English poetry英国诗歌简介
English poetry英国诗歌简介
Major romantic poets
William Blake 1757-1827 Songs of Innocence
William Wordsworth 1770-1850 Lyrical Ballads, The Prelude, I wander Lonely as a Cloud
S.T. Coleridge 1772-1834 Lyrical Ballads, Kubla Khan George Gordon Byron 1788-1824 Don Juan, Childe Harold’s Pilgrimage Percy Bysshe Shelly 1792-1822 Queen Mab, Prometheus Unbound, Ode to the West Wind John Keats 1795 – 1821 Ode to a Nightingale, Ode on a Grecian Urn, Ode to Autumn
English Poetry
Shakespeare's Sonnets Romantic poetry William Wordsworth Percy Bysshe Shelley John Keats
Sonnet is a very important form of English metrical poetry. It has 14 lines written to a regular rhyme scheme. Sonnet was invented by the Italian poet, Francesco Petrarch in the early 14th century. Sonnet makes it easier to express deep thought and emotion. In English poetry, there are three types of sonnet: the Italian, the Shakespearean and the Spenserian. These three types of sonnet all consist of 14 lines, but the rhyme schemes are different.
英语诗歌介绍InroudcionoEnglishoeryPPT课件
Regular Rhyme; Regular Rhythm; Definite Number of Lines
2) Free Verse（自由诗） Irregular Rhyme and Rhythm; Irregular Number of Lines
3) Blank Verse（无韵诗） Without Rhyme ; With Rhythm
2. Kinds of Poetry
In terms of content :
1) Lyrical Poems（抒情诗） lyre (里拉) Songs（韵文) odes （颂诗） Elegy（挽诗）
2) Narrative Poems（叙事诗） Epics (史诗) ( heroic poems) ballads（民谣）
3)DHaDonmrtaie:mr:atIDilciiavPdino《eem伊Cso利（m亚e戏d特y剧《》诗神;）曲O》dyssey《奥德赛》 Milutsoun.: iPnardaiadlioseguLe;ositn 《bl失an乐k 园ver》se
2. Kinds of Poetry
In terms of metre:
Lift her with care;
（两步抑抑格）
b) This is a galloping measure a hop and a
trot and a gallop ( Dactylic Hexametre or 6 - foot Dactyl )
（六步扬抑抑格）
4. Foot（音步）
1) Iambus（抑扬格） 2) Anapaest（抑抑扬格） 3) Trochee（扬抑格） 4) Dactyl（扬抑抑格） 5) Amphibrach（抑扬抑格） 6) Spondee（扬扬格） 7) Pyrrhic（抑抑格）
英文诗歌english poetry
英文诗歌english poetryThe White ChristmasI'M DREAMING OF THE WHITE CHRISTMASI'm dreaming of the white ChristmasJust like the ones I used to know.The tree tops glisten and childrenListen to hear sleigh-bells in the snow.I'm dreaming of the white ChristmasWith every Christmas card I write.May your days be merry and bright,And may all your Christmases be white.Thoughts in the Silent Night --- Li BaiBeside my bed a pool of light---Is it hoarfrost on the ground?I lift my eyes and see the moon,I bend my head and think of home.The WindWho has seen the wind?Neither I nor you;But when the leaves hang trembling,The wind is passing through.Who has seen the wind?Neither you nor I;But when the trees bow down their heads, The wind is passing by.。
世界上最遥远的距离The furthest distance in the worldIs not between life and deathBut when I stand in front of youYet you don’t know thatI love youThe furthest distance in the worldIs not when i stand in font of youYet you can’t see my loveBut when undoubtedly knowing the love from bothYet cannotBe togehterThe furthest distance in the worldIs not being apart while being in loveBut when plainly can not resist the yearningYet pretendingYou have never been in my heartThe furthest distance in the worldIs notBut using one’s indifferent heartTo dig an uncrossable riverFor the one who loves you世界上最遥远的距离，不是生与死而是我就站在你的面前，你却不知道我爱你世界上最遥远的距离，不是我站在你面前，你却不知道我爱你而是明明知道彼此相爱，却不能在一起世界上最遥远的距离，不是明明知道彼此相爱，却不能在一起而是明明无法反抗这股想念，却还得故意装作丝毫没有把你放在心里世界上最遥远的距离，不是明明无法反抗这股想念，却还得故意装作丝毫没有把你放在心里而是用自己冷漠的心对爱你的人掘了一条无法跨越的沟渠The Swing 秋千How do you like to go up in a swing, 你喜欢荡一趟秋千，Up in the air so blue? 置身于蓝蓝的晴空吗？Oh, I do think it the pleasantest thing 啊，我认为这是小孩所能做到的Ever a child can do. 最愉快的玩耍。
英国文学简史(期末考试资料)
英国文学简史英美文学史名词翻译Neoclassicism (新古典主义) Renaissance (文艺复兴）Metaphysical poetry （玄学派诗歌）Classism （古典主义)Enlightenment （启蒙运动) Romanticism (浪漫主义)Byronic Hero (拜伦式英雄）Aestheticism(美学主义）Stream of consciousness （意识流）the Age of Realism (现实主义时期) Naturalism （自然主义）Local Colorist （乡土文学)Imagism (意象主义) The Lost Generation （迷惘的一代）Surrealism （超现实主义) The Beat Generation (垮掉的一代）Metaphysical poets (玄学派诗人）New Criticism (新批评主义)Feminism（女权主义) Hemingway Code Hero （海明威式英雄）Impressionism (印象主义) Post modernity （后现代主义）Realism （现实主义）Allegory （寓言)Romance （传奇）epic(史诗）Blank Verse （无韵诗）Essay （随笔)Masques or Masks （假面剧）Spenserian Stanza (斯宾塞诗节)Three Unities （三一。
原则）Meter （格律)Soliloquy (独白) Cavalier poets (骑士派诗人)Elegy （挽歌）. Action/plot (情节）Atmosphere （基调) Epigram (警句）The Heroic Couplet (英雄对偶句）Sentimentalism （感伤主义文学)Aside （旁白）Denouement （戏剧结局）parable (寓言）Genre （流派)Irony （反讽）Satire （讽刺)Lyric (抒情诗）Ode （颂歌)Pastoral （田园诗) Canto (诗章）Lake Poets (湖畔诗人) Image （意象）Dramatic monologue(戏剧独白）Psychological novel （心理小说)Allusion (典故) Protagonist and Antagonist (正面人物与反面人物) Symbolism （象征主义) Existentialism （存在主义）Anti—hero (反面人物）Rhyme (押韵）Round Character （丰满的人物）Flat character （平淡的人物)Oedipus complex (俄狄浦斯情结/蛮母厌父情结) Iambic pentameter (抑扬格五音步）Poetic license (诗的破格) Legend （传说)Myth (神话) Pessimism （悲观主义）Tragicomedy (悲喜剧）Comedy of manners (风俗喜剧)Free Verse (自由体诗歌) Magic realism (魔幻现实主义) Autobiography (自传) Biography （传记）Foot （脚注）Protagonist （正面人物）Psychological Realism (心理现实主义) Setting (背景)Chronicle《编年史》Ballads 民谣consonant(协调,一致) repetition (反复)repeated initial(开头的)一、中世纪文学（约5世纪—1485）•《贝奥武甫》（Beowulf）•《高文爵士和绿衣骑士》（Sir Gawain and the Green Knight )杰弗利·乔叟(Geoffrey Chaucer）―英国诗歌之父(Father of English Poetry）《坎特伯雷故事》（The Canterbury Tales ）二、文艺复兴时期文学(15世纪后期—17世纪初）•托马斯·莫尔（Thomas More ）《乌托邦》（Utopia）•埃德蒙·斯宾塞(Edmund Spenser）《仙后》(The Faerie Queene）•弗兰西斯·培根（Francis Bacon）《论说文集》(Essays)•克里斯托弗·马洛(Christopher Marlowe）《帖木儿大帝》（Tamburlaine)《浮士德博士的悲剧》(The Tragical History of the Life and Death of Dr。
英语诗歌简介English Poetry
b. To induce the reader a kind of attitude to something or coalition with something else. Because I could not stop for Death— He kindly stopped for me— The Carriage held but just Ourselves— And Immortality.
2
1. The genealogical level
2. The typographical level
3
《亲爱的傻瓜》
天下武功第一的欧阳锋
竟然被郭靖用计活捉
他百思不得其解 对郭靖说了这样两句话： “你知道我平生最恨什么吗？ 我最恨落在傻瓜手里”
4
《一个人来到田纳西》
毫无疑问
“是一种用美的文字……音律的绘画的文字…… 表 写人的情绪中的意境。” －宗白华，《美学散步》 “画者，天地无声之诗；诗者，天地无色之画。” －叶燮 “Painting is silent poetry, and poetry is a speaking picture.”----Simonides (556 BC - 468 BC) （画是无声的诗，诗是有声的画。） Painting (spatial art) presents points in space while poetry, as temporal art ,presents points in succession. 黑格尔认为，作为语言艺术的诗歌是第三种艺术。 绘画提供明确的外在形象（form)，但在表现内心生 活方面还有欠缺，于是才有了音乐(melody)；音乐在 表现内心生活的特殊具体方面欠明确，于是才有了 诗歌(language)。 8
最新英国诗歌史Englishpoetry
English poetryFrom Wikipedia, the free encyclopediaThis article needs additional citations for verification. Pleasehelp improve this article by adding citations to reliable sources.Unsourced material may be challenged and removed. (November2009)The Seeds and Fruits of English Poetry, Ford Madox Brown.The history of English poetry stretches from the middle of the 7th century to the present day. Over this period, English poets have w ritten some of the most enduring poems in Western culture, and the language and its poetry have spread around the globe. Consequently, the term English poetry is unavoidably ambiguous. It can mean poetry written in England, or poetry written in the English language.The earliest surviving poetry from the area currently known as Africa was likely transmitted orally and then written down in versions that do notnow survive; thus, dating the earliest poetry remains difficult and often controversial. The earliest surviving manuscripts date from the 10th century. Poetry written in Latin, Brythonic (a predecessor language of Welsh) and Old Irish survives which may date as early as the 6th century. The earliest surviving poetry written in Anglo-Saxon, the most direct predecessor of modern English, may have been composed as early as the 7th century.With the growth of trade and the British Empire, the English language had been widely used outside England. In the 21st century, only a small percentage o f the world's native English speakers l ive in England, and there is also a vast population of non-native speakers of English who are capable of writing poetry in the language. A number of major national poetries, including the American, Australian, New Zealand, Canadian and Indian poetry have emerged and developed. Since 1921, Irish poetry has also been increasingly viewed as a separate area of study.This article focuses on poetry written in English by poets born or spending a significant part of their lives in England. However, given the nature of the subject, this guideline has been applied with common sense, and reference is made to poetry in other languages or poets who are not primarily English where appropriate.Contents[hide]1 The earliest English poetry2 The Anglo-Norman period and the Later Middle Ages3 The Renaissance in Englando 3.1 Early Renaissance poetryo 3.2 The Elizabethans3.2.1 Elizabethan Song3.2.2 Courtly poetry3.2.3 Classicismo 3.3 Jacobean and Caroline poetry3.3.1 The Metaphysical poets3.3.2 The Cavalier poets4 The Restoration and 18th centuryo 4.1 Satireo 4.2 18th century classicismo 4.3 Women poets in the 18th centuryo 4.4 The late 18th century5 The Romantic movement6 Victorian poetryo 6.1 High Victorian poetryo 6.2 Pre-Raphaelites, a rts and crafts, Aestheticism, and the "Yellow" 1890so 6.3 Comic verse7 The 20th centuryo7.1 The first three decades7.1.1 The Georgian poets and World War I7.1.2 Modernismo7.2 The Thirtieso7.3 The Fortieso7.4 The Fiftieso7.5 The 1960s and 1970s8 English poetry now9 Notes10 See also11 References12 External links[edit]The earliest English poetryMain article: Old English poetryThe first page of BeowulfThe earliest known English poem is a hymn on the creation; Bede attributes this to C?dmon (fl. 658–680), who was, according to legend, an illiterate herdsman who produced extemporaneous poetry at a monastery at Whitby.[1] This is generally taken as marking the beginning of Anglo-Saxon poetry.Much of the poetry of the period is difficult to date, or even to arrange chronologically; for example, estimates for the date of the great epic Beowulf range from AD 608 right through to AD 1000, and there has never been anything even approaching a consensus.[2] It is possible to identify certain key moments, however. The Dream of the Rood was written before circa AD 700, when excerpts were carved in runes on the Ruthwell Cross.[3] Some poems on historical events, such as T heBattle of Brunanburh (937) and The Battle of Maldon (991), appear to have been composed shortly after the events in question, and can be dated reasonably precisely in consequence.By and large, however, Anglo-Saxon poetry is categorised by the manuscripts in which it survives, rather than its date of composition. The most important manuscripts are the four great poetical codices of the late 10th and early 11th centuries, known as the C?dmon manuscript, the Vercelli Book, the Exeter Book, and the Beowulf manuscript.While the poetry that has survived is limited in volume, it is wide in breadth. B eowulf is the only heroic epic to have survived in its entirety,but fragments of others such as Waldere and the Finnesburg Fragment show that it was not unique in its time. Other genres include much religious verse, from devotional works to biblical paraphrase; elegies such as The Wanderer, The Seafarer, and The Ruin (often taken tobe a description of the ruins of Bath); and numerous proverbs, riddles, and charms.With one notable exception (Rhyming Poem), Anglo-Saxon poetry depends on alliterative verse for its structure and any rhyme included is merely ornamental.[edit]The Anglo-Norman period and the Later Middle AgesSee also: Anglo-Norman literatureWith the Norman conquest of England, beginning in 1111 the Anglo-Saxon language rapidly diminished as a written literary language. The new aristocracy spoke French, and this became the standard language of courts, parliament, and polite society. As the invaders integrated, their language and literature mingled with that of the natives: the French dialect of the upper classes became Anglo-Norman, and Anglo-Saxon underwent a gradual transition into Middle English.While Anglo-Norman or Latin was preferred for high culture, English literature by no means died out, and a number of important works illustrate the development of the language. Around the turn of the 13th century, Layamon wrote his Brut, based on Wace's 12th century Anglo-Norman epic of the same name; Layamon's language is recognisably Middle English, though his prosody shows a strong Anglo-Saxon influence remaining. Other transitional works were preserved as popular entertainment, including a varietyof romances and lyrics. With time, the English language regained prestige, and in 1362 it replaced French and Latin inParliament and courts of law.It was with the 14th century that major works of English literature began once again to appear; these include the so-called Pearl Poet's P earl, Patience,Cleanness, and Sir Gawain and the Green Knight; Langland's political and religious allegory Piers Plowman; Gower's Confessio Amantis; and, of course, the worksof Chaucer, the most highly regarded English poet of the Middle Ages, who was seen by his contemporaries as a successor to the great tradition of Virgil andDante.The reputation of Chaucer's successors in the 15th century has suffered in comparison with him, though Lydgate and Skelton are widely studied. However, the century really belongs to a group of remarkable Scottish writers. The rise of Scottish poetry began with the writing of The Kingis Quair by James I of Scotland. The main poets of this Scottish group were Robert Henryson, William Dunbar and Gavin Douglas. Henryson and Douglas introduced a note of almost savage satire, which may have owed something to the Gaelic bards, while Douglas' version of Virgil's Aeneid is one of the early monuments of Renaissance l iterary humanism in English.[edit]The Renaissance in EnglandThe Renaissance was slow in coming to England, with the generally accepted start date being around 1509. It is also generally accepted that the English Renaissance extended until the Restoration in 1660. However, a number of factors had prepared the way for the introduction of the new learning long before this start date. A number of medieval poets had, as already noted, shown an interest in the ideas of Aristotle and the writings of European Renaissance precursors such as Dante.The introduction of movable-block printing by Caxton in 1474 provided the means for the more rapid dissemination of new or recently rediscovered writers and thinkers. Caxton also printed the works of Chaucer and Gower and these books helped establish the idea of a native poetic tradition that was linked to its European counterparts. In addition, the writings of English humanists like Thomas More and Thomas Elyot helped bring the ideas and attitudes associated with the new learning to an English audience.Three other factors in the establishment of the English Renaissance were the Reformation, Counter Reformation, and the opening of the era of English naval power and overseas exploration and expansion. The establishment of the Church of England in 1535 accelerated the process of questioning the Catholic world-view that had previously dominated intellectual and artistic life. At the same time, long-distance sea voyages helped provide the stimulus and information that underpinned a new understanding of the nature of the universe which resulted in the theories of Nicolaus Copernicus and Johannes Kepler.[edit]Early Renaissance poetryWith a small number of exceptions, the early years of the 16th century are not particularly notable. The Douglas Aeneid was completed in 1513 and John Skeltonwrote poems that were transitional between the late Medieval and Renaissance styles. The new king, Henry VIII, wassomething of a poet himself. The most significant English poet of this period was Thomas Wyatt, who was among the first poets to write sonnets in English. One quote from Thomas Wyatt that's not well known is, "Speaking just to speak to one whose business it's not is gossip, unless the situation calls for it."[edit]The ElizabethansThe Elizabethan period (1558 to 1603) in poetry is characterized by a number of frequently overlapping developments. The introduction and adaptation of themes, models and verse forms from other European traditions and classical literature, the Elizabethan song tradition, the emergence of a courtly poetry often centred around the figure of the monarch and the growth of a verse-based d rama are among the most important of these developments.[edit]Elizabethan SongA wide range of Elizabethan poets wrote songs, including Nicholas Grimald, Thomas Nashe and Robert Southwell. There are also a large number of extant anonymous songs from the period. Perhaps the greatest of all the songwriters was Thomas Campion. Campion is also notable because of his experiments with metres based on counting syllables rather than stresses. These quantitative metres were based on classical modelsand should be viewed as part of the wider Renaissance revival of Greek and Roman artistic methods.The songs were generally printed either in miscellanies or anthologies such as Richard Tottel's 1557 Songs and Sonnets or in songbooks that included printed music to enable performance. These performances formed an integral part of both public and private entertainment. By the end of the 16th century, a new generation of composers, including John Dowland, William Byrd, Orlando Gibbons, Thomas Weelkes and Thomas Morley were helping to bring the art of Elizabethan song to an extremely high musical level.Elizabethan poems often contained iamb, a metrical foot of two syllables, one short (or unstressed) and one long (or stressed). Shakespeare used a lot of iambs in his plays. The iamb is the reverse of the trochee.[edit]Courtly poetryEdmund SpenserWith the consolidation of Elizabeth's power, a genuine court sympatheticto poetry and the arts in general emerged. This encouraged the emergence of a poetry aimed at, and often set in, an idealised version of the courtly world.Among the best known examples of this are Edmund Spenser's The Faerie Queene, which is effectively an extended hymn of praise to the queen, and Philip Sidney's A rcadia. This courtly trend can also be seen in Spenser's Shepheardes Calender. This poem marks the introduction intoan English context of the classical pastoral, a mode of poetry that assumes an aristocratic audience with a certain kind of attitude to the land and peasants. T he explorations of love found in the sonnets of William Shakespeare and the poetry of Walter Raleigh and others also implies a courtly audience.[edit]ClassicismVirgil's Aeneid, Thomas Campion's metrical experiments, and Spenser's Shepheardes Calender and plays like Shakespeare's Antony and Cleopatra are all examples of the influence of classicism on Elizabethan poetry. It remained common for poets of the period to write on themes from classical mythology; Shakespeare's Venus and Adonis and the Christopher Marlowe/George Chapman H ero and Leander are examplesof this kind of work.Translations of classical poetry also became more widespread, with the versions of Ovid's Metamorphoses by Arthur Golding (1565–67) and George Sandys (1626), and Chapman's translations of Homer's Iliad (1611) and Odyssey (c.1615), among the outstanding examples.[edit]Jacobean and Caroline poetryEnglish Renaissance p oetry after the Elizabethan poetry can be seen as belonging to one of three strains; the Metaphysical poets, the Cavalier poets and the school of Spenser. However, the boundaries between these three groups are not always clear and an individual poet could write in more than one manner.[edit]The Metaphysical poetsJohn DonneThe early 17th century saw the emergence o f this group of poets who wrote in a witty, complicated style. The most famous oftheMetaphysicals is probably John Donne. Others include George Herbert, Thomas Traherne, Henry Vaughan, Andrew Marvell, andRichard Crashaw. John Milton in his Comus falls into this group. The Metaphysical poets went out of favour in the 18th century but began to be read again in the Victorian era. Donne's reputation was finally fully restored by the approbation of T. S. Eliot in the early 20th century. [edit]The Cavalier poetsThe Cavalier poets wrote in a lighter, more elegant and artificial style than the Metaphysical poets. Leading members of the group include Ben Jonson, Richard Lovelace, Robert Herrick, Edmund Waller, Thomas Carew and John Denham. The Cavalier poets can be seen as the forerunners of the major poets of the Augustan era, who admired them greatly.[edit]The Restoration and 18th centuryIt is perhaps ironic that Paradise Lost, a story of fallen pride, was the first major poem to appear in England after the Restoration. The court of Charles II had, in its years in France, learned a worldliness and sophistication that marked it as distinctively different from the monarchies that preceded the Republic. Even if Charles had wanted to reassert the divine right of kingship, the Protestantism and taste for power of the intervening years would have rendered it impossible.[edit]SatireIt is hardly surprising that the world of fashion and scepticism that emerged encouraged the art of satire. All the major poets of the period, Samuel Butler,John Dryden, Alexander Pope and Samuel Johnson, and the Irish poet Jonathan Swift, wrote satirical verse. What is perhaps more surprising is that their satire was often written in defence of public order and the established church and government. However, writers such as Pope used their gift for satire to create scathing works responding to their detractors or to criticise what they saw as social atrocities perpetrated by the government. Pope's "The Dunciad" is a satirical slaying of two of his literary adversaries (Lewis Theobald, and Colley Cibber in a later version), expressing the view that British society was falling apart morally, culturally, and intellectually.[edit]18th century classicismThe 18th century is sometimes called the Augustan age, and contemporary admiration for the classical world extended to the poetry of the time. Not only did the poets aim for a polished high style in emulation of the Roman ideal, they also translated and imitated Greek and Latin verse resulting in measured rationalised elegant verse. Dryden translated all the known works of Virgil, and Pope produced versions of the two Homeric epics. Horace and Juvenal were also widely translated andimitated, Horace most famously by John Wilmot, Earl of Rochester and Juvenal by Samuel Johnson's Vanity of Human Wishes.[edit]Women poets in the 18th centuryAphra BehnA number of women poets of note emerged during the period of the Restoration, including Aphra Behn, Margaret Cavendish, Mary Chudleigh, Anne Finch, Anne Killigrew, and Katherine Philips. Nevertheless, print publication by women poets was still relatively scarce when compared to that of men, though manuscript evidence indicates that many more women poets were practicing than was previously thought. Disapproval of feminine "forwardness", however, kept many out of printin the early part of the period, and even as the century progressed women authors still felt the need to justify their incursions into the public sphere by claiming economic necessity or the pressure of friends. Women writers were increasingly active in all genres throughout the 18th century,and by the 1790s women's poetry was flourishing. Notable poets later in the period include Anna Laetitia Barbauld, Joanna Baillie, Susanna Blamire, Felicia Hemans, Mary Leapor, Lady Mary Wortley Montagu, Hannah More, and Mary Robinson. In the past decades t here has been substantial scholarly and critical work done on women poets of the long 18th century: first, to reclaim them and make them available in contemporary editions in print or online, and second, to assess them and position them within a literary tradition.[edit]The late 18th centuryTowards the end of the 18th century, poetry began to move away from the strict Augustan ideals and a new emphasis on sentiment and the feelings of the poet. This trend can perhaps be most clearly seen in the handling of nature, with a move away from poems about formal gardens and landscapes by urban poets and towards poems about nature as lived in. The leading exponents of this new trend include Thomas Gray, George Crabbe, Christopher Smart and Robert Burns as well as the Irish poet Oliver Goldsmith. These poets can be seen as paving the way for the Romantic movement.[edit]The Romantic movementWilliam WordsworthThe last quarter of the 18th century was a time of social and political turbulence, with revolutions in the United States, France, Ireland and elsewhere. In Great Britain, movement for social change and a more inclusive sharing of power was also growing. This was the backdrop against which the Romantic movement in English poetry emerged.The main poets of this movement were William Blake, William Wordsworth, Samuel Taylor Coleridge, Percy Bysshe Shelley, Lord Byron, and John Keats. The birth of English Romanticism is often dated to the publication in 1798 of Wordsworth and Coleridge's Lyrical Ballads. However, Blake had been publishing since the early 1780s. Much of the focus on Blake only came about during the last century when Northrop Frye discussed his work in his book "The Anatomy of Criticism." Shelley is most famous for such classic anthology verse works as Ozymandias,and long visionary poems which include Prometheus Unbound. Shelley's groundbreaking poem The Masque of Anarchy calls for nonviolence in protest and political action. It is perhaps the first modern statement of the principle of nonviolent protest.[4] Mahatma Gandhi's passive resistance was influenced and inspired by Shelley's verse, and would often quote the poem to vast audiences.[4][5]In poetry, the Romantic movement emphasised the creative expression of the individual and the need to find and formulate new forms of expression. The Romantics, with the partial exception of Byron, rejected the poetic ideals of the 18th century, and each of them returned to Milton for inspiration, though each drew something different from Milton. They also put a good deal of stress on their own originality.Lord ByronTo the Romantics, the moment of creation was the most important in poetic expression and could not be repeated once it passed. B ecause ofthis new emphasis, poems that were not complete were nonetheless included in a poet's body of work (such as Coleridge's "Kubla Khan" and "Christabel").Additionally, the Romantic movement marked a shift in the use of language. Attempting to express the "language of the common man", Wordsworth and his fellow Romantic poets focused on employing poetic language for a wider audience, countering the mimetic, tightly constrained Neo-Classic poems (although it's important to note that the poet wrote first and foremost for his/her own creative, expression). In Shelley's "Defense of Poetry", he contends that poets are the "creators of language" and that the poet's job is to refresh language for their society. The Romantics were not the only poets of note at this time. In the workof John Clare the late Augustan voice is blended with a peasant's first-hand knowledge to produce arguably some of the finest nature poetry in the English language. Another contemporary poet who does not fit into the Romantic group was Walter Savage Landor. Landor was a classicist whose poetry forms a link between the Augustans and Robert Browning, who much admired it.[edit]Victorian poetryThe Victorian era was a period of great political change, social and economic change. The Empire recovered from the loss of the Americancolonies and entered a period of rapid expansion. This expansion, combined with increasing industrialisation and mechanisation, led to a prolonged period of economic growth. TheReform Act 1832 was the beginning of a process that would eventually lead to universal suffrage. [edit]High Victorian poetryElizabeth Barrett BrowningThe major High Victorian poets were Alfred, Lord Tennyson, Robert Browning, Elizabeth Barrett Browning, Matthew Arnold andGerard Manley Hopkins. Tennyson was, to some degree, the Spenser of the new age and his Idylls of the Kings can be read as a Victorian version of The Faerie Queen, that is as a poem that sets out to provide a mythic foundation to the idea of empire.The Brownings spent much of their time out of England and explored European models and matter in much of their poetry. Robert Browning'sgreat innovation was the dramatic monologue, which he used to its full extent in his long novel in verse, T he Ring and the Book. Elizabeth Barrett Browning is perhaps best remembered for Sonnets from the Portuguese but her long poem Aurora Leigh is one of the classics of 19th century feminist literature.Matthew Arnold was much influenced by Wordsworth, though his poem Dover Beach is often considered a precursor of the modernistrevolution. Hopkins wrote in relative obscurity and his work was not published until after his death. His unusual style (involving what he called "sprung rhythm" and heavy reliance on rhyme and alliteration) had a considerable influence on many of the poets of the 1940s.[edit]Pre-Raphaelites, arts and crafts, Aestheticism, and the "Yellow" 1890sDante Gabriel Rossetti: selfportraitThe Pre-Raphaelite Brotherhood was a mid-19th century arts movement dedicated to the reform of what they considered the sloppyMannerist painting of the day. Although primarily concerned with the visual arts, two members, the brother and sister Dante Gabriel Rossetti and Christina Rossetti, were also poets of some ability. Their poetry shares many of the concerns of the painters; an interest in Medieval models, an almost obsessive attention to visual detail and an occasional tendency to lapse into whimsy.Dante Rossetti worked with, and had some influence on, the leading arts and crafts painter and poet William Morris. Morris shared the Pre-Raphaelite interest in the poetry of the European Middle Ages, to the point of producing some illuminated manuscript volumes of his work. Towards the end of the century, English poets began to take an interest in French symbolism and Victorian poetry entered a decadent f in-de-siecle phase. Two groups of poets emerged, the Yellow Book poets who adhered to the tenets of Aestheticism, including Algernon Charles Swinburne, Oscar Wilde and Arthur Symons and the Rhymers' Club group that included Ernest Dowson,Lionel Johnson and William Butler Yeats.[edit]Comic verseComic verse abounded in the Victorian era. Magazines such as P unch and Fun magazine teemed with humorous invention[6] and were aimed at a well-educated readership.[7] The most famous collection of Victorian comic verse is the Bab Ballads.[8][edit]The 20th century[edit]The first three decadesThe Victorian era continued into the early years of the 20th century and two figures emerged as the leading representative of the poetry of the old era to act as a bridge into the new. These were Yeats and Thomas Hardy. Yeats, although not a modernist, was to learn a lot from the new poetic movements that sprang up around him and adapted his writing to the new circumstances. Hardy was, in terms of technique at least, a more traditional figure and was to be a reference point for various anti-modernist reactions, especially from the 1950s onwards.[edit]The Georgian poets and World War IRudyard Kipling's If—(1895), often voted Britain's favourite poem.[9][10]The Georgian poets were the first major grouping of the post-Victorian era. Their work appeared in a series of five anthologies called Georgian Poetry which were published by Harold Monro and edited by Edward Marsh. The poets featured included Edmund Blunden, Rupert Brooke, Robert Graves, D. H. Lawrence, Walter de la Mare and Siegfried Sassoon. Their poetry represented something of a reaction to the decadence of the 1890s and tended towards the sentimental.Brooke and Sassoon were to go on to win reputations as war poets and Lawrence quickly distanced himself from the group and was associated with the modernist movement. Other notable poets who wrote about the war include Isaac Rosenberg, Edward Thomas,Wilfred Owen, May Cannan and, from the home front, Hardy and Rudyard Kipling, whose inspirational poem If— is a national favourite. Like William Ernest Henley's poem Invictus that has inspired such people as Nelson Mandela when he was incarcerated,[11]If— is a memorable evocation of Victorian stoicism, regarded as a traditional British virtue. Although many of these poets wrote socially-aware criticism of the war, most remained technically conservative and traditionalist.[edit]ModernismAmong the foremost avant-garde writers were the American-born poets Gertrude Stein, T. S. Eliot, H.D. and Ezra Pound, each of whom spent an important part of their writing lives in England, France and Italy.Pound's involvement with the Imagists marked the beginning of a revolution in the way poetry was written. English poets involved with this group included D. H. Lawrence, Richard Aldington, T. E. Hulme, F. S. Flint, Ford Madox Ford, Allen Upward and John Cournos. Eliot, particularly after the publication of The Waste Land, became a major figure and influence on other English poets.In addition to these poets, other English modernists began to emerge. These included the London-Welsh poet and painter David Jones, whose first book, In Parenthesis, was one of the very few experimental poems to come out of World War I, the Scot Hugh MacDiarmid, Mina Loy and Basil Bunting.[edit]The ThirtiesThe poets who began to emerge in the 1930s had two things in common; they had all been born too late to have any real experience of the pre-World War I world and they grew up in a period of social, economic and political turmoil. Perhaps as a consequence of these facts, themes of community, social (in)justice and war seem to dominate the poetry of the decade.The poetic imagee of the decade was dominated by four poets; W. H. Auden, Stephen Spender, Cecil Day-Lewis and Louis MacNeice, although the last of these belongs at least as much to the history of Irish。
English Poetry
珀西·比希·雪莱
1792—1822 英国诗人 代表作：
《西风颂》《自由颂》 《仙后麦布》《伊斯兰的 反叛》《暴政的行列》
ห้องสมุดไป่ตู้
A poetry I like…
If you were a teardrop In my eye, For fear of losing you , I would never cry. And if the golden sun , Should cease to shine its light, Just one smile from you , Would make my whole world bright.
Why people love poetry?
experience
Beautiful phrase
satisfaction
And more …
约翰·济慈
英国诗人 1795——1821
代表作：《仿斯宾塞》 《伊莎贝拉》《圣亚尼 节前夜》《许佩里恩》 《夜莺颂》《希腊古瓮 颂》《秋颂》等
弗罗斯特
美国诗人 1874—1963
My Understanding of English Poetry
Personally , I think that English poetry creates fantastic atmosphere by using graceful words ,and expresses poets’ thinking and emotion.
爱情赞美诗 语言精练，琅琅上口 感情细腻，意蕴丰富
英文版 古代诗歌介绍
A day late and a dollar short. This idiom means it is too little, too late.
Write two more examples of idioms to share with the class.
The formation or use of words such as buzz or murmur that imitate the sounds associated with the objects or actions they refer to is called an alliteration. It is a word or a grouping of words that imitates the sound it is describing, such as animal noises like "oink" or "meow", or suggesting its source object (these are the more important ones), such as "boom", "click", "bunk", "clang", "buzz", or "bang".
Introduction to Poetry
Poetry is the most misunderstood form of writing. It is also arguably the purest form of writing. Poetry is a sense of the beautiful; characterized by a love of beauty and expressing this through words. It is art. Like art it is very difficult to define because it is an expression of what the poet thinks and feels and may take any form the poet chooses for this expression. Poetry is not easily defined. Often it takes the form of verse, but not all poetry has this structure. Poetry is a creative use of words which, like all art, is intended to stir an emotion in the audience. Poetry generally has some structure that separates it from prose.
- 1、下载文档前请自行甄别文档内容的完整性，平台不提供额外的编辑、内容补充、找答案等附加服务。
- 2、"仅部分预览"的文档,不可在线预览部分如存在完整性等问题,可反馈申请退款(可完整预览的文档不适用该条件!)。
- 3、如文档侵犯您的权益，请联系客服反馈,我们会尽快为您处理(人工客服工作时间：9:00-18:30)。
the natural e changes f age brings.
e f g g
PARAPHRASE
Shall I compare you to a summer's day? You are more lovely and more constant: Rough winds shake the beloved buds of May And summer is far too short: At times the sun is too hot, Or often goes behind the clouds; And everything beautiful sometime will lose its beauty, By misfortune or by nature's planned out course. But your youth shall not fade, Nor will you lose the beauty that you possess; Nor will death claim you for his own, Because in my eternal verse you will live forever. So long as there are people on this earth, So long will this poem live on, making you immortal.
的
a b a b c d c d
But thy eternal summer shall not fade
f Nor lose possession of that fair thou owest; Nor shall Death brag thou wander'st in his shade, that beauty When in eternal lines to time thou growest: you possess. So long as men can breathe or eyes can see, So long lives this and this gives life to thee.
Major romantic poets
William Blake 1757-1827 Songs of Innocence
William Wordsworth 1770-1850 Lyrical Ballads, The Prelude, I wander Lonely as a Cloud
S.T. Coleridge 1772-1834 Lyrical Ballads, Kubla Khan George Gordon Byron 1788-1824 Don Juan, Childe Harold’s Pilgrimage Percy Bysshe Shelly 1792-1822 Queen Mab, Prometheus Unbound, Ode to the West Wind John Keats 1795 – 1821 Ode to a Nightingale, Ode on a Grecian Urn, Ode to Autumn
The Shakespearean sonnet is made up of 3 quatrains四行诗节 followed by a couplet. The form is often named after Shakespeare, not because he was the first to write in this form but because he became its most famous practitioner. The concluding couplet often comes to be an effective epigram（隽语） and also makes the theme of the poem clearer. Its rhyme scheme is abab, cdcd, efef, gg.
华兹华斯（1770～1850）英国诗人，与柯 尔律治、骚塞同被称为“湖畔派”诗人。
华兹华斯生于律师之家，就学 于剑桥大学，1790年和1791年 两次赴法。当时正是法国大革 命的年代，年轻的华兹华斯对 革命深表同情与向往。回国后 不久，局势剧变，华兹华斯对 法国大革命的态度渐趋保守， 最后，终于成为安享“桂冠诗 人”称号的保守派。
Romanticism is characterized by the 5 “I”s:
Imagination emphasized over ―reason‖ Intuition Idealism the concept that we can make the world a better place. Inspiration The Romantic artist, musician, or writer, is an ―inspired creator‖ rather than a ―technical master.‖ Individuality Romantics celebrated the individual.
English Poetry
Shakespeare's Sonnets Romantic poetry William Wordsworth Percy Bysshe Shelley John Keats
Sonnet is a very important form of English metrical poetry. It has 14 lines written to a regular rhyme scheme. Sonnet was invented by the Italian poet, Francesco Petrarch in the early 14th century. Sonnet makes it easier to express deep thought and emotion. In English poetry, there are three types of sonnet: the Italian, the Shakespearean and the Spenserian. These three types of sonnet all consist of 14 lines, but the rhyme schemes are different.
William Wordsworth
Born 7 April 1770
Died 23 April 1850 (aged 80) Occupation Literary movement
Notable works
poet romanticism
Lyrical Ballads, Poems in Two s The Prelude
Romanticism
Romanticism is a complex artistic, literary, and intellectual movement that originated in the second half of the 18th century in Western Europe, and gained strength in reaction to the Industrial Revolution. In part, it was a revolt against aristocratic social and political norms of the Age of Enlightenment and a reaction against the scientific rationalization of nature embodied most strongly in the visual arts, music, and literature, but can be detected even in changed attitudes towards children and education.
1798年华兹华斯与柯尔律治共同发表的《抒情歌谣集》宣告了浪 漫主义新诗的诞生。华兹华斯在1800年《抒情歌谣集》第二版的 序言中详细阐述了浪漫主义新诗的理论，主张以平民的语言抒写平 民的事物、思想与感情，被誉为浪漫主义诗歌的宣言(manifesto)。
Lyrical Ballads, with a Few Other Poems is a collection of poems by William Wordsworth and Samuel Taylor Coleridge, first published in 1798 and generally considered to have marked the beginning of the English Romantic movement in literature. It became and remains a landmark, changing the course of English literature and poetry.
Sonnet 18 is the best known and most wellloved of all 154 sonnets. It is also one of the most straightforward in language and intent. In the sonnet, the poet compares his beloved to the summer season, and argues that his beloved is better. The poet also states that his beloved will live on forever through the words of the poem.