我很了解allegorical这个话题，并且可以为您提供一系列的信息和建议。请告诉我您需要了解什么。
1.allegorical
2.al后缀是属于什么？
3.A开头的英语单词有哪些
4.歇开被子是不是这个歇开
5.求:关于外国文学的复习大纲
6.瑞典文学院诺奖委员会主席是怎么说莫言的？
allegorical
应该念chanxiu吧。至少我接触的参加禅修的人还都读着“chán”。
下边是我从一个网络的字典中查到的。希望可以帮助到你。
禅 (chan) 12画
写法：chán,shàn, 笔顺：452443251112 五笔编码：pyuf
禅
禅
chán
动
(形声。从示,单声。从“示”,表示与鬼神有关。(shàn)本义:古代帝王辟基祭地)佛教语。梵语“禅那”之略。原指静坐默念〖deepmeditation〗。如:禅法(佛法);禅坐(指僧侣端坐静修)
禅
禅
chán
名
表示与佛教有关的事物〖Buddhist〗。如:禅门(佛教禅宗的教门);禅床(和尚用来打坐和睡觉的床)
指禅房〖amonasticroom〗。如:禅室(禅房);禅阁(禅房)
另见shàn
禅房
chánfáng
〖amonasticroom;Buddhisttemple〗寺院建筑的一部分,僧徒尼姑的静修居住、讲经颂佛的房屋,也泛指寺院
曲径通幽处,禅房花木深。——常建《题破山寺后禅院》
禅机
chánjī
〖Buddhistsubtleties;Buddhistallegoricalwordorgesture〗佛家禅宗所传播的机要秘诀
听曲文宝玉悟禅机。——《红楼梦》
禅林
chánlín
〖Buddhisttemple〗佛教寺院的别称
禅师
chánshī
〖honorifictitleforaBuddhistmonk〗敬辞称和尚,尤指有德行的和尚
法海禅师
禅堂
chántáng
〖Zendo;meditationroominaBuddhistmonastery〗参禅处所;僧堂
同入禅堂
禅院
chányuàn
〖BuddhaHall〗佛教寺院
今所谓慧空禅院者,褒之庐冢也。——宋·王安石《游褒禅山记》
禅杖
chánzhàng
〖Buddhistmonk'sstaff;Buddhistcane〗佛教指僧人坐禅欲睡时用以敲击使清醒的杖,后泛指僧人所用的手杖
禅宗
chánzōng
〖Chansect;Dhyana〗大乘佛教在中国的一个宗派,着重以静虑和高度冥想作为超度救世的法门。相传如来以心印付嘱迦叶为禅宗初祖。二十八传至达摩,来中国,为东土初祖
禅
禅
shàn
动
(形声。从示,单声。从“示”的字多与鬼神祭祀有关。本义:古代帝王祭地礼)
同本义〖worship〗
禅,祭天也。——《说文》
正失禅谓坛墠。——《风俗通》
注:“除地于梁甫之阴,为墠之祭地也。变墠为禅神之也。”
禅于始衍。——《史记·卫将军传》
禅,祭地于梁阴。——《续汉书·祭祀志》
封禅刻石纪号也,是墠为祭地,坛为祭天。
是以封泰山而禅梁父。——《大戴礼记》
让位〖abdicate〗
帝王让位给他姓
遂禅之。——《书·尧典》
禅五世。——《史记·惠景间侯者年表》
帝光禅位于虞舜。——《三国志·文帝纪》
又如:禅位(将帝位传让给别人);受禅
也指传位于继承人
至孝惠时,唯独长沙全,禅五世,以无嗣绝。——《史记》
又如:禅文(禅让皇位的文书);禅诰(禅让皇位的诰书)
传授〖handover〗
万物皆种也,以不同形式相禅。——《庄子·寓言》
而不知其禅之者。——《庄子·山水》。司马注:“授予也。”
又如:禅代(替代);禅变(变化);禅化(变迁转化)
引申为继承〖inherit〗
四先生殁后,广仲尚能禅其家学。——全祖望《书宋史胡文定公传后》
形通“殚”。尽〖exhausted〗
尧能禅均刑法以仪民,言其德无所不施。——《周礼·春官下·大司乐》郑注
通“擅”。独断专行〖makearbitrarydecisionsandtakeperemptoryactions〗
善禅其主,以集精微。——《韩非子·说疑》
另见chán
禅让
shànràng
〖abdicateandhandoverthecrowntosb.〗中国古代历史上统治权转移的一种方式,皇帝把帝位让给他人
al后缀是属于什么？
禅 读chán的人可能较多
但是查下字典发现好像shàn更贴切
附：
禅
buddhistzen
禅
chán
禅
〈宗〉禅(ぜん)。
坐禅
坐禅(ざぜん)する。
仏教(ぶっきょう)に関(かん)するもの。
禅杖
禅杖(ぜんじょう)，锡杖(しゃくじょう)。
禅
shàn
禅
位(くらい)をゆずる。
禅
禅
chán
<动>
(形声。从示,单声。从“示”,表示与鬼神有关。(shàn)本义:古代帝王辟基祭地) 佛教语。梵语“禅那”之略。原指静坐默念 [deep meditation]。如:禅法(佛法);禅坐(指僧侣端坐静修)
禅
禅
chán
<名>
表示与佛教有关的事物 [Buddhist]。如:禅门(佛教禅宗的教门);禅床(和尚用来打坐和睡觉的床)
指禅房 [a monastic room]。如:禅室(禅房);禅阁(禅房)
另见shàn
禅房
chánfáng
[a monastic room;Buddhist temple] 寺院建筑的一部分,僧徒尼姑的静修居住、讲经颂佛的房屋,也泛指寺院
曲径通幽处,禅房花木深。——常建《题破山寺后禅院》
禅机
chánjī
[Buddhist subtleties;Buddhist allegorical word or gesture] 佛家禅宗所传播的机要秘诀
听曲文宝玉悟禅机。——《红楼梦》
禅林
chánlín
[Buddhist temple] 佛教寺院的别称
禅师
chánshī
[honorific title for a Buddhist monk] 敬辞称和尚,尤指有德行的和尚
法海禅师
禅堂
chántáng
[Zendo;meditation room in a Buddhist monastery] 参禅处所;僧堂
同入禅堂
禅院
chányuàn
[Buddha Hall] 佛教寺院
今所谓慧空禅院者,褒之庐冢也。——宋·王安石《游褒禅山记》
禅杖
chánzhàng
[Buddhist monk's staff;Buddhist cane] 佛教指僧人坐禅欲睡时用以敲击使清醒的杖,后泛指僧人所用的手杖
禅宗
chánzōng
[Chan sect;Dhyana] 大乘佛教在中国的一个宗派,着重以静虑和高度冥想作为超度救世的法门。相传如来以心印付嘱迦叶为禅宗初祖。二十八传至达摩,来中国,为东土初祖
禅
禅
shàn
<动>
(形声。从示,单声。从“示”的字多与鬼神祭祀有关。本义:古代帝王祭地礼)
同本义 [worship]
禅,祭天也。——《说文》
正失禅谓坛墠。——《风俗通》
注:“除地于梁甫之阴,为墠之祭地也。变墠为禅神之也。”
禅于始衍。——《史记·卫将军传》
禅,祭地于梁阴。——《续汉书·祭祀志》
封禅刻石纪号也,是墠为祭地,坛为祭天。
是以封泰山而禅梁父。——《大戴礼记》
让位 [abdicate]
帝王让位给他姓
遂禅之。——《书·尧典》
禅五世。——《史记·惠景间侯者年表》
帝光禅位于虞舜。——《三国志·文帝纪》
又如:禅位(将帝位传让给别人);受禅
也指传位于继承人
至孝惠时,唯独长沙全,禅五世,以无嗣绝。——《史记》
又如:禅文(禅让皇位的文书);禅诰(禅让皇位的诰书)
传授 [hand over]
万物皆种也,以不同形式相禅。——《庄子·寓言》
而不知其禅之者。——《庄子·山水》。司马注:“授予也。”
又如:禅代(替代);禅变(变化);禅化(变迁转化)
引申为继承 [inherit]
四先生殁后,广仲尚能禅其家学。——全祖望《书宋史胡文定公传后》
<形> 通“殚”。尽 [exhausted]
尧能禅均刑法以仪民,言其德无所不施。——《周礼·春官下·大司乐》郑注
通“擅”。独断专行 [make arbitrary decisions and take peremptory actions]
善禅其主,以集精微。——《韩非子·说疑》
另见chán
禅让
shànràng
[abdicate and hand over the crown to sb.] 中国古代历史上统治权转移的一种方式,皇帝把帝位让给他人
禅
（禅）
chán
ㄔㄢˊ
佛教指静思：坐～。参（c乶 ）～。～心。～机（佛教禅宗启发门徒悟道时使用的隐语、比喻以及带有暗示性的动作等）。～宗。～定。
特指佛教的：～师。～杖。～林。～堂。
郑码：WSKE，U：7985，GBK：ECF8
笔画数：12，部首：礻，笔顺编号：452443251112
buddhistzen
禅
（禅）
shàn
ㄕㄢˋ
帝王的祭地之礼：封～。
帝王让位给别人：～位。～让。受～。
事物更（g昂g ）代。
郑码：WSKE，U：7985，GBK：ECF8
笔画数：12，部首：礻，笔顺编号：452443251112
buddhistzen
A开头的英语单词有哪些
属于形容词后缀。al是个形容词后缀，很多名词后面加al即构成其相应的形容词，词义和原来的名词相关，类似“xx的”如：
educational：教育的。
national：国家的，民族的。
rational：理性的，推理的。
personal：个人的。
以al为后缀的单词：
allegorical a：寓言的，寓意的，讽喻。
alluvial adj：冲积的。
alphabetical adj：依字母顺序的。
ambrosial a：特别美味的。
amoral adj：不知是非的。
analytical a：分析的，解析的。
anatomical a：解剖的，解剖学上的，构造上的。
歇开被子是不是这个歇开
A开头的英语单词有很多例如：apple、all、always 等等。要记住单词的话一定要多读多说多想，建议你可以来上网上英语培训，是外教一对一教学的，课程种类涵盖了少儿、成人等等，每一节课最低才要13.8元，效果也好。
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求:关于外国文学的复习大纲
不是，是掀开。掀，汉语常用字，读音Xiān，意思是指打开，揭起，掀开，掀锅盖，掀门帘，翻腾，激起，掀动。出自《左传·成公十六年》。
这里掀开被子就是打开，揭起，掀开的意思，所以是掀开而不是歇开。
歇的组词
歇班 xiēbān
[be off duty;have time off] 按照规定不上班,休息。
歇顶?xiēdǐng
[get a bit thin on top;be balding;go bald] 指成年人头顶的头发逐渐脱落。
歇后语?xiēhòuyǔ
[a two-part allegorical saying;sequel] 由两部分组成的固定语句,前一部分多用比喻,像谜面,后一部分是本意,像谜底,通常只说前一部分,后一部分不言而喻。
歇肩?xiējiān
[take the load off one’s shoulder for a rest] 把担子卸下暂时休息。
歇脚 xiējiǎo
[stop on the way for a rest] 走累了停下休息。
歇凉 xiēliáng
[enjoy the cool in some shade relax in a cool place] 〈方〉∶乘凉。
歇马 xiēmǎ
(1) [get down from a horse for a rest]∶下马休息。
离城还有五十余里,是个大镇,权歇马上店,打中水。——《警世通言》
(2) [stop work]∶停止工作。
歇气?xiēqì
[stop for a rest] 稍事休息。
歇晌?xiēshǎng
[take a midday nap or rest] 在晌午时休息,多在午饭后。
贾母歇晌后, 王夫人便唤了 凤姐,问他丸药可曾配来。——《红楼梦》
歇手 xiēshǒu
[stop doing sth.] 停止正在做的事。
歇斯底里 xiēsīdǐlǐ
[hysteria] 情绪异常激动,举止失常。
歇宿?xiēsù
[put up (somewhere)for the night;make an overnight] 住宿。
歇腿,歇腿儿 xiētuǐ,xiētuǐr
[stop on the way for a rest] 停止走路,休息。
歇窝 xiēwō
[stop laying eggs in winter or in summer] 〈方〉∶指鸡鸭等在一段时间里停止生蛋。
歇息 xiēxi
(1) [have a rest]∶休息。
(2) [go to bed;put up for the night]∶住宿;睡觉。
歇闲?xiēxián
[rest] 〈方〉∶休息。
歇歇气 xiēxiēqì
(1) [have a rest]∶休息一会儿。
(2) [blow]∶[指马或骡]停下来呼吸。
让这匹母马在犁沟的尽头歇歇气。
歇心?xiēxīn
(1) [not to worry]∶心情安闲;安心。
不如把那一两银子明儿也索性给了他们,倒都歇心。——《红楼梦》
(2) [drop the idea forever]∶死心;断念。
不想他不肯歇心,如今又告到老爷台前。——《三侠五义》
歇业 xiēyè
[close a business;go out of a business] 停止营业。
歇夜 xiēyè
[put up for the night] 住宿;过夜。
今晚我们在哪儿歇夜?
歇枝?xiēzhī
[unfruitful year(s);bear less fruit the year after a big crop] 果树在大量结果的次年或以后几年很少结果或不结果。
瑞典文学院诺奖委员会主席是怎么说莫言的？
A Concise History of British Literature
Chapter 1 English Literature of Anglo-Saxon Period
I. Introduction
1. The historical background
(1) Before the Germanic invasion
(2) During the Germanic invasion
a. immigration;
b. Christianity;
c. heptarchy.
d. social classes structure: hide-hundred; eoldermen (lord) – thane - middle class (freemen) - lower class (slave or bondmen: theow);
e. social organization: clan or tribes.
f. military Organization;
g. Church function: spirit, civil service, education;
h. economy: coins, trade, slavery;
i. feasts and festival: Halloween, Easter; j. legal system.
2. The Overview of the culture
(1) The mixture of pagan and Christian spirit.
(2) Literature: a. poetry: two types; b. prose: two figures.
II. Beowulf.
1. A general introduction.
2. The content.
3. The literary features.
(1) the use of alliteration
(2) the use of metaphors and understatements
(3) the mixture of pagan and Christian elements
III. The Old English Prose
1. What is prose?
2. figures
(1) The Venerable Bede
(2) Alfred the Great
Chapter 2 English Literature of the Late Medieval Ages
I. Introduction
1. The Historical Background.
(1) The year 1066: Norman Conquest.
(2) The social situations soon after the conquest.
A. Norman nobles and serfs;
B. restoration of the church.
(3) The 11th century.
A. the crusade and knights.
B. dominance of French and Latin;
(4) The 12th century.
A. the centralized government;
B. kings and the church (Henry II and Thomas);
(5) The 13th century.
A. The legend of Robin Hood;
B. Magna Carta (1215);
C. the beginning of the Parliament
D. English and Latin: official languages (the end)
(6) The 14th century.
a. the House of Lords and the House of Commons—conflict between the Parliament and Kings;
b. the rise of towns.
c. the change of Church.
d. the role of women.
e. the Hundred Years’ War—starting.
f. the development of the trade: London.
g. the Black Death.
h. the Peasants’ Revolt—1381.
i. The translation of Bible by Wycliff.
(7) The 15th century.
a. The Peasants Revolt (1453)
b. The War of Roses between Lancasters and Yorks.
c. the printing-press—William Caxton.
d. the starting of Tudor Monarchy(1485)
2. The Overview of Literature.
(1) the stories from the Celtic lands of Wales and Brittany—great myths of the Middle Ages.
(2) Geoffrye of Monmouth—Historia Regum Britanniae—King Authur.
(3) Wace—Le Roman de Brut.
(4) The romance.
(5) the second half of the 14th century: Langland, Gawin poet, Chaucer.
II. Sir Gawin and Green Knight.
1. a general introduction.
2. the plot.
III. William Langland.
1. Life
2. Piers the Plowman
IV. Chaucer
1. Life
2. Literary Career: three periods
(1) French period
(2) Italian period
(3) master period
3. The Canterbury Tales
A. The Framework;
B. The General Prologue;
C. The Tale Proper.
4. His Contribution.
(1) He introduced from France the rhymed stanza of various types.
(2) He is the first great poet who wrote in the current English language.
(3) The spoken English of the time consisted of several dialects, and Chaucer did much in making the dialect of London the standard for the modern English speech.
V. Popular Ballads.
VI. Thomas Malory and English Prose
VII. The beginning of English Drama.
1. Miracle Plays.
Miracle play or mystery play is a form of medieval drama that came from dramatization of the liturgy of the Roman Catholic Church. It developed from the 10th to the 16th century, reaching its height in the 15th century. The simple lyric character of the early texts was enlarged by the addition of dialogue and dramatic action. Eventually the performance was moved to the churchyard and the marketplace.
2. Morality Plays.
A morality play is a play enforcing a moral truth or lesson by means of the speech and action of characters which are personified abstractions – figures representing vices and virtues, qualities of the human mind, or abstract conceptions in general.
3. Interlude.
The interlude, which grew out of the morality, was intended, as its name implies, to be used more as a filler than as the main part of an entertainment. As its best it was short, witty, simple in plot, suited for the diversion of guests at a banquet, or for the relaxation of the audience between the divisions of a serious play. It was essentially an indoors performance, and generally of an aristocratic nature.
Chapter 3 English Literature in the Renaissance
I. A Historical Background
II. The Overview of the Literature (1485-1660)
Printing press—readership—growth of middle class—trade-education for laypeople-centralization of power-intellectual life-exploration-new impetus and direction of literature.
Humanism-study of the literature of classical antiquity and reformed education.
Literary style-modeled on the ancients.
The effect of humanism-the disseminatiogogoible attitude of its classically educated adherents.
1. poetry
The first tendency by Sidney and Spenser: ornate, florid, highly figured style.
The second tendency by Donne: metaphysical style—complexity and ingenuity.
The third tendency by Johgogotyle.
The fourth tendency by Milton: central Christian and Biblical tradition.
2. Drama
a. the gogoical examples.
b. the drama stands highest in popular estimation: Marlowe – Shakespeare – Jonson.
3. Prose
a. translation of Bible;
b. More;
c. Bacon.
II. English poetry.
1. Sir Thomas Wyatt and Henry Howard (courtly makers)
(1) Wyatt: introducing sonnets.
(2) Howard: introducing sonnets and writing the first blank verse.
2. Sir Philip Sidney—poet, critic, prose writer
(1) Life:
a. English gentleman;
b. brilliant and fascinating personality;
c. courtier.
(2) works
a. Arcadia: pastoral romance;
b. Astrophel and Stella (108): sonnet sequence to Penelope Dvereux—platonic devotion.
Petrarchan conceits and original feelings-moving to creativeness—building of a narrative story; theme-love originality-act of writing.
c. Defense of Poesy: an apology for imaginative literature—beginning of literary criticism.
3. Edmund Spenser
(1) life: Cambridge - Sidney’s friend - “Areopagus” – Ireland - Westminster Abbey.
(2) works
a. The Shepherds Calendar: the budding of English poetry in Renaissance.
b. Amoretti and Epithalamion: sonnet sequence
c. Faerie Queene:
l The general end--A romantic and allegorical epic—steps to virtue.
l 12 books and 12 virtues: Holiness, temperance, justice and courtesy.
l Two-level function: part of the story and part of allegory (symbolic meaning)
l Many allusions to classical writers.
l Themes: puritanism, nationalism, humanism and Renaissance Neoclassicism—a Christian humanist.
(3) Spenserian Stanza.
III. English Prose
1. Thomas More
(1) Life: “Renaissance man”, scholar, statesman, theorist, prose writer, diplomat, patron of arts
a. learned Greek at Canterbury College, Oxford;
b. studies law at Lincoln Inn;
c. Lord Chancellor;
d. beheaded.
(2) Utopia: the first English science fiction.
Written in Latin, two parts, the second—place of nowhere.
A philosophical mariner (Raphael Hythloday) tells his voyages in which he discovers a land-Utopia.
a. The part one is organized as dialogue with mariner depicting his philosophy.
b. The part two is a description of the island kingdom where gold and silver are worn by criminal, religious freedom is total and no one owns anything.
c. the nature of the book: attackigogo time.
d. the book and the Republic: an attempt to describe the Republic in a new way, but it possesses an modern character and the resemblance is in externals.
e. it played a key role in the Humanist awakening of the 16th century which moved away from the Medieval otherworldliness towards Renaissance secularism.
f. the Utopia
(3) the significance.
a. it was the first champion of national ideas and national languages; it created a national prose, equally adapted to handling scientific and artistic material.
b. a elegant Latin scholar and the father of English prose: he composed works in English, translated from Latin into English biography, wrote History of Richard III.
2. Francis Bacon: writer, philosopher and statesman
(1) life: Cambridge - humanism in Paris – knighted - Lord Chancellor – bribery - focusing on philosophy and literature.
(2) philosophical ideas: advancement of science—people:servants and interpreters of nature—method: a child before nature—facts and observations: experimental.
(3) “Essays”: 57.
a. he was a master of numerous and varied styles.
b. his method is to weigh and balance maters, indicating the ideal course of action and the practical one, pointing out the advantages and disadvantages of each, but leaving the reader to make the final decisions. (arguments)
IV. English Drama
1. A general survey.
(1) Everyman marks the beginning of modern drama.
(2) two influences.
a. the classics: classical in form and English in content;
b. native or popular drama.
(3) the University Wits.
2. Christopher Marlowe: greatest playwright before Shakespeare and most gifted of the Wits.
(1) Life: first igogoical poetry—then in drama.
(2) Major works
a. Tamburlaine;
b. The Jew of Malta;
c. The Tragical History of Doctor Faustus.
(3) The significance of his plays.
V. William Shakespeare
1. Life
(1) 1564, Stratford-on-Avon;
(2) Grammar School;
(3) Queen visit to Castle;
(4) marriage to Anne Hathaway;
(5) London, the Globe Theatre: small part and proprietor;
(6) the 1st Folio, Quarto;
(7) Retired, son—Hamnet; H. 1616.
2. Dramatic career
3. Major plays-men-centered.
(1) Romeo and Juliet--tragic love and fate
(2) The Merchant of Venice.
Good over evil.
Anti-Semitism.
(3) Henry IV.
National unity.
Falstaff.
(4) Julius Caesar
Republicanism vs. dictatorship.
(5) Hamlet
Revenge
Good/evil.
(6) Othello
Diabolic character
jealousy
gap between appearance and reality.
(7) King Lear
Filial ingratitude
(8) Macbeth
Ambition vs. fate.
(9) Antony and Cleopatra.
Passion vs. reason
(10) The Tempest
Reconciliation; reality and illusion.
3. Non-dramatic poetry
(1) Venus and Adonis; The Rape of Lucrece.
(2) Sonnets:
a. theme: fair, true, kind.
b. two major parts: a handsome young man of noble birth; a lady in dark complexion.
c. the form: three quatrains and a couplet.
d. the rhyme scheme: abab, cdcd, efef, gg.
VI. Ben Jonson
1. life: poet, dramatist, a Latin and Greek scholar, the “literary king” (Sons of Ben)
2.contribution:
(1) the idea of “humour”.
(2) an advocate of classical drama and a forerunner of classicism in English literature.
3. Major plays
(1) Everyone in His Humour—”humour”; three unities.
(2) Volpone the Fox
Chapter 4 English Literature of the 17th Century
I. A Historical Background
II. The Overview of the Literature (1640-1688)
1. The revolution period
(1) The metaphysical poets;
(2) The Cavalier poets.
(3) Milton: the literary and philosophical heritage of the Renaissance merged with Protestant political and moral conviction
2. The restoration period.
(1) The restoration of Charles II ushered in a literature characterized by reason, moderation, good taste, deft management, and simplicity. (school of Ben Jonson)
(2) The ideals of impartial investigation and scientific experimentation promoted by the newly founded Royal Society of London for Improving Natural Knowledge (1662) were influential igogoe as an instrument of rational communication.
(3) The great philosophical and political treatises of the time emphasize rationalism.
(4) The restoration drama.
(5) The Age of Dryden.
III. John Milton
1. Life: educated at Cambridge—visiting the continent—involved into the revolution—persecuted—writing epics.
2. Literary career.
(1) The 1st period was up to 1641, during which time he is to be seen chiefly as a son of the humanists and Elizabethans, although his Puritanism is not absent. L'Allegre and IL Pens eroso (1632) are his early masterpieces, in which we find Milton a true offspring of the Renaissance, a scholar of exquisite taste and rare culture. Next came Comus, a masque. The greatest of early creations was Lycidas, a pastoral elegy on the death of a college mate, Edward King.
(2) The second period is from 1641 to 1654, when the Puritan was in such complete ascendancy that he wrote almost no poetry. In 1641, he began a long period of pamphleteering for the puritan cause. For some 15 years, the Puritan in him alone ruled his writing. He sacrificed his poetic ambition to the call of the liberty for which Puritans were fighting.
(3) The third period is from 1655 to 1671, when humanist and Puritan have been fused into an exalted entity. This period is the greatest in his literary life, epics and some famous sonnets. The three long poems are the fruit of the long contest within Milton of Renaissance tradition and his Puritan faith. They form the greatest accomplishments of any English poet except Shakespeare. In Milton alone, it would seem, Puritanism could not extinguish the lover of beauty. In these works we find humanism and Puritanism merged in magnificence.
3. Major Works
(1) Paradise Lost
a. the plot.
b. characters.
c. theme: justify the ways of God to man.
(2) Paradise Regained.
(3) Samson Agonistes.
4. Features of Milton’s works.
(1) Milton is one of the very few truly great English writers who is also a prominent figure in politics, and who is both a great poet and an important prose writer. The two most essential things to be remembered about him are his Puritanism and his republicanism.
(2) Milton wrote many different types of poetry. He is especially a great master of blank verse. He learned much from Shakespeare and first used blank verse in non-dramatic works.
(3) Milton is a great stylist. He is famous for his grand style noted for its dignity and polish, which is the result of his life-long classical and biblical study.
(4) Milton has always been admired for his sublimity of thought and majesty of expression.
IV. John Bunyan
1. life:
(1) puritan age;
(2) poor family;
(3) parliamentary army;
(4) Baptist society, preacher;
(5) prison, writing the book.
2. The Pilgrim Progress
(1) The allegory in dream form.
(2) the plot.
(3) the theme.
V. Metaphysical Poets and Cavalier Poets.
1. Metaphysical Poets
The term “metaphysical poetry” is commonly used to designate the works of the 17th century writers who wrote under the influence of John Donne. Pressured by the harsh, uncomfortable and curious age, the metaphysical poets sought to shatter myths and replace them with new philosophies, new sciences, new words and new poetry. They tried to break away from the conventional fashion of Elizabethan love poetry, and favoured in poetry for a more colloquial language and tone, a tightness of expression and the single-minded working out of a theme or argument.
2. Cavalier Poets
The other group prevailing in this period was that of Cavalier poets. They were often courtiers who stood on the side of the king, and called themselves “sons” of Ben Jonson. The Cavalier poets wrote light poetry, polished and elegant, amorous and gay, but often superficial. Most of their verses were short songs, pretty madrigals, love fancies characterized by lightness of heart and of morals. Cavalier poems have the limpidity of the Elizabethan lyric without its imaginative flights. They are lighter and neater but less fresh than the Elizabethan’s.
VI. John Dryden.
1. Life:
(1) the representative of classicism in the Restoration.
(2) poet, dramatist, critic, prose writer, satirist.
(3) changeable in attitude.
(4) Literary career—four decades.
(5) Poet Laureate
2. His influences.
(1) He established the heroic couplet as the fashion for satiric, didactic, and descriptive poetry.
(2) He developed a direct and concise prose style.
(3) He developed the art of literary criticism in his essays and in the numerous prefaces to his poems.
Chapter 5 English Literature of the 18th Century
I. Introduction
1. The Historical Background.
2. The literary overview.
(1) The Enlightenment.
(2) The rise of English novels.
When the literary historian seeks to assign to each age its favourite form of literature, he finds no difficulty in dealing with our own time. As the Middle Ages delighted in long romantic narrative poems, the Elizabethans in drama, the Englishman of the reigns of Anne and the early Georges in didactic and satirical verse, so the public of our day is enamored of the novel. Almost all types of literary production continue to appear, but whether we judge from the lists of publishers, the statistics of public libraries, or general conversation, we find abundant evidence of the enormous preponderance of this kind of literary entertainment in popular favour.
(3) Neo-classicism: a revival in the seventeenth agogo of order, balance, and harmony in literature. John Dryden and Alexander Pope were major expogogochool.
(4) Satiric literature.
(5) Sentimentalism
II. Neo-classicism. (a general description)
1. Alexander Pope
(1) Life:
a. Catholic family;
b. ill health;
c. taught himself by reading and translating;
d. friend of Addison, Steele and Swift.
(2) three groups of poems:
e. An Essay on Criticism (magogom);
f. The Rape of Lock;
g. Translation of two epics.
(3) His contribution:
h. the heroic couplet—finish, elegance, wit, pointedness;
i. satire.
(4) weakness: lack of imagination.
2. Addison and Steele
(1) Richard Steele: poet, playwright, essayist, publisher of newspaper.
(2) Joseph Addison: studies at Oxford, secretary of state, created a literary periodical “Spectator” (with Steele, 1711)
(3) Spectator Club.
(4) The significance of their essays.
a. Their writings in “The Tatler”, and “The Spectator” provide a new code of social morality for the rising bourgeoisie.
b. They give a true picture of the social life of England in the 18th century.
c. In their hands, the English essay completely established itself as a literary genre. Using it as a form of character sketching and story telling, they ushered in the dawn of the modern novel.
3. Samuel Johnson—poet, critic, essayist, lexicographer, editor.
(1) Life:
a. studies at Oxford;
b. made a living by writing and translating;
c. the great cham of literature.
(2) works: poem (The Vanity of Human Wishes, London); criticism (The Lives of great Poets); preface.
(3) The champion of neoclassical ideas.
III. Literature of Satire: Jonathan Swift.
1. Life:
(1) born in Ireland;
(2) studies at Trinity College;
(3) worked as a secretary;
(4) the chief editor of The Examiner;
(5) the Dean of St. Patrick’s in Dublin.
2. Works: The Battle of Books, A Tale of a Tub, A Modest Proposal, Gulliver’s Travels.
3. Gulliver’s Travels.
Part I. Satire—the Whig and the Tories, Anglican Church and Catholic Church.
Part II. Satire—the legal system; condemnation of war.
Part III. Satire—ridiculous scientific experiment.
Part IV. Satire—mankind.
IV. English Novels
瑞典文学院诺奖委员会主席瓦斯特伯格：
尊敬的国王和皇后陛下，尊敬的诺贝尔奖得主们，女士们先生们，
莫言是个诗人，他扯下程式化的宣传画，使个人从茫茫无名大众中突出出来。 他用嘲笑和讽刺的笔触，攻击历史和谬误以及贫乏和政治虚伪。他有技巧的揭露了人类最阴暗的一面，在不经意间给象征赋予了形象。
高密东北乡体现了中国的民间故事和历史。在这些民间故事中，驴与猪的吵闹淹没了人的声音，爱与邪恶被赋予了超自然的能量。
莫言有着无与伦比的想象力。他很好的描绘了自然；他基本知晓所有与饥饿相关的事情；中国20世纪的疾苦从来都没有被如此直白的描写：英雄、情侣、虐待者、匪徒--特别是坚强的 、不屈不挠的母亲们 。他向我们展示了一个没有真理、常识或者同情的世界，这个世界中的人鲁莽、无助且可笑。
中国历史上重复出现的同类相残的行为证明了这些苦难。对莫言来说，这代表着消费、无节制、废物、肉体上的享受以及无法描述的欲望，只有他才能超越禁忌试图描述。
在小说《酒国》中，最精致的佳肴是烧烤三岁儿童。男童沦为食物；女童因为被忽视而得以幸存。这是对中国计划生育政策的嘲讽，因为计划生育大量女胎被堕胎： 女孩连被吃的资格都没有。莫言为此写了一整本小说《蛙》。
莫言的故事有着神秘和寓意，让所有的价值观得到体现。莫言的人物充满活力，他们甚至用不道德的办法和手段实现他们生活目标，打破命运和政治的牢笼。
《丰乳肥臀》是莫言最著名的小说，以女性视角描述了1960年的大跃进和大饥荒。他讥讽了革命伪科学，就是用兔子给羊受精，同时不理睬所有的怀疑者，将他们当成右翼。小说的结尾描述了九十年代的新资本主义，会忽悠的人靠卖化妆品富了起来，并想通过混种受精培育凤凰。
莫言生动的向我们展示了一个被人遗忘的农民世界，虽然无情但又充满了愉悦的无私。每一个瞬间都那么精彩。作者知晓手工艺、冶炼技术、建筑、挖沟开渠、放牧和游击队的技巧并且知道如何描述。他似乎用笔尖描述了整个人生。
他比拉伯雷、斯威夫特和马尔克斯之后的多数作家都要滑稽和犀利。他的语言辛辣。他对于中国过去一百年的描述中，没有跳舞的独角兽和少女。但是他描述的猪圈生活让我们觉得非常熟悉。意识形态和改革有来有去，但是人类的自我和贪婪却一直存在。所以莫言为所有的小人物打抱不平。
在莫言的小说世界里，品德和残酷交战，对阅读者来说这是一种文学探险。曾有如此的文学浪潮席卷了中国和世界么？莫言作品中的文学力度压过大多数当代作品。
瑞典文学院祝贺你。请你从国王手中接过2012年诺贝尔文学奖。
莫言诺奖颁奖词（英文版）
Award Ceremony Speech
Presentation Speech by Per W?stberg, Writer, Member of the Swedish Academy, Chairman of the Nobel Committee, 10December2012
Your Majesties, Your Royal Highnesses, Esteemed Nobel Laureates, Ladies and Gentlemen,
Mo Yan is a poet who tears down stereotypical propaganda posters, elevating the individual from an anonymous human mass. Using ridicule and sarcasm Mo Yan attacks history and its falsifications as well as deprivation and political hypocrisy. Playfully and with ill-disguised delight, he reveals the murkiest aspects of human existence, almost inadvertently finding images of strong symbolic weight.
North-eastern Gaomi county embodies China’s folk tales and history. Few real journeys can surpass these to a realm where the clamour of donkeys and pigs drowns out the voices of the people’s commissars and where both love and evil assume supernatural proportions.
Mo Yan’s imagination soars across the entire human existence. He is a wonderful portrayer of nature; he knows virtually all there is to know about hunger, and the brutality of China’s 20th century has probably never been described so nakedly, with heroes, lovers, torturers, bandits – and especially, strong, indomitable mothers. He shows us a world without truth, common sense or compassion, a world where people are reckless, helpless and absurd.
Proof of this misery is the cannibalism that recurs in China’s history. In Mo Yan, it stands for unrestrained consumption, excess, rubbish, carnal pleasures and the indescribable desires that only he can attempt to elucidate beyond all tabooed limitations.
In his novel Republic of Wine, the most exquisite of delicacies is a roasted three-year-old. Boys have become exclusive foodstuff. The girls, neglected, survive. The irony is directed at China’s family policy, because of which female foetuses are aborted on an astronomic scale: girls aren’t even good enough to eat. Mo Yan has written an entire novel, Frog, about this.
Mo Yan’s stories have mythical and allegorical pretensions and turn all values on their heads. We never meet that ideal citizen who was a standard feature in Mao’s China. Mo Yan’s characters bubble with vitality and take even the most amoral steps and measures to fulfil their lives and burst the cages they have been confined in by fate and politics.
Instead of communism’s poster-happy history, Mo Yan describes a past that, with his exaggerations, parodies and derivations from myths and folk tales, is a convincing and scathing revision of fifty years of propaganda.
In his most remarkable novel, Big Breasts and Wide Hips, where a female perspective dominates, Mo Yan describes the Great Leap Forward and the Great Famine of 1960 in stinging detail. He mocks the revolutionary pseudo-science that tried to inseminate sheep with rabbit sperm, all the while dismissing doubters as right-wing elements. The novel ends with the new capitalism of the ‘90s with fraudsters becoming rich on beauty products and trying to produce a Phoenix through cross-fertilisation.
In Mo Yan, a forgotten peasant world arises, alive and well, before our eyes, sensually scented even in its most pungent vapours, startlingly merciless but tinged by joyful selflessness. Never a dull moment. The author knows everything and can describe everything – all kinds of handicraft, smithery, construction, ditch-digging, animal husbandry, the tricks of guerrilla bands. He seems to carry all human life on the tip of his pen.
He is more hilarious and more appalling than most in the wake of Rabelais and Swift — in our time, in the wake of García Marquez. His spice blend is a peppery one. On his broad tapestry of China’s last hundred years, there are neither dancing unicorns nor skipping maidens. But he paints life in a pigsty in such a way that we feel we have been there far too long. Ideologies and reform movements may come and go but human egoism and greed remain. So Mo Yan defends small individuals against all injustices – from Japanese occupation to Maoist terror and today’s production frenzy.
For those who venture to Mo Yan’s home district, where bountiful virtue battles the vilest cruelty, a staggering literary adventure awaits. Has ever such an epic spring flood engulfed China and the rest of the world? In Mo Yan’s work, world literature speaks with a voice that drowns out most contemporaries.
The Swedish Academy congratulates you. I call on you to accept the 2012 Nobel Prize for Literature from the hand of His Majesty the King.
好了，今天关于“allegorical”的话题就讲到这里了。希望大家能够通过我的讲解对“allegorical”有更全面、深入的了解，并且能够在今后的学习中更好地运用所学知识。
