Leture 6-7英美文学
英美文学分课时教案
英美文学分课时教案第一章：英国文学概述1.1 英国文学的历史背景1.2 英国文学的重要时期1.3 英国文学的代表性作家和作品1.4 英国文学的特点和影响第二章：美国文学概述2.1 美国文学的历史背景2.2 美国文学的重要时期2.3 美国文学的代表性作家和作品2.4 美国文学的特点和影响第三章：英国文艺复兴时期文学3.1 英国文艺复兴时期的历史背景3.2 英国文艺复兴时期的代表性作家和作品3.3 英国文艺复兴时期文学的特点和影响3.4 英国文艺复兴时期文学的重点作品解读第四章：英国工业革命时期文学4.1 英国工业革命时期的历史背景4.2 英国工业革命时期的代表性作家和作品4.3 英国工业革命时期文学的特点和影响4.4 英国工业革命时期文学的重点作品解读第五章：美国独立战争时期文学5.1 美国独立战争时期的历史背景5.2 美国独立战争时期的代表性作家和作品5.3 美国独立战争时期文学的特点和影响5.4 美国独立战争时期文学的重点作品解读第六章：19世纪英国文学6.1 19世纪英国文学的历史背景6.2 19世纪英国文学的重要时期6.3 19世纪英国文学的代表性作家和作品6.4 19世纪英国文学的特点和影响第七章：19世纪美国文学7.1 19世纪美国文学的历史背景7.2 19世纪美国文学的重要时期7.3 19世纪美国文学的代表性作家和作品7.4 19世纪美国文学的特点和影响第八章：20世纪英国文学8.1 20世纪英国文学的历史背景8.2 20世纪英国文学的重要时期8.3 20世纪英国文学的代表性作家和作品8.4 20世纪英国文学的特点和影响第九章：20世纪美国文学9.1 20世纪美国文学的历史背景9.2 20世纪美国文学的重要时期9.3 20世纪美国文学的代表性作家和作品9.4 20世纪美国文学的特点和影响第十章：英美文学研究的现状与展望10.1 英美文学研究的现状10.2 英美文学研究的趋势和热点10.3 英美文学研究的挑战和机遇10.4 英美文学研究的未来展望第十一章：英国文学的主题与形式11.1 英国文学的常见主题11.2 英国文学的形式与风格11.3 英国文学中的象征与隐喻11.4 英国文学的叙事技巧第十二章：美国文学的主题与形式12.1 美国文学的常见主题12.2 美国文学的形式与风格12.3 美国文学中的象征与隐喻12.4 美国文学的叙事技巧第十三章：英美文学的批评与解读13.1 文学批评的基本概念与方法13.2 英美文学的文本解读技巧13.3 文学批评在英美文学研究中的应用13.4 当代英美文学批评的趋势与争议第十四章：英美文学作品的影视改编14.1 英美文学作品影视改编的历史与现状14.2 影视改编对原著的影响与争议14.3 经典英美文学作品的电影与电视剧解析14.4 学生作品的影视改编练习与评价第十五章：英美文学作品的选择与教学15.1 英美文学作品的教学目标与原则15.2 适合教学的英美文学作品特点15.3 英美文学作品的课程设计与教学方法15.4 教学资源的整合与创新教学实践重点和难点解析本文档为英美文学分课时教案，共包含十五个章节，涵盖了英国和美国文学的历史、时期、作家、作品、主题、形式、批评、解读、影视改编以及教学等多个方面。
大学英美文学讲义
5.1真题分析2、第2本书《美国文学简史》：5.3重点知识点汇总分析（大纲）第七部分大学英语语言文学专业英美文学与中文作文基础知识点框架梳理及基础阶段，复习时间是从5月份至9月份或10月份，这一阶段需要大家认真看完《英国文学史》与《美国文学史》，理清文学史的线索，例如文学史的大致分期，每一阶段的大致时间，社会背景，思想背景及每一阶段的代表人物及其代表作。
文学史这两本书每本至少看两遍。
文学史的复习方法主要以熟悉知识点为主，脑海中线索清晰，重点部分最好能在理解的基础上识记。
文学史的复习时应注意归纳总结出一下内容：●英美文学史的大致分期（整合标题）、每一时期大致的时代背景及思想特征.●记住每一时期最重要的作家及作品，知道文学的基本常识，例如文学术语。
●主要作品的故事情节，主要人物，人物形象，主题思想，作品评价。
A Survey of English History ChangYaoxinA Glossary of Literary Terms:For the convenience of discussion, historians divide the continuity of English literature into segments of time which are called “p eriods”. The e xact numbers, dates and names of these periods vary, but the list below conforms on each period, in chronological order.450-1066 Old English (or Anglo-Saxon)Period Chapter11066-1500 Middle English Period Chapter1、2文学成就不是很高。
文学形式：骑士浪漫传奇；抒情歌谣；神秘剧、传奇剧及道德剧骑士浪漫传奇：《亚瑟王和他的圆桌骑士》、《高文爵士和绿衣骑士》、《查理大帝的传奇》、《亚历山大的传奇》等抒情歌谣：短诗，大多数比较悲哀、凄凉，例如英国的Robin Hood神秘剧：取材于《圣经》中的旧约全书，上帝耶和华传奇剧：《新约》，基督1500-1660 The Renaissance(or Early Modern) Chapter3-4思想、文化、文学运动，最初出现在意大利，然后遍及其他国家。
Lecture 6 (18世纪文学)
第六讲 英国18世纪文学
The 18th Century Literature Historical Background: 1) The idea of democracy and liberty was rooted and taken into shape at home. The constitutional monarchy set up by parliament in 1688 was a compromise between the middle class and the aristocrats. After the Glorious Revolution, the monarch was deprived of ruling power and in his place Parliament became the actual leader of the country. The conservative Tory and the liberal Whig, though representing the interests of different classes, both supported commerce and the policy of tolerance.
5. An age of reason. The 18th century, in spite of the fact that the Whigs held sway for forty years, was so uneventful that it was an age of moderation, tolerance, and common sense. This was to a great extent due to the development of science and philosophy of the time. It was an age in which reason, rather than emotion, played an important role. Hence, it was also called an age of reason.
英美文学Chapter 7
T.S.Eliot(1888-1965)
• On June 26, 1915 Eliot married Haigh-Wood in a register office. • Eliot worked as a schoolteacher, most notably at Highgate School. To earn extra money, he wrote book reviews and lectured at evening extension courses. • He moved to the United Kingdom in 1914 .Of his nationality and its role in his work, Eliot said: "[My poetry] wouldn't be what it is if I'd been born in England, and it wouldn't be what it is if I'd stayed in America. It's a combination of things. But in its sources, in its emotional springs, it comes from America." • He received the Nobel Prize in Literature in 1948.
The Love Song of J. Alfred Prufrock
6. forms: Sonnet and heroic couplets abab bcbc cdcd ee abba cddc effe gg abba caac dccd ee abab cdcd efef gg
《英美文学》课程教学指导书
外国语学院成人教育英语教育特色专业建设教学指导书《英美文学》课程教学指导书徐晓兵编写淮阴师范学院外国语学院二0一二年九月目录前言 (4)学习内容指导: 第一部分英国文学古英语和中世纪英国文学简介 (6)第一章文艺复兴时期英国文学 (10)第三节威廉.莎士比亚 (11)第六节约翰.弥尔顿 (15)第二章新古典主义时期英国文学 (18)第三节丹尼尔.笛福................................ 错误！未定义书签。
第四节乔纳森.斯威夫特............................ 错误！未定义书签。
第五节亨利.菲尔丁................................ 错误！未定义书签。
第三章浪漫主义时期英国文学..................... 错误！未定义书签。
第一节威廉.布莱克 (28)第二节威廉.华兹华斯 (30)第五节铂.比.雪莱................................. 错误！未定义书签。
第七节简.奥斯汀. (35)第四章维多利亚时期时期英国文学 ................. 错误！未定义书签。
第一节查尔斯.狄更斯............................. 错误！未定义书签。
第二节勃朗特姐妹................................. 错误！未定义书签。
第六节托马斯.哈代 (43)第五章现代主义英国文学......................... 错误！未定义书签。
第一节伯纳德.萧.. (48)第四节 T. S. 艾略特 (50)第五节戴维.赫伯特.劳伦斯 (53)第二部分美国文学第一章浪漫主义时期美国文学 (56)第三节纳撒尼尔.霍桑.............................. 错误！未定义书签。
第四节华尔特.惠特曼. (63)第五节赫尔曼.梅尔维尔 (65)第二章现实主义时期美国文学 (67)第一节马克.吐温 (71)第二节亨利.詹姆斯 (73)第三节艾米莉.狄金森.............................. 错误！未定义书签。
英美文学选读串讲讲义
英美文学选读串讲讲义 Standardization of sany group #QS8QHH-HHGX8Q8-GNHHJ8-HHMHGN#《英美文学选读》应考指导一、教材说明《英美文学选读》是全国高等教育自学考试英语专业本科段的必修课程，也是广大考生比较头疼的课程。
教材大体可以分为两个大的部分，文学发展史和作家介绍及作品选读。
让考生头疼的事情是课本信息量太大，考纲要求的内容较多，学习的时候理不出头绪，也不便记忆。
事实上，文学课有着相当强的逻辑性和系统性，只要我们把握住这一点，这门课程并不难学，也不难考过。
二、考情分析2009年，本门课程的考试大纲做了一些调整，这种调整在某种程度上减轻和考生的复习负担，但也同时考察的内容更细，更全。
（一）关于考核要求的调整考核要求中每章概述内容不作调整；“该时期的重要作家”只包含对考核知识点中保留的重要作家的相关内容的考核。
（二）大纲调整后的特点（1）新大纲更加突出了英美各个文学时期的时代特点。
如：文艺复兴时期的戏剧和诗史，浪漫主义时期的诗歌等。
从这个意义上讲，命题的重点突出了。
（2）新大纲中考核的作家，都是每一个文学时期文学潮流的最具代表性的作家，都是对该时期文学的发展起到决定作用的作家。
从这个意义上讲，命题的焦点集中了。
（3）新大纲中所保留的作家的作品大多是广大考生耳熟能详的作品，从这个意义上讲，考试的难度降低了。
三、复习方法（一）概述：考试大纲调整以后，可命题的作家的数量减少了，但命题的深度会增加；同时，由于作家数量的减少，这也意味着在每一章的概述部分和作品选读部分的命题点会增多。
（二）每章概述部分的复习重点在对这部分的复习中，重点关注每一个文学时期的界定以及其标志性事件；另外每一个文学时期的时代特点和突出文学成就也是考查的重点，还有本时期同时存在的文学流派的特点也是重点内容。
（三）每章重点作家的复习重点作家的文学史上的地位和贡献；作家的代表作以及代表作的中心大意和所反映的社会现实；作家的写作风格和写作特点也是命题的重点。
英美文学 第七章
Part SevenThe American Literature in the 1930s and American Drama Chapter I The American Literature in the 1930s1.Historical BackgroundIt is a misconception that the 1930s was a dim decade as compared with the glittering twenties. There is a visible continuity between the two decades. While authors who made their names in the twenties, authors such as Eliot, Hemingway, Fitzgerald, and Faulkner, continued to produce great works of literature, new forces appeared on the scene, writing with no less vitality and energy.However, the mood of the thirties was different from that of the twenties. The Wall Street crash of 1929 set the tone for the writing of the decade. As the Depression spread, life became an experience of want, poverty, and absolute misery. Economic disaster and the wretched workless existence for the masses of the people brought the realization that the system had collapsed. Everything seemed to be disintegrating all of a sudden and all at once, and an ordered, rational existence proved to be impossible. There was widespread panic. If there had been any hope in the frustrating twenties, there was, for many, sheer despair in the bleak years of the thirties. It is true that, when F. D. Roosevelt came into the White House, he brought with him a refreshing breeze of hope and optimism into it and into the country. Roosevelt was clever enough tooffer his New Deal which helped toward dispelling the crisis-laden atmosphere hanging over the country. This measure restored confidence to the defeatist nation. However, it was not until the outbreak of the Second World War that the country felt safe again. The war saved the United States.Faced with the new reality of want and despair, American writers, like their brothers in England and Europe, found themselves asking the question, “What can writers do for the country?”It was apparent that social concern was topmost in the minds of many authors, and that social involvement was to be the major feature of the literature of the thirties.In addition to Dos Passos and his monumental trilogy, U.S.A., there were young novelists such as James T. Farrell, John Ohara, and Erskine Caldwell who poured out their anger and protest in their left-oriented works.2.Prominent Figures in the 1930s1) John Dos Passos (1896-1970)His life and his literary contributions:In a sense the thirties can be called the decade of John Dos Passos. He was the leading naturalist of the Depression, and his masterwork, U.S.A., was probably the best work that came out of the period. John Dos Passos was a spectacular phenomenon in the 20th century literary history of the United States.He started off writing for the oppressed, calling himself a “red radical revolutionary” in 1917. His writings were Communist-oriented for a long period. And his attack on capitalism remained great until the fifties when his change to conservatism seemed complete. During the latter part of his career, Dos Passos showed admiration for business, and supported the U.S. involvement in the Vietnam War.Dos Passos’ literary output was immense. In addition to the novels he wrote, he is remembered today chiefly for U.S.A., the most ambitious of fictions produced in the thirties. He wants to tell the truth about American life. He hopes to paint a panorama of American society. And he did so.The common theme of Dos Passos’s works is attack on the “machine”, that is, the government. He beheld that the “machine”is hostile to the physical and spiritual welfare of the individual. The reason why he finally gave up communism was that he believed that communism was another “machine”.Like William Faulkner, John Dos Passos was also a courageous experimentalist in the art of novel-writing. He employed, in his fiction, devices which had not been known before, such as the “Newsreels”(新闻短片), “Biographies” (人物肖像), “Camera Eye” (摄影机眼).2) John Steinbeck (1902-1968)A.His LifeAnother significant Depression writer was John Steinbeck. He was born in Salinas, California. His father was government official, and his mother a school teacher. He grew up at home reading British and French classics. He went to Stanford University, but never graduated. A rather odd period of his youth followed in which he did not know what to do with himself. He worked as a farm laborer, a seaman on a cattle-boat, a newspaper reporter, a bricklayer, a chemist’s assistant, a surveyor, and a migratory fruit picker. This was a very educational period for him because it set the basis of his works, especially The Grapes of Wrath. Later, with his father’s support, he decided to be a professional writer. He wrote some romantic books, but none of these made any stir in the literary scene.Then in 1935, at the age of 33, Steinbeck discovered himself. He discovered both his subject and his method. The book that appeared that year, Tortilla Flat (1935), made him popular.B.His Literary Achievements and ContributionsHis greatest book is, of course, The Grapes of Wrath (1939). A story of the migration of agricultural workers from the dust bowl of Oklahoma to California, the novel is full of bitterness and pain but not exactly despair. Through inconceivable suffering and privation shines still a refreshing ray of hope conspicuously absent in the other crisis novels of the thirties. It is essentially its humanity that triumphs. The Grapes ofWrath helped in great measure toward increasing the nation’s awareness of the seriousness of its problems, and won in time the Pulitzer Prize for fiction. It was banned and attacked for a length of time on both ideological and artistic grounds: it was accused of being communist (which it is of course not) and structurally formless book.The Grapes of Wrath is a crisis novel. It is Steinbeck’s clear expression of sympathy with the dispossessed and the wretched. The Great Depression throws the country into disorder and makes life intolerable for the luckless millions. One of the worst stricken areas is the central prairie lands. There, farmers become bankrupt and begin to move in a body toward California, where they hope to have a better life. The west movement is a most tragic and brutalizing human experience for families like the Joads in the novel. There is unspeakable pain and suffering on the road, and death occurs frequently. Everywhere they travel, they see a universal landscape of decay and desolation. When they reach California and try to settle down, they meet with bitter resistance from the local landowners. The prophecy of an imminent explosion is sent forth from the anger-filled pages: “When a majority of the people is hungry and cold they will take by force what they need,” Steinbeck is saying. The day of wrath is coming. In the souls of the people the grapes of wrath are filling and growing heavy. Something in the nature of a social revolution would be about to happen if nothing is done to stop the explosion. This isperhaps one of the reasons why the book was banned for many years.Structurally,The Grapes of Wrath consists of two blocks of material: the westward trek of the Joads and the dispossessed Oklahomans, and the general picture of the Great Depression.Readers sense the despair as they read along, and see no prospect of compensation for all this earthly suffering until one reaches the last chapter of the book. There, one sees a gleam of hope, and one’s confidence in man and human nature, the belief that a better life will be possible, returns to overbalance the scale of one’s judgment. Here lays, probably, the distinction which tells Steinbeck apart from other crisis writers of the 1930s. Amid the gloom and the defeatism which pervade the writing of the decade, Steinbeck manages to keep a refreshing faith in humanity, in the future when man will come to grips with his problems and come out all right. This ability to see beyond the immediate present into a better future has proved to be one of the things that have given Steinbeck his claim to fame and permanence.Chapter II American DramaLate 19th century some realists made their attempt to place realistic drama on the American stage. Some carried out dramatic experimentation around the turn of 20th century. With the stimulus that came from the naturalistic, symbolic, and critical drama of Europe, and possibly movedby the vigorous stirring in American poetry and fiction, American drama began the process of developing itself into a department of American literature equal in significance to both poetry and the novel.The theatre of the Depression was not depressing. Like other branches of literature the drama was preoccupied with social concerns. All through the forties and in the post-war period, new plays kept appearing and with them new playwrights. If Eugene O’Neill dominated the theatre in the 1920s, then it is safe to say that Tennessee Williams did so in the post-war years. The late fifties saw a temporary decline in dramatic productions, but in the next decade, American drama picked up a good deal of fresh energy and entered a new phase in its development with diversity as its features. The period is still in progress, and reputations are still being made. This is an overview of American drama. There are a few important figures that we students should know about American drama.We begin with Eugene O’Neill (1888-1953), American greatest playwright. With his father who was a famous actor, love of drama ran in the blood of the man. It was some years yet before he became a mature playwright, but those years of knowing about in the world can be seen as a preparation for his career. He traveled around with his father, had been to South America and South Africa. Back in America, he was out of work. He made friends with the lowest of society and got to know life better.The experience of wandering and loafing about provided him with material for his creative works.His first performed play, the one-act Bound East for Cardiff marked the beginning of his long career. He is best remembered for his later work Beyond the Horizon, the Iceman Cometh(1946), and Long Day’s Journey into Night (1956). He received the Pulitzer Prize for his Beyond the Horizon in 1920 and Nobel Prize in 1936. This play is somewhat an autobiographical. It is actually a metaphor for O’Neill’s lifelong endeavor to find truth and the way to acceptance. He was a tireless experimentalist in dramatic art. He took drama away from the old traditions of the 19th century and rooted it deeply in life. His ceaseless experimentation enriched American drama and influenced later playwrights greatly.The second distinguished American playwright we should know is Elmer Rice (1892-1967). He was the author of the well-known play, The Adding Machine. Now let us take a look at The Adding Machine. Mr. Zero has worked in a store for 25 years, doing the same job –adding figures – and is expecting a raise when his boss comes one day to tell him that he has to leave because the store has bought adding machines. In a sudden fit of anger he kills his boss with a bill file. He is tried, and condemned to death. He was a failure and a “waste product”of mechanization. He remains a “zero” in modern life.What Rice was trying to illustrate is that machines turn people out of jobs and drive them to their doom. Modern life turns people into mechanical fool. Mr. Zero, never having “missed a day, an hour, a minute” in his 25 years work adding figures, can no longer think except in terms of figures. Even when defending himself in the courtroom, he cannot help dragging in figures. In the midst of confessing to the murder that he has committee, he starts counting numbers from one to twelve, telling a puzzled audience that six and six makes twelve, and five is seventeen, and eight is twenty-five, and three is twenty-eight, etc. Then his mind switches back to the court proceedings, curses the figures, and says that he has worked for 25 years all for nothing. The human mind has been mechanized so thoroughly. Men become numbered, Mr. One, Mr. Two… as if they were machines or machine parts. Zero is portrayed as dehumanized so that he is almost devoid of emotional response. That is probably the saddest part of his – modern man’s – life.In 1931 actors, dramatists and producers formed their own organization, The Group Theatre, to produce plays of social significance. Clifford Odets(1906-1963) joined the Group Theatre and won recognition as one of the country’s leading dramatists in 1935. His famous plays are Waiting for Lefty, Awake and Sing!，Paradise Lost.A great play by Odets is Waiting for Lefty. It is about a taxi-driver’sstrike. A union meeting is going on. When the drivers are trying to decide whether to strike or not, the union boss who has already sold out to the companies tries to keep them from striking. All the time people come up on the stage and tell their stories, the union boss is smoking a cigar. The smoke keeps drifting in, a telling symbol of the fact that he is the one who has got all the decisions to make. Now Lefty is a character fighting against the corrupted union boss and trying to get the people to strike for higher wages. Throughout the play people are waiting for him before they decide to strike, but he never appears. In the meantime people keep talking about their bitter lives. Finally, there comes a shout from the back of the hall which interrupts everything. Somebody runs in and says, “wait a minute! We’ve found Lefty! We found him in an alley with a bullet in his head!” The suggestion is clear, that the union boss has had him killed. The people run up on the stage and shout, “What are we going to do？”Somebody at the back of the audience shouts, “Strike! Strike!” and they pick this up on stage and join the chorus.The interesting thing to note about the play is its acting. The actors are scattered through the audience and some on these people jump up now and then to echo in shouts what is being said on stage. It is very exciting to see one person next to you, who looks just like you, working himself up in agitation and presently standing up, shouting, “Listen! Listen!” and charging onto the stage: He is, you realize, one of the actors!The point of this arrangement was to include the audience in the acting, and its effect was powerful in the social theatre of the 1930s. The audience joined the “chorus”and the whole theatre was boiling. Propaganda it certainly is, but as certainly it is also exquisite art: The whole performance is a combination of the two. And from the stories of the drivers we get very authentic details of life during the Depression. Waiting for Lefty is a very powerful play to come out of the theatre of the thirties.Post-war American drama has been said to begin with the staging of The Glass Menagerie in 1945. Its author, Tennessee Williams (1911-1983) has certainly become one of the greatest American dramatists to go down in the country’s literary history. He of course is the next one that we should remember, for he is the typical one of the post-O’Neill era.Another great dramatist to come out of the forties is Arthur Miller (1915- ) who has, along with Tennessee Williams, led the post-war new drama. Miller grew up in the Depression. He witnessed his father’s business failure and worked at a variety of proletarian jobs. The staging of Death of a Salesman (1947), his masterpiece, established him a writer of no small talent.Questions for review:1.What was John Dos Passos mainly concerned with throughout his literary life?2.What “new” writing techniques did Passos employ in his books?3.What was Steinbeck mainly concerned with throughout his literary life?。
英美文学第七章
Paradise Lost (1667)
• Source: the Genesis of the Old Testament about ―the fall of man‖ • Structure: 12 books • Style: grand epic after the classic model of Homer and Virgil; written in blank verse
Milton 's unhappy marriage may prompted him to write treatises supporting divorce, including The Doctrine and Discipline of Divorce (1643).
In 1660, Milton was jailed for a short time for having written in support of parliament after the restoration of King Charles II. After Milton lost his eyesight, his daughters read to him in Latin, Greek, and Hebrew- languages they didn't understand.
Milton had expressed a desire to write an epic nearly 30 years before Paradise Lost was published.
Literary achievements
early poetry lyric: Lycidas (1637) – a pastoral elegy (挽歌) prose pamphlets major poetry narrative (epic) Paradise Lost (1667) 《失乐园》 Paradise Regained (1671)《复乐园》 poetic drama: Samson Agonistes (1671) 《力士参孙》
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family name: from Hathorne to Hawthorne
He entered Bowdoin College in 1821, where he was a classmate of Henry Wadsworth Longfellow and Franklin Pierce who was to become the 14th President of the U.S. He worked at a Custom House and joined Brook Farm, a transcendentalist community.
Symbols of Names
Dimmesdale “Dimness” suggests weakness, indeterminacy, and lack of will, all of which characterize the young minister. Chillingworth “Chill” suggests coldness and inhumanity and thus he brings terror and threat to Hester’s and Dimmesdale’s lives.
Pearl Achievement is “under the impact of and by engagement It has a biblical allegory with – theevil “pearl ”. of great value” which illustrates the great value of the Kingdom of heaven, representing salvation.
Symbols of Names
Hester Prynne
In Greek mythology, Hestia is a goddess of the hearth, architecture, and the right ordering of domesticity, the family and the state. Prurient (desire for physical love), which is considered to be the root of her sin. Prune (purify or get rid of), which foreshadows her penance.
Writing Features and Works
His works are considered as “Dark Romanticism”. His Major Works evil and sin of themes often center on the inherent humanity. Fanshawe (1828): 1st novel, not well-received Twice-Told Tales (1837): collection and of short stories His works often have morala messages deep psychological Herepresentative was interested in The Scarlet complexity. Letter (1850): work understanding the contradiction of human The House of the Seven Gables (1851) heart. Symbolism is an effective and profound skill in his works.
Unit 4 Nathaniel Hawthorne
(1804-1864)
Nathaniel Hawthorne (1804-1864)
Witch Trials, 1692 to a He was born in Salem Salem, Massachusetts prominent family.
Symbols of Letter A
Chillingworth: Apple, avenger & aloneness Dimmesdale: Adam Prynne: adultery, ability, admiration (Arthur) Pearl: Angel
The Scarlet Letter (1850)
by
Nathaniel Hawthorne
Setting: mid-17th century, in Boston
lover
husband
Pearl Arthur Dimmesdale
Heste