自考英美文學(xué)選讀篇一：自考英美文學(xué)選讀重點(diǎn)整理

[英國(guó)文學(xué)]

Chapter1 The Renaissance period（14世紀(jì)至十七世紀(jì)中葉）文藝復(fù)興

1.Humanism is the essence of the Renaissance.人文主義是文藝復(fù)興的核心。

2.the Greek and Roman civilization was based on such a conception that man is the measure of all things.人文主義作為文藝復(fù)興的起源是因?yàn)楣畔ＥD羅馬文明的基礎(chǔ)是以“人”為中心，人是萬(wàn)物之靈。

3.Renaissance humanists found in then classics a justification to exalt human nature and came to see that human beings were glorious creatures capable of individual development in the direction of perfection, and that the world they inhabited was theirs not to despise but to question, explore, and enjoy.人文主義者們卻從古代文化遺產(chǎn)中找到充足的論據(jù)，來(lái)贊美人性，并開始注意到人類是崇高的生命，人可以不斷發(fā)展完善自己，而且世界是屬于他們的，供他們懷疑，探索以及享受。

4.Thomas More, Christopher Marlowe and William Shakespeare are the best representatives of the English humanists.托馬斯.摩爾，克利斯朵夫.馬洛和威廉.莎士比亞是英國(guó)人文主義的代表。

5.Wyatt introduced the Petrarchan sonnet into England.懷亞特將彼特拉克的十四行詩(shī)引進(jìn)英國(guó)。

6.The first period of the English Renaissance was one of imitation and assimilation.英國(guó)文藝復(fù)興初期只是一個(gè)學(xué)習(xí)模仿與同化的階段。

7.The goals of humanistic poetry are: skillful handling of conventions, force of language, and, above all, the development of a rhetorical plan in which meter, rhyme, scheme, imagery and argument should all be combined to frame the emotional theme and throw it into high relief.人文主義詩(shī)歌的主要目標(biāo)是對(duì)傳統(tǒng)習(xí)俗的熟練運(yùn)用，語(yǔ)言的力度與氣概，而最重要的是發(fā)展了修辭模式，即將格律，韻腳（式），組織結(jié)構(gòu)，意象（比喻，描述）與議論都結(jié)合起來(lái)勾畫出情感主題，并將其極為鮮明生動(dòng)的表現(xiàn)出來(lái)。

8.The most famous dramatists in the Renaissance England are Christopher Marlowe, William Shakespeare, and Ben Jonson.文藝復(fù)興時(shí)期英國(guó)最著名的戲劇家有克利斯朵夫.馬洛，威廉.莎士比亞與本.約翰遜。

9.Francis Bacon (1561-1626), the first important English essayist.費(fèi)蘭西斯.培根是英國(guó)歷史上最重要的散文家。

(I)Edmund Spenser埃德蒙.斯賓塞

10. the theme of Redcrosse is not“Arms and the man,”but something more romantic-“Fierce wars and faithful loves.”《仙后》的主題并非“男人與武器”，而是更富浪漫色彩的“殘酷戰(zhàn)爭(zhēng)與忠貞愛(ài)情”。

11. It is Spenser?s idealism, his love of beauty, and his exquisite melody that make him known as“the poets?poet.”正是斯賓塞的理想主義，對(duì)美的熱愛(ài)以及精美優(yōu)雅的詩(shī)文韻律是他成為“詩(shī)人中的詩(shī)人”。

(II)Christopher Marlowe克利斯朵夫.馬洛

12. As the most gifted of the“University Wits,”Marlowe composed six plays within his short lifetime. Among them the most important are: Tamburlaine, Parts I & II, Dr.Faustus, The Jew of Malta and Edward II.馬洛是當(dāng)時(shí)“大學(xué)才子”中最富才華的人，在他短暫的一生中，他完成了六部劇本的創(chuàng)作。其中最負(fù)盛名的是：《帖木爾》，《浮士德博士的悲劇》，《馬耳他島的猶太人》以及《愛(ài)德華二世》。

13. Marlowe?s greatest achievement lies in that he perfected the blank verse and made it the principal medium of English drama.馬洛的藝術(shù)成就在于他完善了無(wú)韻體詩(shī)，并使之成為英國(guó)

戲劇中最重要的文體形式。

14. Marlowe?s second achievement is his creation of the Renaissance hero for English drama.馬洛的第二項(xiàng)貢獻(xiàn)是他創(chuàng)造了文藝復(fù)興時(shí)期的英雄形象。

15. His brilliant achievement as a whole raised him to an eminence as the pioneer of English drama.他對(duì)戲劇發(fā)展的貢獻(xiàn)是不可磨滅的，為此，它被后世尊為英國(guó)戲劇的先驅(qū)。

16. The passionate shepherd to his love激情的牧人致心愛(ài)的姑娘

This short poem is considered to be one of the most beautiful lyrics in English literature.這首短詩(shī)是英國(guó)文學(xué)詩(shī)中最優(yōu)美的抒情詩(shī)。

(III)William Shakespeare威廉.莎士比亞

17. The first period of his dramatic career, he wrote five history plays: Hey VI, Parts I, II, and III, Richard III, and Titus Andronicus; and four comedies: The Comedy of Errors, The Two Gentlemen of Verona, The Taming of the Shrew, and Love?s Labour?s Lost.在他戲劇創(chuàng)作生涯的第一個(gè)階段，他創(chuàng)作了五部歷史劇：《亨利六世》，《理查三世》，《泰托斯.安東尼》以及四部喜�。骸跺e(cuò)誤的戲劇》，《維洛那二紳士》，《馴悍記》和《愛(ài)的徒勞》。

18. In the second period, he wrote five histories: Richard II, King John, Hey IV, Parts I and II, and Hey V; six comedies: A Midsummer Night?s Dream, The Merchant of Venice, Much Ado About Nothing, As You Like It, Twelfth Night, and The Merry Wives of Windsor; and two tragedies: Romeo and Juliet and Julius Caesar.在第二階段，他寫了五部歷史劇：《理查三世》，《約翰王》，《亨利四世》，《亨利五世》以及六部喜劇《仲夏夜之夢(mèng)》，《威尼斯商人》，《無(wú)事生非》，《皆大歡喜》，《第十二夜》，《溫莎的風(fēng)流娘兒們》，還有兩部悲�。骸读_密歐與朱麗葉》和《裘利斯.凱撒》。

19. Shakespeare?s third period includes his greatest tragedies and his so-called dark comedies. The tragedies of this period are Hamlet, Othello, King Lear, Macbeth, Antony and Cleopatra, Troilus and Cressida, and Coriolanus. The two comedies are All?s Well That Ends and Measure for Measure.第三階段誕生了莎翁最偉大的悲劇和他自稱的黑色喜�。ɑ虮�喜�。�，悲劇有：《哈姆雷特》，《奧賽羅》，《李爾王》《麥克白》《安東尼與克利奧佩特拉》《特羅伊勒斯與克利西達(dá)》及《克里奧拉那斯》。兩部喜劇是《終成眷屬》和《一報(bào)還一報(bào)》。

20. The last period of Shakespeare?s work includes his principle romantic tragicomedies: Pericles, Cymbeline, The Winter?s Tale and The Tempest; and his two plays: Hey VIII and The Two Noble Kinsmen.最后一個(gè)時(shí)期的作品主要有浪漫悲喜劇：《伯里克利》《辛白林》《冬天的故事》與《暴風(fēng)雨》。他最后兩部劇是《亨利八世》與《魯克里斯受辱記》。

21. Shakespeare?s sonnets are the only direct expression of the poet?s own feelings.這些十四行詩(shī)都是莎翁直抒胸臆的成果。

22. Shakespeare?s history plays are mainly written under the principle that national unity under a mighty and just sovereign is a necessity.莎翁的歷史劇都有這樣一個(gè)主題：在一個(gè)強(qiáng)大英明的君主統(tǒng)領(lǐng)下的國(guó)家，統(tǒng)一是非常必要的。

23. In his romantic comedies, Shakespeare takes an optimistic attitude toward love and youth, and the romantic elements are brought into full play.在他的浪漫喜劇中，莎士比亞以樂(lè)觀的態(tài)度對(duì)待愛(ài)情與青春，并將浪漫色彩渲染到極致。

24. The successful romantic tragedy is Romeo and Juliet, which eulogizes the faithfulness of love and the spirit of pursuing happiness.莎翁在其成功的浪漫主義悲劇《羅密歐與朱麗葉》，頌揚(yáng)了對(duì)愛(ài)的忠貞及對(duì)幸福的追求。

25. Shakespeare?s greatest tragedies are: Hamlet, Othello, King Lear, and Macbeth. They have some characteristics in common. Each portrays some noble hero.莎士比亞的四大悲劇是：《哈姆

雷特》《奧賽羅》《李爾王》《麥克白》

26. “The King?s government must be carried on”—but carried on for the good of the nation, not for the pleasure of the king.“國(guó)王的統(tǒng)治一定要萬(wàn)古不變”----但是這種流傳百世萬(wàn)古不變的統(tǒng)治是有利于國(guó)家利益的，而不是只為國(guó)王自己服務(wù)。

27. Thus, he finds no way to solve the social problems. In the end, the only thing he can do as a humanist is to escape from the reality to seek comfort in his dream.正因如此，他才無(wú)力尋求到醫(yī)治各種社會(huì)痼疾的靈丹妙藥，最后，他作為人文主義所能做的唯一事情便是逃避現(xiàn)實(shí)，從夢(mèng)幻中找安慰。

28. He holds that literature should be a combination of beauty, kindness and truth, and should reflect nature and reality.他認(rèn)為文學(xué)應(yīng)該是真善美的結(jié)合，應(yīng)該反映天性與現(xiàn)實(shí)。

29. Shakespeare is above all writers in the past and in the present time.古往今來(lái)，沒(méi)有一個(gè)作家能與莎士比亞媲美，他對(duì)后世文學(xué)家的潛移默化也是無(wú)可估量的。

30. Almost all English writers after him have been influenced by him either in artistic point of view, in literary form or in language.在他之后幾乎所有的英國(guó)文學(xué)家都在藝術(shù)觀點(diǎn)，文學(xué)形式及語(yǔ)言技巧方面受到他的影響。

31. Sonnet 18 is one of the most beautiful sonnets written by Shakespeare.十四行詩(shī)第十八首詩(shī)莎翁最出色的十四行詩(shī)。

(IV)Francis Bacon弗蘭西斯.培根

32. The most import works of his first group include The Advancement of Learning, Written in English; Novum Organum , an enlarged Latin version of The Advancement of Learning.培根的作品可分為三類：第一類中最重要的作品有《學(xué)術(shù)的進(jìn)展》（用英文著述）《新工具》（是《學(xué)術(shù)的進(jìn)展》的拉丁文增補(bǔ)版）

33. One is the knowledge obtained from the Divine Revelation, the other is the knowledge from the workings of human mind.他將知識(shí)分為兩種：一種是通過(guò)神的啟示獲得的知識(shí)，另一種是通過(guò)人類用腦思考而獲得的知識(shí)。

34. According to Bacon, man?s understanding consists of three parts: history to man?s memory, poetry to man?s imagination and creation, and philosophy to man?s reason.培根認(rèn)為，人類的認(rèn)識(shí)與學(xué)問(wèn)分為三部分：基于人類回憶的歷史學(xué)，基于人類想象力創(chuàng)造力的詩(shī)歌與基于人類理性的哲學(xué)。

35. Bacon, as a humanist intellect, shows the new empirical attitudes toward truth about nature and bravely challenges the medieval scholasticist.作為人文主義者的培根展示了自己對(duì)于自然界真理的實(shí)驗(yàn)主義態(tài)度，并向中世紀(jì)的經(jīng)院哲學(xué)家們提出挑戰(zhàn)。

36. Bacon?s essays are famous for their brevity, compactness and powerfulness.培根的散文以簡(jiǎn)潔，緊湊，有力度而著名。

37. The essays are well-arranged and eiched by biblical allusions, metaphors and cadence.這些散文不僅結(jié)構(gòu)巧妙還大量使用了《圣經(jīng)》的典故，隱喻和基調(diào)。

38. Of Studies論學(xué)習(xí)

Reading maketh a full man, conference a ready man, and writing an exact man.讀書使人充實(shí)，討論使人機(jī)智。

(V)John Donne約翰.鄧恩

39. The imagery is drawn from the actual life.詩(shī)中的意象都是從現(xiàn)實(shí)生活中提取的。

40. His poems give a more inherently theatrical impression by exhibiting a seemingly unfocused diversity of experiences and attitudes, and a free range of feelings and moods.他的詩(shī)歌給人一種固有的戲劇性，展示了看上去零散多樣的經(jīng)歷與觀念，以及漫無(wú)邊際的情感與心境。

41. The Sons and Sonnets, by which Donne is probably best known, contains most of his early lyrics.《歌與短歌》是鄧恩最有名的詩(shī)集，囊括了他早期大多數(shù)愛(ài)情詩(shī)作。

42. In his gloomy poem“Farewell to love,”we can see his disillusionment.在憂傷的詩(shī)作《告別愛(ài)情》中，我們就可以感受到他對(duì)愛(ài)情幻想的破滅。

43. With the brief, simple language, the argument is continuous throughout the poem.議論依附于一種簡(jiǎn)潔平白的語(yǔ)言，并貫穿于整首詩(shī)作。

(VI)John Milton約翰.彌爾頓

44. he was entirely occupied with the thoughts of fighting for human freedom.他頭腦中充滿了為人類自由而戰(zhàn)的思想。

45. Milton?s literary achievements can be divided into three groups: the early poetic works, the middle prose pamphlets and the great poem.彌爾頓的文學(xué)作品可分為三類：早期詩(shī)作，中期的散文小冊(cè)子和后期的偉大詩(shī)作。

46. Milton wrote his three major poetical works: Paradise Lost, Paradise Regained, and Samson Agonistes.他的三部偉大詩(shī)作：《失樂(lè)園》《復(fù)樂(lè)園》和《力士參孫》。

47. The theme of Paradise Lost is the“Fall of Man”. In the fall of man Adam discovered his full humanity.失樂(lè)園的主題是人類的沉淪。在沉淪之中，亞當(dāng)發(fā)現(xiàn)了自己身上的人性。

48. Milton held that God created all things out of Himself, including evil.他認(rèn)為上帝是按照他自己的樣子造出的世界，其中也包括罪惡。

49. It opens the way for the voluntary sacrifice of Christ which showed the mercy of God in bringing good out of evil.為基督自愿獻(xiàn)身開辟了道路，這也顯示出上帝欲將人類從罪惡與苦難中拯救出來(lái)的同情心。

50. In Samson Agonistes, the whole poem strongly suggests Milton?s passionate longing that he too could bring destruction down upon the enemy at the cost of his own life.在力士參孫中，整首詩(shī)都強(qiáng)烈暗示著彌爾頓渴望他自己也能像參孫一樣，以生命為代價(jià)，與敵人同歸于盡。

51. In his life, Milton shows himself a real revolutionary, a master poet and a great prose writer.彌爾頓畢生都展現(xiàn)了真正的革命精神和非凡的詩(shī)歌才華。

52. Paradise Lost:人類由于理性不強(qiáng)，意志薄弱，經(jīng)不起考驗(yàn)，暗示英國(guó)自產(chǎn)主義革命失敗的原因。

Chapter2 The Neoclassical Period(1660-1798)新古典主義

1.In short, it was an age full of conflicts and divergence of values.總之，這一時(shí)期是矛盾與價(jià)值觀分歧的時(shí)期。

2.The eighteenth-century England is also known as the Age of Enlightenment or the Age of Reason.英國(guó)的十八世紀(jì)也同時(shí)是啟蒙主義時(shí)代，或曰理性時(shí)代。

3.Its purpose was to enlighten the whole world with the light of modern philosophical and artistic ideas.運(yùn)動(dòng)的主旨便是用當(dāng)代哲學(xué)與藝術(shù)思想的晨光啟迪整個(gè)世界。

4.Enlighteners held that rationality or reason should be the only, the final cause of any human thought and activities. They called for a reference to order, reason and rules.啟蒙者主張理性是任何人思想與行動(dòng)的唯一緣由。他們大力提倡秩序，理性及法律。

5.As a matter of fact, literature at the time, heavily didactic and moralizing, became a very popular means of public education.其實(shí)，當(dāng)時(shí)的文學(xué)作品種充滿了說(shuō)教與道德理念，就已經(jīng)成為大眾教育的良好工具。

6.Famous among the great enlighteners in England were those great writers like John Dryden, Alexander Pope, Joseph Addison and Sir Richard Steele, the two pioneers of familiar essays,

Jonathan Swift, Daniel Defoe, Richard Brinsley Sheridan, Hey Fielding and Samuel Johnson.英國(guó)著名的啟蒙主義文學(xué)家有約翰.德萊頓，亞歷山大.蒲柏，約瑟夫.艾迪森與理查.斯蒂爾（這兩位是現(xiàn)代散文的先驅(qū)），喬納森.斯威夫特，丹尼爾.迪福，理查.B.謝立丹，亨利.費(fèi)爾丁和塞繆爾.約翰遜。

7.In the field of literature, the Enlightenment Movement brought about a revival of interest in the old classical works.在文學(xué)領(lǐng)域，啟蒙主義運(yùn)動(dòng)還使人們重新對(duì)古典時(shí)代的著作產(chǎn)生興趣。

8.They believed that the artistic ideals should be order, logic, restrained emotion and accuracy, and that literature should be judged in terms of its service to humanity.他們認(rèn)為理想的藝術(shù)應(yīng)基于秩序，邏輯，確切及情感控制的基礎(chǔ)上，而文學(xué)作品的價(jià)值評(píng)判標(biāo)準(zhǔn)應(yīng)該看它是否為人文主義服務(wù)。

9.Thus a polite, urbane, witty, and intellectual art developed.由此一種溫文爾雅，充滿靈性的知識(shí)分子文學(xué)藝術(shù)發(fā)展起來(lái)。

10. Neoclassicists had some fixed laws and rules for almost every gee of literature.在幾乎所有的文學(xué)形式中，新古典主義者們都設(shè)定了創(chuàng)作的規(guī)矩與條框。

11. Drama should be written in the heroic Couplets (iambic pentameter rhymed in two lines); the three unities of time, space and action should be strictly observed; regularity in construction should be adhered to, and type characters rather than individuals should be represented.戲劇必須用英雄體偶�。ㄒ謸P(yáng)五音步的押韻雙行詩(shī)）寫就；時(shí)間，地點(diǎn)，事件三要素必須要遵循；寫作的規(guī)矩必須要遵守，而作品中的人物要代表一類人，而不是個(gè)性化。

12. But it had a lasting wholesome influence upon English literature. (套話)但新古典主義對(duì)英國(guó)文學(xué)史產(chǎn)生過(guò)持久的全面的影響。

13. The poetic techniques and certain classical graces such as order, good form, unified structure, clarity and conciseness of language developed in this period have become a permanent heritage.在這一時(shí)期出現(xiàn)的詩(shī)歌技巧與古典氣質(zhì)，如秩序，優(yōu)美的格式，統(tǒng)一的結(jié)構(gòu)，簡(jiǎn)明的語(yǔ)言都成為永恒的文學(xué)傳統(tǒng)。

14. The mid-century was, however, predominated by a newly rising literary form---the modern English novel, which, contrary to the traditional romance of aristocrats, gives a realistic presentation of life of the common English people.十八世紀(jì)中葉，還興起一種嶄新的文學(xué)形式----英國(guó)現(xiàn)代小說(shuō)，這種文學(xué)與傳統(tǒng)貴族的騎士文學(xué)相反，著重描寫英國(guó)普通百姓的生活。

15. Among the pioneers were Daniel Defoe, Samuel Richardson, Hey Fielding, Laurence Sterne, Tobias George Smollett, and Oliver Goldsmith.英國(guó)現(xiàn)代小說(shuō)的先驅(qū)有丹尼爾.迪福，塞繆爾.理查德，亨利.費(fèi)爾丁，勞倫斯.斯泰思，托比亞斯.斯摩萊特以及奧立弗.哥爾斯密。

16. From the middle part to the end of the century there was also an apparent shift of interest from the classic literary tradition to originality and imagination, from society to individual, and from the didactic to the confessional, inspirational and prophetic.從十八世紀(jì)中葉至十八世紀(jì)末，還出現(xiàn)了古典文學(xué)傳統(tǒng)向獨(dú)創(chuàng)性與豐富聯(lián)想性的轉(zhuǎn)移，社會(huì)描寫向個(gè)性描寫的轉(zhuǎn)移，說(shuō)教向懺悔，鼓勵(lì)及預(yù)示的轉(zhuǎn)移。

17. Gothic novels---mostly stories of mystery and horror.哥特式小說(shuō)----主要講述恐怖神秘的故事。

18. Jonathan Swift?s A Modest Proposal being generally regarded as the best model of satire, not only of the period but also in the whole English literary history.喬納森.斯威夫特的《一個(gè)小小的建議》被公認(rèn)為英國(guó)文學(xué)史上諷刺作品的經(jīng)典。

(I)John Bunyan約翰.班揚(yáng)

19. As a stout Puritan, he had made a conscientious study of the Bible and firmly believed in

自考英美文學(xué)選讀篇二：自考英語(yǔ)本科 英美文學(xué)選讀 考試大綱

《英美文學(xué)選讀》考試大綱

全國(guó)考辦在組織全國(guó)考委外語(yǔ)類專業(yè)委員會(huì)研究論證后，決定對(duì)高等教育自學(xué)考試英語(yǔ)語(yǔ)言文學(xué)專業(yè)“英美文學(xué)選讀”（課程代碼：0604）自學(xué)考試大綱的部分內(nèi)容進(jìn)行調(diào)整:具體調(diào)整如下：

《英美文學(xué)選讀自學(xué)考試大綱》的考核知識(shí)點(diǎn)與考核要求

（一）關(guān)于考核知識(shí)點(diǎn)的調(diào)整

考核知識(shí)點(diǎn)中的各章概述內(nèi)容仍為考核內(nèi)容；對(duì)知識(shí)點(diǎn)中的作家只保留對(duì)如下主要作家的考核。

英國(guó)文學(xué)： Chapter 1 III. William Shakespeare VI. John Milton Chapter 2 III. Daniel Defoe IV. Jonathan Swift V. Hey Fielding Chapter 3 I. William Blake II. William Wordsworth V. Percy Bysshe Shelley VII. Jane Austen Chapter 4 I. Charles Dickens II. Charlotte Bronte VI. Thomas Hardy Chapter 5 I. George Bernard Shaw IV.T. S. Eliot V.D. H. Lawrence

美國(guó)文學(xué)： Chapter 1 III. Nathaniel Hawthorne IV. Walt Whitman V. Herman Melville Chapter 2 I. Mark Twain II. Hey James III. Emily Dickinson IV. Theodore Dreiser

Chapter 3

II. Robert Lee Frost

IV.F. Scott Fitzgerald

V. Ernest Hemingway

VI. William Faulkner

二、關(guān)于考核要求的調(diào)整

考核要求中每章概述內(nèi)容不作調(diào)整：“該時(shí)期的重要作家”只包含對(duì)考核知識(shí)點(diǎn)中保留的重要作家的相關(guān)內(nèi)容的考核

原大綱如下：

上篇 英國(guó)文學(xué)

第一章 文藝復(fù)興時(shí)期

一 、學(xué)習(xí)目的和要求

通過(guò)本章的學(xué)習(xí)，了解文藝復(fù)興運(yùn)動(dòng)和人文主義思潮產(chǎn)生的歷史、文化背景，認(rèn)識(shí)該時(shí)期文學(xué)創(chuàng)作的基本特征和基本主張，及其對(duì)同時(shí)代及其對(duì)同時(shí)代及后世英國(guó)文學(xué)乃至文化的影響；了解該時(shí)期重要作家的文學(xué)生涯、創(chuàng)作思想、藝術(shù)特色及其代表作品的主題結(jié)構(gòu)、人物刻畫、評(píng)議風(fēng)格、思想意義等；同時(shí)結(jié)合注釋，讀懂所選作品，了解其思想內(nèi)容和寫作特色，培養(yǎng)理解和欣賞文學(xué)作品的能力。

二、課程內(nèi)容 （一）文藝復(fù)興運(yùn)動(dòng)概述 1.意大利文藝復(fù)興運(yùn)動(dòng)的興起 2.人文主義思潮 3.文藝復(fù)興時(shí)期的文學(xué)淵源 4.英國(guó)的文藝復(fù)興 5.宗教改革運(yùn)動(dòng)及其影響 （二）英國(guó)文藝復(fù)興時(shí)期的文學(xué) 1.伊麗莎白時(shí)代的歷史文化背景 2.意大利文學(xué)對(duì)英國(guó)文學(xué)的影響 3.伊麗莎白時(shí)代的戲劇 4.伊麗莎白時(shí)代的詩(shī)歌 （三）文藝復(fù)興時(shí)期的主要作家 A.埃德蒙斯賓塞 1.斯賓塞的生平 2.斯賓塞的創(chuàng)作生涯 （1）抒情詩(shī) （2）傳奇史詩(shī)《仙后》的構(gòu)思、情節(jié)、內(nèi)容、主題 3.選讀 （1）《仙后》選段的內(nèi)容、語(yǔ)言特色 （2）斯賓塞詩(shī)節(jié)的構(gòu)成及特色 B.克思斯托夫馬洛 1.馬洛的生平與創(chuàng)作生涯 2.馬洛的著名悲劇

（2）《浮士德博士的悲劇》 （3）《馬耳他的猶太人》 4.選讀 （1）馬洛田園詩(shī)的主題、意象 （2）馬洛的代表作《浮士德博士的悲劇》選段的主要內(nèi)容 C.威廉莎士比亞 1.莎士比亞的生平 2.莎士比亞的戲劇創(chuàng)作生涯 （1）早期的浪漫喜劇、歷史劇 （2）中期的悲劇 （3）晚期的悲喜劇、傳奇劇 3.莎士比亞戲劇的代表作品及其故事梗概、情節(jié)結(jié)構(gòu)、人物塑造、語(yǔ)言風(fēng)格、思想意義 （1）喜劇《威尼斯商人》 （2）悲劇《哈姆雷特》 （3）傳奇劇《暴風(fēng)雨》 4.莎士比亞的詩(shī)歌 （1）傻事詩(shī) （2）十四行詩(shī) 5.莎士比亞戲劇的思想意義 （1）對(duì)社會(huì)現(xiàn)實(shí)的批判 （2）對(duì)人文主義的歌頌 6.莎士比亞的藝術(shù)成就 （1）人物塑造 （2）情節(jié)結(jié)構(gòu) （3）語(yǔ)言風(fēng)格 7.選讀 （1）十四行詩(shī)（18）的主題、意象 （2）喜劇《威尼斯商人》選段的主題、人物性格、語(yǔ)言特點(diǎn) （3）喜劇《哈姆雷特》選段的主要內(nèi)容 D.弗蘭西斯培根 1.培根的生平 2.培根的作品 3.培根《論說(shuō)文》的特點(diǎn) 4.培根的杰出貢獻(xiàn) （1）培根對(duì)現(xiàn)代科學(xué)作出的貢獻(xiàn) （2）培根《論說(shuō)文》的重大意義 5.選讀：《論學(xué)習(xí)》的結(jié)構(gòu)、內(nèi)容、評(píng)議特色 E.約翰鄧恩 1.鄧恩與玄學(xué)詩(shī)派 （1）玄學(xué)詩(shī)派簡(jiǎn)介 （2）玄學(xué)詩(shī)的特點(diǎn)：主題、語(yǔ)言、意象 2.鄧恩的生平 3.鄧恩的文學(xué)創(chuàng)作

（2）鄧恩的散文 4.選讀：所選作品的主題、語(yǔ)言、意象等特色 F.約翰彌爾頓 1.彌爾頓的生平 2.彌爾頓的文學(xué)創(chuàng)作 （1）早期詩(shī)歌 （2）中期詩(shī)文 （3）晚期史詩(shī) 3.《利西達(dá)斯》：挽歌及其特點(diǎn) 4.史詩(shī)《失樂(lè)園》 （1）故事梗概 （2）主題結(jié)構(gòu) （3）人物塑造 （4）語(yǔ)言風(fēng)格 （5）作品的意義 5.史詩(shī)《復(fù)樂(lè)園》的主要內(nèi)容 6.詩(shī)歌《力士參孫》的主要內(nèi)容 7.彌爾頓的散文 8.選讀 史詩(shī)《失樂(lè)園》選段的主要內(nèi)容、人物性格、語(yǔ)言特點(diǎn)等。

三、考核知識(shí)點(diǎn)

（一）文藝復(fù)興時(shí)期概述及人文主義思潮對(duì)文學(xué)創(chuàng)作的影響

（二）文藝復(fù)興時(shí)期主要作家的文學(xué)創(chuàng)作思想及其代表作品的主題結(jié)構(gòu)、人物塑造、語(yǔ)言風(fēng)格、藝術(shù)手法、社會(huì)意義等。

1.埃德蒙斯賓塞

2.克里斯托夫馬洛

3.威廉莎士比亞

4.弗蘭西斯培根

5.約翰鄧恩

6.約翰彌爾頓

四、考核要求 （一）文藝復(fù)興時(shí)期概述 1.識(shí)記：（1）文藝復(fù)興時(shí)期的界定 （2）歷史文化背景 2.領(lǐng)會(huì)：（1）文藝復(fù)興運(yùn)動(dòng)的意義與影響 （2）文藝復(fù)興時(shí)期的文學(xué)特點(diǎn) （3）人文主義的主張及文學(xué)的影響 3.應(yīng)用：文藝復(fù)興、人文主義及玄學(xué)詩(shī)等名詞的解釋 （二）該時(shí)期的重要作家 1.一般識(shí)記：重要作家的文學(xué)生涯 2.識(shí)記：重要作品及主要內(nèi)容 3.領(lǐng)會(huì)：重要作家的創(chuàng)作思想、藝術(shù)特色及其代表作品的主題結(jié)構(gòu)、人物塑造、語(yǔ)言風(fēng)

格、藝術(shù)手法、社會(huì)意義等

4.應(yīng)用：（1）莎士比亞和鄧恩詩(shī)歌的主題、意象

（2）喜劇《威尼斯商人》的主題和主要人物的性格分析

（3）哈姆雷特的性格分析

（4）史詩(shī)《失樂(lè)園》的結(jié)構(gòu)、人物性格、語(yǔ)言特點(diǎn)等的分析

第二章 新古典主義時(shí)期

一、學(xué)習(xí)目的和要求

通過(guò)本章的學(xué)習(xí)，了解當(dāng)時(shí)席卷歐洲的啟蒙運(yùn)動(dòng)和新古典主義文學(xué)流派產(chǎn)生的歷史背景、主要特征和基本主張，及其對(duì)同時(shí)期及后世英國(guó)文學(xué)的影響；了解該時(shí)期一些重要作家的創(chuàng)作生涯、創(chuàng)作思想和藝術(shù)特色及其代表作品的結(jié)構(gòu)、主題、人物刻畫、語(yǔ)言風(fēng)格、社會(huì)意義等；同時(shí)結(jié)合注釋，讀懂所選作品，了解其思想內(nèi)容和寫作特點(diǎn)，提高理解和欣賞文學(xué)作品的能力。

二、課程內(nèi)容 （一）啟蒙運(yùn)動(dòng) 1.啟蒙運(yùn)動(dòng)產(chǎn)生的時(shí)期背景 2.啟蒙運(yùn)動(dòng)的人文觀 3.啟蒙運(yùn)動(dòng)的理性準(zhǔn)則 （二）新古典主義 1.新古典主義的創(chuàng)作旨意 2.新古典主義的文學(xué)淵源 3.新古典主義對(duì)散文、詩(shī)歌、戲劇創(chuàng)作的標(biāo)準(zhǔn) （三）新古典主義時(shí)期的啟蒙文學(xué) 1.早期新古典主義詩(shī)歌 2.英國(guó)現(xiàn)實(shí)主義小說(shuō)的誕生（中葉） 3.哥特式小說(shuō)與傷感主義文學(xué)的興起（后葉） （四）新古典主義時(shí)期的主要作家 A.約翰班揚(yáng) 1.班揚(yáng)的生平 2.班揚(yáng)作品的風(fēng)格 3.班揚(yáng)的主要作品 4.選讀《天路歷程》：名利場(chǎng) （1）作品內(nèi)容簡(jiǎn)介 （2）作品的寓意 B.亞歷山大蒲伯 1.蒲伯的生平及創(chuàng)作生涯 2.蒲伯的時(shí)代與文學(xué)觀 3.蒲伯的主要作品介紹 4.蒲伯的語(yǔ)言風(fēng)格 5.選讀《論批評(píng)》第二部分 （1）作品簡(jiǎn)介 （2）作品體裁、結(jié)構(gòu)、語(yǔ)言風(fēng)格 C.丹尼爾笛福

自考英美文學(xué)選讀篇三：自考英美文學(xué)選讀重點(diǎn)整理

自考英美文學(xué)選讀重點(diǎn)整理

??[英國(guó)文學(xué)]

??Chapter1 The Renaissance period（14世紀(jì)至十七世紀(jì)中葉）文藝復(fù)興

??1.Humanism is the essence of the Renaissance.人文主義是文藝復(fù)興的核心。

??2.the Greek and Roman civilization was based on such a conception that man is the measure of all things.人文主義作為文藝復(fù)興的起源是因?yàn)楣畔ＥD羅馬文明的基礎(chǔ)是以“人”為中心，人是萬(wàn)物之靈。

??3.Renaissance humanists found in then classics a justification to exalt human nature and came to see that human beings were glorious creatures capable of individual development in the direction of perfection, and that the world they inhabited was theirs not to despise but to question, explore, and enjoy.人文主義者們卻從古代文化遺產(chǎn)中找到充足的論據(jù)，來(lái)贊美人性，并開始注意到人類是崇高的生命，人可以不斷發(fā)展完善自己，而且世界是屬于他們的，供他們懷疑，探索以及享受。

??4.Thomas More, Christopher Marlowe and William Shakespeare are the best representatives of the English humanists.托馬斯.摩爾，克利斯朵夫.馬洛和威廉.莎士比亞是英國(guó)人文主義的代表。

??5.Wyatt introduced the Petrarchan sonnet into England.懷亞特將彼特拉克的十四行詩(shī)引進(jìn)英國(guó)。

??6.The first period of the English Renaissance was one of imitation and assimilation.英國(guó)文藝復(fù)興初期只是一個(gè)學(xué)習(xí)模仿與同化的階段。

??7.The goals of humanistic poetry are: skillful handling of conventions, force of language, and, above all, the development of a rhetorical plan in which meter, rhyme, scheme, imagery and argument should all be combined to frame the emotional theme and throw it into high relief.人文主義詩(shī)歌的主要目標(biāo)是對(duì)傳統(tǒng)習(xí)俗的熟練運(yùn)用，語(yǔ)言的力度與氣概，而最重要的是發(fā)展了修辭模式，即將格律，韻腳（式），組織結(jié)構(gòu)，意象（比喻，描述）與議論都結(jié)合起來(lái)勾畫出情感主題，并將其極為鮮明生動(dòng)的表現(xiàn)出來(lái)。

??8.The most famous dramatists in the Renaissance England are Christopher Marlowe, William Shakespeare, and Ben Jonson.文藝復(fù)興時(shí)期英國(guó)最著名的戲劇家有克利斯朵夫.馬洛，威廉.莎士比亞與本.約翰遜。

??9.Francis Bacon (1561-1626), the first important English essayist.費(fèi)蘭西斯.培根是英國(guó)歷史上最重要的散文家。

??(I)Edmund Spenser埃德蒙.斯賓塞

??10. the theme of Redcrosse is not“Arms and the man,”but something more romantic-“Fierce wars and faithful loves.”《仙后》的主題并非“男人與武器”，而是更富浪漫色彩的“殘酷戰(zhàn)爭(zhēng)與忠貞愛(ài)情”。

??11. It is Spenser?s idealism, his love of beauty, and his exquisite melody that make him known as“the poets?poet.”正是斯賓塞的理想主義，對(duì)美的熱愛(ài)以及精美優(yōu)雅的詩(shī)文韻律是他成為“詩(shī)人中的詩(shī)人”。

??(II)Christopher Marlowe克利斯朵夫.馬洛

??12. As the most gifted of the“University Wits,”Marlowe composed six plays within his short lifetime. Among them the most important are: Tamburlaine, Parts I & II, Dr.Faustus, The Jew of Malta and Edward II.馬洛是當(dāng)時(shí)“大學(xué)才子”中最富才華的人，在他短暫的一生中，他完成

了六部劇本的創(chuàng)作。其中最負(fù)盛名的是：《帖木爾》，《浮士德博士的悲劇》，《馬耳他島的猶太人》以及《愛(ài)德華二世》。

??13. Marlowe?s greatest achievement lies in that he perfected the blank verse and made it the principal medium of English drama.馬洛的藝術(shù)成就在于他完善了無(wú)韻體詩(shī)，并使之成為英國(guó) ??

??戲劇中最重要的文體形式。

??14. Marlowe?s second achievement is his creation of the Renaissance hero for English drama.馬洛的第二項(xiàng)貢獻(xiàn)是他創(chuàng)造了文藝復(fù)興時(shí)期的英雄形象。

??15. His brilliant achievement as a whole raised him to an eminence as the pioneer of English drama.他對(duì)戲劇發(fā)展的貢獻(xiàn)是不可磨滅的，為此，它被后世尊為英國(guó)戲劇的先驅(qū)。 ??16. The passionate shepherd to his love激情的牧人致心愛(ài)的姑娘

??This short poem is considered to be one of the most beautiful lyrics in English literature.這首短詩(shī)是英國(guó)文學(xué)詩(shī)中最優(yōu)美的抒情詩(shī)。

??(III)William Shakespeare威廉.莎士比亞

??17. The first period of his dramatic career, he wrote five history plays: Hey VI, Parts I, II, and III, Richard III, and Titus Andronicus; and four comedies: The Comedy of Errors, The Two Gentlemen of Verona, The Taming of the Shrew, and Love?s Labour?s Lost.在他戲劇創(chuàng)作生涯的第一個(gè)階段，他創(chuàng)作了五部歷史�。骸逗嗬�六世》，《理查三世》，《泰托斯.安東尼》以及四部喜劇：《錯(cuò)誤的戲劇》，《維洛那二紳士》，《馴悍記》和《愛(ài)的徒勞》。

??18. In the second period, he wrote five histories: Richard II, King John, Hey IV, Parts I and II, and Hey V; six comedies: A Midsummer Night?s Dream, The Merchant of Venice, Much Ado About Nothing, As You Like It, Twelfth Night, and The Merry Wives of Windsor; and two tragedies: Romeo and Juliet and Julius Caesar.在第二階段，他寫了五部歷史劇：《理查三世》，《約翰王》，《亨利四世》，《亨利五世》以及六部喜劇《仲夏夜之夢(mèng)》，《威尼斯商人》，《無(wú)事生非》，《皆大歡喜》，《第十二夜》，《溫莎的風(fēng)流娘兒們》，還有兩部悲�。骸读_密歐與朱麗葉》和《裘利斯.凱撒》。

??19. Shakespeare?s third period includes his greatest tragedies and his so-called dark comedies. The tragedies of this period are Hamlet, Othello, King Lear, Macbeth, Antony and Cleopatra, Troilus and Cressida, and Coriolanus. The two comedies are All?s Well That Ends and Measure for Measure.第三階段誕生了莎翁最偉大的悲劇和他自稱的黑色喜�。ɑ虮�喜�。�，悲劇有：《哈姆雷特》，《奧賽羅》，《李爾王》《麥克白》《安東尼與克利奧佩特拉》《特羅伊勒斯與克利西達(dá)》及《克里奧拉那斯》。兩部喜劇是《終成眷屬》和《一報(bào)還一報(bào)》。

??20. The last period of Shakespeare?s work includes his principle romantic tragicomedies: Pericles, Cymbeline, The Winter?s Tale and The Tempest; and his two plays: Hey VIII and The Two Noble Kinsmen.最

后一個(gè)時(shí)期的作品主要有浪漫悲喜�。骸恫�里克利》《辛白林》《冬天的故事》與《暴風(fēng)雨》。他最后兩部劇是《亨利八世》與《魯克里斯受辱記》。

??21. Shakespeare?s sonnets are the only direct expression of the poet?s own feelings.這些十四行詩(shī)都是莎翁直抒胸臆的成果。

??22. Shakespeare?s history plays are mainly written under the principle that national unity under a mighty and just sovereign is a necessity.莎翁的歷史劇都有這樣一個(gè)主題：在一個(gè)強(qiáng)大英明的君主統(tǒng)領(lǐng)下的國(guó)家，統(tǒng)一是非常必要的。

??23. In his romantic comedies, Shakespeare takes an optimistic attitude toward love and youth, and the romantic elements are brought into full play.在他的浪漫喜劇中，莎士比亞以樂(lè)觀的態(tài)度對(duì)待愛(ài)情與青春，并將浪漫色彩渲染到極致。

??24. The successful romantic tragedy is Romeo and Juliet, which eulogizes the faithfulness of love and the spirit of pursuing happiness.莎翁在其成功的浪漫主義悲劇《羅密歐與朱麗葉》，頌揚(yáng)了對(duì)愛(ài)的忠貞及對(duì)幸福的追求。

??25. Shakespeare?s greatest tragedies are: Hamlet, Othello, King Lear, and Macbeth. They have some characteristics in common. Each portrays some noble hero.莎士比亞的四大悲劇是：《哈姆 ??

??雷特》《奧賽羅》《李爾王》《麥克白》

??26. “The King?s government must be carried on”—but carried on for the good of the nation, not for the pleasure of the king.“國(guó)王的統(tǒng)治一定要萬(wàn)古不變”----但是這種流傳百世萬(wàn)古不變的統(tǒng)治是有利于國(guó)家利益的，而不是只為國(guó)王自己服務(wù)。

??27. Thus, he finds no way to solve the social problems. In the end, the only thing he can do as a humanist is to escape from the reality to seek comfort in his dream.正因如此，他才無(wú)力尋求到醫(yī)治各種社會(huì)痼疾的靈丹妙藥，最后，他作為人文主義所能做的唯一事情便是逃避現(xiàn)實(shí)，從夢(mèng)幻中找安慰。

??28. He holds that literature should be a combination of beauty, kindness and truth, and should reflect nature and reality.他認(rèn)為文學(xué)應(yīng)該是真善美的結(jié)合，應(yīng)該反映天性與現(xiàn)實(shí)。

??29. Shakespeare is above all writers in the past and in the present time.古往今來(lái)，沒(méi)有一個(gè)作家能與莎士比亞媲美，他對(duì)后世文學(xué)家的潛移默化也是無(wú)可估量的。

??30. Almost all English writers after him have been influenced by him either in artistic point of view, in literary form or in language.在他之后幾乎所有的英國(guó)文學(xué)家都在藝術(shù)觀點(diǎn)，文學(xué)形式及語(yǔ)言技巧方面受到他的影響。

??31. Sonnet 18 is one of the most beautiful sonnets written by Shakespeare.十四行詩(shī)第十八首詩(shī)莎翁最出色的十四行詩(shī)。

??(IV)Francis Bacon弗蘭西斯.培根

??32. The most import works of his first group include The Advancement of Learning, Written in English; Novum Organum , an enlarged Latin version of The Advancement of Learning.培根的作品可分為三類：第一類中最重要的作品有《學(xué)術(shù)的進(jìn)展》（用英文著述）《新工具》（是《學(xué)術(shù)的進(jìn)展》的拉丁文增補(bǔ)版）

??33. One is the knowledge obtained from the Divine Revelation, the other is the knowledge from the workings of human mind.他將知識(shí)分為兩種：一種是通過(guò)神的啟示獲得的知識(shí)，另一種是通過(guò)人類用腦思考而獲得的知識(shí)。

??34. According to Bacon, man?s understanding consists of three parts: history to man?s memory, poetry to man?s imagination and creation, and philosophy to man?s reason.培根認(rèn)為，人類的認(rèn)識(shí)與學(xué)問(wèn)分為三部分：基于人類回憶的歷史學(xué)，基于人類想象力創(chuàng)造力的詩(shī)歌與基于人類理性的哲學(xué)。

??35. Bacon, as a humanist intellect, shows the new empirical attitudes toward truth about nature and bravely challenges the medieval scholasticist.作為人文主義者的培根展示了自己對(duì)于自然界真理的實(shí)驗(yàn)主義態(tài)度，并向中世紀(jì)的經(jīng)院哲學(xué)家們提出挑戰(zhàn)。

??36. Bacon?s essays are famous for their brevity, compactness and powerfulness.培根的散文以簡(jiǎn)潔，緊湊，有力度而著名。

??37. The essays are well-arranged and eiched by biblical allusions, metaphors and cadence.這些散文不僅結(jié)構(gòu)巧妙還大量使用了《圣經(jīng)》的典故，隱喻和基調(diào)。

??38. Of Studies論學(xué)習(xí)

??Reading maketh a full man, conference a ready man, and writing an exact man.讀書使人充實(shí)，

討論使人機(jī)智。

??(V)John Donne約翰.鄧恩

??39. The imagery is drawn from the actual life.詩(shī)中的意象都是從現(xiàn)實(shí)生活中提取的。

??40. His poems give a more inherently theatrical impression by exhibiting a seemingly unfocused diversity of experiences and attitudes, and a free range of feelings and moods.他的詩(shī)歌給人一種固有的戲劇性，展示了看上去零散多樣的經(jīng)歷與觀念，以及漫無(wú)邊際的情感與心境。 ??

??41. The Sons and Sonnets, by which Donne is probably best known, contains most of his early lyrics.《歌與短歌》是鄧恩最有名的詩(shī)集，囊括了他早期大多數(shù)愛(ài)情詩(shī)作。

??42. In his gloomy poem“Farewell to love,”we can see his disillusionment.在憂傷的詩(shī)作《告別愛(ài)情》中，我們就可以感受到他對(duì)愛(ài)情幻想的破滅。

??43. With the brief, simple language, the argument is continuous throughout the poem.議論依附于一種簡(jiǎn)潔平白的語(yǔ)言，并貫穿于整首詩(shī)作。

??(VI)John Milton約翰.彌爾頓

??44. he was entirely occupied with the thoughts of fighting for human freedom.他頭腦中充滿了為人類自由而戰(zhàn)的思想。

??45. Milton?s literary achievements can be divided into three groups: the early poetic works, the middle prose pamphlets and the great poem.彌爾頓的文學(xué)作品可分為三類：早期詩(shī)作，中期的散文小冊(cè)子和后期的偉大詩(shī)作。

??46. Milton wrote his three major poetical works: Paradise Lost, Paradise Regained, and Samson Agonistes.他的三部偉大詩(shī)作：《失樂(lè)園》《復(fù)樂(lè)園》和《力士參孫》。

??47. The theme of Paradise Lost is the“Fall of Man”. In the fall of man Adam discovered his full humanity.失樂(lè)園的主題是人類的沉淪。在沉淪之中，亞當(dāng)發(fā)現(xiàn)了自己身上的人性。

??48. Milton held that God created all things out of Himself, including evil.他認(rèn)為上帝是按照他自己的樣子造出的世界，其中也包括罪惡。

??49. It opens the way for the voluntary sacrifice of Christ which showed the mercy of God in bringing good out of evil.為基督自愿獻(xiàn)身開辟了道路，這也顯示出上帝欲將人類從罪惡與苦難中拯救出來(lái)的同情心。

??50. In Samson Agonistes, the whole poem strongly suggests Milton?s passionate longing that he too could bring destruction down upon the enemy at the cost of his own life.在力士參孫中，整首詩(shī)都強(qiáng)烈暗示著彌爾頓渴望他自己也能像參孫一樣，以生命為代價(jià)，與敵人同歸于盡。 ??51. In his life, Milton shows himself a real revolutionary, a master poet and a great prose writer.彌爾頓畢生都展現(xiàn)了真正的革命精神和非凡的詩(shī)歌才華。

??52. Paradise Lost:人類由于理性不強(qiáng)，意志薄弱，經(jīng)不起考驗(yàn)，暗示英國(guó)自產(chǎn)主義革命失敗的原因。

??

??Chapter2 The Neoclassical Period(1660-1798)新古典主義

??1.In short, it was an age full of conflicts and divergence of values.總之，這一時(shí)期是矛盾與價(jià)值觀分歧的時(shí)期。

??2.The eighteenth-century England is also known as the Age of Enlightenment or the Age of Reason.英國(guó)的十八世紀(jì)也同時(shí)是啟蒙主義時(shí)代，或曰理性時(shí)代。

??3.Its purpose was to enlighten the whole world with the light of modern philosophical and artistic ideas.運(yùn)動(dòng)的主旨便是用當(dāng)代哲學(xué)與藝術(shù)思想的晨光啟迪整個(gè)世界。

??4.Enlighteners held that rationality or reason should be the only, the final cause of any human

thought and activities. They called for a reference to order, reason and rules.啟蒙者主張理性是任何人思想與行動(dòng)的唯一緣由。他們大力提倡秩序，理性及法律。

??5.As a matter of fact, literature at the time, heavily didactic and moralizing, became a very popular means of public education.其實(shí)，當(dāng)時(shí)的文學(xué)作品種充滿了說(shuō)教與道德理念，就已經(jīng)成為大眾教育的良好工具。

??6.Famous among the great enlighteners in England were those great writers like John Dryden, Alexander Pope, Joseph Addison and Sir Richard Steele, the two pioneers of familiar essays, ??

??Jonathan Swift, Daniel Defoe, Richard Brinsley Sheridan, Hey Fielding and Samuel Johnson.英國(guó)著名的啟蒙主義文學(xué)家有約翰.德萊頓，亞歷山大.蒲柏，約瑟夫.艾迪森與理查.斯蒂爾（這兩位是現(xiàn)代散文的先驅(qū)），喬納森.斯威夫特，丹尼爾.迪福，理查.B.謝立丹，亨利.費(fèi)爾丁和塞繆爾.約翰遜。

??7.In the field of literature, the Enlightenment Movement brought about a revival of interest in the old classical works.在文學(xué)領(lǐng)域，啟蒙主義運(yùn)動(dòng)還使人們重新對(duì)古典時(shí)代的著作產(chǎn)生興趣。 ??8.They believed that the artistic ideals should be order, logic, restrained emotion and accuracy, and that literature should be judged in terms of its service to humanity.他們認(rèn)為理想的藝術(shù)應(yīng)基于秩序，邏輯，確切及情感控制的基礎(chǔ)上，而文學(xué)作品的價(jià)值評(píng)判標(biāo)準(zhǔn)應(yīng)該看它是否為人文主義服務(wù)。

??9.Thus a polite, urbane, witty, and intellectual art developed.由此一種溫文爾雅，充滿靈性的知識(shí)分子文學(xué)藝術(shù)發(fā)展起來(lái)。

??10. Neoclassicists had some fixed laws and rules for almost every gee of literature.在幾乎所有的文學(xué)形式中，新古典主義者們都設(shè)定了創(chuàng)作的規(guī)矩與條框。

??11. Drama should be written in the heroic Couplets (iambic pentameter rhymed in two lines); the three unities of time, space and action should be strictly observed; regularity in construction should be adhered to, and type characters rather than individuals should be represented.戲劇必須用英雄體偶劇（抑揚(yáng)五音步的押韻雙行詩(shī)）寫就；時(shí)間，地點(diǎn)，事件三要素必須要遵循；寫作的規(guī)矩必須要遵守，而作品中的人物要代表一類人，而不是個(gè)性化。

??12. But it had a lasting wholesome influence upon English literature. (套話)但新古典主義對(duì)英國(guó)文學(xué)史產(chǎn)生過(guò)持久的全面的影響。

??13. The poetic techniques and certain classical graces such as order, good form, unified structure, clarity and conciseness of language developed in this period have become a permanent heritage.在這一時(shí)期出現(xiàn)的詩(shī)歌技巧與古典氣質(zhì)，如秩序，優(yōu)美的格式，統(tǒng)一的結(jié)構(gòu)，簡(jiǎn)明的語(yǔ)言都成為永恒的文學(xué)傳統(tǒng)。

??14. The mid-century was, however, predominated by a newly rising literary form---the modern English novel, which, contrary to the traditional romance of aristocrats, gives a realistic presentation of life of the common English people.十八世紀(jì)中葉，還興起一種嶄新的文學(xué)形式----英國(guó)現(xiàn)代小說(shuō)，這種文學(xué)與傳統(tǒng)貴族的騎士文學(xué)相反，著重描寫英國(guó)普通百姓的生活。 ??15. Among the pioneers were Daniel Defoe, Samuel Richardson, Hey Fielding, Laurence Sterne, Tobias George Smollett, and Oliver Goldsmith.英國(guó)現(xiàn)代小說(shuō)的先驅(qū)有丹尼爾.迪福，塞繆爾.理查德，亨利.費(fèi)爾丁，勞倫斯.斯泰思，托比亞斯.斯摩萊特以及奧立弗.哥爾斯密。 ??16. From the middle part to the end of the century there was also an apparent shift of interest from the classic literary tradition to originality and imagination, from society to individual, and from the didactic to the confessional, inspirational and prophetic.從十八世紀(jì)中葉至十八世紀(jì)末，還出現(xiàn)了古典文學(xué)傳統(tǒng)向獨(dú)創(chuàng)性與豐富聯(lián)想性的轉(zhuǎn)移，社會(huì)描寫向個(gè)性描寫的轉(zhuǎn)移，說(shuō)教向

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