1、TheRomanticPeriod(1798-1832)HistoricalBackgroundnPolitically:theFrenchRevolutionnDeclarationofRightsofMan(1791-2),ThomasPainenInquiryconcerningPoliticalJustice(1793),WilliamGodwinnAVindicationoftheRightsofWoman(1792),MaryWollstonecraftnIdeologicallyTheprincipleofRationwasgivingwaytoanindividualized,
2、free,liberal,imaginativeattitudetowardslife;atendencytoturnorescapefromthetumultuousandconfusingHereandNownEconomically:thegreatIndustrialRevolutionnContinuedfastchangestookplacebothinthecountryandinthecities;nManyfarmhandsdrivenoutoflandrushedintothecity;nWomenandchildrenwereemployedascheaplabor;nN
3、ewmachinesweresetup,renderingmanyoutofwork;nDisparitywasgrowingbetweentherichandthepoor;nExpansionabroadcontinued:(America),Australia,Canada,NewZealand,India,theWestIndiesandothernations.Romanticism/theRomanticMovementnanattitudeorintellectualorientationthatcharacterizedmanyworksofartsinWesterncivil
4、izationoveraperiodfromthelate18thtothemid-19thcentury.narejectionofthepreceptsoforder,calm,harmony,balance,idealization,andrationalitynareactionagainsttheEnlightenmentandagainst18th-centuryrationalismandphysicalmaterialismingeneral.nemphasizingtheindividual,thesubjective,theirrational,theimaginative
5、,thepersonal,thespontaneous,theemotional,thevisionary,andthetranscendental.Characteristicattitudesnadeepenedappreciationofthebeautiesofnature;nageneralexaltationofemotionoverreasonnaturninginupontheselfandaheightenedexaminationofhumanpersonalityanditsmoodsandmentalpotentialities;ncreativespiritovers
6、trictadherencetoformalrulesandtraditionalprocedures;nanemphasisuponimaginationnanobsessiveinterestinfolkculture,nationalandethnicculturalorigins,andthemedievalera;andapredilectionfortheexotic,theremote,themysteriousLiteraturePoetry:theAgeofPoetrynDifferencesbetween18th-centuryand19th-century(between
7、NeoclassicismandRomanticism)nreasonvspassionnreasonvsimaginationncommercialvsnaturalnindustrialvspastoralnpresentvspastnsocietyvsindividualnorderandstabilityvsfreedomndecorativeexpressionvssimpleandspontaneousexpressionNewpoeticfeaturesnlanguage:simple,everydaylifespeech,commonvocabularyandaccentdia
8、lecte.g.Blake,Wordsworthnform:lyrics(sonnet,ode),narrative(ballad)npurpose:emotional,confessionalandvisionary/propheticnprinciples:imaginationnsubject:naturentherural/pastoralnthepast/historicalnthealien/exotic,orientalnthesupernatural/mysterious(dreamsordream-like)nthepersonalnthecommon/lowclassnth
9、erevolutionarynthepatrioticSchoolsofRomanticPoetsnPre-romanticpoetsnWilliamBlake:mysterious,philosophical,visionary Songs of Innocence Songs of Experience Marriage of Heaven and HellnRobertBurns:Scottishdialect,balladsnLakePoets:Wordsworth,Coleridge,Southey,2PoetLaureate:radicalyouth;conservativeold
10、age;longlifenWilliamWordsworth:nature,country,poorpeople,anti-industrializatione.g.Lyrical Ballads(Prelude);NatureandcountrypoemsnSamuelColeridge:mysterious/demonic,dreamy,oriental,visionarye.g.The Rime of Ancient MarinerandKublaKhannSatanicschool:rebellious,revolutionary,romantic,shortlifenGeorgeGo
11、rdonByron:romantic,revolutionary,satiric,proudandangrye.g.Don Duan,Childe Harolds Pilgrimage and Manfred nPercyByssheShelley:revolutionary,prophetic,optimistice.g.Prometheus Unbound and OdetotheWestWindnJohnKeats:melancholy,ageniuspropoundingontruthandbeautye.g.OdetotheNightingale,OdeonaGrecianUrn,O
12、detoPsycheandOdetoMelancholyProsenfamiliaressaysofjournalsandnewspaperse.g.CharlesLamb,LeeHunt,deQuinceynliterarycriticism/reviewsasauthorityCharlesLamb,LeeHunt,deQuinceynnovelistse.g.JaneAusten,therealistandWalterScott,the1sthistoricalnovelist/romanticpoetWilliamWordsworth(1770-1850)LifenFamily:nMo
13、therdiedwhenhewaseightandFatherdiedwhenhewas13nSeparatedfromhissister,Dorothy,in1778anddidnotseeheragainuntil1787nGreatlyaffectedbyhisbrothersdeathin1805nEarlyexperience:nAttendedHawksheadGrammarSchoolin1778nAttendedCambridgefrom1787-1791butfailedtograduatenVisitedFrancein1790andinfluencedbytheturmo
14、iloftheFrenchRevolutionnLeftcollegein1791inordertoreturntoFranceandsupporttheRevolutionnResidenceintheLakeDistrictnDoveCottageinGrasmere:Lyrical Balladsandthe“LakePoets”nRydalMount:spenthislateryears;turnedtobeconservative;MajorWorksnLyrical Balladsin1798withSamuelTaylorColeridgenThe Prelude-Longaut
15、obiographicalpoemwrittenbetween1798-1805n523sonnetsSubjectsnPoemsonnaturen“ToaButterfly”n“ToaSkylark”n“TotheCuckoo”n“IWanderedLonelyasaCloud”n“TinternAbbey”nPoemsonsimplerusticlifeinthecountrysidenLucypoemsn“SheDweltAmongtheUntroddenWays”nOtherpoemsaboutcommonpeopleandtheirhumblelifen“Michael”n“TheS
16、olitaryReaper”Theautobiographicallongpoem:The PreludenBook1-8:thepoetsearlylifenBook9-14:thepoetsgrowingmaturityWordsworthstheoryofpoetry“Theprincipalobject,then,whichIproposedtomyselfinthesepoemsaretochooseincidentsandsituationsfromcommonlifeandtorelateordescribethem,throughout,asfaraswaspossible,i
17、naselectionoflanguagereallyusedbymen;and,atthesametime,tothrowoverthemacertaincolouringofimagination,wherebyordinarythingsshouldbepresentedtothemindinanunusualway;andaboveall,tomaketheseincidentsandsituationsinterestingbytracinginthem,trulythoughnotostentatiously,theprimarylawsofournature:chieflyasf
18、arasregardsthemannerinwhichweassociateideasinastateofexcitement.”(PrefacetothesecondeditionoftheLyrical Ballads)nIncidentsandsituationschosenfromcommonlife(generally“lowandrusticlife”)nAselectionoflanguagereallyusedbyman(i.e.againsttheuseof“poeticdiction”)nOrdinarythingstobepresentedinanunusualway(“
19、tothrowoverthemacertaincolouringofimagination”)nAttemptstotraceinthechoseincidentsandsituationstheprimarylawsofhumannatureSignificance:nWithSamuelTaylorColeridgeusheredintheEnglishRomanticmovementnManyconsiderhimthemostimportantEnglishRomanticpoetnsucceededSoutheyasPoetLaureate水仙水仙n独自漫游似浮云，独自漫游似浮云，青
20、山翠谷上飘荡；青山翠谷上飘荡；一刹那瞥见一丛丛、一刹那瞥见一丛丛、一簇簇水仙金黄；一簇簇水仙金黄；树荫下，明湖边，树荫下，明湖边，和风吹拂舞翩跹。和风吹拂舞翩跹。仿佛群星璀璨，仿佛群星璀璨，沿银河闪霎晶莹；沿银河闪霎晶莹；一湾碧波边缘，一湾碧波边缘，绵延，望不尽；绵延，望不尽；只见万千无穷，只见万千无穷，随风偃仰舞兴浓。随风偃仰舞兴浓。n花边波光潋滟，花边波光潋滟，怎比得繁花似锦；怎比得繁花似锦；面对如此良伴，面对如此良伴，诗人怎不欢欣！诗人怎不欢欣！凝视，凝视，流连不止；凝视，凝视，流连不止；殊不知引起悠悠情思；殊不知引起悠悠情思；兀自倚憩息，兀自倚憩息，岑寂，幽然冥想；岑寂，幽然冥想；蓦地
21、花影闪心扉，蓦地花影闪心扉，独处方能神往；独处方能神往；衷心喜悦洋溢，衷心喜悦洋溢，伴水仙、舞不息。伴水仙、舞不息。孤孤独独的的割割麦麦女女n看哪，那孤独的高地姑娘看哪，那孤独的高地姑娘n形单影只地在那田野里！形单影只地在那田野里！n她独自收割，她独自歌唱。她独自收割，她独自歌唱。n停下听，或悄悄离去！停下听，或悄悄离去！n她一个人割，她一个人捆，她一个人割，她一个人捆，n唱的是一种哀怨的歌声；唱的是一种哀怨的歌声；n听啊！这幽深的山谷里面。听啊！这幽深的山谷里面。n已完全被她的歌声充满。已完全被她的歌声充满。n旅行在阿拉伯沙漠的人，旅行在阿拉伯沙漠的人，n疲乏地歇息在荫凉地方；疲乏地歇息在荫
22、凉地方；n夜莺的歌受他们的欢迎，夜莺的歌受他们的欢迎，n却比不上这种歌唱；却比不上这种歌唱；n春天里，杜鹃一声声号啼春天里，杜鹃一声声号啼n在最远的赫布里底响起，在最远的赫布里底响起，n打破群岛间海上的寂静，打破群岛间海上的寂静，n但不如这歌声激动人心。但不如这歌声激动人心。n谁能告诉我她在唱什么？谁能告诉我她在唱什么？n也许这哀哀不绝的歌声也许这哀哀不绝的歌声n在唱早已过去的辛酸事在唱早已过去的辛酸事n或很久以前的战争；或很久以前的战争；n要不，她在唱通俗的小曲要不，她在唱通俗的小曲n唱如今人们熟悉的东西？唱如今人们熟悉的东西？n或者是痛苦、损失和悲哀？或者是痛苦、损失和悲哀？n它们曾发生，
23、还可能重来。它们曾发生，还可能重来。n不管这姑娘唱的是什么，不管这姑娘唱的是什么，n她的歌却好像没完没了；她的歌却好像没完没了；n我看她一边唱一边干活，我看她一边唱一边干活，n看她弯着腰使镰刀；看她弯着腰使镰刀；n我一动不动默默听她唱；我一动不动默默听她唱；n后来我走上前面的山冈，后来我走上前面的山冈，n她的歌我虽再也听不见，她的歌我虽再也听不见，n那曲调却久久留在心间。那曲调却久久留在心间。ColeridgeMajorworks:nPoems:nThedemonicnThe Rime of the Ancient MarinernChristabelnKubla KhannTheconver
24、sationalnFrost at MidnightnDejection:An OdenProse:nBiographia LiterarianDramanRemorseCharacteristicsnfavorsmusicaleffectsovertheplainnessofcommonspeechncomplicatesthephenomenaWordsworthtakesforgrantednprivilegesweirdtalesandbizarreimageryoverthecommonplace,rusticsimplicities忽必烈汗忽必烈汗n忽必列汗在上都曾经忽必列汗在上都
25、曾经n下令造一座堂皇的安乐殿堂：下令造一座堂皇的安乐殿堂：n这地方有圣河亚佛流奔，这地方有圣河亚佛流奔，n穿过深不可测的洞门，穿过深不可测的洞门，n直流入不见阳光的海洋。直流入不见阳光的海洋。n有方圆五英里肥沃的土壤，有方圆五英里肥沃的土壤，n四周给围上楼塔和城墙：四周给围上楼塔和城墙：n那那里里有有花花园园，蜿蜿蜒蜒的的溪溪河河在在其其间间闪耀，闪耀，n园里树枝上鲜花盛开，一片芬芳；园里树枝上鲜花盛开，一片芬芳；n这里有森林，跟山峦同样古老，这里有森林，跟山峦同样古老，n围住了洒满阳光的一块块青草草围住了洒满阳光的一块块青草草场。场。n但是，啊！那深沉而奇异的巨壑但是，啊！那深沉而奇异的巨壑
26、n沿青山斜裂，横过伞盖的柏树！沿青山斜裂，横过伞盖的柏树！n野蛮的地方，既神圣而又着了魔野蛮的地方，既神圣而又着了魔n好象有女人在衰落的月色里出没，好象有女人在衰落的月色里出没，n为她的魔鬼情郎而凄声嚎哭！为她的魔鬼情郎而凄声嚎哭！n巨壑下，不绝的喧嚣在沸腾汹涌，巨壑下，不绝的喧嚣在沸腾汹涌，n似似乎乎这这土土地地正正喘喘息息在在快快速速而而猛猛烈烈的的悸悸动动中，中，n从这巨壑里，不断迸出股猛烈的地泉；从这巨壑里，不断迸出股猛烈的地泉；n在它那断时续的涌迸之间，在它那断时续的涌迸之间，n巨大的石块飞跃着象反跳的冰雹，巨大的石块飞跃着象反跳的冰雹，n或者象打稻人连枷下一撮撮新稻；或者象打稻人连
27、枷下一撮撮新稻；n从这些舞蹈的岩石中，时时刻刻从这些舞蹈的岩石中，时时刻刻n迸发出那条神圣的溪河。迸发出那条神圣的溪河。n迷乱地移动着，蜿蜒了五英里地方，迷乱地移动着，蜿蜒了五英里地方，n那神圣的溪河流过了峡谷和森林，那神圣的溪河流过了峡谷和森林，n于是到达了深不可测的洞门，于是到达了深不可测的洞门，n在喧嚣中沉入了没有生命的海洋；在喧嚣中沉入了没有生命的海洋；n从那喧嚣中忽必列远远听到从那喧嚣中忽必列远远听到n祖先的喊声预言着战争的凶兆！祖先的喊声预言着战争的凶兆！nn安乐的宫殿有倒影安乐的宫殿有倒影n宛在水波的中央漂动；宛在水波的中央漂动；n这儿能听见和谐的音韵这儿能听见和谐的音韵n来自那
28、地泉和那岩洞。来自那地泉和那岩洞。n这是个奇迹呀，算得是稀有的技巧，这是个奇迹呀，算得是稀有的技巧，n阳光灿烂的安乐宫，连同那雪窟冰窖！阳光灿烂的安乐宫，连同那雪窟冰窖！n有一回我在幻象中见到有一回我在幻象中见到n一个手拿德西马琴的姑娘：一个手拿德西马琴的姑娘：n那是个阿比西尼亚少女，那是个阿比西尼亚少女，n在她的琴上她奏出乐曲，在她的琴上她奏出乐曲，n歌唱着阿伯若山。歌唱着阿伯若山。n如果我心中能再度产生如果我心中能再度产生n她的音乐和歌唱，她的音乐和歌唱，n我将被引入如此深切的欢欣，我将被引入如此深切的欢欣，n以至于我要用音乐高朗而又长久以至于我要用音乐高朗而又长久n在空中建造那安乐宫廷，
29、在空中建造那安乐宫廷，n那阳光照临的宫廷，那雪窟冰窖！那阳光照临的宫廷，那雪窟冰窖！n谁都能见到这宫殿，只要听见了乐音。谁都能见到这宫殿，只要听见了乐音。n他们全都会喊叫：当心！当心！他们全都会喊叫：当心！当心！n他飘动的头发，他闪光的眼睛！他飘动的头发，他闪光的眼睛！n织一个圆圈，把他三道围住，织一个圆圈，把他三道围住，n闭下你两眼，带着神圣的恐惧，闭下你两眼，带着神圣的恐惧，n因为他一直吃着蜜样甘露，因为他一直吃着蜜样甘露，n一直饮着天堂的琼浆仙乳。一直饮着天堂的琼浆仙乳。ByronLifenFamily:nBornlameinanimpoverishnoblefamilynFatherd
30、iedwhenhewasthree;livedinlonelinessandpovertywithhismotherinScotlandnMadeLordByronat10bythedeathofhisgrandunclenEarlyexperience:nCambridge:Hours of Idleness(1807);andEnglish Bards and Scotch ReviewerstwoyearslaternTourontheContinent(1809-11):visitedPortugal,Spain,Albania,GreeceandTurkeynReturntoEngl
31、and:nEmbarkedonhispoliticalcareer;madespeechesintheparliamenttosupporttheproletariatnPublishedthefirsttwocantosofChilde Harolds Pilgrimage(1812);wrote some narrative poems which were called“Oriental Tales”nMarriedAnnMilbankwholefthimoneyearafterthemarriagenYearsontheContinentnInSwitzerland:madeacqua
32、intancewithShelley;wroteSonnet on ChillonandManfrednInItaly:finishedChilde Harolds Pilgrimage;wroteDon Juan,CainnInGreece:plungedhimselfintoGreekpeoplesstrugglefornationalindependence;diedoffeverMajorWorksnEnglish Bards and Scotch Reviewers(1809)nOrientalTalesnThe Giaour(1813)nThe Corsair(1814)nLara
33、(1814)nChilde Harolds Pilgrimage(1812-1818)nDon Juan(1818-1819)nPoeticDrama:nManfred(1817)nCain(1821)nThe Two Foscari(1821)Childe Harolds Pilgrimagen4cantos,writtenintheSpenserianstanzanCantoI:Portugal&SpainnCantoII:Albania&GreecenCantoIII:hisdaughter&thepoliticalstrugglesofthedaynCantoIV:ItalyDon J
34、uannByronsmasterpiece,writtenintheprimeofhiscreativepowernintention:“toremovetheclokewhichthemannersandmaximsofsocietythrowovertheirsecretsins,andshewthemtotheworldastheyreallyare”(topresentapanoramicviewofdifferenttypesofsociety;thedifferencebetweenlifesappearanceanditsactuality)nEpicsatire:asatire
35、onabusesofthepresentsociety;ArtisticFeaturesnRevolutionaryspiritnByronicheronVarietyinstylenfrompassionateoutcriestopatheticutterance,nfromsolemnexpressionstoironicmockeries,nfromseriousmusingstoplayfulfancies,nfromhighlylyricalpassagestoeverydayprosaicspeech,nfromloftyphrasesingrandstyletoclownishp
36、layonwords.Byronic Heronaproudrevolutionaryfigureofnobleorigin,risingsinglehandedagainstanykindoftyrannicrulesingovernmentorreligionormoralsocietywithunconquerablewillsandinexhaustibleenergies.ThesetoweringfiguresstandinsharpcontrastwiththeheroesintheversenarrativesoftheLakePoets,whoareeithersubmiss
37、iveagentsofGodorofothersupernaturalforcesorarewrappedinthemysteriousatmosphereofmysticismormagic.The Isles of GreecenTheme:nBycontrastingthefreedomenjoyedbytheancientGreekswiththeenslavementoftheearly19thcenturyGreeksunderTurkishrule,thepoetcallsontheGreekstostrugglefortheirnationalliberation.nForm:
38、n166-linedstanzasofiambictetrameter,witharhymeschemeofababccEvaluationnHavinggreatinfluenceontheromanticpoetrywiththenoveltyofhisorientalscenery,theromanticcharacteroftheByronichero,andtheeasy,fluentandnaturalbeautyofhisverse.nTwocontroversialopinions:nInEngland:thepervertedman,thesatanicpoetnOntheC
39、ontinent:thechampionofliberty,poetofthepeopleShelleyLifenBornintoanaristocraticfamilynenteredtheOxfordUniversityCollegein1810;expelledfromthecollegeforpublishingThe Necessity Of Atheism in1811nelopedwiththe16-yearoldHarrietWestbrook;spentthefollowingtwoyearstravelinginEnglandandIreland,distributingp
40、amphletsandspeakingagainstpoliticalinjustice.nIn1813publishedhisfirstimportantpoem,theatheisticQueen Mab.nIn1814traveledabroadwithMaryWollstonecraftGodwin;marriedMaryWollstonecraftafterHarrietdrownedherselfin1816nWroteThe Spirit of Solitude(1816)andThe Revolt of Islam(1817)nmovedtoItaly;drownedin182
41、2MajorWorksnInEngland:nQueen MabnThe Spirit of Solitude nThe Revolt of Islam nInItaly:nTwopoeticdramas:nPrometheus UnboundnThe CencinProse:A Defense of PoetrynPoems:nPoliticallyrics:nThe Mask of AnarchynSong to the Men of EnglandnLyricsonnatureandlovenOde to the West WindnTo a SkylarknElegy:AdonaisO
42、denalyricpoemofsomelength,dealingwithaloftythemeinadignifiedmannerandoriginallyintendedtobesungRomanticodenEvolvedfromtheancientGreekode,writteninaseroustonetocelebrateaneventortopraiseanindividualnNotintendedtobesung,yetquiteemotionalnTheauthorfocusesonascene,pondersitsmeaning,andpresentsahighlyper
43、sonalreactiontoitthatincludesaspecialinsightattheendofthepoemOde to the West WindnContentsThisisoneofShelleysbestknownlyrics.Thepoetdescribesvividlytheactivitiesofthewestwindontheearth,intheskyandontheseaandthenexpresseshisenvyfortheboundlessfreedomofthewestwindandhiswishtobefreelikeitandtoscatterhi
44、swordsamongmankind.Thecelebratedfinallineofthepoem,Ifwintercomes,canSpringbefarbehindhasoftenbeencitedtoillustrateShelleysoptimisticbeliefinthefutureofmankind.nMetricalpatternnThisisalyricpoemoffive14-linedstanzascontainingfourtercetsandaclosingcouplet.Therhymeschemeisaba bcb cdc ded ee.Characterist
45、icsnagreatvarietyofpoeticalstylenrichinmyth,symbolsandclassicalallusionsnastrongdramaticpowernanintellectualthoughtnabundantinpersonificationandmetaphorandotherfiguresofspeechShelleyandByronComparednByron:onlyattachedpoliticaltyranny;thoughtmoreofonespersonalhappinessandsorrowandbelievedchieflyinthe
46、mightofindividualheroesbuthadcontemptforthecommonpeoplenShelley:alsosawthecruelrelationsofeconomicexploitationinthefeudalbourgeoisworld;hadfaithinthecollectivestrengthofthepeopleandworkedfortheinterestsofthemassesJohn KeatsLife nBornin1795;parentsdiedwhenhewas15napprenticedtoavillageapothecaryin1811
47、ndevotehimselftopoetryundertheinfluenceofLeighHuntandtheartistHaydonin1816nLiterarycreationfrom1816-1820:nPublishedhisearlypoemsinThe Examiner(1816)nPublishedhisfirstvolumeofpoetry,metwithveryseverecriticism(1817)nPublishedhissecondvolumeofpoetry(1820)nFellillwithtuberculosis;traveledtoItalyuponthei
48、nvitationofShelley(1820)nDiedofillness(1821)MajorWorksnOn First Looking into Chapmans Homer nEndymionnLamia,Isabella,The Eve of St.Agnes,&Other Poems nHyperion nOdes:nOde to a NightingalenOde on a Grecian UrnnOde to PsychenOde on MelancholynTo AutumnOde on a Grecian UrnOde on a Grecian UrnnTimenTheo
49、dewaswritteninMay1819outofcollectionofmemoryofseveralvisitstoexhibition.nStructurenTheOdeconsistsof5stanzas,thefirstfourstanzas describing a pastoral scene on theurn,&the last epitomizing the relation ofthetimelessidealworldinarttothewoefulactualworld.ngeneral questions about the urn(Stanza1)none si
50、de of the urn:piper and lovers(Stanza2)nlamentation:envy of the happiness of the piper and the lovers(Stanza3)nthe other side of the urn:people going to a sacrifice ritual(Stanza4)nlamentation:Beauty is truth,truth beauty;human life is short while art lasts(Stanza5)nSummarynHerethepoetgiveshiscommen
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