英國(guó)文學(xué)批評(píng)

內(nèi)容概要

《英國(guó)文學(xué)批評(píng)》在編寫體例上采用中、英兩種文字，由四部分組成：評(píng)介部分用中文，對(duì)文章的作者、創(chuàng)作情況、作品總體風(fēng)格、所選文章的主要觀點(diǎn)進(jìn)行介紹和評(píng)述；注釋部分用中文，主要對(duì)所選文章中涉及到的語(yǔ)言難點(diǎn)、背景人物、作品、歷史事件、專門術(shù)語(yǔ)等做簡(jiǎn)明扼要的解釋；每篇選文之后我們均提供幾個(gè)思考題（英文），以便使學(xué)習(xí)者對(duì)選文的觀點(diǎn)有一個(gè)比較準(zhǔn)確和清晰的理解，并對(duì)選文所提出的問(wèn)題做進(jìn)一步的思考；在每篇選文之后我們均提供英文的閱讀書目，以便學(xué)習(xí)者對(duì)選文作者、理論觀點(diǎn)以及研究者對(duì)所選作者和作品的研究成果有一個(gè)比較全面的了解和認(rèn)識(shí)，為學(xué)習(xí)者進(jìn)一步的閱讀和研究提供幫助。

書籍目錄

菲利普·錫德尼
弗朗西斯·培根
約翰·丹尼斯
約翰·德萊頓
亞歷山大·蒲柏
約瑟夫·艾迪生
埃德蒙·柏克
大衛(wèi)·休謨
塞繆爾·約翰遜
愛德華·揚(yáng)
喬舒亞·雷諾茲
威廉·布萊克
威廉·華茲華斯
塞繆爾·泰勒·柯勒律治
珀西·比西·雪萊
沃爾特·佩特
馬修·阿諾德
奧斯卡·王爾德
亨利·詹姆斯
威廉·巴特勒-葉芝
A·C·布拉德雷
愛德華·摩根·福斯特
托馬斯·厄內(nèi)斯特·休姆
托馬斯·斯特恩·艾略特
弗吉尼亞·伍爾夫
I·A·瑞恰茲
塞繆爾·亞歷山大
戴維·赫伯特·勞倫斯

章節(jié)摘錄

　　The objection arising from the impossibility of passing the first hour at Alexandria, and the next at Rome, supposes that when the play opens, the spectator really imagines himself at Alexandria, and believes that his walk to the theater has been a voyage to Egypt, and that he lives in the days of Antony and Cleopatra. Surely he that imagines this may imagine more. He that can take the stage at one time for he palace of the Ptolemies,　may take it in half an hour for the promontory of Actium.　Delusion, ifdelusi on be admitted, has no certain limitation; if the spectator can be once persuaded, that his oldacquaintance are Alexander and Caesar, that a room illuminated with candles is the plain of Pharaslia,or the bank of Granicus, he is in a state of elevation above the reach of reason, or of the truth, and from the heights of empyrean poetry, may despise the circumscriptions of terrestrial nature. There is no reason why a mind thus wandering in ecstasy should count the clock, or why an hour should not be acentury in that calenture of the brains that can make the stage a field.　　The truth is, that the spectators are always in their senses, and know, from the first act to the last,that the stage is only a stage, and that the players are only players. They came to hear a certain number of lines recited with just gesture and elegant modulation. The lines relate to some action, and an actionmust be in some place; but the different actions that complete a story may be in places very remote fromeach other; and where is the absurdity of allowing that space to represent first Athens, and then Sicily, which was always known to be neither Sicily　nor Athens, but a modern theater？　　By supposition, as place is introduced, time may be extended; the time required by the fable elapses for the most part between the acts ; for, of so much of the action as is represented, the real and poeticalduration is the same. If, in the first act, preparations for war against Mithridates are represented to bemade in Rome, the event of the war may, without absurdity, be represented, in the catastrophe, as happening in Pontus ; we know that there is neither war, nor preparation for war; we know that we are nei ther in Rome nor Pontus; that neither Mithridates nor Lucullus are before us. The drama exhibitssuccessive imitations of successive actions ; and why may not the second imitation represent an action that happened years after the first, if it be so connected with it, that nothing but time can be supposed tointervene？ Time is, of all modes of existence, most obsequious to the imagination ; a lapse of years is as easily conceived as a passage of hours. In contemplation we easily contract the time of real actions, and therefore willingy permit it to be contracted when we only see their imitation.

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