69-英国文学史和选读课件(III).ppt

英国文学史和选读课件(III)  惠州学院外语系 汤富华教授 Mathew Arnold (1822—1888) Inherits a critical tradition from Samuel Johnson and Samuel Taylor Coleridge Unlike Coleridge, he acknowledges his debt to German philosophers A secular writer, he still believes strongly in absolutes -- that we can discern, for instance, what is “the best that is known and thought in the world” He says criticism can “attain any real authority” by being “absolutely and entirely independent” of “sects and parties” (1578) Dover Beach Ah, love, let us be true To one another! for the world, which seems To lie before us like a land of dreams, So various, so beautiful, so new, Hath really neither joy, nor love, nor light, Nor certitude, nor peace, nor help for pain; And we are here as on a darkling plain Swept with confused alarms of struggle and flight, Where ignorant armies clash by night. Alfred, Lord Tennyson, (1809-1892) Prosody paramount to him; his tone painting in verse like Debussy’s in music (Compare “Lady of Shalott,” last stanza of Part One (p.1142) to first stanza, Part Four (p. 1145) (Compare Loreena McKennitt’s folk version of “Lady of Shalott”) Stephen Dedalus in Joyce’s Portrait of the Artist exclaims: “Tennyson a poet! Why, he’s only a rhymester!” Elizabeth Barrett Browning (1806-1861) She inherited a tradition: Felicia Hemans (the best-selling poet of the Romantic period) Charlotte Smith (whose success with the sonnet form made it a favorite among later writers) Robert Browning, (1812-1889) His most significant contribution to English poetry: the verse form called Dramatic Monologue His epic, The Ring and the Book, is profoundly relativistic -- the same story told repeatedly from multiple, mutually-exclusive perspectives His exploration of individual voices vastly expanded the language available to poets. 参考文献： 王守仁编， 英国文学选读 北京：高等教育出版社 20