Marlowe
英国文学简史复习资料
A SHORT HISTORY OF ENGLISH LITERATURE1. the Angles, Saxons and Jutes were three tribes from Northern Europe.2.English literature began with the Anglo-Saxon settlement in England. It is Beowulf, the national epic of the English people.3.Features of Beowulf 贝奥武普: the most striking feature in its poetical form is the use of alliteration头韵.（definition）In alliterative verse, certain accented words in a line begin with the same consonant sound. Other features of Beowulf are the use of metaphors and of understatements.4. The French-speaking Normans under Duke William came in 1066.(the Norman Conquest)5. The Romance 罗曼司---the most prevailing kind of literature in feudal England. It was a long composition, sometimes in prose, describing the life and a adventures of a noble hero.Adventures of King Arthur and his Knights of the Round Table6. The Class Nature of the RomanceThe theme of loyalty to king and lord was repeatedly emphasized in romance , as loyalty was the corner-stone of feudal morality, without which the whole structure of feudalism would collapse.They were composed for the noble, of the noble, and in most cases by the poets patronized by the noble.7.the Ballads 民谣The most important department of English folk literature is the ballad. A ballad is a story told in song; usually in 4-line, with the second and fourth lines rhymed.8. The Robin Hood Ballad --- the various ballads of Robin Hood are gathered into a collection called The Geste of Robin Hood.绿林好汉罗宾汉的故事9. The founder of English poetry is Geoffrey Chaucer. 乔叟The Canterbury Tales ---(1) a collection of 24 stories (2)close links---stories are closely connected to each other (3)stories into groups on different subjects -- story-tellers, from ranks, professions, religions (4)variation in form三大著名教堂：Westminster Cathedral 西敏寺大教堂Saint Pail’s Cathedral 圣保罗大教堂Canterbury Cathedral 坎特布雷大教堂10.The Renaissance and HumanismThe rise of the bourgeoisie soon showed its influence in the sphere of cultural life. The result is an intellectual movement known as the Renaissance, or, the rebirth of letters. It spang first in Italy in the 14th century and gradually spread all over Europe. Two features are striking of this movement. The one is a thirsting curiosity for the classical literature. Old manuscripts were dug out. There arose a current for the study of Greek and Latin authors. While people learned to admire the Greek and Latin works as models of literary form, they caught something in spirit very different from the medieval Catholic dogma. So the love of classics was but an expression of the generation dissatisfaction at the Catholic and feudal ideas.Another feature of the Renaissance is the keen interest in the activities of humanity. Humanism is the key-note of the Renaissance.Humanism reflected the new outlook of the rising bourgeois class. According to the humanists, both man and world are hindered onlyby external checks from infinite improvement. Man could mould the world according to his desires, and attain happiness by removing all external checks by the exercise of reason.11.Edmund Spenser 斯宾塞The poet’s poet of the period was Edmund Spenser.The Faerie Queene : nationalism, humanism , puritanismThe Faerie Queene (definition)i s written in a special verse form that consists of eight iambic pentameter lines followed by a ninth line of six iambic feet(an alexandrine), with the rhyme scheme ababbcbcc. This form has since been called the Spenserian Stanza.12.Drama 戏剧: the Miracle Play 奇迹剧, The Morality Play 道德剧, The Interlude 幕间剧, The Classical Drama 古典剧12.Marlowe（马洛）’s best includes three of his plays, Tamburlaine 帖木耳(1587), The Jes of Malta马耳他的犹太人(1592), and Doctor Faustus浮士德博士(1588).13.Social significance of Marlowe’s Plays:These plays show, in various ways, the spirit of the rising bourgeoisie , its eager curiosity for knowledge, its towering pride, its insatiable, appetite for power whether that be won by military might, knowledge, or gold.In Tamburlaine, it is ambition; in Doctor Faustus, desire for knowledge; in The Jew of Malta, greed for wealth. They were typical images of the era of the primitive accumulation of capital.14.William Shakespeare莎士比亚was born on April 23, 1564, died on April 23, the anniversary of his birth, in 1616.A Chronological List of Shakespeare’s Plays: 四大悲剧Hamlet 哈姆雷特,Macbeth麦克白,Othello 奥赛罗,King Lear 李尔王.The reasons of the Melancholy（忧郁）of Hamlet: (1)he seems to understand that his mere revenge upon his uncle would in no way solve the problems that trouble and upset him.(2)he does not want to include the Britain into the chaos.(3)the crisis of humanism---the root of the murder is the political system.ton米尔顿--Paradise Lost 失乐园，Samson Agonistes 力士参孙16.Bunyan 班扬---the Pilgrim’s Progress 天路历程17.Metaphysical玄学派PoetsThe works of the Metaphysical Poets are characterized, generally speaking, by mysticism in content and fantasticality in form.John DonneAnother school of poetry prevailing in the period was that of Cavalier Poets.18.The Enlightenment 启蒙运动in Europe:The 18th century marked the beginning of an intellectual movement in Europe, known as the Enlightenment, which was, on the whole, an expression of struggle of the bourgeoisie against feudalism. The enlighteners fought against class inequality, stagnation, prejudices and other survivals of feudalism. They attempted to place al branches of science at the service of mankind by by connecting them with the actual needs and requirements of people.Steele and The Tatler闲话者Addison and The Spectator观察家To sum up Steele’s and Addison’s contribution to the English literature:1. Their writings afford a new code of social morality for the rising bourgeoisie/2. They give a true picture of the social life of England in the 18th century.3. In the hands of Addison and Steele, the English essay had completely established itself as a literary genre. Using it as a form of character sketching and story -telling, they ushered in the dawn of modern English novel.19.Jonathan Swift 乔纳森斯威夫特---Gulliver’s Travels 格列佛游记Pamphlets on Ireland 关于爱尔兰问题的小册子--A Modest Proposal 一个温柔的建议20.Richardson--he was noted as a storyteller, letter writer and moralizer.Pamela:Pamela was a new thing in three ways,firstly,it discarded the “improbable and marvelous”accomplishments of the former heroic romances, and pictured the life and love of ordinary people. Secondly,its intention was to afford not merely entertainment but also moral instruction. Thirdly, it described not only the sayings and doings of the characters but also their secret thoughts and feelings.22. Fielding 菲尔丁---Joseph Andrews(a parody 戏仿to Pamela)23.（约翰逊）Johnson’s Dictionary:(1)it marked an epoch in the study of the English language.(2)also marked the end of English writers’reliance on the patronage of noblemen for support.24.Sentimentalism感伤主义: it came into being as the result of a bitter discontent among the enlightened people with social reality. The representatives of Sentimentalism continued to struggle against feudalism, but they sensed st the same time the contradictions in the process of capitalist development. Dissatisfied with reason, which classicists appealed to, sentimentalists appealed to sentiment, “to the huamn heart.”25.Blake 布莱克----Songs of Innocence contains poems which were apparently written for children, using a language which even little babies can learn by heart, and in Songs of Experience, a much maturer work,entirely different themes are to be found, for in this collection of poems the poet drew pictures of neediness and distress and showed the sufferings of the miserable.The contrast between Songs of Innocence and Songs of Experience is of great significance. It marks a progress in the poet’s outlook on life.26.Burns 彭斯peasant poet 农民诗人（前浪漫主义诗人）27.Romanticism 浪漫主义prevailed in England during the period 1798-1832. Generally speaking, the romanticists expressed the ideology and sentiment of those classes and social strata who were discontent with, and opposed to, the development of capitalism. But owing to difference in social and political attitudes, they split into two schools. Some romantic writers reflected the thinking of classes ruined by the bourgeoisie, and by way of protest against capitalist development turned to the feudal past, i.e. The “”merry Old England,”as their ideal, or “frightened by the coming of industrialism and the nightmare towns of industry, they were turning to nature of protection.”These were the elder generation of romanticists, sometimes called escapist romanticists, including Wordsworth, Coleridge and Southey, who have also benne called the Lake Poets because they had lived in the Lake District in the northwest of England and shared acommunity of literary and social outlook in their work. Other expressed the aspirations of the classes created by capitalism and held out an ideal, though a vague one, of a future society free from oppression and exploitation. These were the younger generation of romanticists and sometimes called active romanticists represented by Byron, Shelley and Keats.So the general feature if the works of the romanticists is a dissatisfaction with the bourgeois society, which finds expression in a revolt against or an escape from the prosaic, sordid daily life, the “prison of the actual”under capitalism. Their writings are filled with strong-willed heroes, formidable events, tragic situations, powerful conflicting passions, and exotic pictures. Sometimes they resort to symbolic methods. With the active romanticists, symbolic pictures represent a vague idea of some future society, while with the escapist romanticists, these often take on a mystic color. In contrast to the rationalism of the enlighteners and classicists in the 18th century, the romanticists paid great attention to the spiritual and emotional life of man. Nature, often personified, also plays an important role in their works. The passions of man and the beauties of nature appealed strongly to the imagination of the Romantic writer, and the glory of the lakes and mountains, the little joys or sorrows of children, the weal and woe of ordinary, uncultured peasants, the wonder of the fairy world, and the splendor of the Greek art all because the fountain-heads of the writer’s inspiration. Poetry, of course, is the best medium to express all these sentiments. In fact, all the romanticists mentioned above were poets. The Romantic Period was one of poetical revival.28.Wordsworth: in 1798 Wordsworth and Coleridge jointly published the Lyrical Ballads. The publication marked the break with the conventional poetical tradition of the 18th century, i.e. With classicism, and the beginning of the Romantic revival in England. “all good poetry is the spontaneous overflow of powerful feeling.”His “Lucy” poems are a series of short pathetic lyrics on the theme of harmony between humanity and nature.29.Shelley 雪莱: Queen Mab 麦布女王The Revolt of Islam 伊斯兰暴动Prometheus Unbound 解放了的普罗米修斯30.Keats济慈: ode 颂Ode to Autumn, Ode on Melancholy, Ode on a Grecian Urn 古瓮颂, Ode to a Nightingale 夜莺颂An Analysis of Jane EyreThe novel is rich in poetry, symbolism and metaphor. It does not fit easily into a definite pattern, being neither a novel of "manners" in the tradition of Austen, or a straightforward Gothic Romance in the style of Mrs Radcliffe. What Charlotte Bronte did was to create a work which cleverly blends elements of the two styles, and which remains uniquely independent of them at the same time, since it addresses issues which were at the time rather controversial.The novel is written in the first person, and thus magnifies the central character - the reader enters the world of Jane Eyre and is transported through her experiences at first hand. This at once makes the work subjective, especially since we know that Charlottes Brontes own life and experiences were so closely interwoven with the heroine's. As well as this we learn only at the end of the novel that the events are being related to us ten years after the reconciliation with Rochester - thus the narrative is RETROSPECTIVE (looking back). CB is clever in blending the narrative so that at times Jane seems to be speaking as an adult with adult hindsight , while at others she she is "in the middle" of them, as a child or young woman. The indecision which is a central issue in the book, is heightened by this device. We never know, as readers, whether to be entirely trustful of Janes actions and thoughts, because we are never sure wheher she is speaking impulsively or maturely.This intensifies the readers dilemma as to what is "right" and "wrong" in the dramatic relationships which are part of JE's life. Can we believe what the heroine says, or is she deceiving herself? The novel is primarily a love story and a "romance" where wishes come true but only after trials and suffering. The supernatural has its place, as do dreams, portents and prophesies. The heroine begins poor and lonely and ends up rich and loved; the orphan finds a good family to replace the wicked one; all the basic ingredients of classic romantic fairytale are present.The romantic element is present in two forms in Jane Eyre; the "family" aspect is dealt with in the Gateshead, Lowood and Moor House episodes, which involve the exchanging of the wicked Reed family for the benevolent Rivers one; and the Love romance is dealt with in the Thornfield and Ferndean episodes. Both aspects are, of course linked and interwoven throughout the novel.There is also a strong element of realism in the novel, which, married to the romantic aspect, enhances the novel's strength.The sense of place is very strong; we are able to experience both exterior and interior settings with startling clarity throughout the story, in a series of vivid deive passages. The central characters are also realistic and their confrontations and sufferings change them in a believable way.Even the unlikely is made plausible, with a unique blend of high drama and perceptive low comedy (the attack on Mason, for instance)The more fantastic romantic aspects; the coincidences; the secrets; the supernatural occurrences, are balanced by the realism, and this is of course a major strength.The Gothic influence cannot be ignored, although CB has refined the technique considerably from the "authentic" Gothic of the 1790's. In the original genre, the heroine would typically be abductedand threatened with seduction, or worse!. There would be a lover - a respectable, well-bred young man - who would endeavor to rescue the heroine and would succeed after many trial. the seducer would be a brigand "Know that I adore Corsairs!" and he would lock the girl up in a remote castle.There was little freedom for middle class women during the period of the Gothic novel, and this was still the case in the time of CB. Marriage especially was often a bargain, whereby fortunes were secured by using the female as a pawn. A woman's value largely depended therefore on her sexual purity and she was guarded and secured as a result. Men, on the contrary, were potent and free; lovers and mistresses were common. Ironically the women who provided their services were social outcasts as a result.In Jane Eyre we see elements of the Gothic romance, in that Thornfield Hall and Rochester are described very much in the brigand/castle style BUT Jane Eyre is not abducted by R. On the contrary she chooses to go there of her own free will. AND she is clear in her determination to have Rochester as a husband. Neither is there a gentleman rescuer; St John Rivers may look like a Greek God, but he is neither kind nor benevolent; driving Jane back to Ferndean, not rescuing her from it.The trials which the hero is supposed to undergo in a Gothic romance are in fact undergone by the heroine in Jane Eyre. The bandit Rochester is only skin-deep. Underneath the brooding exterior is a sensitive soul, which a WOMAN frees. In this way we see that CB created rather a daring departure from conventional fiction, although there are still many aspects of the novel which remain true to Victorian convention.!3. The Joys of Writing (by Winston Churchill)【导读】温斯顿·丘吉尔(Winston Churchill), 英国首相、保守党领袖。
马洛-克罗恩社会认同性量表
马洛-克罗恩社会认同性量表简介马洛-克罗恩社会认同性量表（The Marlowe-Crowne Social Desirability Scale）是一种常用的心理测量工具，用于评估被试的社会认同性。
该量表由马尔洛和克罗恩于1960年开发，旨在测量被试在评估中对社会期望的回答倾向。
测量内容马洛-克罗恩社会认同性量表是一套自陈式问卷，其中包含一系列与个人价值观、社交行为和社会期望有关的问题。
测量内容主要涉及以下几个方面：1. 自我宣称的社会行为：通过询问被试对某些道德、伦理或社会规范行为的立场，来评估被试在回答中是否倾向于符合社会期望。
2. 社会期望的态度：通过对被试对某些社交行为的态度进行评估，来推断其与社会期望的关系。
3. 反社会行为倾向：通过探究被试对社会期望的态度以及其行为倾向，来分析其对社会规范的遵守程度。
使用方法使用马洛-克罗恩社会认同性量表进行测量时，可以采用以下步骤：1. 将问卷分发给被试，确保能够在合适的环境下填写。
2. 引导被试阅读每个问题，并根据其真实观点进行回答。
被试需要尽量真实地回答问题，而不是为了符合社会期望而给出虚假答案。
3. 收集被试填写完毕的问卷，并确保保密性和匿名性。
4. 对问卷进行整理和统计分析，以便进行数据解读和结果报告。
应用领域马洛-克罗恩社会认同性量表在心理学和社会科学领域广泛应用。
它可以用于以下方面的研究和实践：1. 人格特点和社会适应性的评估：通过测量被试的社会认同性，可以了解其对社会规范和价值观的态度，进而推断其在社交互动和社会适应方面的表现。
2. 社会心理研究：通过分析大量被试的社会认同性量表结果，可以揭示某些特定群体或文化中普遍存在的社会期望和价值观念。
3. 人际关系和沟通研究：通过了解个体的社会认同性，可以更好地理解人际关系中的行为和沟通方式，有助于改进人际交往和沟通技巧。
总结马洛-克罗恩社会认同性量表是一种常用的心理测量工具，可用于评估个体的社会认同性。
扬州大学2016年英国文学简史考点
Three conquests（时间+意义）:1)The Roman conquest, 55 BC, civilized, Christianized2)The English conquest, 5th century, old English, starting point of English literature3)The Norman conquest, 1066, Mid-English, establishment of feudalism.2.P3选择，填空，判断Beowulf, the national epic of English people.3.P4 诗歌翻译“Thus made their mourning the men of Geatland, 坟墓周围，勇士们骑着战马，For their hero’s passing, his hearth-companions 为逝去的国王唱起挽歌，Quoth that of all the kings of earth, 高赞你的懿德，分享你的恩泽，哀叹你的陨落，Of men he was the mildest and most beloved, 人们称你为最可亲最可敬的国王，To his kin the kindest,keenest to praise.” 你对人们总是最仁爱最热心，你最渴望的就是人们对你的赞扬。
4.P5 名词解释，问答Features of Beowulf:1)The use of alliteration. (头韵)(定义：in alliterative verse, certain accented words in a line begin with the same consonant sound.)2)The use of metaphors and of understatements（隐喻）(Grendel represents forest, she-monster represents water, fire-dragon represents sky)5.P8 选择填空判断英国Romance代表作: adventures of King Arthur and his Knights of the Round Table（《亚瑟王和他的圆桌骑士》，同时也是骑士文学代表作）The class nature of the romance：1)The theme of loyalty to king and lord was repeatedly emphasized in romances, as loyalty wasthe corner-stone of feudal morality, without which the whole structure of feudalism would collapse.2)They were composed for the noble, of the noble, and in most cases by the poets patronized bythe noble.7.P17 选择填空名词解释The Ballads(民谣): the most important department of English folk literature.1)定义：①A ballad is a story told in song, usually in four-line stanzas, with the second and forthlines rhymed. ②They are mainly the literature of peasants, and in them one is able to understand the outlook of the English common people in feudal society.2)代表作：The Robin Hood Ballads (罗宾汉民谣)8.P19 选择填空判断1)Geoffrey Chaucer, the founder of English poetry, was born about 1340 in London.2)The Canterbury Tales (坎特伯雷故事集) is Chaucer’s masterpiece and one of the monumentalworks in English literature.9.P25 问答Chaucer’s language and contribution:1)Chaucer’s language, now called Middle English, is vivid and exact. He is master of word-pictures.2)He introduced from France the rhymed stanza of various types, especially the rhymed coupletof 5 accents in iambic meter (the heroic couplet) to English poetry, instead of the old Anglo-Saxon alliterative verse.3)Chaucer did much in making the dialect of London standard for the modern English speech.Preparation for the English Renaissance:1)The establishment of the new monarchy2)Religious Reformation: the appearance of Protestantism3)Language and cultural preparation: the publish of English Bible11.P28 名词解释选择判断King James Bible: the authorized version of English Bible, which was made in 1611 under the auspices of James.12.P30-31名词解释问答(文艺复兴：全答；人文主义：第三点)1)Renaissance 定义：The rise of the bourgeoisie soon showed its influence in the sphere of culturallife. The result is an intellectual movement known as the Renaissance, or, the rebirth of letters. It sprang first in Italy in the 14th century and gradually spread all over Europe.2)Features of Renaissance:①The one is the thirsting curiosity for the classical literature.②The Renaissance is the keen interests in the activities of humanity.3)Humanism 定义：Humanism is the keynote of the Renaissance. It reflected the new outlook ofthe rising bourgeois class, which saw the world opening before it. According to the humanists, both men and the world are hindered only by external checks from infinite improvement. Man could mould the world according to his desires, and attain happiness by removing all external checks by the exercise of reason.13.P40-42 选择判断填空1)Edmund Spenser代表作：The Faerie Queene《仙后》2)The Spenserian Stanza（斯宾塞体）定义：The Faerie Queene is written in a special verse formthat consists of eight iambic pentameter lines followed by a ninth line of six iambic feet, with the rhyme scheme ababbcbcc. This form has since been called the Spenserian Stanza.14.P43 诗歌翻译A gentle Knight was pricking(=spurring) on the plaine, 一位高贵的骑士正策马穿过平原，Y-cladd(=clad) in mightie armes and silver shielde, 他全副武装，手持银盾，Wherein old dints of deepe wounds did remain, 盾上仍留着陈旧的深深的凹痕，The cruell markes of many a bloody fielde; 这残酷的标记来自多次血腥的战阵；Yet armes till that time did he never wield: 但这些武器至今他还未用过；His angry steede did chide his foming(=foaming) bitt, 他那愤怒的坐骑暴躁地咬着马勒，As much disdayning to the curbe to yield: 似乎桀骜不驯，不愿受主人的控制；Full jolly Knight he seemed , and faire did sitt, 他看上去是位真正的骑士，端坐马上，As one for knightly giusts and fierce en counters fitt. 好像准备参加骑士比武，迎接激烈对抗。
克里斯托弗·马洛的奇幻现实主义小说及其写作风格评析
克里斯托弗·马洛的奇幻现实主义小说及其写作风格评析引言克里斯托弗·马洛（Christopher Marlowe）是一位英国文学史上备受赞誉的戏剧家和诗人。
他以他的奇幻现实主义小说和独特的写作风格而闻名于世。
本文将对克里斯托弗·马洛的奇幻现实主义小说进行评析，并探讨他独特的写作风格。
马洛的奇幻现实主义小说马洛是一位深受意大利启蒙运动影响的作家，他借鉴了意大利文艺复兴时期的艺术和思想潮流，并将其融入自己的作品中。
他的奇幻现实主义小说展示了一个与日常生活相似但又极富想象力和神秘性的世界。
小说情节马洛的奇幻现实主义小说经常包含着令人着迷和离奇事件。
故事背景通常设定在一个超自然或幻想的环境中，通过引人入胜的情节和角色，向读者展示了不可思议的情节发展。
人物塑造马洛在他的奇幻现实主义小说中创造了独特而真实的角色形象。
这些角色常常以非凡的能力、天赋或特殊品质脱颖而出，让读者感到神秘又亲切。
主题探索马洛的奇幻现实主义小说经常涉及对生活、存在和人性等重要主题的深入探索。
通过超现实的情节框架，他引导读者反思日常生活中经历的真相和存在意义。
马洛的写作风格马洛独特而富有魅力的写作风格使他成为文学史上耀眼的一笔。
以下是他突出的写作风格特点：词藻华丽马洛善于使用丰富多样，绚丽夺目的词藻来描绘场景和人物形象。
这使得他的作品充满了视觉和感官上令人愉悦和震撼人心的描写。
嵌套结构马洛经常使用嵌套结构来组织自己的故事。
这种技巧使得故事更加复杂多样，增添了阅读体验的层次感。
剧场性作为戏剧家出身的马洛，他的小说中常常充斥着戏剧化的场景和对话。
这赋予了他的作品一种明快而活泼的氛围。
心理描写马洛善于刻画角色的内心世界，并通过细致入微的心理描写来展示人物情感和动机。
这使得读者能够更加深入地理解角色的行为和决策。
结论克里斯托弗·马洛是一位开创奇幻现实主义小说风格并以其独特写作风格闻名于世的文学大师。
通过他非凡而富有想象力的故事情节和人物形象，以及华丽、嵌套、剧场性和心理描写等特点，他将读者引领进入一个神秘而迷人的奇幻现实主义世界。
Marlowe
“Humanism” and “Value”
Humanism Definition 1: A system of thought that centers on human beings and their values, capacities, and worth. Humanism Definition 2: A cultural and intellectual movement of the Renaissance that emphasized secular concerns as a result of the rediscovery and study of the literature, art, and civilization of ancient Greece and Rome. Value Definition: A principle, standard, or quality considered worthwhile or desirable
Thank you
《浮士德博士的悲剧》
（Doctor Faustus,1592） 《爱德华二世》 (Edward the Second,1593) 《巴黎的大屠杀》 (The Massacre at Paris)
Major Work 1
Tamburlaine the Great, Parts I & II (1587) Front Cover
A Sketch of Doctor Faustus
Major Work 3
The Jew of Malta Front Cover (1592)
The Jew of Malta
Who? < the leading character roles >
浮士德博士与马洛【英文】
Calvinism and Religious Historical Background
Dr. Faustus written during reformation (began 1516) Battle between Catholics and Protestants often took place on the stage Marlowe was attacked as being neither (quote pg. viii in introduction) Calvin’s theories on Protestantism became the dominant branch of this movement up into the 17th Century
Church.
Back to Geneva in 1540 and re-imposed strict moral code. Geneva became protestant capital. Refuge for protestants driven out of home countries.
Drlook at Marlowe’s play text and White’s article, Theatre and
Religious Culture
Marlowe Time!
Born 1564 Educated at King’s School and went to Cambridge (1580) Arrested! (May 1593) Died at hands of Ingram Frizer
What? Two Texts?
A text(1604) features some 36 lines not featured in B text B text(1616) features some 676 lines not featured in A text Once thought B was original text and A was bad folio copied from memory Dr. Faustus originally written in 1588-89
Marlowe's poem-1
“The Passionate Shepherd to His Love”Poem SummaryThe poetry started out with a direct introduction. The speaker showed his purpose clearly, which is asking the woman he admired to be his lover. The following stanza showed a picture on what he would promise if she accepts to be his love. There was a heavenly like scene in the picture, he imagined them sitting upon the rocks, watching the other busy shepherd who had to work hard, and they relaxed themselves by listening to the birds' singing, and seeing the river falls. The shepherd also ensured her that he is willing to do whatever it takes to please her. This could be seen from the line 9~18. He made promises on difficult mission such as making bed of roses, thousand fragrant posies (bunches of flowers), a nd leaves of myrtle, coral clasps and amber studs…et c. From line 19, it responded to the idea of the first stanza that is to persuade the woman to be his love and to live with him. The repeating sentences "come live with me and be my love," may work as the function of emphasizing, and expression of eagerness.VocabularyGrove (L 3) ~ a group of tree that are closed togetherSteepy (L 4) ~ rise at a very sharp angle and is difficult to go upMadrigal (L 8) a song sung by several singers without any musical instrumentsPosy (L 10) ~a small bunch of flowersKirtle (L 11) ~ gownEmbroider (L 12) ~ is the activity of stitching designs onto clothGown (L 13) ~ is a dress, usually a long dressBuckle (L16) ~ is a piece of metal attached to one end of the beltIvy (L 17) ~ an evergreen plant that grows up walls or along the groundCoral (L 18) ~ a hard substance formed from the skeletons of very small sea animals. It is often used to make jewelleryAmber (L 18) ~ is a hard yellowish-brown substance used for making jewellerStud (L 18) ~ earringSwain (L 20) ~ a young man who is in loveSpeaker and ListenerThe speaker is a passionate shepherd. He promises to his love a fanciful, and somehow an unrealistic future. The shepherd does not rank high in the society; he is probably not wealthy at all. However, he is a very poetic person, he that imply possible proposal in the poetry. This statement is seen from words such as bed, slipper, and kirtle. Those daily used subjects in the family. The listener in this poetry is the shepherd's lover. There are no clues on her personality or appearance.TonePassionate, eager, desirous, fanciful, dedicatoryImageryVisual imagesStanza1that valleys, groves, hills, and fields, Woods, or steepy mountain yields.Stanza2and we will sit upon the rocks, Seeing the shepherds feed their flocks, By shallow rivers to whose falls Stanzas, 4, 5Bed of roses, a cap of flowers, a kirtle embroidered all with leaves of myrtle, a belt of straw and ivy buds, with coral clasps and amber studs.Sound images:Melodious birds sing madrigals.Smell imagesA thousand fragrant posiesTouch images:A gown made of the finest wool, fair lined slippersDictionIvy buds --- ivy is a kind of evergreen plantMyrtle --- it's the tree of Aphrod i te (the goddess of love and beauty)Stanza 1: Lines 1 – 4In the first stanza of "The Passionate Shepherd to His Love," Marlowe's speaker, an unidentified shepherd, pleads with an unidentified woman that if she will come and live with him, then all pleasures will be theirs for the taking. The shepherd opens with the invitation: "Come live with me, and be my love." He is not asking her to marry him but only to live with him. The offer is simply put, and his ease in offering it implies that the woman should just as easily agree. However, since the shepherd is forced to continue with a succession of promises, the reader can assume that the shepherd's initial offer was not well received.The shepherd promises the woman pleasures they will experience in all of the pastoral settings that nature can supply. Since he promises that the couple will experience these pleasures in a variety of locations, it appears his expectation is that the pleasures of the world are principally sexual. He is asking the woman to live with him, and for the Elizabethan poet, "Come live with me, and be my love" has the same connotations it would have for a twenty-first-century reader: the female is being invited to come and make love. "Valleys, groves, hills and fields, / Woods, or steepy mountains" are some of the places the shepherd suggests where the woman might yield to him, and where they might both find pleasure. The overt sexuality of this stanza is a departure from the traditional pastoral writings and romantic love poems of Marlowe's contemporaries, which were not so bold.Stanza 2: Lines 5 – 8The second stanza suggests a time of year for the lovers' activity, which is likely spring or summer, since they would be outdoors and the shepherd imagines it is pleasant enough to sit and watch the flocks being fed. He proposes that other shepherds will feed his flocks, since with his mistress by his side, he will now be an observer. The shepherd mentions listening to the "Melodious birds sing madrigals." The singing of birds is often suggestive of spring, since the return of singing birds signals the advent of the new season. Because the first stanza makes clear that the shepherd wants the woman to become his lover, the shift in the second stanza to sitting upon rocks — "And we will sit upon the rocks" — suggests they might partake of the second stanza's activities after they have made love.This second stanza, if taken by itself, exemplifies the traditional pastoral theme of the restful shepherd watching his flocks, enjoying in quiet peace the countryside and all it offers. It is the idealization of the pastoral form, in which nature is kind and safe, filled with "shallow rivers" and "melodious birds." In the early pastoral tradition, the shepherd would be alone, daydreaming about the woman he loves and whom he wishes to court. But in Marlowe's poem, the introduction of sexual desire inserts the woman into the scene; she too will witness the flocks feeding and enjoy the peacefulness of country life. The isolation of the shepherd is thus removed in Marlowe's poem.In the final line of stanza 2, the shepherd invokes "madrigals" as accompaniment for the lounging (休闲的) couple. The madrigal was an Italian import to late sixteenth-century English music. In Elizabethan England, a formal, more complicated, Italian aristocratic style of song was replaced with a lighter, more romantic tone and content —the madrigal. Thus the shepherd's inclusion of the madrigal provides a promise of romantic entertainment that completes the image of gaiety and light romance the woman will enjoy if she agrees to accept the shepherd's pleas.Stanza 3: Lines 9 – 12In the third stanza, the shepherd offers the first of many promises he will keep if the woman agrees to come and live with him. He promises to make her "beds of roses." One bed is not enough; she is deserving of more than one bed, although certainly the couple would have no need for more than one bed. In addition, the shepherd promises "a thousand fragrant posies." In essence, the shepherd is promising the impossible, but he is representative of any eager lover who turns to hyperbole (gross exaggeration) to tempt a beloved. In this case, the woman would be buried in "posies," or flowers, which creates an image more silly than romantic. It is worth noting that Elizabethans often composed short epigrams that were also known as "posies." (除了作“花朵”外，这个词在古文中还有“铭文”的意思：短诗或充满感情的词句，尤指刻于小装饰品上) These short poems were often used as tokens of love. If Marlowe's shepherd is using "posies" to refer to written texts and not a floral tribute, then surrounding the woman with love poems is a romantic idea, although still an impractical one.The shepherd is so eager for his love to join him that he even promises to dress her. He will clothe the woman in "a cap of flowers" and in a "kirtle" covered "with leaves of myrtle." The myrtle flower was a sacred flower to the goddess Venus and was considered an emblem of love. A kirtle was the outermost garment that an Elizabethan woman would wear; it was a sleeveless bodice (紧身胸衣) with eyelets for ribbon that laced up the front. It would have been worn over a shirt or blouse, or even a dress, and it would have had a skirt attached to it. The kirtle would have been the dressiest (衣着最考究的) part of the woman's garment, and so the shepherd's plan to decorate the woman's kirtle would have been in keeping with Elizabethan custom, since the kirtle would have customarily been adorned with some embellishment.Stanza 4: Lines 13 – 16In the fourth stanza, the shepherd continues his promises to clothe the woman. Her "gown" would be made of the "finest wool." Rather than simply shearing the sheep, which was the common procedure, the shepherd would "pull" the wool from the "pretty lambs." This image transforms the intense hard labour of shearing into a gentle "pulling" of the wool, a more graceful and romantic activity. The "slippers" he will make for the woman will be "fair lined." By the sixteenth century, women were commonly referred to as the "fair sex," and so the use of "fair" to describe the slippers might also refer to the woman whose feet the slippers would adorn. The buckles of these slippers would be of "the purest gold," since the shepherd's mistress would deserve all the riches he could provide. Stanza 5: Lines 17 – 20By the fifth stanza, an image of the shepherd's newly adorned mistress begins to emerge. Line 17 adds a straw belt and "ivy-buds" to a costume that is adorned with "coral clasps" and "amber studs," which serve as buttons. The woman is dressed from head to foot and immersed in "posies." If the woman takes the poet's promises quite literally, she would look like a huge floral bush that glitters with gold, coral, and amber.In the final two lines of the fifth stanza, the shepherd reiterates his plea that the woman consider his offer. He first reminds the woman that he promises her pleasures, which he hopes will convince her to agree to his wishes. The shepherd then restates the first line of the poem, inviting her to come and live with him and be his love. There is no need to repeat all the many promises of endless love, of sweet beds of roses, or of the clothing he would fashion for her. Instead, he assumes she will remember his promises and if she finds them satisfactory, she will choose to join him. The repetition of the first line makes clear how easy and simple the woman's choice would be to join the shepherd in love, but, just in case she needs more persuading, he uses the final stanza to offer a few more incentives (刺激).Stanza 6: Lines 21 – 24In the sixth and final stanza, the shepherd uses one last opportunity to seal the deal and convince the woman to give up her chastity to his entreaties (恳求). If the woman will agree to be his love, the shepherd promises his "swains" shall dance and sing. "Swain" was a common word for shepherd, and in the sixteenth century, the two words were used interchangeably to create a more favourable image of shepherds. The shepherd's life was one ofhard work, and describing him as a swain, which might also refer to a gallant (多情的)lover, conjures a more romantic image.So, the idyllic nature the shepherd has thus described is further enhanced by the image of swains who will dance and sing each morning for his lover's entertainment. The time now is firmly set in May, during spring, nature's traditional mating time. The poet has included a variety of images from nature, including the setting, the bed, and the clothing, all of which remind the reader that nature is primarily focused on reproduction. If the woman will come and live with him, every day will be happy and filled with laughter, song, and dance.In line 23, the shepherd repeats line 19 with a slight but important modification. Rather than pleasures to convince her, the emphasis is on the "delights" he has led her mind to imagine. All of his promises have been the imaginings of a hopeful lover. He has hoped to convince her mind, not her heart. The shepherd has described an imaginary world that he hopes will persuade the woman to join him through her use of reason, if not through her heart. The final line is a repetition of the opening line, reinforcing the relative ease the woman should face in making her decision. The decision is as simple as the shepherd's monosyllabic words: "live with me, and be my love."ThemesNature IdealizedIn "The Passionate Shepherd to His Love," Marlowe paints a picture of idyllic nature without any of the real dangers that might be present. There are no responsibilities in this imaginary life, as the shepherd imagines the couple will watch other "shepherds feed their flocks," while making no mention of his own flock for which he is responsible. There is also no mention of any wolves or predators that might prey upon the flock.The shepherd then invites his mistress to experience all the pleasures the couple might enjoy in the countryside in May. That they will lie in "beds of roses" suggests the couple will make love outside and without shelter. Additionally, the "beds of roses" would probably include a significant number of thorns, which are guaranteed to reduce the shepherd's passion. In the twenty-first century, the average temperature in England in May is 59 degrees Fahrenheit (15 C), with rain at least half the days of the month, and it is likely the weather was similar during Marlowe's time, so lying outdoors without shelter might have been rather wet and cool. The nights would be cooler still than the days, especially in the "hills," the shade of the "woods," or the higher elevations of a "steepy mountain."The shepherd also promises to supply his mistress with "A gown made of the finest wool," wool that he would "pull" from "pretty lambs." An adult sheep can weigh between 150 and 200 pounds, and even a lamb old enough to be sheared would be quite heavy. The job of using the tools of the time to shear even one lamb would have been hard work, to say nothing of "pulling" the wool with your hands.Anther promise the shepherd makes is that "The shepherd swains shall dance and sing / For thy delight each May morning." With the need to protect the sheep from predators, the shearing of the lambs, the herding of the flock to fresh pastures, and the often unpleasant weather, shepherds would have no time for dancing and singing for the mistress's entertainment each morning. And though the shepherd is concerned to clothe his mistress in wool, he provides no thought to feeding his love. What is she to eat? The shepherd never considers food, because in his imaginary world, food is not necessary. His courtship is the fanciful musing (遐想) of a lover who seeks only to fulfil his passion with no thought to the real necessities of life. Marlowe creates a pretty picture of nature, but it is far from the reality of hard work and danger that shepherds often faced.Static Time"The Passionate Shepherd to His Love" is static. There is no movement of time in the piece, no past and no future. The shepherd is not suggesting a long-term arrangement when he asks the woman to "Come live with me, and be my love." There is no offer of marriage and no suggestion that they will establish a home together. The shepherd will cover his mistress in "a thousand fragrant posies," but once picked, the flowers will begin to die. Within minutes they will begin to wilt (枯萎，凋谢), their stalks drooping more with each moment that passes. Thesame fate awaits the "belt of straw and ivy-buds," which will also disintegrate quickly after their creation. The activities that the shepherd describes are of the moment. It is some time in May, and he is not looking forward to a summer together or the fall and winter that will inevitably follow. There is only the moment in which they will be together. Eventually, however, the realities of life would intrude. The couple would need food to eat and housing in which to live, children would be born, and life would be constantly evolving. The notion of the inevitability of time passing and life changing is missing from the shepherd's plea.StyleArgumentThe argument in any work of literature is the author's principle idea. The shepherd's argument in "The Passionate Shepherd to His Love" reveals the efforts of the shepherd to convince the unseen woman that she should become his mistress. The shepherd submits a number of arguments designed to be convincing, but the central argument is that all pleasure will be theirs for the taking.Couplets and RhymeCouplets are two consecutive lines of poetry with the same end-rhyme. Traditionally, the couplet was a two-line stanza expressing a self-contained thought, but the form has evolved. It is no longer strictly defined as iambic pentameter, as it once was, and the lines need not be identical in stressed and unstressed syllables. Many of the individual lines in "The Passionate Shepherd to His Love" are eight syllables, but several others are not, and so Marlowe is moving away from traditional poetic structure, even as he deviates from other formulas that guide content, such as those discussed in the pastoral poetry section below.In "The Passionate Shepherd to His Love," Marlowe uses a simple rhyme scheme of couplets. Each pair is a different rhyme, except for lines 19 and 20 and lines 23 and 24, which repeat the rhyme of the opening lines. One problem with using couplets is that the ongoing alternating rhyme can become tiresome for the listener, especially in a lengthy poem.ImageryImagery refers to the "mental pictures" created by the text. The relationships between images can suggest important meanings in a poem, and with imagery, the poet uses language and devices such as metaphor, allusion, and even alliteration to create meaning and texture. For instance, the line "I will make thee beds of rose" suggests a romantic image that is not in keeping with the reality of roses with thorns. Because the image is so strong and because most readers would associate roses with an image of love, readers probably never stop to consider how unromantic a bed made out of thorny roses would be. Effective imagery in poetry allows the reader to enter into the poem and experience it with all their senses.Pastoral PoetryThe Greek poet Theocritus first created the pastoral poem when he wrote poems representing the life of a Sicilian shepherd. Theocritus produced a picture of quiet peace and harmony among shepherds who lived in an idealized natural setting. His shepherds were characterized by a state of contentment and friendly competition among friends. Love for these shepherds was a romantic longing and not sexual in any way. Theocritus was then copied by the Roman poet, Virgil, whose elegies had a strong influence on early English Renaissance poets. Virgil added some darker elements, including the grief the shepherd feels at the death of another shepherd. Virgil also included suggestions of contemporary problems and created a stronger contrast between the rustic country life and the dangers of city life.Marlowe probably studied the pastoral poets during his classical education at Cambridge, but he was not the first English poet to adopt the pastoral tradition. Edmund Spenser initiated the Elizabethan trend in 1579 with The Shepheardes Calender, and was quickly joined by Sir Philip Sidney and Robert Greene, who created their own pastoral works. Marlowe, however, made the pastoral his own poetic form by inserting sexuality and by exaggerating the images. Before Marlowe, the shepherd engaged in romantic, though innocent, love affairs and the pastoral was conventional, with artificial language and shepherds who spoke the courtly language of anaristocrat. Marlowe bent the rules by introducing sexuality, creating his own pastoral tradition. The tone of "The Passionate Shepherd to His Love" suggests a parody (模仿藉以嘲弄) of the pastoral tradition. Marlowe's shepherd asks the woman to imagine an idyllic life that not only is impossible but even ridiculous in many ways. In exaggerating and creating these absurd images, Marlowe suggests that the pastoral tradition should not be taken too seriously.About “The Passionate Shepherd to his Love” (1599)In 1599 a four-stanza version of an anonymous ly printed poem entitled “The Passionate Shepherd to His Love” appeared in a collection of poetry called The Passionate Pilgrim. The next year, another anthology called England's Helicon printed a version with two further stanzas and an ascription to 'Chr. Marlow'. Thus was born a legend. Although the poem was short, it proved both immensely popular and immensely influential. It gave rise to numerous responses, the most famous of which is Sir Walter Ralegh's “The Nymph's Reply to the Shepherd”, and it has been, and continues to be, extensively anthologised and imitated. (Lawrence Ferlinghetti wrote a fine response in the 1960s entitled “Come lie with me and be my love” C. Day Lewis wrote a more grotesque one in the 1930s )The attribution to Marlowe has been universally accepted, the usual assumption being that he wrote the poem during his student days at Corpus Christi College, Cambridge. In Marlowe's hugely successful play Tamburlaine the Great, a Scythian (锡西厄人：古代居住在Scythia西徐亚的游牧民族中的一员) shepherd strips off his pastoral garments on stage and puts on those of a warrior instead. This looks like the ultimate rejection of the pastoral life and its values, together with all these stood for in the Elizabethan age, and it is a striking paradox that the same author should also have written, in this poem, one of the most charming and acute conditions of that very pastoral ethos (精华). It is also ironic that a poet who seems himself to have been homosexual should have written one of the most celebrated heterosexual love poems of the age.Some recent critics have argued that these tensions actually run deep within the poem, and that “The Passionate Shepherd” is far more than the tender, playful calling-up of the pastoral mode which it may initially appear. Patrick Cheney in particular, in his book Marlowe's Counterfeit Profession, seeks to make the poem bear an astonishing weight of meaning, in which it functions as an accusation of the entire literary aesthetic of Edmund Spenser, whom Cheney sees Marlowe as rivalling. This is, not, however, necessarily suggested by contemporary responses. The best-known and most interesting, Ralegh's, matches the six-stanza version stanza by stanza and point by point. Marlowe begins his poemCome live with me and be my love,And we will all the pleasures proveThat valleys, groves, hills and fields,Woods, or steepy mountain yields.Ralegh responds to this withIf all the world and love were young,And truth in every shepherd's tongue,These pretty pleasures might me moveTo live with thee and be thy love.Ralegh's big “if” shows clearly enough why Marlowe's dream-vision is impossible, but also registers the full force of its attractiveness. We never see more clearly than in these two poems as a pair why the pastoral proved so compelling a playground and stimulus for the Elizabethan imagination.。
Marlowe--Crowne社会期望量表
MCSD主要反映SDR的第二个因子，与Edwards的量表只有低到中度的相关。
应
用
与
评
价
MCSD一直具有双重性质。既是一个SDR测评量表，又是认可依赖(approval—dependent)人格的测量。
Stricklandl977年所作的综述支持具有评定认可需要的建构，但建议采用“认可动机”一词，而Millham等似乎更偏爱“评价依赖”。“需要”一词在量表问世的年代颇为流行，但现在看来不免失之宽泛。此外，越来越多的证据倾向于将结果的解释改为对不认可的回避，而不是寻求认可。
*32.有时我想，当人们遭受不幸时不过是得到了他们应得的。
33.我从来没有有意说过伤害别人感情的话。
注：标*的条目反向计分，答否得1分。
报
告
33个条目分属于下述两种情况之一：1)．符合社会期望但很不常见(如：承认错误)；2)．不符合社会期望但很常见(如：传闲话)。要求受试对每个条目作出“是”或“否”的回答，其中18个条目答“是”得1分，另15个条目答“否”得1分。从而量表得分范围是0—33分，高分表示较强的认可需求。
本表在1960年发表时是拟用作测定自我陈述中的SDR，但在总结了一系列有关研究后Crowne和Marlowe发现它含有动机方面的建构：认可的需要。例如，有证据表明，在MCSD得高分较之得低分者对社会性强化反应更明显、对攻击有更强的抑制、对社会影响更为顺从。
这些人完成操作任务时更易受到他人评价的影响。他们偏好危险性低的行为，尽量回避别人的评价，即或在获得肯定评价的可能远高于否定评价时仍旧如此。
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By 英语091 姚文婷
Christopher Marlowe 克里斯托弗•马洛 (1564—1593)
1564年3月6日生于坎特伯雷一富有鞋匠之家，1593年5月 30日卒于伦敦附 近的德特福德。1587年在剑桥大学获硕士学位。在伦敦期间曾与探险家、 政治活动家罗利，剧作家查普曼，数学家哈里奥特等怀疑宗教者结成团体， 人称黑夜派和无神论者。曾一度入狱。后在一次决斗中被人刺死。 父母本希望他做一名神父，可是马洛天性狂放不羁，既无心献身神坛，也 不愿走上仕途。他那份独异的才情使他毕业后步入了戏剧的殿堂。马洛是 一位戏剧天才，23岁便写出了第一部作品《帖木儿》（Timur），立刻轰 动了整个英国文坛。《帖木儿》是一部英雄剧，塑造了一个叱咤风云却又 野心勃勃的征服者形象，充分体现了文艺复兴时期的巨人精神。剧中的帖 木儿和马洛本人一样，是个热情的自由思想者。在这部史诗般宏伟的悲剧 中，回响着文艺复兴时期一个典型的主题：歌颂人间的生活，现世的快乐。 这个剧本被认为是英国的人文主义戏剧繁荣的发端。 1593年，也就是马洛29岁那年，在伦敦郊区的一家酒吧里，马洛遇到了 三个熟人，其中一个是秘密警察。在酒后付钱而引起的角斗中，马洛被其 中的一个人刺中要害，当场殒命。就这样，英国文坛上一个年轻而有价值 的生命像流星划过夜空，转瞬即逝。直到1925年，美国的雷斯里·霍特逊 教授在英国的档案库中发现了一份文件，其中记载道，马洛是被伊丽莎白 女王的秘密厅杀害的，当时有一位秘密警察波莱在场。至此，马洛之死才 真相大白。
ห้องสมุดไป่ตู้
（Doctor Faustus,1592） 《爱德华二世》 (Edward the Second,1593) 《巴黎的大屠杀》 (The Massacre at Paris)
Doctor Faustus,1592
Based on the German Faustbuch, was the first dramatised version of the Faust legend of a scholar's dealing with the devil. While versions of "The Devil's Pact" can be traced back to the 4th century, Marlowe deviates significantly by having his hero unable to "burn his books" or repent to a merciful God in order to have his contract annulled at the end of the play. Marlowe's protagonist is instead torn apart by demons and dragged off screaming to hell. Dr Faustus is a textual problem for scholars as it was highly edited (and possibly censored) and rewritten after Marlowe's death. Two versions of the play exist: the 1604 quarto, also known as the A text, and the 1616 quarto or B text. Many scholars believe that the A text is more representative of Marlowe's original because it contains irregular character names and idiosyncratic spelling: the hallmarks of a text that used the author's handwritten manuscript, or "foul papers", as a major source.
剧作-Plays
《帖木儿大帝》 （Tamburlaine,1587） 《马耳他的犹太人》 （The Jew of Malta,1588）
《浮士德博士的悲剧》
诗歌-Poems
《希罗与利安德》 （Hero and Leander， 1598 ） 《热情的牧羊人致情人诗》 （The Passionate Shepherd to His Love）
《浮士德博士的悲剧》是马洛最伟大的剧作品，像《帖木儿
大帝》一样又是一部“巨星陨落”式的悲剧。该剧取材于一个古老的 德国传说。浮士德是一位了不起的学者，渴求各方领域的知识。他对 中世纪一成不变的学科（神学、哲学、医学与法律）深感厌烦，为了 获取新知识遂求助于一种黑色魔术。通过咒语他结识了梅菲斯特，即 魔鬼的仆从。浮士德与魔鬼达成协议，他将他的灵魂出卖给魔鬼，作 为交换，魔鬼则要在此后的24年中满足浮士德所有求知的愿望。在魔 鬼的帮助下，浮士德充分利用其妖术，见到了教皇亚历山大大帝以及 绝代佳人希腊王后海伦，同时，浮士德也承受着内心强烈的煎熬，这 一切都表现在善良天使与罪恶天使的表情里。24年合约期满，浮士德 求助上帝无效，终于在时钟敲响12下的时候，他的灵魂被劫向地狱。 剧本充分肯定了知识可以征服自然和实现理想的伟大力量，它赞扬 了人对知识、力量与欢乐的热爱，揭示了人们在当时严酷的道德秩序 中意识到这些渴求要付出的代价。而时间的限制则是人类面临的最严 酷的现实。浮士德这个为追求无所不能的权力而将灵魂出卖给魔鬼的 形象具有凝重的悲剧色彩和深刻的讽喻意义。剧本主导的道德精神是 人文的而非宗教的。
The Jew of Malta
About a Maltese Jew's barbarous revenge against the city authorities, has a prologue delivered by a character representing Machiavelli. It was probably written in 1589 or 1590, and was first performed in 1592. It was a success, and remained popular for the next fifty years. The play was entered in the Stationers' Register on 17 May 1594, but the earliest surviving printed edition is from 1633.
马洛的艺术成就在于他完善了无韵体诗(blank verse)，并使之 成为英国戏剧中最主要的文学形式。马洛以他那“雄伟的诗句和澎 湃的激情”给无韵体诗注入了新的活力，使其蓬勃发展。为此，马 洛采用了夸张的修辞手法，而这种夸张并不是纯粹的语言上的夸 张，它是指用韵文诗传达诗歌的豪迈和力度。 马洛创造独特的英雄形象是他为文艺复兴所作的又一项贡献。 这种英雄是中古道德剧中暴君等形象的新发展，有着独立的精神和 勃勃野心，勇敢地面对来自不管是上天还是人间的各种挑战。这种 英雄形象最好地体现了马洛的人文主义观，即强调个人的 尊严和能力。剧中的英雄人物不断地渴求着权力、知识和荣耀， 如帖木儿与浮士德都是典型的例子。 尽管马洛精于无韵体诗和制造戏剧效果，但他在戏剧结构上远不 如莎士比亚。他塑造的女性形象都十分苍白，且结构松散。但不管 怎样，他对戏剧的发展做出了不可磨灭的贡献，为此，他被后世尊 为英国戏剧的先驱。
马洛的叙事诗《希罗与利安德》也未写完。全诗共 6章，马洛只完成两章，其余4章由查普曼续成。诗用双 韵体，根据后期希腊传说，写爱神的女祭司希罗住在赫 勒斯滂（今达达尼尔）海峡欧洲一侧，与对岸青年利安 德相爱的故事。利安德经常在夜间由希罗的灯光指引泅 水过海和她相会，一夜灯光被大风吹灭，利安德泅水淹 死，次日希罗发现后也投海殉情。这首诗歌颂了年轻人 纯洁的爱情。 此外，马洛的抒情短诗《热情的牧羊人致情人诗》 也很著名，它歌颂理想的爱情，有人（据传是罗利）写 了《答牧羊人》一诗，讽刺这种理想化的爱情，指出它 在生活中是不能实现的。