨(dú)一無(wú)二的，因?yàn)閱疼诺墓适录粌H是一個(gè)故事集，而且是一個(gè)藝術(shù)整體。我們可以把它看作喬叟的現(xiàn)實(shí)主義藝術(shù)的結(jié)晶?！犊蔡夭坠适录返膬?nèi)容如下：一群香客聚會(huì)在倫敦泰晤士河南岸一家小旅店里，他們準(zhǔn)備到離倫敦70英里外的坎特伯雷域去朝拜殉教圣人托馬斯?阿?貝克特的圣祠。作者在總序里對(duì)每一位香客都作了生動(dòng)、細(xì)致的描寫(xiě)。連詩(shī)人（喬叟）在內(nèi)，香客們一共是31位，代表中世紀(jì)英國(guó)社會(huì)的各階層。騎士和他的兒子見(jiàn)習(xí)騎士代表貴族階級(jí)和騎士精神，伴隨他們的是仆人，一名自耕農(nóng)。接著是一群教會(huì)人物，為首的是一位女修道院長(zhǎng)，侍候她的人有一名尼姑和三名教士。其他的教會(huì)人物有一位和尚和一名托缽僧，其他社會(huì)階層的代表有一位商人、一位牛津大學(xué)學(xué)生（在14世紀(jì)，大學(xué)生也屬于僧侶階層，畢業(yè)后要擔(dān)任神職）、律師、自由農(nóng)民——一位富有的中等地主。還有一群城市中間階層人物，如一名衣帽商，一名木匠，一名紡織匠，一名染坊工人，一名制掛毯的工人，以及一名廚師，一名船員或水手，一位醫(yī)生。巴斯城的婦女——“新女性”的代表，她經(jīng)營(yíng)織布生意很發(fā)財(cái)。鄉(xiāng)村牧師——僧侶階層中社會(huì)地位最低下的成員，在喬叟筆下他卻是十分高貴的人物。農(nóng)夫——他是鄉(xiāng)村牧師的弟兄，是一個(gè)窮苦的農(nóng)民。還有磨房主、糧食采購(gòu)員、田產(chǎn)經(jīng)紀(jì)人、教會(huì)法庭的差人、教會(huì)經(jīng)售贖罪券者。香客中以后兩種最不齒于社會(huì)。最后還有詩(shī)人喬叟本人。晚飯后，旅店主人哈里?貝利建議香客們?cè)谌タ蔡夭壮堑膩?lái)回路上各講兩個(gè)故事，他啟告奮勇做向?qū)?，并?dān)任裁判，看誰(shuí)的故事講得最好，可以白吃一餐好飯?？傂虻酱私Y(jié)束。《坎特伯雷故事集》的其余部分包括故事和銜接段落。喬叟沒(méi)有完成他的預(yù)定計(jì)劃，故事集只有23個(gè)故事，其中有兩個(gè)（廚師和見(jiàn)習(xí)騎士各自講的故事）沒(méi)有講完。還有7處缺銜接段落。大多數(shù)的故事，和總序一樣，都是用雙韻詩(shī)體寫(xiě)成的，只有兩個(gè)故事是用散文寫(xiě)的（一個(gè)是詩(shī)人喬叟自已講的《梅里白的故事》，另一個(gè)是鄉(xiāng)村牧師講的故事）。還有4個(gè)故事（律師、女修道院長(zhǎng)、牛津大學(xué)學(xué)生，以及第二個(gè)尼姑各自講的故事）是用七行詩(shī)段（稱為“君王詩(shī)體”）寫(xiě)的。另外，和尚講的故事是用八行詩(shī)段霧的。這些故事可以分成四組：
      ⑴傳奇（包括愛(ài)情、魔術(shù)、騎士探險(xiǎn)等故事），如騎士、巴斯城的婦女、見(jiàn)習(xí)騎士和自由農(nóng)民各自講的故事：
      ⑵度誠(chéng)和道德教育故事：如律師、牛津大學(xué)學(xué)生、籌二個(gè)尼姑、賣(mài)贖罪券者、女修道院長(zhǎng)、喬叟自已（《梅里白的故事D、醫(yī)生和鄉(xiāng)村牧師講的故事。
      ⑶喜劇或滑稽故事：如磨房主、田產(chǎn)經(jīng)紀(jì)人、廚師、托缽僧、教會(huì)法庭差人、“商人、”教士的仆人、船頁(yè)講的故事。
      ⑷動(dòng)物寓言，如尼姑的教士和糧食采購(gòu)員講的故事。
      不屬于上列四類(lèi)的還有和尚講的關(guān)于大人物下臺(tái)的“悲劇”故事以及喬叟講的嘲諷傳奇《托波斯爵士》。和尚和喬叟講的故事過(guò)于冗長(zhǎng)、乏味，被其他香客打斷。
      從以上的分類(lèi)可以看出喬叟的高度寫(xiě)作才能。他熟悉中世紀(jì)歐洲文學(xué)所有的類(lèi)型，能夠運(yùn)用每一種文學(xué)類(lèi)型的技巧來(lái)寫(xiě)出優(yōu)秀的作品。下列的故事一般公認(rèn)為是《坎特伯雷故事集》里最好的：
      ⑴騎士講的故事——關(guān)于派拉蒙和阿色提愛(ài)上艾米里亞的愛(ài)情悲劇故事，⑵賣(mài)贖罪券者講的故事——關(guān)于死神降臨貪財(cái)者身上的勸世寓言故事。
      ⑶尼姑的教士講的故事——關(guān)于狡猾的狐貍和虛榮的公雞的動(dòng)物寓言故事。這是喬叟的杰作，他把一個(gè)陳舊的寓言故事轉(zhuǎn)化成一出現(xiàn)實(shí)主義的喜劇，內(nèi)容豐富多彩，語(yǔ)言生動(dòng)活潑，雅俗共賞。
      ⑷商人講的故事——關(guān)于“一月”和“五月”的故事（即關(guān)于老夫少妻的家庭糾紛的故事）。
      ⑸自由農(nóng)民講的故事——關(guān)于忠誠(chéng)愛(ài)情和慷慨行為的故事。
      事實(shí)上，《坎特伯雷故事集》里的每一個(gè)故事都有它的獨(dú)到之處，讀者可以各取所需。除了這些有趣的、深刻的故事外，故事之間的銜接段落也值得贊揚(yáng)。在這些段落里，喬叟顯示出他的戲劇才能，人物性格寫(xiě)得鮮明、突出，對(duì)話滑稽、有趣。尤其是巴斯城婦女講的故事的序言和賣(mài)贖罪券者講的故事的序言，寫(xiě)得最為精彩。
      喬叟雖然是個(gè)宮廷詩(shī)人；他的生活經(jīng)驗(yàn)卻是多方面的。他熟悉14世紀(jì)英國(guó)社會(huì)各階層的人物，也了解當(dāng)時(shí)的歐洲社會(huì)。他熟悉法語(yǔ)和意大利語(yǔ)，但堅(jiān)持用英語(yǔ)創(chuàng)作。他對(duì)英國(guó)社會(huì)不同階層人物的語(yǔ)言，都能運(yùn)用自如。他處理的題材面很廣，對(duì)不同的題材采取不同的處理方法，寫(xiě)作技巧和手法也是各式各樣的。由于他的視野廣闊，觀察深刻，他寫(xiě)的14世紀(jì)英國(guó)社會(huì)的人物具有超國(guó)界的特點(diǎn)，也就是說(shuō)，喬叟善于寫(xiě)人的普遍的、共同的特點(diǎn)，因此他的作品能夠在世界范圍內(nèi)長(zhǎng)期吸引讀者。喬叟熱愛(ài)生活，熱愛(ài)人。他雖然也善于嘲笑和諷刺人們的缺點(diǎn)和錯(cuò)誤，但他的總的人生態(tài)度是同情和寬容。喬叟是一位嚴(yán)肅的詩(shī)人，一方面給讀者提供極大的樂(lè)趣，另一方面仍對(duì)讀者進(jìn)行教育，希望讀者成為更理智、更善良的人。但喬叟不愿直接對(duì)讀者進(jìn)行說(shuō)教，總。寓教導(dǎo)于娛樂(lè)之中。在關(guān)于忠誠(chéng)愛(ài)情和慷慨行為的故事（自由農(nóng)民講的故事）里有這樣一句話：“真誠(chéng)是人所能夠保持的最高尚的東西?！边@是喬叟的道德準(zhǔn)則，也是他的藝術(shù)標(biāo)誰(shuí)。喬叟忠誠(chéng)于真理，忠誠(chéng)于現(xiàn)實(shí)，忠誠(chéng)于自然（包括人性），忠誠(chéng)于藝術(shù)。喬叟的藝術(shù)是現(xiàn)實(shí)主義的藝術(shù)，他開(kāi)創(chuàng)了英國(guó)文學(xué)的現(xiàn)實(shí)主義傳統(tǒng)。莎士比亞和狄更斯在不同程度上都是喬叟的繼承人和弟子。在中國(guó)，喬叟的杰作《坎特伯雷故事集》有方重的散文譯本。
      （李賦寧）
      以下為《坎特伯雷故事集》介紹；《農(nóng)夫皮爾斯》節(jié)選；《高文爵士與他的綠衣騎士》節(jié)選 Context
      The Canterbury Tales is the most famous and critically acclaimed work of Geoffrey Chaucer, a late-fourteenth-century English poet.Little is known about Chaucer’s personal life, and even less about his education, but a number of existing records document his professional life.Chaucer was born in London in the early 1340s, the only son in his family.Chaucer’s father, originally a property-owning wine merchant, became tremendously wealthy when he inherited the property of relatives who had died in the Black Death of 1349.He was therefore able to send the young Geoffrey off as a page to the Countess of Ulster, which meant that Geoffrey was not required to follow in his ancestors’ footsteps and become a merchant.Eventually, Chaucer began to serve the countess’s husband, Prince Lionel, son to King Edward III.For most of his life, Chaucer served in the Hundred Years War between England and France, both as a soldier and, since he was fluent in French and Italian and conversant in Latin and other tongues, as a diplomat.His diplomatic travels brought him twice to Italy, where he might have met Boccaccio, whose writing influenced Chaucer’s work, and Petrarch.In or around 1378, Chaucer began to develop his vision of an English poetry that would be linguistically accessible to all—obedient neither to the court, whose official language was French, nor to the Church, whose official language was Latin.Instead, Chaucer wrote in the vernacular, the English that was spoken in and around London in his day.Undoubtedly, he was influenced by the writings of the Florentines Dante, Petrarch, and Boccaccio, who wrote in the Italian vernacular.Even in England, the practice was becoming increasingly common among poets, although many were still writing in French and Latin.That the nobles and kings Chaucer served(Richard II until 1399, then Henry IV)were impressed with Chaucer’s skills as a negotiator is obvious from the many rewards he received for his service.Money, provisions, higher appointments, and property eventually allowed him to retire on a royal pension.In 1374, the king appointed Chaucer Controller of the Customs of Hides, Skins and Wools in the port of London, which meant that he was a government official who worked with cloth importers.His experience overseeing imported cloths might be why he frequently describes in exquisite detail the garments and fabric that attire his characters.Chaucer held the position at the customhouse for twelve years, after which he left London for Kent, the county in which Canterbury is located.He served as a justice of the peace for Kent, living in debt, and was then appointed Clerk of the Works at various holdings of the king, including Westminster and the Tower of London.After he retired in the early 1390s, he seems to have been working primarily on The Canterbury Tales, which he began around 1387.By the time of his retirement, Chaucer had already written a substantial amount of narrative poetry, including the celebrated romance Troilus and Criseyde.Chaucer’s personal life is less documented than his professional life.In the late 1360s, he married Philippa Roet, who served Edward III’s queen.They had at least two sons together.Philippa was the sister to the mistress of John of Gaunt, the duke of Lancaster.For John of Gaunt, Chaucer wrote one of his first poems, The Book of the Duchess, which was a lament for the premature death of John’s young wife, Blanche.Whether or not Chaucer had an extramarital affair is a matter of some contention among historians.In a legal document that dates from 1380, a woman named Cecily Chaumpaigne released Chaucer from the accusation of seizing her(raptus), though whether the expression denotes that he raped her, committed adultery with her, or abducted her son is unclear.Chaucer’s wife Philippa apparently died in 1387.Chaucer lived through a time of incredible tension in the English social sphere.The Black Death, which ravaged England during Chaucer’s childhood and remained widespread afterward, wiped out an estimated thirty to fifty percent of the population.Consequently, the labor force gained increased leverage and was able to bargain for better wages, which led to resentment from the nobles and propertied classes.These classes received another blow in 1381, when the peasantry, helped by the artisan class, revolted against them.The merchants were also wielding increasing power over the legal establishment, as the Hundred Years War created profit for England and, consequently, appetite for luxury was growing.The merchants capitalized on the demand for luxury goods, and when Chaucer was growing up, London was pretty much run by a merchant oligarchy, which attempted to control both the aristocracy and the lesser artisan classes.Chaucer’s political sentiments are unclear, for although The Canterbury Tales documents the various social tensions in the manner of the popular genre of estates satire, the narrator refrains from making overt political statements, and what he does say is in no way thought to represent Chaucer’s own sentiments.Chaucer’s original plan for The Canterbury Tales was for each character to tell four tales, two on the way to Canterbury and two on the way back.But, instead of 120 tales, the text ends after twenty-four tales, and the party is still on its way to Canterbury.Chaucer either planned to revise the structure to cap the work at twenty-four tales, or else left it incomplete when he died on October 25, 1400.Other writers and printers soon recognized The Canterbury Tales as a masterful and highly original work.Though Chaucer had been influenced by the great French and Italian writers of his age, works like Boccaccio’s Decameron were not accessible to most English readers, so the format of The Canterbury Tales, and the intense realism of its characters, were virtually unknown to readers in the fourteenth century before Chaucer.William Caxton, England’s first printer, published The Canterbury Tales in the 1470s, and it continued to enjoy a rich printing history that never truly faded.By the English Renaissance, poetry critic George Puttenham had identified Chaucer as the father of the English literary canon.Chaucer’s project to create a literature and poetic language for all classes of society succeeded, and today Chaucer still stands as one of the great shapers of literary narrative and character.Language in The Canterbury Tales The Canterbury Tales is written in Middle English, which bears a close visual resemblance to the English written and spoken today.In contrast, Old English(the language of Beowulf, for example)can be read only in modern translation or by students of Old English.Students often read The Canterbury Tales in its original language, not only because of the similarity between Chaucer’s Middle English and our own, but because the beauty and humor of the poetry—all of its internal and external rhymes, and the sounds it produces—would be lost in translation.The best way for a beginner to approach Middle English is to read it out loud.When the words are pronounced, it is often much easier to recognize what they mean in modern English.Most Middle English editions of the poem include a short pronunciation guide, which can help the reader to understand the language better.For particularly difficult words or phrases, most editions also include notes in the margin giving the modern versions of the words, along with a full glossary in the back.Several online Chaucer glossaries exist, as well as a number of printed lexicons of Middle English.The Order of The Canterbury Tales The line numbers cited in this SparkNote are based on the line numbers given in The Riverside Chaucer, the authoritative edition of Chaucer’s works.The line numbering in The Riverside Chaucer does not run continuously throughout the entire Canterbury Tales, but it does not restart at the beginning of each tale, either.Instead, the tales are grouped together into fragments, and each fragment is numbered as a separate whole.Nobody knows exactly what order Chaucer intended to give the tales, or even if he had a specific order in mind for all of them.Eighty-two early manuscripts of the tales survive, and many of them vary considerably in the order in which they present the tales.However, certain sets of tales do seem to belong together in a particular order.For instance, the General Prologue is obviously the beginning, then the narrator explicitly says that the Knight tells the first tale, and that the Miller butts in and tells the second tale.The introductions, prologues, and epilogues to various tales sometimes include the pilgrims’ comments on the tale just finished, and an indication of who tells the next tale.These sections between the tales are called links, and they are the best evidence for grouping the tales together into ten fragments.But The Canterbury Tales does not include a complete set of links, so the order of the ten fragments is open to question.The Riverside Chaucer bases the order of the ten fragments on the order presented in the Ellesmere manuscript, one of the best surviving manuscripts of the tale.Some scholars disagree with the groupings and order of tales followed in The Riverside Chaucer, choosing instead to base the order on a combination of the links and the geographical landmarks that the pilgrims pass on the way to Canterbury.Plot Overview
      General Prologue At the Tabard Inn, a tavern in Southwark, near London, the narrator joins a company of twenty-nine pilgrims.The pilgrims, like the narrator, are traveling to the shrine of the martyr Saint Thomas Becket in Canterbury.The narrator gives a descriptive account of twenty-seven of these pilgrims, including a Knight, Squire, Yeoman, Prioress, Monk, Friar, Merchant, Clerk, Man of Law, Franklin, Haberdasher, Carpenter, Weaver, Dyer, Tapestry-Weaver, Cook, Shipman, Physician, Wife, Parson, Plowman, Miller, Manciple, Reeve, Summoner, Pardoner, and Host.(He does not describe the Second Nun or the Nun’s Priest, although both characters appear later in the book.)The Host, whose name, we find out in the Prologue to the Cook’s Tale, is Harry Bailey, suggests that the group ride together and entertain one another with stories.He decides that each pilgrim will tell two stories on the way to Canterbury and two on the way back.Whomever he judges to be the best storyteller will receive a meal at Bailey’s tavern, courtesy of the other pilgrims.The pilgrims draw lots and determine that the Knight will tell the first tale.The Knight’s Tale
      Theseus, duke of Athens, imprisons Arcite and Palamon, two knights from Thebes(another city in ancient Greece).From their prison, the knights see and fall in love with Theseus’s sister-in-law, Emelye.Through the intervention of a friend, Arcite is freed, but he is banished from Athens.He returns in disguise and becomes a page in Emelye’s chamber.Palamon escapes from prison, and the two meet and fight over Emelye.Theseus apprehends them and arranges a tournament between the two knights and their allies, with Emelye as the prize.Arcite wins, but he is accidentally thrown from his horse and dies.Palamon then marries Emelye.The Miller’s Prologue and Tale
      The Host asks the Monk to tell the next tale, but the drunken Miller butts in and insists that his tale should be the next.He tells the story of an impoverished student named Nicholas, who persuades his landlord’s sexy young wife, Alisoun, to spend the night with him.He convinces his landlord, a carpenter named John, that the second flood is coming, and tricks him into spending the night in a tub hanging from the ceiling of his barn.Absolon, a young parish clerk who is also in love with Alisoun, appears outside the window of the room where Nicholas and Alisoun lie together.When Absolon begs Alisoun for a kiss, she sticks her rear end out the window in the dark and lets him kiss it.Absolon runs and gets a red-hot poker, returns to the window, and asks for another kiss;when Nicholas sticks his bottom out the window and farts, Absolon brands him on the buttocks.Nicholas’s cries for water make the carpenter think that the flood has come, so the carpenter cuts the rope connecting his tub to the ceiling, falls down, and breaks his arm.The Reeve’s Prologue and Tale
      Because he also does carpentry, the Reeve takes offense at the Miller’s tale of a stupid carpenter, and counters with his own tale of a dishonest miller.The Reeve tells the story of two students, John and Alayn, who go to the mill to watch the miller grind their corn, so that he won’t have a chance to steal any.But the miller unties their horse, and while they chase it, he steals some of the flour he has just ground for them.By the time the students catch the horse, it is dark, so they spend the night in the miller’s house.That night, Alayn seduces the miller’s daughter, and John seduces his wife.When the miller wakes up and finds out what has happened, he tries to beat the students.His wife, thinking that her husband is actually one of the students, hits the miller over the head with a staff.The students take back their stolen goods and leave.The Cook’s Prologue and Tale
      The Cook particularly enjoys the Reeve’s Tale, and offers to tell another funny tale.The tale concerns an apprentice named Perkyn who drinks and dances so much that he is called “Perkyn Reveler.” Finally, Perkyn’s master decides that he would rather his apprentice leave to revel than stay home and corrupt the other servants.Perkyn arranges to stay with a friend who loves drinking and gambling, and who has a wife who is a prostitute.The tale breaks off, unfinished, after fifty-eight lines.The Man of Law’s Introduction, Prologue, Tale, and Epilogue
      The Host reminds his fellow pilgrims to waste no time, because lost time cannot be regained.He asks the Man of Law to tell the next tale.The Man of Law agrees, apologizing that he cannot tell any suitable tale that Chaucer has not already told—Chaucer may be unskilled as a poet, says the Man of Law, but he has told more stories of lovers than Ovid, and he doesn’t print tales of incest as John Gower does(Gower was a contemporary of Chaucer).In the Prologue to his tale, the Man of Law laments the miseries of poverty.He then remarks how fortunate merchants are, and says that his tale is one told to him by a merchant.In the tale, the Muslim sultan of Syria converts his entire sultanate(including himself)to Christianity in order to persuade the emperor of Rome to give him his daughter, Custance, in marriage.The sultan’s mother and her attendants remain secretly faithful to Islam.The mother tells her son she wishes to hold a banquet for him and all the Christians.At the banquet, she massacres her son and all the Christians except for Custance, whom she sets adrift in a rudderless ship.After years of floating, Custance runs ashore in Northumberland, where a constable and his wife, Hermengyld, offer her shelter.She converts them to Christianity.One night, Satan makes a young knight sneak into Hermengyld’s chamber and murder Hermengyld.He places the bloody knife next to Custance, who sleeps in the same chamber.When the constable returns home, accompanied by Alla, the king of Northumberland, he finds his slain wife.He tells Alla the story of how Custance was found, and Alla begins to pity the girl.He decides to look more deeply into the murder.Just as the knight who murdered Hermengyld is swearing that Custance is the true murderer, he is struck down and his eyes burst out of his face, proving his guilt to Alla and the crowd.The knight is executed, Alla and many others convert to Christianity, and Custance and Alla marry.While Alla is away in Scotland, Custance gives birth to a boy named Mauricius.Alla’s mother, Donegild, intercepts a letter from Custance to Alla and substitutes a counterfeit one that claims that the child is disfigured and bewitched.She then intercepts Alla’s reply, which claims that the child should be kept and loved no matter how malformed.Donegild substitutes a letter saying that Custance and her son are banished and should be sent away on the same ship on which Custance arrived.Alla returns home, finds out what has happened, and kills Donegild.After many adventures at sea, including an attempted rape, Custance ends up back in Rome, where she reunites with Alla, who has made a pilgrimage there to atone for killing his mother.She also reunites with her father, the emperor.Alla and Custance return to England, but Alla dies after a year, so Custance returns, once more, to Rome.Mauricius becomes the next Roman emperor.Following the Man of Law’s Tale, the Host asks the Parson to tell the next tale, but the Parson reproaches him for swearing, and they fall to bickering.The Wife of Bath’s Prologue and Tale
      The Wife of Bath gives a lengthy account of her feelings about marriage.Quoting from the Bible, the Wife argues against those who believe it is wrong to marry more than once, and she explains how she dominated and controlled each of her five husbands.She married her fifth husband, Jankyn, for love instead of money.After the Wife has rambled on for a while, the Friar butts in to complain that she is taking too long, and the Summoner retorts that friars are like flies, always meddling.The Friar promises to tell a tale about a summoner, and the Summoner promises to tell a tale about a friar.The Host cries for everyone to quiet down and allow the Wife to commence her tale.In her tale, a young knight of King Arthur’s court rapes a maiden;to atone for his crime, Arthur’s queen sends him on a quest to discover what women want most.An ugly old woman promises the knight that she will tell him the secret if he promises to do whatever she wants for saving his life.He agrees, and she tells him women want control of their husbands and their own lives.They go together to Arthur’s queen, and the old woman’s answer turns out to be correct.The old woman then tells the knight that he must marry her.When the knight confesses later that he is repulsed by her appearance, she gives him a choice: she can either be ugly and faithful, or beautiful and unfaithful.The knight tells her to make the choice herself, and she rewards him for giving her control of the marriage by rendering herself both beautiful and faithful.The Friar’s Prologue and Tale
      The Friar speaks approvingly of the Wife of Bath’s Tale, and offers to lighten things up for the company by telling a funny story about a lecherous summoner.The Summoner does not object, but he promises to pay the Friar back in his own tale.The Friar tells of an archdeacon who carries out the law without mercy, especially to lechers.The archdeacon has a summoner who has a network of spies working for him, to let him know who has been lecherous.The summoner extorts money from those he’s sent to summon, charging them more money than he should for penance.He tries to serve a summons on a yeoman who is actually a devil in disguise.After comparing notes on their treachery and extortion, the devil vanishes, but when the summoner tries to prosecute an old wealthy widow unfairly, the widow cries out that the summoner should be taken to hell.The devil follows the woman’s instructions and drags the summoner off to hell.The Summoner’s Prologue and Tale
      The Summoner, furious at the Friar’s Tale, asks the company to let him tell the next tale.First, he tells the company that there is little difference between friars and fiends, and that when an angel took a friar down to hell to show him the torments there, the friar asked why there were no friars in hell;the angel then pulled up Satan’s tail and 20,000 friars came out of his ass.In the Summoner’s Tale, a friar begs for money from a dying man named Thomas and his wife, who have recently lost their child.The friar shamelessly exploits the couple’s misfortunes to extract money from them, so Thomas tells the friar that he is sitting on something that he will bequeath to the friars.The friar reaches for his bequest, and Thomas lets out an enormous fart.The friar complains to the lord of the manor, whose squire promises to divide the fart evenly among all the friars.The Clerk’s Prologue and Tale
      The Host asks the Clerk to cheer up and tell a merry tale, and the Clerk agrees to tell a tale by the Italian poet Petrarch.Griselde is a hardworking peasant who marries into the aristocracy.Her husband tests her fortitude several ways, including pretending to kill her children and divorcing her.He punishes her one final time by forcing her to prepare for his wedding to a new wife.She does all this dutifully, her husband tells her that she has always been and will always be his wife(the divorce was a fraud), and they live happily ever after.The Merchant’s Prologue, Tale, and Epilogue
      The Merchant reflects on the great difference between the patient Griselde of the Clerk’s Tale and the horrible shrew he has been married to for the past two months.The Host asks him to tell a story of the evils of marriage, and he complies.Against the advice of his friends, an old knight named January marries May, a beautiful young woman.She is less than impressed by his enthusiastic sexual efforts, and conspires to cheat on him with his squire, Damien.When blind January takes May into his garden to copulate with her, she tells him she wants to eat a pear, and he helps her up into the pear tree, where she has sex with Damien.Pluto, the king of the faeries, restores January’s sight, but May, caught in the act, assures him that he must still be blind.The Host prays to God to keep him from marrying a wife like the one the Merchant describes.The Squire’s Introduction and Tale
      The Host calls upon the Squire to say something about his favorite subject, love, and the Squire willingly complies.King Cambyuskan of the Mongol Empire is visited on his birthday by a knight bearing gifts from the king of Arabia and India.He gives Cambyuskan and his daughter Canacee a magic brass horse, a magic mirror, a magic ring that gives Canacee the ability to understand the language of birds, and a sword with the power to cure any wound it creates.She rescues a dying female falcon that narrates how her consort abandoned her for the love of another.The Squire’s Tale is either unfinished by Chaucer or is meant to be interrupted by the Franklin, who interjects that he wishes his own son were as eloquent as the Squire.The Host expresses annoyance at the Franklin’s interruption, and orders him to begin the next tale.The Franklin’s Prologue and Tale
      The Franklin says that his tale is a familiar Breton lay, a folk ballad of ancient Brittany.Dorigen, the heroine, awaits the return of her husband, Arveragus, who has gone to England to win honor in feats of arms.She worries that the ship bringing her husband home will wreck itself on the coastal rocks, and she promises Aurelius, a young man who falls in love with her, that she will give her body to him if he clears the rocks from the coast.Aurelius hires a student learned in magic to create the illusion that the rocks have disappeared.Arveragus returns home and tells his wife that she must keep her promise to Aurelius.Aurelius is so impressed by Arveragus’s honorable act that he generously absolves her of the promise, and the magician, in turn, generously absolves Aurelius of the money he owes.The Physician’s Tale
      Appius the judge lusts after Virginia, the beautiful daughter of Virginius.Appius persuades a churl named Claudius to declare her his slave, stolen from him by Virginius.Appius declares that Virginius must hand over his daughter to Claudius.Virginius tells his daughter that she must die rather than suffer dishonor, and she virtuously consents to her father’s cutting her head off.Appius sentences Virginius to death, but the Roman people, aware of Appius’s hijinks, throw him into prison, where he kills himself.The Pardoner’s Introduction, Prologue, and Tale
      The Host is dismayed by the tragic injustice of the Physician’s Tale, and asks the Pardoner to tell something merry.The other pilgrims contradict the Host, demanding a moral tale, which the Pardoner agrees to tell after he eats and drinks.The Pardoner tells the company how he cheats people out of their money by preaching that money is the root of all evil.His tale describes three riotous youths who go looking for Death, thinking that they can kill him.An old man tells them that they will find Death under a tree.Instead, they find eight bushels of gold, which they plot to sneak into town under cover of darkness.The youngest goes into town to fetch food and drink, but brings back poison, hoping to have the gold all to himself.His companions kill him to enrich their own shares, then drink the poison and die under the tree.His tale complete, the Pardoner offers to sell the pilgrims pardons, and singles out the Host to come kiss his relics.The Host infuriates the Pardoner by accusing him of fraud, but the Knight persuades the two to kiss and bury their differences.The Shipman’s Tale
      The Shipman’s Tale features a monk who tricks a merchant’s wife into having sex with him by borrowing money from the merchant, then giving it to the wife so she can repay her own debt to her husband, in exchange for sexual favors.When the monk sees the merchant next, he tells him that he returned the merchant’s money to his wife.The wife realizes she has been duped, but she boldly tells her husband to forgive her debt: she will repay it in bed.The Host praises the Shipman’s story, and asks the Prioress for a tale.The Prioress’s Prologue and Tale
      The Prioress calls on the Virgin Mary to guide her tale.In an Asian city, a Christian school is located at the edge of a Jewish ghetto.An angelic seven-year-old boy, a widow’s son, attends the school.He is a devout Christian, and loves to sing Alma Redemptoris(Gracious Mother of the Redeemer).Singing the song on his way through the ghetto, some Jews hire a murderer to slit his throat and throw him into a latrine.The Jews refuse to tell the widow where her son is, but he miraculously begins to sing Alma Redemptoris, so the Christian people recover his body, and the magistrate orders the murdering Jews to be drawn apart by wild horses and then hanged.The Prologue and Tale of Sir Thopas The Host, after teasing Chaucer the narrator about his appearance, asks him to tell a tale.Chaucer says that he only knows one tale, then launches into a parody of bad poetry—the Tale of Sir Thopas.Sir Thopas rides about looking for an elf-queen to marry until he is confronted by a giant.The narrator’s doggerel continues in this vein until the Host can bear no more and interrupts him.Chaucer asks him why he can’t tell his tale, since it is the best he knows, and the Host explains that his rhyme isn’t worth a turd.He encourages Chaucer to tell a prose tale.The Tale of Melibee Chaucer’s second tale is the long, moral prose story of Melibee.Melibee’s house is raided by his foes, who beat his wife, Prudence, and severely wound his daughter, Sophie, in her feet, hands, ears, nose, and mouth.Prudence advises him not to rashly pursue vengeance on his enemies, and he follows her advice, putting his foes’ punishment in her hands.She forgives them for the outrages done to her, in a model of Christian forbearance and forgiveness.The Monk’s Prologue and Tale The Host wishes that his own wife were as patient as Melibee’s, and calls upon the Monk to tell the next tale.First he teases the Monk, pointing out that the Monk is clearly no poor cloisterer.The Monk takes it all in stride and tells a series of tragic falls, in which noble figures are brought low: Lucifer, Adam, Sampson, Hercules, Nebuchadnezzar, Belshazzar, Zenobia, Pedro of Castile, and down through the ages.The Nun’s Priest’s Prologue, Tale, and Epilogue
      After seventeen noble “falls” narrated by the Monk, the Knight interrupts, and the Host calls upon the Nun’s Priest to deliver something more lively.The Nun’s Priest tells of Chanticleer the Rooster, who is carried off by a flattering fox who tricks him into closing his eyes and displaying his crowing abilities.Chanticleer turns the tables on the fox by persuading him to open his mouth and brag to the barnyard about his feat, upon which Chanticleer falls out of the fox’s mouth and escapes.The Host praises the Nun’s Priest’s Tale, adding that if the Nun’s Priest were not in holy orders, he would be as sexually potent as Chanticleer.The Second Nun’s Prologue and Tale
      In her Prologue, the Second Nun explains that she will tell a saint’s life, that of Saint Cecilia, for this saint set an excellent example through her good works and wise teachings.She focuses particularly on the story of Saint Cecilia’s martyrdom.Before Cecilia’s new husband, Valerian, can take her virginity, she sends him on a pilgrimage to Pope Urban, who converts him to Christianity.An angel visits Valerian, who asks that his brother Tiburce be granted the grace of Christian conversion as well.All three—Cecilia, Tiburce, and Valerian—are put to death by the Romans.The Canon’s Yeoman’s Prologue and Tale
      When the Second Nun’s Tale is finished, the company is overtaken by a black-clad Canon and his Yeoman, who have heard of the pilgrims and their tales and wish to participate.The Yeoman brags to the company about how he and the Canon create the illusion that they are alchemists, and the Canon departs in shame at having his secrets discovered.The Yeoman tells a tale of how a canon defrauded a priest by creating the illusion of alchemy using sleight of hand.The Manciple’s Prologue and Tale
      The Host pokes fun at the Cook, riding at the back of the company, blind drunk.The Cook is unable to honor the Host’s request that he tell a tale, and the Manciple criticizes him for his drunkenness.The Manciple relates the legend of a white crow, taken from the Roman poet Ovid’s Metamorphoses and one of the tales in The Arabian Nights.In it, Phoebus’s talking white crow informs him that his wife is cheating on him.Phoebus kills the wife, pulls out the crow’s white feathers, and curses it with blackness.The Parson’s Prologue and Tale As the company enters a village in the late afternoon, the Host calls upon the Parson to give them a fable.Refusing to tell a fictional story because it would go against the rule set by St.Paul, the Parson delivers a lengthy treatise on the Seven Deadly Sins, instead.Chaucer’s Retraction
      Chaucer appeals to readers to credit Jesus Christ as the inspiration for anything in his book that they like, and to attribute what they don’t like to his own ignorance and lack of ability.He retracts and prays for forgiveness for all of his works dealing with secular and pagan subjects, asking only to be remembered for what he has written of saints’ lives and homilies.WILLIAM LANGLAND(1330-1400)The Vision of William Concerning 'Piers the Plowman.'
      Incipit liber de Petro Plowman Prologus
      PROLOGUE The Field Full of Folk  5 10 15 20 25 30 35 40 45
      In a somer seson whan soft was the sonne, I shope me in shroudes as I a shepe were, In habite as an hermite vnholy of workes, Went wyde in tis world wondres to here.Ac on a May mornynge on Maluerne hulles, Me byfel a ferly of fairy, me thou￥te;I was wery forwandred and went me to reste Vnder a brode banke bi a bornes side, And as I lay and lened and loked in te wateres, I slombered in a slepyng it sweyued so merye, Thanne gan I to meten a merueilouse sweuene, That I was in a wilderness wist I neuer where;As I bihelde in-to te est an hiegh to te sonne, I seigh a toure on a toft trielich ymaked;A depe dale binethe a dongeon tere-Inne, With depe dyches & derke and dredful of sight, A faire felde ful of folke fonde I there bytwene, Of alle maner of men te mene and te riche, worchyng and wandryng as te worlde asketh Some putten hem to te plow pleyed ful selde, In settyng and in sowyng swonken ful harde, And wonnen that wastours with glotonye destruyeth.And some putten hem to pruyde appareiled hem tere-after.In countenaunce of clothyng comen disgised.In prayers and in penance putten hem manye, Al for loue of owre lorde lyueden ful streyte, In hope forto haue heuenriche blisse;As ancres and hermites that holden hem in here selles, And coueiten nought in contre to kairen aboute, For no likerous liflode her lykam to plese.And somme chosen chaffare they cheuen the bettere, As it semeth to owre sy￥t that suche men thryueth;And somme murthes to make as mynstralles conneth, And geten gold with here glee giltles, I leue.Ac iapers & iangelers Iudas chylderen, Feynen hem fantasies and foles hem maketh, And han here witte at wille to worche ￥if tei sholde.That Poule precheth of hem I nel nought preue it here: Qui turpiloquium loquitur is luciferes hyne.Bidders and beggeres fast aboute ￥ede, With her belies and her bagges of bred ful ycrammed;Fayteden for here fode fou￥ten atte ale;In glotonye, god it wote gon hij to bedde, And risen with ribaudye tho roberdes knaues;Slepe and sori sleuthe seweth hem eure.[...]
      In a summer season, when soft was the sun, I enshrouded me well in a shepherd's garb, And robed as a hermit, unholy of works, Went wide through the world, all wonders to hear.And on a May morning, on Malvern Hills, strange fancies befell me, and fairy-like dreams.I was weary of wand'ring, and went to repose On a broad green bank, by a burn-side;As I lay there and leaned and looked on the waters, I slumbered and slept, they sounded so merry.Came moving before me a marvellous vision;I was lost in wild waste;but where, I discerned not.I beheld in the east, on high, near the sun, A tower on a hill-top, with turrets well wrought;A deep dale beneath, and a dungeon therein, With deep ditches and dark, and dreadful to see.A fair field full of folk, I found there between, Of all manner of men, the mean and the rich, All working or wand'ring, as the world requires.Some ploughed with the plough;their play was seldom;Some sowing, some earning, with sweat of their brows, The gain which the great ones in gluttony waste.In pride of apparel some passed on their way, And in costliest clothing were quaintly disguised.In prayer and in penance some placed their delight, And all for our Lord's love lived strictly and hard, In hope to have after their heavenly meed;These hermits and anchorites held to their cells, Not caring to roam through the country around For doles of sweet dainties, their flesh to delight.Some chose to be chapmen, to chaffer for gain;As it seems to our sight, such surely succeed.And some, to make merry, as minstrels are wont, Getting gold with their glee, yet guiltless, I trust.As for jugglers and jesters, all Judas's children, That feign silly fancies, apparelled as fools, Having wit, if they willed it, to work as they oughtis a lie, I'd say!
      (5)
      But Arthur would not eat till all were served.He bubbled to the brim with boyish spirits: liked his life light, and loathed the thought of lazing for long or sitting still longer.So his young blood boiled and his brain ran wild, and in many ways moved him still more as a point of honor never to eat on a high holiday till he should have heard a strange story of stirring adventures, of mighty marvels to make the mind wonder, of princes, prowess, or perilous deeds.Or someone might come, seeking a knight to join him in jousting, enjoying the risk of laying their lives on the line like men leaving to fortune the choice of her favor.This was the king's custom at court, the practice he followed at pleasant feasts held in his hall;
      therefore with bold face
      he stood there straight and tall.As New Years proceeded apace
      he meant to have mirth with them all.(6)
      So he stood there stock-still, a king standing tall, talking of courtly trifles before the high table.By Guinevere sat Gawain the Good, and Agravaine of the Heavy Hand on the other side: knights of great worth, and nephews to the king.Baldwin, the bishop, was above, by the head, with Ywain, Urien's son, sitting across.These sat at the dais and were served with due honor;and many mighty men were seated on either side.Then the first course came with a clamor of trumpets whose banners billowed bright to the eye, while kettledrums rolled and the cry of the pipes wakened a wild, warbling music whose touch made the heart tremble and skip.Delicious dishes were rushed in, fine delicacies fresh and plentiful, piled so high on so many platters they had problems finding places to set down their silver bowls of steaming soup: no spot was clear.Each lord dug in with pleasure，and grabbed at what lay near:
      twelve platters piled past measure，bright wine, and foaming beer.(7)
      I need say no more how they served the food, for what fool would fancy their feast was a famine? But a new noise announced itself quickly enough to grant the high lord leave to have dinner.The music had finished but a moment before, the first course just served, and set before the court, when a horrible horseman hurtled through the doors, his body as brawny as any can be, so bull-necked, big-thighed, bulky and square, so long-legged, large-limbed, looming so tall I can hardly tell if he were half troll, or merely as large as living man can be--a handsome one too;as hearty a hulk as ever rode horse.His back and chest were broad as a barrel, but he slimmed at the waist, with a slender stomach, and his face was well formed, with features sharp and clean--
      Men sat there gaping, gasping
      at his strange, unearthly sheen，as if a ghost were passing，for every inch was green.(8)
      He was got up in green from head to heel: a tunic worn tight, tucked to his ribs;and a rich cloak cast over it, covered inside with a fine fur lining, fitted and sewn with ermine trim that stood out in contrast from his hair where his hood lay folded flat;and handsome hose of the same green hue which clung to his calves, with clustered spurs of bright gold;beneath them striped embroidered silk above his bare shanks, for he rode shoeless.His clothes were all kindled with a clear light like emeralds: His belt buckles sparkled, and bright stones were set in rich rows arranged up and down himself and his saddle.Worked in the silk were too many trifles to tell the half of: embroidered birds, butterflies, and other things in a gaudy glory of green and inlaid gold.And the bit and bridle, the breastplate on the horse, and all its tackle were trimmed with green enamel, even the saddlestraps, the stirrups on which he stood, and the bows of his saddle with its billowing skirts which glimmered and glinted with green jewels.The stallion that bore him was the best of its breed it was plain，a green horse great and strong，that sidled, danced and strained，but the bridle-braid led it along，turning as it was trained.(9)
      He was a fine fellow fitted in green--And the hair on his head and his horse's matched.It fanned out freely enfolding his shoulders, and his beard hung below as big as a bush, all mixed with the marvelous mane on his head, which was cut off in curls cascading to his elbows, wrapping round the rest of him like a king's cape clasped to his neck.And the mane of his mount was much the same, but curled up and combed in crisp knots, in braids of bright gold thread and brilliant green criss-crossed hair by hair.And the tossing tail was twin to the mane, for both were bound with bright green ribbons, strung to the end with long strands of precious stones, and turned back tight in a twisted knot bright with tinkling bells of burnished gold.No such horse on hoof had been seen in that hall, nor horseman half so strange as their eyes now held in sight.He looked a lightning flash，they say: he seemed so bright;
      and who would dare to clash
      in melee with such might?
      (10)
      Yet he had on no hauberk, nor a helmet for his head, neither neck-guard nor breastplate to break heavy blows, neither shaft nor shield for the shock of combat.But he held in one hand a sprig of holly that bursts out greenest when branches are bare;and his other hand hefted a huge and awful ax, a broad battleax with a bit to tell(take it who can)with a large head four feet long: the green steel down the grain etched with gold, its broad edge burnished and bright, shaped razor-sharp to sheer through steel, and held high on a heavy staff which was bound at the base with iron bands gracefully engraved in bright green patterns.A strap was strung through the steel head, running loop after loop down the length of the handle, which was tied with tassels in abundance, attaching by rich braids onto bright green buttons.This rider reined in as he rode through the doors direct to the high dais without a word, giving no greeting, gazing down on them all.His first word came when he stopped.“Where,” he said, “is the master of these men? I've a mind to see his face and would fancy a chat with the fellow who wears the crown.”
      To each lord he turned
      and glancing up and down
      he fixed each face to learn
      which knight held most renown.(11)
      They stared at the stranger, stunned, a very long time.For each man wondered what it might mean that man and mount both shone a shade as green as the grass, and greener even than green enamel glows when gold makes it brighter.All eyes were on him, and some edged closer, wondering what in the world he would do.They had seen enough strange sights to know how seldom they are real;therefore they feared him for a phantom, a sending from the Unseen Realm.So of all those noble knights, none dared answer but sat there stupefied by the strength of his voice.A silence fell filling that rich hall as if they'd all fainted or suddenly slept: their voices just vanished at their height.Some, I suppose, were not floored，but chose to be polite，letting their leader and lord
      be first to speak to that knight.(12)
      Arthur stood watching adventure advance and answered quickly as honor bid, neither awed nor afraid, saying, “Wanderer, know you are welcome here.dismount, if you may;make merry as you wish, and we may learn in a little while what you would like.” “So help me God who sits on high,” he said, “No.” “It is not my purpose to pass any time in this place.But I have been told that your reputation towers to heaven: that your court and castle are accounted the finest, your knights and their steeds as the sturdiest in steel, the best, the boldest, the bravest on earth, and as fitting foes in any fine sport.True knighthood is known here, or so the tale runs, which is why I have come calling today.You may be sure by this branch that I bear that I come in peace, with no plans for battle.I have a hauberk at home, and a helmet too, and other weapons I know well how to wield.Yet as war is not my wish I am wearing soft silk, but, if you are as bold as men believe you to be，you will be glad to grant me the game that is mine by right.”
      Then Arthur said, “I swear,”
      “most courteous, noble knight，if you'd like to battle bare，you'll not fail to find a fight.”
      (13)
      “Never fear,” he said, “I'm not fishing for a fight with the beardless children on the benches all about.If I were strapped on steel on a sturdy horse no man here has might to match me.No, I have come to this court for a bit of Christmas fun fitting for Yuletide and New Years with such a fine crowd.Who here in this house thinks he has what it takes, has bold blood and a brash head, and dares to stand his ground, giving stroke for stroke? Here!I shall give him this gilded blade as my gift;this heavy ax shall be his, to handle as he likes.and I shall stand here bare of armor, and brave the first blow.If anyone's tough enough to try out my game, let him come here quickly and claim his weapon!I give up all rights;he will get it for keeps.I'll stand like a tree trunk--he can strike at me once, if you'll grant me the right to give as good as I get in play.But later is soon enough，a full year and a day.Get up, if you think you're rough，let's see what you dare to say!”
      (14)
      If at first he had stunned them, now they sat stone-still: the whole hall, both high and low.The mounted man moved in his saddle, glared a red glance grimly about, arched his bushy brows, all brilliant and green, his beard waving as he waited for one man to rise, to call or came forward.He coughed loudly, stretched slowly, and straightened to speak.“Hah!They call this King Arthur's house, a living legend in land after land? Where have your pride and your power gone, your bragging boasts, your big words? The glories and triumphs of the Round Table have toppled at the touch of one man's words!What? Fainting with fear, when no fight is offered?” He let out a laugh so loud that Arthur winced with shame;the blood shot to his flushed face and churned
      with rage and raised a storm
      until their hearts all burned.All king in face and form，he reached that rider, turned，(15)
      and said, “Look here, by heaven!Have you lost your mind? If you want to be mad, I will make you welcome!Nobody I know is bowled over by your big words, so help me God!Hand me that ax--I will grant you the gift you beg me to give!” He leaped lightly up and lifted it from his hand.Then the man dismounted, moving proudly, while Arthur held the ax, both hands on the haft, hefted it sternly, considered his stroke.That burly man bulked big and tall, a head higher than anyone in the house.He stood there hard-faced, stroking his beard, impassively watching as he pulled off his coat, no more moved or dismayed by his mighty swings than anybody would be if somebody brought him a bottle of wine.Gawain, sitting by the queen，could tell the king his mind:
      “Lord, hear well what I mean，and let this match be mine.”
      (16)
      “Grant leave, good lord,” said Gawain to the king, “to stir from my seat and stand by your side;that I might rise without rudeness from this table without fear of offending your fair queen, and come before your court as a counselor should.It is plainly improper, as people know well, to point this proposal at the prince himself.Though you may be eager to act for yourself, there are so many bold knights on the benches all about, none more masterful in mind maybe than move move under heaven, nor many built better for the field of battle.Of all your men of war I am the weakest and least wise, and my life little enough to lose, if you look at it clearly.My only honor is that you are my uncle;my only boast is that my body carries your blood.Since this whole matter is such a mockery, it is not meant for you;and I am first on the field: let this folly be mine.If my claim is uncalled-for let the court judge;I will bear the blame.”
      They huddled hushed around
      and all advised the same:
      respect the royal crown，and give Gawain the game.(17)
      Then the king commanded him to rise and come forward, and he stood quickly, walked with stately steps to kneel before the king and claim his weapon.Arthur handed it over and held up his hand to give him God's blessing.With a glad smile he charged him to be hardy in heart.“Cousin, careful,” he said, “cut him but once.and if you teach him truly, I trust you will find you can bear the blow that he brings you later.” Gawain went to the warrior, weapon in hand, not the least bit bashful, as bold as can be.Then the Green Knight said to Gawain, “We should go over our agreement before we begin.First, knight, I would know your name, told truly as one I can trust.” “My name is Gawain,” he said, “I give it in good faith, as I will give you a blow and bear what comes after.At this time in twelve months I will take a blow back from what weapon you wish, but from no other knight alive.”
      The other answering spoke，“Sir Gawain: good.I derive
      great pleasure from the stroke
      your hardy hands will drive.”
      (18)
      “Gad!” the Green Knight said.“Sir Gawain, I am glad that your fist will fetch me the fun I hoped to find.You have quickly retold in trustworthy words a correct account of the contract I asked of the king, save one stipulation that I must state: let it stand as your oath that you will seek me yourself, and search anywhere you feel I may be found to fetch back the same wages I am paid today before this proud court.” “Where should I look?” Gawain asked, “Where do you live?” “By Him that made me, your house is not known to me, neither do I know you, knight, nor your court nor your name.But teach me truly, tell me where to find you and I shall work my wits out to win my way there.I give my plain promise;I pledge you my word.” “That is enough for a New Year's pledge;you need say no more,”--So the green man answered gracious Gawain--“If I'm telling the truth, why, when I've taken your tap, and you've lopped me lovingly, you'll learn at once of my house and my home and how I am named.Then you can try my hospitality and be true to our compact.Or I'll have no words to waste, which would be well for you: you'd relax in this land, and not look for me further.But stop!
      Take up the grim tool you need，and show me how you chop.”
      “Gladly, sir,” he said, “Indeed,”
      and gave the ax a strop.(19)
      The green knight got ready, feet firm on the ground;leaned his head a little to let the cheek show, and raised the rich riot of his hair so the nape of his neck was naked and exposed.Gawain held the ax high overhead, his left foot set before him on the floor, swung swiftly at the soft flesh so the bit of the blade broke through the bones, crashed through the clear fat and cut it in two, and the brightly burnished edge bit into the earth.The handsome head fell, hit the ground, and rolled forward;they fended it off with their feet.The red blood burst bright from the green body, yet the fellow neither faltered nor fell but stepped strongly out on sturdy thighs, reached roughly right through their legs, grabbed his graceful head and lifted it from the ground, ran to his horse, caught hold of the reins, stepped in the stirrup, strode into the saddle, the head dangling by the hair from his hand, and seated himself as firmly in the saddle as if he were unhurt, though he sat on his horse without a head.He swiveled his bulk about;
      the ugly stump still bled.They gaped in fear and doubt
      because of the words he said.(20)
      For he held the head up evenly in his hand, turned the face toward the top of the high table, and the eyelids lifted and looked on them all while the mouth moved, making these words: “Gawain, get ready to go as you have promised, Seek me out, sir;search till you find me as sworn here in this hall where all these knights heard.I charge you, come as you chose to the Green Chapel to get as good as you gave--you've got it coming and will be paid promptly when another year has passed.Many men know me as the Knight of the Green Chapel, so search faithfully and you'll not fail to find me.Come, or be called a faithless coward!” He roared like a raging bull, turned the reins, and drove for the door, still dangling the head, while fire flashed from the horse's feet as if its hooves were flints.Where he went no one knew, nor could they name the country he came from nor his kin.What then?
      The king and Gawain grinned
      and laughed at the Green Knight when
      they knew full well it had been
      a portent to their men.(21)
      Though High King Arthur's heart was heavy with wonder he let no sign of it be seen, but said aloud with a king's courtesy to his lovely queen: “Beloved lady, never let this dismay you.It is good to get such games at Christmas, light interludes, laughter and song, or the whole court singing carols in chorus.But truly, I can turn now to my table and feast;as my word is good, I have witnessed a wonder.” He turned to Sir Gawain and tactfully said, “Hang up your ax;it has cut all it can.” It was attached to a tapestry above the high table for all men to marvel on who might see it there, as a true token of a tale of wonder.Then they sat in their seats to resume their feast, Gawain and the king together, while good men served them the rarest, dearest delicacies in double portions, with whole batteries of the best foods, and the singing of bards.The day finished, and their feast was filled with joy and zest.Sir Gawain, have a care
      to keep your courage for the test，and do the deed you've dared.You've begun: now brave the rest.
      第五篇：英國(guó)文學(xué)史及選讀 復(fù)習(xí)要點(diǎn)總結(jié)
      《英國(guó)文學(xué)史及選讀》第一冊(cè)復(fù)習(xí)要點(diǎn)
      1.Beowulf: national epic of the English people;Denmark story;alliteration, metaphors and understatements（此處可能會(huì)有填空，選擇等小題）2.Romance（名詞解釋）
      3.“Sir Gawain and the Green Knight”: a famous roman about King Arthur’s story 4.Ballad（名詞解釋）
      5.Character of Robin Hood 6.Geoffrey Chaucer: founder of English poetry;The Canterbury Tales(main contents;124 stories planned, only 24 finished;written in Middle English;significance;form: heroic couplet)7.Heroic couplet(名詞解釋)8.Renaissance（名詞解釋）9.Thomas More——Utopia 10.Sonnet（名詞解釋）11.Blank verse（名詞解釋）12.Edmund Spenser
      “The Faerie Queene”
      13.Francis Bacon “essays” esp.“Of Studies”（推薦閱讀，學(xué)習(xí)寫(xiě)正式語(yǔ)體的英文文章的好參照，本文用詞正式優(yōu)雅，多排比句和長(zhǎng)句，語(yǔ)言造詣非常高，里面很多話都可以引用做格言警句，非常值得一讀）
      14.William Shakespeare四大悲劇比較重要，此外就是羅密歐與朱立葉了，這些劇的主題，背景，情節(jié)，人物形象都要熟悉，當(dāng)然他最重要的是Hamlet這是肯定的。他的sonnet也很重要，最重要屬sonnet18。（其戲劇中著名對(duì)白和幾首有名的十四行詩(shī)可能會(huì)出選讀）
      15.John Milton 三大史詩(shī)非常重要，特別是Paradise Lost和Samson Agonistes。對(duì)于Paradise Lost需要知道它是blank verse寫(xiě)成的，故事情節(jié)來(lái)自O(shè)ld Testament，另外要知道此書(shū)theme和Satan的形象。16.John Bunyan——The Pilgrim’s Progress
      17.Founder of the Metaphysical school——John Donne;features of the school: philosophical poems, complex rhythms and strange images.18.Enlightenment（名詞解釋）19.Neoclassicism（名詞解釋）
      20.Richard Steele——“The Tatler”
      21.Joseph Addison——“The Spectator”這個(gè)比上面那個(gè)要重要，注意這個(gè)報(bào)紙和我們今天的報(bào)紙不一樣，它虛構(gòu)了一系列的人物，以這些人物的口氣來(lái)寫(xiě)報(bào)紙上刊登的散文，這一部分要仔細(xì)讀。
      22.Steel’s and Addison’s styles and their contributions
      23.Alexander Pope: “Essay on Criticism”, “Essay on Man”, “The Rape of Lock”, “The Dunciad”;his workmanship(features)and limitations
      24.Jonathan Swift: “Gulliver’s Travels”此書(shū)非常重要，要知道具體內(nèi)容，就是Gulliver游歷過(guò)的四個(gè)地方的英文名稱，和每個(gè)部分具體的諷刺對(duì)象;（我們主要講了三個(gè)地方）“A Modest Proposal”比較重要，要注意作者用的irony也就是反諷手法。
      25.The rise and growth of the realistic novel is the most prominent achievement of 18th century English literature.26.Daniel Defoe: “Robinson Crusoe”, “Moll Flanders”, 當(dāng)然是Robinson Crusoe比較重要，劇情要清楚，Robinson Crusoe的形象和故事中蘊(yùn)涵的早期黑奴的原形，以及殖民主義的萌芽。另外注意Defoe的style和feature，另外Defoe是forerunner of English realistic novel。
      27.Samuel Richardson——“Pamela”(first epistolary novel), “Clarissa Harlowe”, “Sir Charles Grandison”
      28.Henry Fielding: “Joseph Andrews”, “Jonathan Wild”, “Tom Jones”第一個(gè)和第三個(gè)比較重要，需要仔細(xì)看。他是一個(gè)比較重要的作家，另外Fielding也被稱為father of the English novel.29.Laurence Sterne——“Tristram Shandy”項(xiàng)狄傳
      30.Richard Sheridan——“The School for Scandal”
      31.Oliver Goldsmith——“The Traveller”(poem), “The Deserted Village”(poem)(both two poems were written by heroic couplet), “The Vicar of Wakefield”(novel), “The Good-Natured Man”(comedy), “She stoops to Conquer”(comedy), “The Citizen of the World”(collection of essays)32.Sentimentalism（名詞解釋）
      33.Thomas Gray——“Elegy Written in a Country Churchyard”（英國(guó)詩(shī)歌里非常著名的一首，曾經(jīng)被譽(yù)為“有史以來(lái)英國(guó)詩(shī)歌里最好的一首”）(a representative of sentimentalism and graveyard school of poets墓園派詩(shī)人)* Graveyard School / Poets”: A term applied to eighteenth-century poets who wrote meditative poems, usually set in a graveyard, on the theme of human mortality, in moods which range from elegiac pensiveness to profound gloom.The vogue resulted in one of the most widely known English poems, Thomas Gray’s “Elegy written in a country churchyard”.The writing of graveyard poems spread from England to Continental literature in the second part of the century and also influenced some American poets.34.In the latter half of the 18th century, Pre-Romanticism;representative: William Blake and Robert Burns.35.Thomas Percy——“Reliques of Ancient English poetry”許多中古的民謠都是在這個(gè)時(shí)期重新收集和整理起來(lái)的，這個(gè)集子是那個(gè)時(shí)代比較有名的一個(gè)民謠集。
      36.William Blake比較重要，需要對(duì)主要作品有所了解，特別是Songs of Innocence 和 Songs of Experience, 這兩本集子的contrast一定要注意，另外Blake的寫(xiě)作特點(diǎn)也要注意，比如語(yǔ)言的簡(jiǎn)單明了，神秘主義氛圍等。37.Robert Burns偉大的蘇格蘭民族詩(shī)人, A Red Red Rose, Scots Wha Hae, Auld Lang Syne等名詩(shī)，寫(xiě)作特點(diǎn): Scottish dialect;a poet of peasant and Scottish people;plain language;influence from Scottish folk songs and ballads;musical quality of his poems.《英國(guó)文學(xué)史及選讀》第二冊(cè)練習(xí)題 I.浪漫主義時(shí)期
      I.Each of the statements below is followed by four alternative answers.Choose the one that would best complete the statement and put the letter in the brackets.1.English Romanticism is generally said to have begun with_____in 1798.A.the publication of Lyrical Ballads B.the death of Sir Scott C.the birth of William Wordsworth D.the passage of the first Reform Bill in the Parliament 2.The Romantic Period is first of all an age of_____.A.Novel
      B.poetry
      C.drama
      D.prose 3.Romanticism does not emphasize_____.A.the special qualities of each individual’s mind B.the inner world of the human spirit C.individuality D.the features that men have in common 4._____ is not a Romantic poet.A.William Blake
      B.Sir Scott
      C.P.B.Shelley
      D.Lord Byron 5._____ is a Romantic novelist but is impressed with neo-classic strains.A.Walter Scott
      B.Mary Shelley
      C.Jane Austen
      D.Ann Radcliff 6._____ is not characteristic of William Blake’s writing.A.plain and direct language
      B.compression of meaning
      C.supernatural quality
      D.symbolism
      7.Wordsworth published Lyrical Ballads in 1789 with _____.A.Byron
      B.Coleridge
      C.Shelley
      D.Keats 8.Wordsworth thinks that _____ is the only subject of literary interest.A.the life of rising bourgeoisie  B.aristocratic life C.the life of the royal family D.common life 9.Don Juan is the masterpiece of_____.A.Lord Byron’s
      B.P.B.Shelley’s
      C.John Keats’s
      D.Samuel Coleridge’s 10._____ is not a novel written by Jane Austen.A.Jane Eyre
      B.Sense and Sensibility
      C.Pride and Prejudice  D.Emma II.Complete each of the following statements with a proper word or a phrase according to the textbook.1.In essence, Romanticism designates a literary and philosophical theory which tends to see the_____as the very center of all life and all experience.2.For the Romantics, _____ is not only the major source of poetic imagery, but also provides the dominant subject matter.3.Wordsworth is regarded as a “worshipper of _____.”
      4.According to the subjects, Wordsworth’s short poems can be classified into two groups: poems about nature and poems about _____.5.Coleridge’s achievement as poet can be divided into two remarkably diverse groups: _____ and the conversational.6.As a leading Romanticist, Byron’s chief contribution is his creation of the “_____.” 7.“_____” is Shelley’s representative work.8._____ are generally regarded as Keats’s most important and mature work.9.“Beauty is truth, truth beauty” is a famous line in Keats’s “_____.” 10._____is the most delightful of Jane Austen’s work.III.Decide whether the following statements are true or false and write your answers in the brackets.()1.The Romantic period is also a great age of prose.()2.Romantics also tend to be nationalistic, defending their own literary heritage against the advocates of classical rules.()3.Coleridge has been rewarded as Poet Laureate.()4.Keats is one of the “Lake Poets.”
      ()5.Jane Austen is a typical Romantic writer.IV.Name the author of each of the following literary work.1.“The Rime of the Ancient Mariner” 2.Songs of Innocence 3.“Ode to a Nightingale” 4.“A Song: Men of England” 5.The Prelude V.Define the literary terms listed below 1.Romanticism 2.Ode VI.For each of the quotations listed below please give the name of the author and the title of the literary work from which it is taken and then briefly interpret it.1….Be through my lips to unawakened Earth.The trumpet of a prophecy!O, Wind, If winter comes, can Spring be far behind? 2.For oft, when on my couch I lie In vacant or in pensive mood,  They flash upon that inward eye  Which is the bliss of solitude;And then my heart with pleasure fills,  And dances with the daffodils.Keys: I.1.A
      2.B  3.D  4.B  5.C  6.C  7.B  8.D  9.A
      10.A II.1.individual
      2.human life
      3.nature
      4.human life
      5.the demonic
      6.Byronic hero
      7.Ode to the West Wind
      8.The odes
      9.Ode on a Grecian Urn  10.Pride and Prejudice III.1.T  2.T  3.F  4.F  5.F IV.1.Coleridge
      2.Blake
      3.Keats
      4.Shelley
      5.Wordsworth V.1.Romanticism is a movement that flourished in literature, philosophy, music and art in western culture during most of the nineteenth century, beginning as a revolt against classicism.There have been many varieties of Romanticism in many different times and places.The leading features of Romantic movements are Wordsworth, Shelley, etc.2.Ode is a complex and often lengthy lyric poem, written in a dignified formal style on some lofty or serious subject.Odes are often written for a special occasion, to honour a person or a season or to commemorate an event.VI.1.It is taken from Shelley’s Ode to the West Wind.In this poem, Shelley eulogizes the powerful west wind and expresses his eagerness to enjoy the boundless freedom from the reality.In these last lines, the poet shows his optimistic spirit for the future.2.It is taken from Wordsworth’s “I Wandered Lonely as a Cloud.” The poet thinks that it is a bliss to recollect the beauty of nature in his mind while he is in solitude.He expresses his strong affecting for nature in the poem.II.維多利亞時(shí)期
      I.Each of the statement below is followed by four alternative answers.Choose the one that would best complete the statement and put the letter in the brackets 1.The Victorian period roughly began at the enthronement of Queen Victoria in_____.A.1835
      B.1836
      C.1837
      D.1838 2.The critical realists like Charles Dickens in the Victorian period wrote novels_____.A.representing the 18th century realist novel
      B.criticizing the society C.defending the mass E.all the above 3._____is not a Victoria novelist.A.Charles DickensB.George Eliot C.William Makepeace ThackerayD.D.H.Lawrence 4._____ is not a work by Charles Dickens.A.Oliver Twist
      B.David CopperfieldC.Middlemarch
      D.A Tale of Two Cities 5.Wuthering Heights is a masterpiece written by_____.A.Charlotte Bronte
      B.Emily Bront C.Anne Bronte
      D.Branwell Bronte 6._____ is not Thomas Hardy’s work.A.The Mill on the Floss C.Jude the ObscureD.The Mayor of Casterbridge 7.“My Last Duchess” is _____.A.a dramatic monologue
      B.a short lyricC.a novel
      D.an essay 8.Tennyson’s “Ulysses” gets its inspiration from the following works or writers except_____.A.Homer’s Odessey
      B.Joyce’s Ulysses C.Dante
      D.Greek Mythology
      9.In the 19th century English literature, a new literary trend _____ appeared.And it flourished in the 1840s and in the early 1950s.A.romanticism
      B.naturalism C.realism
      D.critical realism 10.The title of the novel Vanity Fair was taken from_____.A.The Pilgrim’s Progress B.Childe Harold’s PilgrimageC.Gulliver’s TravelsD.The Canterbury Tales II.Complete each of the following statements with a proper word or a phrase according to the textbook 1.The aestheticists such as Oscar Wilde in the Victorian period advocated the theory of “_____.”
      2.In the Victorian period, _____became the most widely read and the most vital and challenging expression of progressive thought.3.Charles Dickens is one of the greatest _____ writers of the Victorian Age.4.Tennyson’s poem “_____” is in memory of his bosom friend Arthur Hallam.5.Robert Browning is famous for his _____.6.George Eliot’s _____ is one of the most mature works in English literature.7.Tennyson’s famous dramatic monologue based on the story in Greek Mythology is “_____.” 8._____ is Dickens’ first child hero.9.Jane Eyre represents those_____-class working women who are struggling for recognition of their basic rights and equality as a human being.10.The most important poet of the Victorian Age was_____.Next to him were Robert Browning and his wife.III.Decide whether the following statements are true of false and write your answers in the brackets.()1.The Victorian period has been generally regarded as one of the most glorious in the English history.()2.Tennyson is famous for his aesthetic viewpoint of “art for art’s sake.”()3.Wuthering Heights is the masterpiece of Charlotte Bronte’s.()4.Browning’s “Meeting at Night” and “Parting at Morning” were originally one poem in dramatic monologue.()5.Naturalism has played an important part in Thomas Hardy’s work.IV.Name the author of each of the following literary works.1.The Posthumous Papers of the Pickwick Club 2.The Tenant of Wildfell Hall 3.In Memoriam 4.The Mill on the Floss 5.The Return of the Native V.Define the literary terms listed below.1.Dramatic Monologue 2.Critical Realism VI.For each of the quotations listed below please give the name of the author and the title of the literary work from which it is taken and then briefly interpret it.1.That same evening the gentleman in the white waistcoat most positively and decidedly affirmed, not only that Oliver would be hung, but that he would be drawn and quartered into the bargain.Mr.Bumble shoot his head with gloomy mystery, and said he wished he might come to good;where—unto Mr.Gamfield replied, that he wished he might come to him---which, although he agreed with the beadle in most matters, would seem to be a wish of a totally opposite description.The next morning, the public were once more informed that Oliver Twist was again To Let, and that five pounds would be paid to anybody who would take possession of him.2.Thus, neither having the clue to the other’s secret, they were respectively puzzled at what each revealed, and awaited new knowledge of each other’s character and moods without attempting to pry into each other’s history.Every day, every hour, brought to him one more little stroke of her nature, and to her one more of his.Tess was trying to lead a repressed life, but she little divined the strength of her own vitality.Keys: I.1.B  2.D  3.D  4.C  5.B  6.A
      7.A
      8.B  9.D  10.A II.1.art for art’s sake
      2.the novel
      3.critical realist
      4.Break, Break, Break
      5.dramatic monologue
      6.Middlemarch
      7.Ulysses
      8.Oliver Twist
      9.middle
      10.Tennyson III.1.T  2.F  3.F  4.F  5.T IV.1.Charles Dickens
      2.Anne Bronte
      3.Alfred Tennyson
      4.George Eliot
      5.Thomas Hardy V.1.Dramatic Monologue is a kind of narrative poem in which one character speaks to one or more listeners whose replies are not given in the poem.The occasion is usually a crucial one In the speaker’s personality as well as the incident that is the subjects of the poem.An example of a dramatic monologue is “My Last Duchess” by Robert Browning.2.Critical Realism is a literary movement in the 19th century.It sticks to the principal of faithful representation of the 18th century realistic novel and carries its duty forward to the criticism of the society and the defense of the mass.The representative figures are Dickens, the Bronte’s, etc.VI.1.It is taken from Charles Dickens’s Oliver Twist.This part describes how Oliver is punished for asking for more to eat and how he is therefore sold at three pound ten to a notorious chimney-sweeper.It reveals that the pitiable state of the orphan boy and the cruelty and hypocrisy of the workhouse board.2.It is taken from Thomas Hardy’s Tess of the D’Urbervilles.This part describes how Tess forgets about her past misfortune in the beautiful, pastoral dairy farm and unconsciously gives herself up to the attraction of Angel Clare.III.現(xiàn)代時(shí)期
      I.Each of the statement below is followed by four alternative answers.Choose the one that would best complete the statement and put the letter in the brackets 1.Modernism takes_____as its theoretical base.A.the irrational philosophy
      B.the theory of psycho-analysis
      C.both A and B
      D.neither A nor B 2.Modernism rose out of_____.A.skepticism
      B.disillusion of capitalism
      C.irrational philosophy
      D.al the above 3.Modernism is, in many aspects, a reaction against_____.A.romanticism
      B.Realism
      C.post-modernism
      D.all the above 4._____is not a movement in the modern period.A.“the Angry Young Men”
      B.“the Beat Generation”
      C.“the Lost Generation”
      D.“the Theater of the Absurd” 5._____ is not a representative figure in applying the technique of “the stream of consciousness” in his/her writing.A.D.H.Lawrence
      B.James Joyce
      C.Virginia Woolf
      D.Dorothy Richardson 6.Waiting for Godot is regarded as the most famous and influential play of the Theater of Absurd.It is written by_____.A.George Bernard Shaw
      B.Samuel Beckett
      C.John Galsworthy
      D.Eugene O’ Neill 7.The Waste Land is_____’s most important single poem.A.Ezra Pound
      B.William Butler Yeats
      C.Alfred Tennyson
      D.T.S.Eliot 8._____ is not D.H.Lawrence’s work.A.Finnegans Wake
      B.Sons and Lovers
      C.Lady Chatterley’s Lover
      D.The Rain Bow 9._____ is not James Joyce’s novel.A.Ulysses
      B.A Portrait of the Artist as a Young Man  C.Dubliners
      D.Finnegans Wake 10.“The Love Song of J.Alfred Prufrock” is written by_____.A.W.H.Auden
      B.D.H.Lawrence
      C.W.B.Yeats
      D.T.S.Eliot
      II.Complete each of the following statements with a proper word or a phrase according to the textbook 1.The French_____, appearing in the late 19th century, heralded modernism.2.Modernism rejects_____, which is the theoretical base of realism.3.In stimulating the technical innovations of novel creation, the theory of the Freudian and Jungian_____played a particularly important role.4.Most of Bernard Shaw’s plays are concerned with political, economic, moral, or religious problems, and, thus, can be termed as_____.5._____is famous for his frank discussion of “sex” in his works.6.John Galsworthy’s trilogy is named_____.7._____, an American Poet, took English Citizenship in 1927, and became a devout member of Anglican Church.8._____is Eliot’s most important poetry, revealing the spiritual decadency and meaninglessness of life of the 20th century.9.Most of Joyce’s works are concerning the life of his hometown_____.10.Joyce’s “Araby” is a short story in his collection_____.III.Decide whether the following statements are true of false and write your answers in the brackets.()1.The rise of modern poetry was, in some sense, a revolution against the conventional ideas and forms of the Romantic poetry.()2.Writers like E.M.Forster and D.H.Lawrence are still conventional writers, as in their works, old traditions are still there.()3.John Galsworthy has been awarded Nobel Prize for literature.()4.John Galsworthy is a conventional writer, inheriting the fine traditions of the great Victorian novelists of the critical realism such as Dickens.()5.James Joyce is a prolific writer, creating a great number of famous works.IV.Name the author of each of the following literary works.1.Modernism 2.Angry Young Men V.Define the literary terms listed below.1.Pygmalion 2.“Sailing to Byzantium” 3.Woman in Love 4.Ulysses 5.The Man of Property VI.For each of the quotations listed below please give the name of the author and the title of the literary work from which it is taken and then briefly interpret it.1.I will arise and go now, for always night and day
      I hear lake water lapping with low sounds by the shore;
      While I stand on the roadway, or on the pavements gray，I hear it in the deep heart’s core.2.Now she began to combat in his restless fretting.He still kept up his connexion with Miriam, could neither break free nor go the whole length of engagement.And this indecision seemed to bleed him of his energy.Moreover.His mother suspected him of an unrecognized leaning towards Clara, and, since the latter was a married woman, she wished he would fall in love with one of the girls in a better station of life.But he was stupid, and would refuse to love or even to admire a girl much, just because she was his social superior.Keys: I.1.C  2.D  3.B  4.C  5.A
      6.B  7.D  8.A
      9.C  10.D II.1.Symbolism
      2.rationalism
      3.psycho-analysis
      4.problem plays  5.D.H.Lawrence  6.The Forsyte Saga
      7.T.S.Eliot
      8.The Waste Land  9.Dublin
      10.Dubliners III.1.F  2.F  3.F  4.T  5.F IV.1.Modernism is a movement in the 20th century.It takes the irrational philosophy and the theory of psycho-analysis as its theoretical base and in many aspects is a reaction against realism.2.Angry Young Men is a phrase applied to a number of British playwrights and novelists from the mid-1950s, who described various forms of social alienation and whose political views were radical and anarchic.V.1.Bernard Shaw
      2.W.B.Yeats
      3.D.H.Lawrence
      4.James Joyce
      5.John Galsworthy VI.1.It is taken from Yeats’s “The lake Isle of Innisfree.” In this poem, Yeats expresses his longing to escape from the city life and to live a secluded life by describing the peaceful, tranquil scene of the lake Isle of Innisfree, a legendary place for hermitage.2.It is taken from D.H.Lawrence’s Sons and Lovers.Paul has love affairs with two girls, Miriam and Clara.But he is so dependent on his mother’s love and help that he fails to achieve a fulfilling relationship with either girl.English Literature
      (Book II)
      Romanticis
      1.Romanticism（名詞解釋）要對(duì)浪漫主義興起的時(shí)間，根源，主要特點(diǎn)，主要代表作家都有所了解。
      2.William Wordsworth要知道他的 “Lyrical Ballads”前言是英國(guó)浪漫主義時(shí)期開(kāi)始的標(biāo)志，也是宣言。Lake Poets（名詞解釋）。他詩(shī)歌的主要兩類(lèi)題材：nature and common people’s lives。
      寫(xiě)過(guò)的著名作品：I wandered lonely as a cloud;To the cuckoo;Lines composed a few miles above Tintern Abbey;The solitary reaper;We are seven 等等。
      3.Samuel Taylor Coleridge兩首名詩(shī)：The Rime of the Ancient Mariner;Kubla Khan主要寫(xiě)作supernatural題材。4.George Gordon Byron，Byronic Heroes(名詞解釋);著名作品：Child Harold’s Pilgrimage要知道大致內(nèi)容，另外此詩(shī)用Spenserian Stanza寫(xiě)成；Don Juan要知道大致內(nèi)容。
      5.Percy Bysshe Shelley著名作品：Queen Mab;The Revolt of Islam;Prometheus Unbound（lyrical drama，要知道大致內(nèi)容及此劇與古希臘的“被束縛的普羅米修斯”不同之處及其意義。）其它名作: Ode to the West Wind;To a skylark等等。
      6.John Keats著名作品：Ode to Autumn;Ode to a Nightingale;Ode on a Grecian Urn”。注意Keats與Byron和Shelley的不同，Keats的詩(shī)歌沒(méi)有兩人那么強(qiáng)的革命性，他的詩(shī)歌主要是為了締造一個(gè)唯美的世界，為了追求美而寫(xiě)作的。7.Charles Lamb：The Essays of Elia(humorous, archaisms, quotations from other writers)8.Walter Scott: founder and great master of the historical novel;his death marks the ending of Romantic Period in English literature;famous novels: Rob Roy, Ivanhoe;features of his novels.English Critical Realism  9.Critical Realism批判現(xiàn)實(shí)主義，要知道它興起的時(shí)間，歷史背景，主要代表人物及主要特點(diǎn)。
      10.Charles Dickens主要作品: The Pickwick Papers(first novel);Oliver Twist;Dombey and Son;David Copperfield;A Tales of Two Cities等等，對(duì)這些主要作品除了第一部以外剩下的要對(duì)情節(jié)，主要人物形象，主題及其意義有所了解，另外要知道狄更斯的小說(shuō)的特色。
      11.William Makepeace Thackeray主要作品即Vanity Fair要知道這個(gè)題目出自John Bunyan的The Pilgrim’s Progress，另外小說(shuō)的副標(biāo)題 “A novel without a hero”的意思，小說(shuō)的情節(jié)，主題，人物形象都要了解。
      12.Jane Austen主要作品：Pride and Prejudice其它5部小說(shuō)知道名字即可，對(duì)于《傲慢與偏見(jiàn)》簡(jiǎn)單看一下它的情節(jié)和主要人物。Austen的寫(xiě)作特點(diǎn)：thin plot, mostly everyday life of simple country society;good at writing young girls;modest satire;witty dialogues。
      13.Charlotte Bronte主要作品Jane Eyre，要知道其情節(jié)和意義，另外簡(jiǎn)愛(ài)的人物形象也比較重要。
      14.Emily Bronte主要作品Wuthering Heights，情節(jié)，人物形象及意義。勃朗特姐妹的小說(shuō)雖然寫(xiě)作在批判現(xiàn)實(shí)主義時(shí)期，但其作品有明顯的浪漫主義特色，比如包含的一些supernatural elements，特別體現(xiàn)在呼嘯山莊中。15.George Eliot主要作品: Adam Bede, The Mill on Floss.Prose-writers and poets of the mid and later 19th century
      16.Alfred Tennyson主要作品: In Memoriam, The Idylls of the Kings；有名的短詩(shī)Break, Break, Break;Crossing the bar等，此人政治態(tài)度保守，作品追求形式上的完美，富于音樂(lè)性和色彩。
      17.Robert Browning introduced dramatic monologue to poetry.His famous poems: “Home-thoughts from abroad” etc.Elizabeth Barrett Browning: “Sonnets from the Portuguese”.18.Aestheticism唯美主義（名詞解釋）Oscar Wilde主要作品，寫(xiě)作特點(diǎn)及其意義簡(jiǎn)要了解。
      Twentieth Century English Literature
      19.John Galsworthy: 主要作品 “The Forsyte Saga”注意這是兩個(gè)trilogy構(gòu)成的，可不是一本小說(shuō)，其中比較重要的是 “The Man of Property”就是書(shū)上介紹的那一部，要知道此部小說(shuō)主人公的名字，以及這個(gè)主人公的性格，和小說(shuō)主題。
      20.George Bernard Shaw主要作品Mrs Warren’s Profession和Major Babara，對(duì)他作品的主要人物，情節(jié)，主題和意義要了解，他是比較重要的一個(gè)作家。
      21.T.S.Eliot比較重要，特別是他的The Waste Land要知道包括哪幾個(gè)部分，大概是什么情節(jié)，有什么象征意義，主題是什么，有什么寫(xiě)作特點(diǎn)。另外他著名的文章Tradition and the Individual Talent被認(rèn)為是manifesto of modernist poetry.22.Modernist fiction put emphasis on the description of the characters’ psychological activities under the influence of Austrian doctor Sigmund Freud’s theories.23.D.H.Lawrence重點(diǎn)作品Sons and Lovers這個(gè)作品明顯受到弗洛伊德影響，特別是其中體現(xiàn)的Oedipus complex，對(duì)其人物，主題要有了解；The Rainbow及其續(xù)篇Women in Love要有簡(jiǎn)單了解，特別是對(duì)其主題。Lady Chatterley’s Lover簡(jiǎn)單了解即可。勞倫斯的思想特點(diǎn)以及局限性要了解。
      24.Stream-of-consciousness（名詞解釋）25.James Joyce其它作品簡(jiǎn)單了解，但Ulysses非常重要，需要知道題目來(lái)源，題目的含義，小說(shuō)的主人公和情節(jié)，以及主題。
      26.Virginia Woolf重要的意識(shí)流作家，主要作品要指導(dǎo)。書(shū)上主要介紹的是Mrs.Dalloway，其實(shí)她的其它幾部作品特別是To the Lighthouse也比較出名，需要了解一下。
       
      
    
      

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