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English Literature in the Renaissance Period

2 English Literature in the Renaissance Period

Ⅰ. Essay questions.

1. Co mment on the theme of Thomas More?s Utopia.

2. Comment on Christopher Marlowe?s contribution to English literature.

3. What is your opinion about the moral expressed in Christopher Ma rlowe?s The Tragical History of Doctor Faustus?

3. What is the theme of the merchant of Venice?

4. What gives Shakespeare the unwavering reputation for greatness in age after age? Ⅱ. Define the following terms.

1. Renaissance

2. Elizabethan period

3. Drama

4. Jacobean age

5. Sonnet

6. Essay 7soliloquy

7. Soliloquy 8. Eclogue

9. Hymn 10. Spenserian stanza

11. Miracle play 12. Interlude

13. Euphuism 14. Revenge tragedy

15. Comedy 16. Dirge

17. Farce 18. Tragedy

19. Tragicomedy 20. History play

21. Caroline age

Ⅲ. Fill in the blanks.

1. The second period of English renaissance is also called the __________period or the age of __________.

2. Soon after the __________ was introduced by the earl of surrey in his translation lf Virgil?s the Aeneid, and it became the standard meter for Elizabethan and later poetic drama.

3. Shakespeare?s plays have been traditionally divided into four categories according to dramatic type: histories, __________, tragedies and __________.

4. William Caxton is important to the development of English literature in that he introduced __________ into England.

5. Thomas Wyatt is usually regarded as the first great English sonneteer. It is he who Fist use a __________ for the conclusion of Sonnet practice followed by Shakespeare.

6. Edmund Spenser is often referred as “the poets?__________”because of his considerable influence on later poets.

7. There are two kinds of allegory: those that use __________, as in john Bunyan?s the pilgrim?s progress, and those that use a special kind of __________, as in Dante?s divine comedy.

8. Edmund Spenser?s best-known Poem the shepherd?s calendar consists of 12 __________poem or eclogues, one for each month of the year.

9. Edmund Spenser?s Amoretti is a series of 88 __________ in which he links each quatrain to the next by a continuing rhyme: abab bcbc cdcd ee. This form is usually

called __________.

10. Generally speaking, the development of early English drama experiences three periods: religious period, moral period and __________ periods.

11. __________ is considered the first great English dramatist and the most important Elizabethan playwright before Shakespeare.

12. Shakespeare? a 154sonnets fall into two series: one series are addressed to W.H, a young man, and the other addressed to __________.

13. The writings of Francis bacon mainly fall into three categories: __________, purely literary and professional.

14. The major, or central, character of the plot is called the __________; his opponent, the character against whom he struggles or contends, is called the __________. 15. A Shakespearean sonnet is composed of three four-line quatrains and a concluding two-line __________.

Ⅳ. Choose the best answer.

1. In the English renaissance period, scholars began to emphasize the capacities of the human mind and the achievements of human culture. The most significant intellectual movement was __________.

A. reformation

B. geographical explorations

C. humanism

D. the Italian revival

2. __________is regarded as the earliest popular tragedy of bold and revenge.

A. The Tragical History of Doctor Faustus by Christopher Marlowe

B. The Spanish Tragedy by Thomas Kyd

C. Alexander and Campaspe by John Lyly

D. King Lear by William Shakespeare

3. Which of the following plays does not belong to Shakespeare?s great tragedies?

A. Othello

B. Macbeth

C. Romeo and Juliet

D. Hamlet

4. Which of the following plays does not belong to Shakespeare?s comedies?

A. Henry Ⅴ

B. The Merchant of Venice

C. A Midsummer N ight’s Dream

D. The W inter’s Tale

5. An important Variety of ode in the 16th century was __________, a poem in praise of marriage, conventionally following the course of the wedding day.

A. hymn

B. epithalamion

C.ode

D. ballad

6. Sir Philip Sidney?s arcadia was a long __________ written in an elaborately artful prose.

A. pastoral eclogue

B. pastoral lyric

C. pastoral romance

D. pastoral drama

7. Sir Philip Sidney is known for the following three works except __________

A. Arcadia

B. Astrophel and Stella

C. The S hepherd’s Calendar

D. Apology for Poetry

8. The following playwrights belong to the “university wits”, Shakespeare?s predecessors, except __________.

A. John Lyly

B. Ben Jonson

C. Thomas Kyd

D. Christopher Marlowe

9. Which is not the works of Christopher Marlowe?

A. Lycidas

B. Tamburlaine the Great

C. The Jew of Malta

D. The tragic history of doctor Faustus

10. Which of the following poetic forms is the principal form of Shakespeare?s dramas?

A. lyric

B. sonnet

C. blank verse

D. quatrain

11. Ben Jonson?s poetic line “not of an age, but for all time” was dedicated to

__________.

A. Edmund Spenser

B. Christopher Marlowe

C. Geoffrey Chaucer

D. William Shakespeare

12. Which kind of comedy do Shakespea re?s the taming of the shrew and the merry wives of Windsor belong to?

A. farce

B. romantic comedy

C. satiric comedy

D. comedy of humours

13. Of the following plays, which is not written by Ben Jonson?

A. Every Man in His Humor

B. Volpone

C. The Alchemist

D. The S hoemaker’s Holiday

14. __________is the most common foot in the English poetry.

B. the anapest

C. the trochee

D. the dactyl

15. “Prince Arthur?s great mission is his search for Gloriana, with whom he has fallen in love through a love vi sion.” The two literary figures “Arthur” and “Gloriana” are from __________.

A. Morte d’Arthur

B. The Tragical History of Doctor Faustus

C. The Faerie Queene

D. Piers the Plowman

16. The Tragical history of doctor Faustus is one of Christopher Marlowe?s be st works in which dr. Faustus seeds __________no matter at what cost and finally meets his tragic end as a result of selling his soul to the devil.

A. money

B. immorality

C. knowledge

D. political power

17. “Some books are to be tasted, others to be swallowed, and some few to be chewed and digested” is one of the epigrams found in __________

A. Francis bacon?s “of studies”

B. Thomas Mors?s utopia

C. john Bunyan?s the pilgrim?s progress

D. Henry fielding?s tom Jones

18. Christoph er Marlow?s the passionate s hepherd to his love is a (n) .

A. pastoral lyric

B. elegy

C. eulogy

D. epic

19. Here are four lines taken from Edmund Spenser?s The Faerie Queene:” but on his brest a bloudie Crosse he bore, / the deare remembrance of his dying lord, / For whose sweete sake that glorious badge he wore, / and dead as living ever him adored.” who is the dying lord discussed in the above lines?

A. Beowulf

B. king Arthur

C. Jesus Christ

D. Jupiter

20. In Shakespeare?s the merchant of Venice, Antonio could not pay back the money he borrowed from shylock because __________.

A. his money was all invested in the newly-emerging textile industry

B. his enterprise went bankrupt

C. Bassanio was able to pay his own debt

D. his ships had all been lost

21. Which of the following stat ements best illustrate the theme of Shakespeare?s

A. the speaker eulogizes the power of nature.

B. the speaker satirizes human vanity.

C. the speaker praises the power of artistic creation.

D. the speaker meditates on man?s salvation.

22. The sentence “shall I compare thee to a summer?s day?” is the beginning line of one of Shakespeare?s __________.

A. comedies

B. tragedies

C. sonnets

D. histories

23. “N ot on thy sole but on thy soul, harsh Jew, I thou mak?st thy knife keen” In the above quotation taken from the merchant of Venice, Shakespeare employs a (n) .

A. oxymoron

B. pun

C. simile

D. synecdoche

24. The tragedy of Dr. Faustus, the protagonist in Christopher Marlowe?s the tragic history of Dr. Faustus, is the very fact that __________.

A. man is confined to time

B. he tried to join Africa to Spain

C. he became a man with out soul after he sold it

D. he conjured up Helen, the lady who was the very cause of the Trojan War

Ⅴ. Short-answer questions

1. Please summarize the differences between traditional epics and literary epics. Give examples to illustrate these two kinds of epics.

2. Tell the characteristics of Edmund Spenser?s poetry.

3. How many periods do Shakespeare?s d ramatic career fall into?

4. What are the unique features of Shakespeare?s sonnets?

5. What is Ben Jonson?s theory on drama?

6. Please analyze briefly Edmund Spenser?s the Faeri e Queen. What do those knights and the evil figures symbolize respectively? What kind of ideas does the author want to express under the guise of medieval knighthood?

Ⅵ. Answer the questions according to the following passages.

Passage 1

(from the Faerie Queen, Canto 1)

A gentle knight was pricking on the plaine,

Ycladd in mightie armes and silver shielde,

Wherein old dints of deepe wounds did remaine,

The cruell markes of many a bloudy fielde;

Yet armes till that time did he never wield;

His angry steede did chide his foming bitt,

As much disdaining to the curbe to yield?

Full jolly knightly giusts and fierce encounters fit.

And on his brest a bloudie Crosse he bore,

The deare rememberance of his dying lord,

For whose sweete sake that glorious badge he wore,

And dead as living ever him ador?d:

Upo n his shield the like was also scor?d,

For soveraine hope, which in his helpe he had?

right faithfull true he was in deede and word,

But of his cheere did seeme too solemne sad,

Yet nothing did he dread, but ever was ydrad.

Upon a great adventure he was bond,

The greatest Gloriana to him gave,

That greatest glorious Queene of faerie lond,

To winne him worship, and her grace to have,

Which of all earthly things he most did crave;

And ever as he rode, his hart did earne

To prove his puissance in battell brave

Upon his foe, and his new force to learne;

Upon his foe, a dragon horrible and stearne.

A lovely ladie rode him faire beside,

Upon a lowly asse more white then snow,

Yet she much whiter, but the same did hide

Under abele, that wimpled was full low?

And over all a blacke stole she did throw,

As one that inly mourned: so was she sad,

And heavie sat upon her palfrey slow:

Seemed in heart some hidden care she had,

And by her in a line a milke white lambe she lad.

Questions:

1. What?s the knight?s name in this part?

2. What does the knight stand for?

3. The knight set out on his quest to rescue the parents of Una, a beautiful lady. What does she symbolize?

4. Analyze the writing features of this poem.

Passage 2

What judgment shall ii dread, doing no wrong?

You have among you many a Purchas?d slave,

Which, like your asses and your dogs and mules,

You use in abject and in slavish parts,

Because you bought them: shall I say to you,

Let them be free, marry them to your heirs?

Why sweat they under burdens? let their beds

B e sesson?d with such viands? You will answer:

…The slaves are ours?: so do I answer you:

The pound of flesh which I demand of him,

Is dearly bought;? tis mine and I will have it.

If you deny me, fie upon your law!

There is no force in the decrees of Venice.

I stand for judgment: answer, shall I have it?

Question:

5. Where is this selection taken from?

6. Who is the character who said these lines in the play?

7. Comment on the character.

Passage 3

Had I as many souls as there be stars

I?d give them all for Mephistophilis!

By him I?ll be great emperor of the world,

And make a bridge through the mobbing air

To pass he ocean with a band of men;

I?ll join the hills that country continent to Spain,

And both contributory to my crown;

The emperor shall not live but by my leave,

Not any potentate of Germany.

Now that I have obtained what I desire

I?ll live in speculation of this art

Till Mephistophilis return again.

Question:

8. Name the playwright and the title of the work from which the passage is taken.

9. Name the speaker of the passage quoted above.

10. Use the above passage as a guide and write down in one or two sentences the theme of the play.

Passage 4

“And the native hue of resolution / I s sicklied o?er with the pale cast of thought.”(Shakespeare, Hamlet)

Questions:

11. What does the “native hue of resolution” mean?

12. What does the “pale cast of thought” stand for?

13. What idea do the two lines express?

Keys

Ⅰ. Essay questions.

1. The name “utopia” comes from Greek words meaning “no place”. It was used by Thomas more to name his ideal society. The subject is the search for the best possible form of government. Central to the constitution of utopia is community of utopia is community of property. No fundamental reform in society is possible until

private property is abolished because the existence of private property is the source of all social evils. Only utopia, where private property has been abolished, offers his ideal of a rationally planned and unchanging state. Utopia is an enlightened pagan community in which all land and goods are owned in common and are available to all as needed; there is no private property of any kind. All the citizens, men and women, are on an equal footing and have the same rights; their interests are subordinate to those of society at large; and every one must engage in physical labor. A national system of education is extended to men and women alike strictly based on reasoning and persuasion. These conditions are markedly contrasted with those of English society, presenting a sharp criticism of current English society. Utopia is regarded as one of the earliest work of utopian socialism.

2. Christopher Marlowe was the greatest dramatic writer in the 16th century after Shakespeare, and the most important influence upon Shakespeare. It is Marlowe who first made blank verse (unrhymed iambic pentameter) the principal instrument of English drama. His blank verse is a living thing? it is v igorous, fluid and precise. His plays have great intensity, but they show a genius which is epic rather than dramatic. The great characteristic of his genius is audacity; he insists on dealing with the most illustrious persons, the strongest situations, and the most tempestuous passions.

He first and alone guided Shakespeare into the right way of work. Before him there was neither genuine blank verse nor genuine tragedy in the English language. After his arrival the way was prepared, the pathos was made straight for Shakespeare. He is the greatest discoverer, the most daring and inspired pioneer in English literature.

3. According to the conventional view, Dr. Faustus is a predominantly Christian play, carrying the essential elements of the medieval morality. Like morality plays, it vindicates humility, faith and obedience to the law of god. By exhibiting the punishment of man for trying through the proud exercise of forbidden knowledge to transcend the bounds of his nature, the Faust-myth is actually a warning against the sin of pride and presumption. The struggle in Dr. Faustus is the same struggle between heaven and hell, between god and Lucifer; Faustus?s fall is caused by the same pride and ambition that caused the fall of the angels in heaven; and there is a strong analogue between his state and that of Adam and eve in the garden of Aden.

But in a radical view, the play?s dominant moral is human rather than religious. It celebrates the human passion for knowledge, power and happiness; it also reveals man?s frustration in realizing the high aspirations in a hostile moral order. And the confinement to time is the cruelest fact of man?s condition. Besides, the conflict of choice is made convincing as it would not have been in a medieval play, and the psychology not only of Faustus, but of Mephistophilis is presented with moving insight.

4. (1) Justice versus mercy: Shakespeare reveals different aspects of justice versus

mercy and suggests, through Portia, that all men should be merciful. Human mercy should follow the example of divine mercy. There is a further aspect of justice in this case-injustice revealed in the Christians? treatment of the Jews. In

this way Shakespeare gives shylock a motive in wanting his revenge on Antonio.

(2) Appearance versus reality: there are numerous variations on this theme:

superficial or external beauty vs. moral or spiritual beauty or truth (as in the case of the three caskets); the letters of law vs. the spirit of the law.

(3) Commercial or material values versus love: Shakespeare puts forward the idea

that true love is much more worthwhile than money and material values. Antonio epitomizes true love in his friendship for Bassanio, when hen is prepared to lay down his life for his friend. Shylock, on the other hand, does not appear to be able to distinguish his values. When he hears that Jessica has run away, he cannot decide which hurts him most: the loss of his daughter or the loss of his money. 5. First of all, there is the intense sympathy that his work conveys for people of every type and class, from the most exalted monarch to the humblest gravedigger of porter. No one, even a villain, is presented without compassion-without some understanding from deep inside that character as to how it feels to be that very person living precisely under those conditions in exactly that way.

Second, there is a warmth of humor that suffuses the comedies and comes out even in the histories and tragedies, an affectionate chuckling with the character over all-too-human foibles that may be extreme in some but are potentially shared by all. Christopher Marlowe?s fierce eloquence has nothing of this quality, and Ben Jonson?s comedic spirit all too often shades off into cruelty and contempt for the characters being satirized.

Third, there is a communicable zest for the heroic, whether seen in daring exploits, courageous speculation, or the ardors of what we would now call romantic love. This zest can be expressed as exhilaration through elevated language, as zeal and boldness in facing the unknown, or as passions that are various earthy, sensuous, or idealistic.

Fourth, this overarching tolerance for diverse and wide-ranging expressions of human nature has the strength-at Shakespeare?s greatest-to witness a tragic vision unique to Shakespeare?s writing. No theory of tragedy, ancient or modern, is sufficient to diagram the workings of this dramatic power.

Last, there is an ultimate vision of wholeness in all of Shakespeare?s poetry, a recognition of the healing power of the imagination, its profound health, the always-possible reconciliation of extremes that eventually come about at whatever cost. This essential “goodness” in Shakespeare can be palpably felt in the performance of almost any of his plays.

Ⅱ. Define the following terms.

1. Renaissance: renaissance (“rebirth”) is the name commonly applied to the period of European history following the Middle Ages; it is usually said to have begun in Italy in the late fourteenth century and to have continued, both in Italy and other countries. In this period the European arts of painting, sculpture, architecture, and literature reached an eminence not exceeded in any age. The development came late to England in the sixteenth century, and did not have its flowering until the Elizabethan and Jacobean periods. It also has been described as the birth of the

modern world out of the ashes of the dark ages; as the discovery of the world and the discovery of man; and as the era of the emergence of untrammeled individualism in life, thought, religion, and art. The innovations during this period were: (1) the new learning. Renaissance scholars revived the knowledge of the Greek language, discovered and disseminated a great number of Greek manuscripts, and added considerably to the number of roman authors and works which had been known during the Middle Ages. (2) The new religion. The reformation led by martin Luther was a successful heresy which struck at the very foundations of institutionalism of the Roman Catholic Church. (3) The new world. In 1492 Christopher Columbus, acting on the persisting and widespread belief in the old Greek idea that the world is a globe, sailed west to find a new commercial route to the east, only to be frustrated by the unexpected barrier of a new continent. (4) The new cosmos. In 1543copernicus published his new hypothesis. The Copernican theory proposed a system in which the center is the sun, not the earth, and in which the earth is not stationary, but only one planet among many planets, all of which revolve around the sun.

2. Elizabethan period (Elizabethan age): strictly speaking, it refers to the period of the reign of Elizabeth Ⅰ (1558~1603). The term “Elizabethan,” however, is often used loosely to refer to the late sixteenth and early seventeenth centuries, even after the death of Elizabeth. This was a time of rapid development in English commerce, maritime power, and nationalist feeling-the defeat of the Spanish armada occurred in 1588. It was a great(in drama the greatest) age of English literature-the age of sir Philip Sidney, Christopher Marlowe, Edmund Spenser, Shakespeare, sir Walter Raleigh, Francis bacon, Ben Jonson, and many other extraordinary writers of prose and of dramatic, lyric, and narrative poetry.

3. Drama: the form of composition designed for performance in the theater, in which actors take the roles of the characters, perform the indicated action, and utter the written dialogue. (The common alternative name for a dramatic composition is a play.) in poetic drama the dialogue is written in verse, which in English is usually bland verse. Almost all the heroic dramas of the English restoration period, however, were written in heroic couplets (iambic pentameter lines rhyming in pairs). A closet drama is written in dramatic form, with dialogue, indicated settings, and stage directions, but is intended by the author to be read rather than to be performed.

4. Jacobean age: the reign of James Ⅰ (1603~1625), which followed that of Queen Elizabeth. This was the period in prose writi ngs of Francis bacon, john Donne?s sermons, Robert Burton?s anatomy of melancholy, and the king Jane?s translation of the bible. It was also the time of Shakespeare?s greatest tragedies and tragicomedies, and of major writings by other notable poets and playwrights including john Donne, Ben Jonson, Michael Drayton, lady Mary wroth, sir Francis Beaumont and john Fletcher, john Webster, George Chapman, Thomas Middleton, Philip Massinger, and Elizabeth Cary, whose notable biblical drama the tragedy of Mariam, the Faire Queene of Jewry was the first long play by an Englishwoman to be published.

5. Sonnet: a lyric poem consisting of a single stanza of fourteen iambic pentameter

lines linked by an intricate rhyme scheme. There are two major patterns of rhyme in sonnets written in the English language:(1)the Italian or Petrarchan sonnet(named after the fourteenth century Italian poet Petrarch) falls into two main parts: an octave (eight lines) rhyming abbaabba followed by a sestet (six lines) rhyming cdecde or some variant, such as cdccdc. (2) The earl of surrey and other English experimenters in the sixteenth century also developed a stanza form called the English sonnet, or else the Shakespearean sonnet, this sonnet falls into three quatrains and a concluding couplet: abab cdcd efef gg. There was one notable variant, the Spenserian sonnet, in which Edmund Spenser linked each quatrain to the next by a continuing rhyme: abab bcbc cdcd ee.

6. Essay: any short composition in prose that undertakes to discuss a matter, express a point of view, persuade us to accept a thesis on any subject, of simply entertain. The essay discusses its subject in nontechnical fashion, and often with a liberal use of such devices as anecdote, striking illustration, and humor to augment its appeal.

A useful distinction is that between the formal and informal essay. The formal essay, or article, is relatively impersonal: the author writes as an authority, or at least as highly knowledgeable, and expounds the subject in an orderly way. In the informal essay(or “familiar” or “personal essay”), the author assumes a tone of intimacy with his audience, tends to deal with everyday things rather than with public affairs or specialized topics, and writes in s relaxed, self-revelatory, and sometimes whimsical fashion.

7. Soliloquy: soliloquy is the act of talking to oneself, whether silently or aloud. In drama it denotes the convention by which a character, alone on the stage, utters his or her thoughts aloud.

8. Eclogue: it is a term for a short pastoral poem. The term eclogue, bucolic, and idyll have been widely used as synonyms, except that grammarians have made an effort to confine “eclogue” to poems in dialogue form.

9. Hymn: the term derives from the Greek Hymnos, which originally signified songs of praise that were for the most part addressed to the gods, but in some instances to human heroes or to abstract concepts. In current usage it denotes a song that celebrates god or expresses religious feelings and is intended primarily to be sung as part of a religious service.

10. Spenserian stanza: it is a longer form devised by Edmund Spenser for the Faerie Queene (1590~1996) –nine lines, in which the first eight lines are iambic pentameter and the last iambic hexameter, rhyming ababbcbcc.

11. Miracle play: the miracle play had as its subject either a story from the bible, or else the life and martyrdom of a saint. In the usage of some historians, however, “miracle play” denotes only dramas based on saints? lives, and the term “mystery play” is applied on ly to dramas based on the bible.

12. Interlude: interlude (Latin, “between the play”) is a term applied to a variety of short stage entertainments, such as secular farces and witty dialogues with a religious or political point. In the late fifteenth and early sixteenth centuries, these little dramas were performed by bands of professional actors; it is believed that they were often put on between the courses of a feast or between the acts of a

longer play.

13. Euphuism: euphuism takes its name from the moralistic prose romance Euphues written by john Lyly in 1578. The style is sententious (that is, full of moral maxims), relies persistently on syntactical balance and antithesis, reinforces the structural parallels by heavy and elaborate patterns of alliteration and assonance, exploits the rhetorical question, and is addicted to long similes and learned allusions which are often drawn from mythology and the habits of legendary animals.

14. Revenge tragedy: revenge tragedy is a dramatic genre that flourished in the late Elizabethan and Jacobean period, sometimes known as “the tragedy of blood”. Common ingredients include: the hero?s quest for vengeance, often at the prompting of the ghost of a murdered kinsman or loved one; scenes of real or feigned insanity; a play-within-a-play; scenes in graveyards, severed limbs, scenes of carnage and mutilation, etc. in revenge tragedy violence was not reported but took place on stage.

15. Comedy: in the most common literary application, a comedy is a fictional work in which the materials are selected and managed primarily in order to interest and amuse us: the characters and their discomfitures engage our pleasurable attention rather than our profound concern, we are made to feel confident that no great disaster will occur, and usually the action turns out happily for the chief characters.

16. Dirge: dirge is a versified expression of grief on the occasion of a particular person?s death, but differs from the elegy in that it is short, is less formal, and is usually represented as a text to be sung.

17. Farce: farce is a type of comedy designed to provoke the audience to simple, hearty laughter-”belly laughs,” in the parlance of the theater. to do so it commonly employs highly exaggerated or caricatured types of characters, puts them into improbable and ludicrous situations, and makes free use of sexual mix-ups, broad verbal humor, and physical bustle and horseplay. Farce was a component in the comic episodes in medieval miracle plays. In the English drama, farce is usually an episode in a more complex form of comedy.

18. Tragedy: the term is broadly applied to literary, and especially to dramatic, representations of serious actions which eventuate in a disastrous conclusion for the protagonist (the chief character).

19. Tragicomedy: a type of Elizabethan and Jacobean drama which intermingled both the standard characters and subject matter and the standard plot-forms of tragedy and comedy. Tragicomedy represented a serious action which threatened a tragic disaster to the protagonist, yet, by an abrupt reversal of circumstance, turned out happily.

20. History play: the Elizabethan chronicle plays are sometimes called history plays. This latter term, however, is often applied more broadly to any drama based mainly on historical mater ials, such as Shakespeare?s roman plays Julius Caesar and Antony and Cleopatra.

21. Caroline age: the reign of Charles Ⅰ(1625~1649); the name is derived from “Carolus,” the Latin version of “Charles”. This was the time of the English civil

war fought between the supporters of the king (known as “cavaliers”) and the supporters of parliament (known as “roundheads,” from the ir custom of wearing their hair cut short). John Milton began his writing during this period; it was the age also of the religious poet George Herbert and of the prose writers Robert Burton and sir Thomas Browne.

Ⅲ. Fill in the blanks.

1. Elizabethan, William Shakespeare

2. blank verse

3. Comedies, romances

4. printing

5. Couplet

6. poet

7. Personifications, symbolism 8. pastoral

9. Sonnets, Spenserian sonnet 10. artistic

11. Christopher Marlowe 12. dark lady

13. Philosophical 14. Protagonist, antagonist

15. Couplet

Ⅳ. Choose the best answer.

1. C

2. B

3. C

4. A

5. B

6. C

7. C

8. B

9. A 10 C.

11. D 12. A 13. D 14. C 15. C

16. C 17. A 18. A 19. B 20. D

21. C 22. C 23. B 24. C

Ⅴ. Short-answer questions

1. in its strict sense the term epic or heroic poem is applied to a work that meets at least the following criteria: it is a long verse narrative on a serious subject, told in a formal and elevated style, and centered on a heroic or quasi-divine figure on whose actions depends the fate of a tribe, a nation, or the human race.

Traditional epics (also called “folk epics” or “primary epics”) were written versions of what had originally been oral poems about a tribal or national hero during a warlike age. Among these are the Iliad and odyssey that the Greeks ascribed to homer; the Anglo-Saxon Beowulf, etc. literary epics were composed by individual poetic craftsmen in deliberate imitation of the traditional form. Of this kind is Virgil?s Lat in poem The Aeneid, which later served as the chief model for john Milton; s literary epic paradise lost (1667). Paradise lost in turn became, in the romantic period, a model for john Keats? fragmentary epic Hyperion, as well as for William Blake?s several epics, or “prophetic books”, which translated into Blake?s own mythic terms the biblical narrative that had been Milton?s subject.

2. T he five main qualities of Edmund Spenser?s poetry are:

(1) a perfect melody;

(2) a rare sense of beauty;

(3) a splendid imagination;

(4) a lofty moral purity and seriousness;

(5) a dedicated idealism.

3. S hakespeare?s career can be oversimplified by seeing the plays as falling roughly into four periods, produced at a fairly consistent rate of nearly two a year.

(1) The early histories of the 1590s, roughly up to 1594.

(2) The romantic comedies around the turn of the century, roughly from 1594 to

1600.

(3) The great tragedies of the early 1600s, from 1600 to 1608.

(4) The romances of the 1610s.

4. The principal person addressed by the poet is not a woman but a young man and a mysterious figure, the dark lady. More important, the depths of moral and aesthetic contemplation in Shakespeare?s sonnets are far more profound than those in other Elizabethan cycle.

With 3 exceptions (99, 126 and 154), Shakespeare uses the sonnet in the popular English form, first fully developed by surrey, of three quatrains and a couplet. The rhetorical organization also follows this structure, though occasionally Shakespeare varies it. The couplet usually ties the sonnet to none of the general themes of the series, leaving the quatrains free to develop the poetic intensity which makes the separate sonnets so memorable.

5. Ben Jonson is both a dramatist and a good critic. According to him, a play should be realistic, showing “an image of the times”. Characters should be selected to illustrate particular “humors”. Comedies should portray manners and follies, and thus could expose, ridicule and censure life. He insisted on an adherence to the unities of time, place and action. He rejected the admixture of comedy and tragedy, and thought romantic comedy and chronicle history full of absurdities.

6. T he whole poem expresses the author?s genuine devotion to Queen Elizabeth Ⅰand the country. In the poem Gloriana, the queen of fairyland, represents both glory and Queen Elizabeth Ⅰ, in whose honor 12 knights who symbolize the qualities of the chivalric virtues, engage in a series of adventures. The six completed books relate the adventures of the knights who represent the qualities of holiness, temperance, chastity, friendship, justice and courtesy. The knights as a whole symbolize England, and the evil figures stand for the country?s enemies. The dominating thoughts of the poem are nationalism (as shown in its celeb ration of Queen Elizabeth), humanism (as shown in its strong opposition to Roman Catholicism) and Puritanism (as shown in its moral teaching).

Ⅵ. Answer the questions according to the following passages.

Passage 1

1. The knight?s name is Redcross.

2. Holiness, or more specifically, the Anglican Church or the patron saint of England.

3. She symbolizes truth of true religion.

4. The poem is written in the stanza invented by the poet himself, the Spenserian stanza. That is to say, each stanza has nine lines, each of the first eight lines is in iambic pentameter form, and the ninth line is an iambic hexameter line. The rhythm scheme is abab bcbc c.

Passage 2

5. T his selection is taken from Shakespeare?s comedy the merchant of Venice, from the famous court scene which forms the climax of the play.

6. The money-lender shylock who demanded of a pound of human flesh.

7. Shylock is the most controversial character in the play. Some interpretations, especially after the atrocities in Nazi Germany in the Second World War, have seen him as a misunderstood alien who faces enormous prejudice from the Christians around him, while others see him as an unmitigated monster with no redeeming features. The truth probably lies somewhere in between. Clearly, he is a man who has suffered a lot and is destined, as the play proceeds, to suffer a great deal more. Clearly, too, however, he becomes inhuman in his demands on the court. At what point does the inhuman element take over from the human and make him someone who has to be stopped? The answer might lie in the scene with tubal, where shylock?s emotions are deliberately manipulated. It is worth looking at this scene care fully to see if you would agree that it is here that shylock?s character makes a permanent change for the worse. Shylock?s desire for revenge eventually takes him over, becoming an obsession with the destruction of Antonio for previous wrongs. When the court finds against him, he is a shattered man, financially ruined, made to give his goods into the hands of the Christians and, in a final ignominy, forced to become one of them. If the revenge he sought for Antonio?s insults is out of all proportion to those insults, in the same way the revenge exacted by the Christian court is unbearably cruel, even if it is cloaked and hidden under the guise of charity. Once again, the Christians give the Jews another example of their “justice”. Passage 3

8. From Christop her Marlowe?s Dr. Faustus.

9. Dr. Faustus.

10. In portraying Faustus, Marlowe praises his soaring aspiration for knowledge while warning against the sin of pride.

Passage 4

11. The “native hue of resolution” means the natural color of resolution, a color as red as blood.

12. The “pale cat of thought” stands for hamlet?s anxiety and melancholy.

13. In these two lines, the ruddy color is associated with the sanguine temperament and the pale look with the tinge of melancholy. They express hamlet?s anxiety and hesitation before he takes the firm resolution to revenge at the critical moment.

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Pep小学、初中英语词汇表（共619个单词）名词n ,noun[naun] 形容词adj ,adjective['?d?iktiv] 数词num ,numeral['nu:m?r?l, 'nju:-] 代词pron ,pronoun['pr?unaun] 动词v ,verb[v?:b] 副词adv ,adverb['?dv?:b] 冠词art ,article['ɑ:tikl] 介词prep ,preposition[,prep?'zi??n] 连词conj ,conjunction[k?n'd???k??n] 感叹词int ,interjection[,?nt?'d?ek??n] a,[?n,?n]一(在元音字母前代替不定代词a) an, [?n,?n]一(在元音字母前代替不定代词a) about[?'baut]（关于，大约）, after['ɑ:ft?]（之后）, afternoon[,ɑ:ft?'nu:n]（下午）, again[?'ɡen, ?'ɡein]再一次, ago[?'ɡ?u]以前, air[??]空气，空中, v t. & vi. 晾晒, 烘干 all[?:l]全部, along[?'l??]沿着, 向前，往前 am, [?m]是（用于第一人称） and, [?nd, ?nd, ?n]和, 与, 及，然后，接着angry['??ɡri]生气的, 恶劣的, 狂怒的 animal['?nim?l]动物, 兽, 牲畜 answer['ɑ:ns?]回答，答案, ant[?nt]蚂蚁, any['eni]任何的, 一点, 一些 apple, ['?pl]苹果; 苹果树 April['eipr?l]四月, are, [ɑ:]是（用于二三人称的复数） ask[ɑ:sk问要求, 请求,at, August['?:ɡ?st]八月, aunt[ɑ:nt]阿姨,姑母, 姨母; 伯母, 婶母, 舅母auntie aunty['?nti:, 'ɑ:n-](aunt的昵称)伯母;婶母;姑母;姨母;舅母 autumn['?:t?m]秋天，秋季，成熟期, 渐衰期 B Back[b?k]（后面）, bad[b?d]坏的, bag[b?ɡ]包，书包, ball[b?:l]球, 舞会 banana[b?'nɑ:n?]香蕉, bank[b??k]银行，河岸, basketball['bɑ:skitb?:l]篮球, bathroom['bɑ:θrum]浴室, be, [bi:, bi][be to-v]表示必要、打算、可能性、假设等或用来表示将来安排 bean[bi:n]菜豆,豆 bear[b??]n熊, vt. & vi.1 承担, 负担 beautiful['bju:t?ful]美丽的,很好的 bed[bed]床, 河床,苗圃, 花坛 bee[bi:]蜜蜂, before[bi'f?:]conj以前, prep. (表示位置)在…前面 begin[bi'ɡin]开始, best[best]最好的, between[bi'twi:n]在….之间, big[biɡ]大的, 成功的,重要的, 重大的;bigger较大的；biggest 最大的 bike[baik]自行车, bird[b?:d]鸟, birthday['b?:θdei]生日, black[bl?k]黑色的, blackboard['bl?kb?:d]黑板, blue[blu:]蓝色的, blow[bl?u]吹, boat[b?ut]小船, book[buk]书, 书籍账簿,vt. 1 登记, 记账 borrow['b?r?u]借，借入， boots[bu:ts]靴子, n擦靴人 bowl[b?ul]碗, 钵, 盘 box[b?ks]盒子，箱子, pencil['pens?l]铅笔, 彩色铅笔 pencil box文具盒, boy.[b?i]男孩, 少年 bread[bred]面包, 生计 breakfast['brekf?st]早餐, bright[brait]明亮的,聪明的, 愉快的，鲜艳的 bring[bri?]带来,造成，引起 brother['br?e?]兄弟, bus[b?s]公共汽车,巴士 but[b?t, b?t]但是, prep. 除…以外 buy[bai]买, 交易, 买卖 by[ba?]乘, 在…近旁; 在身边 bye[ba?]int.再见adj. 次要的 C Cake[keik]蛋糕, can[k?n, k?n]v能，会, n罐, 罐头 car[kɑ:]小汽车, 轿车 card[kɑ:d]卡, 纸牌, 扑克牌，办法, 手段, 妙计careful['k??ful]仔细的, 小心的 carry['k?ri]运，搬,提, 挑, 背 cartoon[kɑ:'tu:n]漫画, 动画片 cat[k?t], 猫 chair[t???]椅子, 大学教授职位 cheap[t?i:p]便宜的, 低俗的, 卑鄙的 cheese[t?i:z]奶酪, chess[t?es]国际象棋, chick[t??k]小鸡, 少妇 chicken['t?ikin]鸡肉, child[t?aild]孩子, 儿童，子女 children['t??ldr?n]孩子们, chocolate['t??k?lit]巧克力, city['siti]城市,都市，全城居民 class[klɑ:s]班级, 阶级, 社会阶级 classroom['klɑ:sru:m]教室, clean[kli:n]干净的，打扫, 正派的, 正大光明的clear[kli?]清晰的, 清白的，畅通的 clearly['kl??l?]明朗地,明确地，明亮地 clever['klev?]聪明的, 灵巧的, 精巧的 climb[klaim]爬, 上升, 增长 clock[kl?k]钟, 挂钟；watch [w?t?] 手表，看，观察close[kl?uz]关, 终结, 结束 clothes[kloz, kloez]衣服, coat[k?ut]外套, coffee['k?fi]咖啡, 咖啡豆 coin[k?in]硬币, cold[k?uld]寒冷, heat[hi:t] 高温, 炎热 have a cold感冒, colour['k?l?]颜色, 脸色, 气色，肤色 come[k?m]来, come back回来, come out出来, come to school来到学校, computer[k?m'pju:t?]电脑, 计算机

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职业 professor 教授 chef 厨师; 大师傅 dentist 牙医 scientist 科学家 janitor 清洁工;守卫 customer 顾客 consumer 消费者;用户 coach 教练 athlete 运动员 gymnast 体操员 librarian 图书管理员 white-collar 白领 manager 经理 engineer 工程师 hostess女主人;女老板;舞女accountant 会计 reporter 记者 queen女王;王后; 蜂王 king 国王 artist 艺术家;画家 musician 音乐家 tester 测试员 referee 裁判 designer 设计者 boss 老板 journalist 新闻记者 astronaut 宇航员;航天员astronomer 天文学家 actor 演员 merchant 商人;批发商;店主killer 杀手 thief 小偷 firefighter 消防员housekeeper 门卫 chief 酋长; 首领 captain 队长，首领；船长；上尉；海军上校 pilot 飞行员 hairdresser 理发师 doorman 看门人 lawyer 律师 developer 开发者 advertiser 广告商 electrician 电工 sponsor 赞助商inspector 检察员 investigator 研究员;调查员 operator 接线员 racer 比赛者 receptionist 接待员;传达员 architect 建筑师 editor 编辑 translator 译者（笔译） comedian 喜剧演员 photographer 摄影师 director 导演;主任 tutor 家教;导师;助教 typist 打字员 psychologist心理学家;心理学者 detective 侦探 foreman 领班; 工头 cashier 出纳员; 收银员 sailor 水手 miner 矿工 gardener 园丁;花匠;园艺家 printer 印刷工 tailor 裁缝 pianist 钢琴家 dealer 商人;经销商 monitor 班长 monk 和尚 witch 巫婆;女巫 producer 制作人; 制片人 priest 牧师 vet(veterinarian) 兽医 politician 政客; 政治家 baker 面包师 barber 理发师 butcher 屠夫 consultant 顾问 secretary 秘书 judge 法官 carpenter 木匠; 木工 baby-sitter 保姆 chemist 化学家; 药剂师 employee 员工 shepherd 牧羊人; 牧师 soldier 士兵 announcer 广播员; 宣告者 agent (broker) 经纪人 cartoonist 漫画家 clown 小丑 cowboy 牛仔 salesman 推销员; 售货员 shop assistant 店员 flyer 飞行员 guard 守卫 guide 导游 magician 魔术师 landowner (landlord)地主 greener 生手; 没经验的人 celebrity 名人 composer 作曲家 programmer 程序员 ambassador 大使 servant 仆人 hunter 猎人 explorer 探险家 analyst 分析家 conductor 售票员 biographer 传记作者 craftsman 工匠; 手艺人 gatekeeper 门卫 housewife 家庭主妇 manufacturer 生产商; 制造商 princess 公主 prince 王子 fiancée 未婚妻 fiancé未婚夫 robber 强盗; 盗贼 murderer 凶手; 谋杀犯 suspect 嫌疑犯 victim 受害人; 牺牲者 florist 花商; 花匠 statistician 统计员 anchor 新闻主播 boxer 拳击手 cobbler 鞋匠 blacksmith 铁匠 mechanic 技工; 机修工 staff 员工 minister 部长; 大臣; 牧师 parachutist 跳伞人 welder 焊接工; 电焊工 traffic warder 交通管理员 candidate 候选人; 申请者 participant 参与者; 参赛者 pedestrian 行人 retailer 零售商

各类职业的英文名称

accountant: 会计 actor: 男演员 actress: 女演员 airline representative: 地勤人员anchor: 新闻主播 announcer: 广播员 architect: 建筑师 artist: 艺术家 associate professor: 副教授 astronaut: 宇航员. attendant: 服务员 auditor: 审计员auto mechanic : 汽车技工 baker: 烘培师 barber: 理发师 (男) baseball player: 棒球选手 bell boy: 门童 bellhop: 旅馆的行李员 binman: 清洁工,垃圾工 blacksmith: 铁匠 boxer: 拳击手 broker (agent) : 经纪人 budgeteer: 预算编制者 bus driver: 公车(巴士)司机 butcher: 屠夫,肉商 buyer: 采购员 carpenter:木匠cartoonist: 漫画家 cashier: 出纳员 chef: 厨师 chemist : 化学师 clerk : 店员clown :小丑 cobbler: 制(补)鞋匠 computer programmer : 程序员 construction worker : 建筑工人 cook: 厨师 cowboy :牛仔 customs officer :海关官员dancer : 舞者 dentist: 牙科医生 designer: 设计师 desk clerk: 接待员 detective 侦探 doctor: 医生 door-to-door salesman: 推销员 driver: 司机dustman: 清洁工 editor : 编辑 electrician :电工 engineer:工程师 farmer: 农夫fashion designer: 时装设计师 fireman (firefighter): 消防员 fisherman: 渔夫florist: 花商 flyer: 飞行员 Foreign minister : 外交部长 gardener花匠(园丁) gas station attendant : 加油工 geologist : 地质学家 guard :警卫 guide: 导游hiredresseer: 理发师,美容师(女) housekeeper : 管家 housewife : 家庭主妇interpreter :口译员 janitor : 清洁工 journalist: 记者 judge 法官 lawyer :律师 librarian: 图书管理员. life guard :救生员 magician :魔术师masseur : 男按摩师 masseuse : 女按摩师 mathematician : 数学家 mechanic: 机械师 ,机修工 miner: 矿工 model: 模特儿 monk : 和尚,教士 movie director: 导演 movie star : 电影明星 musician : 音乐家 nun : 尼姑 nurse: 护士 office clerk : 职员 office staff 上班族 operator: 接线员parachutist: 跳伞人. personnel 职员 pharmacist药剂师 photographer:摄影师 pilot: 飞行员 planner: 计划员 policeman: 警察 postal clerk: 邮政人员 postman :邮差 President: 总统 priest: 牧师 professor: 教授 real estate agent: 房地产经纪人 receptionist :接待员 repairman :修理工人reporter : 记者 sailor: 船员，水手 salesman/ selespeople/ salesperson: 售货员scientist: 科学家 seamstress 女装裁缝师 secretary: 秘书 singer: 歌手 soldiery: 士兵 Marketing and Sales(市场与销售部分）Vice-President of Sales 销售副总裁Senior Customer Manager 高级客户经理Sales Manager 销售经理Regional Sales Manager 地区销售经理Merchandising Manager 采购经理Sales Assistant 销售助理Wholesale Buyer 批发采购员 Tele-Interviewer 电话调查员Real Estate Appraiser 房地产评估师Marketing Consultant 市场顾问Marketing and Sales Director 市场与销售总监

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小学四年级上册英语单词发音归类 a-e /e/ cake make face name shake date race game gate hate plate grape wave Dave Jane Jake Kate a // cap map dad hand bag man fat fan hat cat at apple candy Jack i-e/a/ five rice nine kite nice fine like time bike bite side ice white Mike i // pig big six sit milk fish thin picture is it this miss bit rabbit English window sister fifteen o-e// nose Coke home note rose hope Jones bone old toes no o // dog box body mom orange hot not lot lost Tom John u-e /ju:/ use cute excuse UK USA pupil student tube mule u // duck up cup cut but bus us uncle under fun mum study -e /i:/ he she we be -e- /e/ red bed ten pen pencil leg let get desk seven egg elephant friend

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各种职业的英文 teacher 教师 professor 教授[pr??fes?] cook 厨师 principal 校长[?prins?p?l] janitor 清洁工,管门员[?d??nit?] singer 歌手 actor 演员 astronaut 太空员[??str?n?:t] actress 女演员 killer 杀手 policeman 警察 firefighter 消防员 chef 厨师[?ef] housekeeper 管家，主妇[?haus?ki:p?] mugger 强盗抢劫犯[?m?g?] farmer 农民 boss 老板 dancer 跳舞者 taxi-driver 出租车司机 pilot 飞行员[?pail?t] hairdresser 理发师 doorman 看门人 waiter 服务 accountant---会计[??kaunt?nt] bank teller--银行出纳员 bank manager--银行经理 monk--和尚 nun--修女[n?n] priest--牧师[pri:st] actor--演员 actress -- 女演员[??ktris] director-- 导演，主管[di?rekt?] disc jockey (D.J.)--电台的音乐节目主持人[disk][?d??ki] master of ceremonies[?serim?ni] (M.C.)-- 节目主持人,司仪model-- 模特儿 producer-- 电影制片人[pr??dju:s?] singer--歌手 stage [steid?] hand--置景工 dentist--牙医 doctor--医生 nurse--护士 pediatrician--儿科医师[,pi:di?'tri??n]

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（）2、he A:Chinese B:egg （）3、she A:best B:we （）4、let A:evening B:red （）5、lesson A:desk B:open （）6、mess A:me B:letter （）7、hen A:letter B:Chinese （）8、vegetable A:hen B:apple （）9、eng A:pen B:me （）10、pen A:he B:egg Ii （）1、ring A:shine B:miss （）2、mistake A:big B:find （）3、milk A:pick B:child （）4、nine A:line B:dish （）5、drive A:live B:bright （）6、pig A:finished B:pilot （）7、bike A:time B:city （）8、swim A:kite B:sit （）9、drink A:fish B:time （）10、find A:high B:chicken Oo （）1、nose A:dog B:boat （）2、those A:go B:not （）3、lose A:stop B:old

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选修7Unit3Underthesea单次讲解

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