英美文学史练习题和复习资料1

1. The Renaissance Period

Part I. Definition of literary terms （请背诵下来！！！）

1. Allegory. As a rule, an allegory (also defined as an extended metaphor) is a story in verse or

prose with a double meaning: a primary or suface meaning, and a secondary or under-the-surface meaning. It is a story that can be read, understood and interpreted at two levels (and in some cases at three or four levels). It is closely related to fable and parable, which are didactic, comparatively short and simple allegories. The form may be literary or pictorial or both. An allegory has no definite length. The higher levels of meaning are usually concerned with moral, religious, political, symbolic or mythical ideas. In an allegory, characters or personifications represent something other than themselves--- virtues, vices, causes or issues. There are two kinds of allegory: those that use personifications, as in Bunyan‟s Pilgrim’s Progress and Spenser‟s The Faerie Queene; and those that use a special kind of symbolism, as in Dante‟s Divine Comedy.

2. Blank verse. Blank verse is unrhymed poetry, typically in iambic pentameter, and, as such,

the dominant verse form of English dramatic and narrative poetry since the mid-16th century. Blank verse is not wirtten in stanza form. Instead, the poem is developed in verse paragraphs that vary in length. Blank verse is a flexible form of expression that gives the poet a choice of many variations within the metrical pattern. Because of its flexibility, blank verse is especially appropriate for narrative and dramatic poetry and other longer kinds of poetry. Henry Howard, Earl of Surrey, adapted blank verse from Italian poetry to English in the early 1500‟s. Christopher Marlowe and Shakespeare used this form with great power and variety in their plays. Many poets of the 1800‟s and 1900‟s wrote in blank verse. They include William Wordsworth, Wiliam Cullen Bryant, John Keats, Lord Tennyson, Edwin Arlington Robinson, Robert Frost, and Wallace Stevens.

3. Humanism. Broadly, this term suggests any attitude, which tends to exalt the human element

or stress the importance of human interests, as opposed to the supernatural, divine elements----or as opposed to the grosser, animal elements. In a more specific sense, humanism suggests a devotion to those studies supposed to promote human culture most effectively----iin particular, those dealing with the life, thought, language, and literature of ancient Greece and Rome. In literary history the most important use of the term is to designate the revival of classical culture that accompanied the Renaissance.

4. Metaphysical. It refers to the school of poets that appeared in the Revolutionary period in

England by using quite unconventional and often surprising conceits; the metaphsical poets wrote poems full of wit and humor. But sometimes the logic argument and conceits become pervasive, going to preposterous dimensions. The language is colloquial but very powerful, creating unorthodox images on the reader‟s mind. John Donne and Andrew Marvell are the representative metaphisical poets.

5. Renaissance. It is the rebirth of artistic, literary and academic interest and creativity that

marks the transition from Medieval Europe to the modern world. Generally dated from the 14th to the mid-17th century, the Renaissance emerged in Italy and spread to the rest of Europe. In outlook the Renaissance brought new importance to individual expression, self-consciousness, and worldy experience; cultually it was a time of brillant accomplishment in scholarship, literature, science, and the arts. More generally, it was an era of emerging nation-states and exploration, and the beginning of a revolution in commerce. It is best to

regard the Renaissance as the result of a new emphasis upon and a new combination of tendencies and attitudes already existing, stimulated by a series of historical events. The new humanistic learning that resulted from the rediscovery of classical literature is frequently taken as the beginning of the Renaissance on its conscious, intellectual side. The influence of the Renaissance on future generations was to prove immense in many fields--- from art and literature to education, political science, and history. For centuries, most scholars have agreed that the modern ear of human history began with the Renaissance.

6. Sonnet. It is a basic lyric form, consisting of 14 lines of iambic pentameter rhymed in various

patterns. The Italian or Petrarchan sonnet is divided clearly into octave and sestet, the first rhyming abab cdcd efef gg. In late 16th-century England, sonnets were written either independently as short epigrammatic forms, or grouped in sonnet sequences, i.e. collections of upwards of a hundred poems, in imitation of Petrarch, purportedly addressed to one central figure or muse--- a lady usually with a symbolic name like “Stella” or “Idea”. Milton made a new kind of use of the Petrarchan form, and the Romantic poets continued in the Miltonic tradition. Several variations have been devised, including the addtion of “trails” or extra lines, or the recasting into 16 lines, instead of 14.

Exercises

A. Multiple-choice question

1. Which of the following in NOT regarded as one of the characteristics of Renassance?

A. Exaltation of man‟s pursuit of happiness in this life.

B. Cultivation of the genuine flavor of ancient culture.

C. Tolerance of human foibles.

D. Praise of man‟s effforts in having his soul delivered.

2. The most significant intellectual movement of the Renaissance was ___

A. the Reformaion

B. humanism

C. the Italian revival

D. geographical explorations

3. What is the relationship between Claudius and Hamlet?

A. Cousins.

B. Uncle and nephew

C. Father-in-law and son-in-law.

D. Father and son

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

A. Romeo and Juliet B. King Lear

C. Hamlet D. Macbeth

5. Which statement about the Elizabethan age is not true?

A. It is the age of translation.

B. It is the age of bourgeois revolution

C. It is the age of exploration.

D. It is the age of the protestant reformation.

6. In Hamlet‟s soliloquy, when he says, “To sleep, perchabce to dream: ---ay, there‟s the rub.” What is he primarily thinking about?

A. The bad dreams that have recently been troubling him.

B. The fact that if dying is like going to sleep, then perhaps after death we have bad dreams.

C. The sinful behavior of Gertrude, whose guilty dreams he would like to know.

D. His desire to sleep so that he will not have to take vengeful action.

7. ______ first made blank verse the principal instrument of English drama.

A. Shakespeare B. Wyatt C. Sidney D. Marlowe

8. “The slings and arrows of outrageous fortune” is an example of ____.

A. allegory B. simile C. metaphor D. irony

10. In “Not on thy sole, but on thy soul, harsh Jew, / Thou mak‟st thy knife keen”, Gratiano (a

character in The Merchant of Venice) uses a rhetorical device called _____.

A. hyperbole B. homonym C. paradox D. pun

11. Of the following lines from Milton‟s Paradise Lost, what statement is correct?

“To bow and sue for grace

With suppliant knee, and deify his power

…--- that were low indeed,

That were an ignominy, and shame beneath

This downfall;…”

A. To beg God for mercy and worship his power were as low as this downfall.

B. To beg God for mercy and worship his power were more shameful and disgraceful

than this downfall.

C. To beg God for mercy is more shameful than worship his power.

D. To fight against God is as low as to worship Satan.

12. In the sonnet “Death, Be Not proud”, Donne says to death: “Those whom thou think‟st thou

dost overthrow/ Die not, poor death, nor yet canst thou kill me.” What does he mean?

A. Death is very strong.

B. Death is not death, because after death we wake up to live eternally.

C. One must face death courageously and defiantly.

D. Death is not as strong as he thinks he is.

13. Milton‟s Paradise Lost took its material from ____.

A. the Bible B. Greek myth

C. Roman myth D. French romance

14. Christopher Marlowe wrote all the following plays except ___.

A. Tamburlaine the Great

B. The Jew of Malta

C.Cymbeline

D. The Tragical History of Doctor Faustus

15. Which of the following plays by Shakespeare is NOT a comedy?

A. The Merchant of Venice

B. A Midsummer Night’s Dream

C. As You Like It

D. Romeo and Juliet

16. _____ is the most common foot in English poetry.

A. The iamb B. The anapest C. The trochee D. The dactyl

17. In “Sonnet 18”, William Shakespeare ______.

A.mediates on man‟s mortality.

B. eulogizes the power of artistic creation

C. satirizes human vanity

D. presents a dream vision

18. In Paradise Lost, Satan says: “We may with more successful hope resolve/ To wage by force

or guile eternal war,/ Irreconcilable to our grand Foe.” What is the “eternal war” Satan and his followers were to wage against God?

A. To plant a tree of knowledge in the Garden of Eden.

B. To turn into poisonous snakes to threaten man‟s life.

C. To remove God from His throne.

D. To corrupt God‟s creation of man and woman.

19. Dr. Faustus is a play based on the German legend of a magician aspiring for ______ and

finally meeting his tragic end as a result of selling his soul to the Devil.

A. money B. immorality C. knowledge D. political power

20. “Bassanio: Antonio, I am married to a wife

Which is as dear to me as life itself;

But life itself, my wife, and all he world,

Are not with me esteem‟d above thy life;

I would lose all, ay, sacrifice them all,

Here to the devil, to deliver you.

Potia: Your wife would give you little thanks for that,

If she were by to hear you make the offer.”

The above is a quotation taken from Shakespeare‟s comedy The Merchant of Venice, which can be regarded as a good example to illustrate what _____ is.

A. dramatic irony B. personification

C. allegory D. symbolism

21. “Read not to contradict and confuse, nor to believe and take for granted” is one of the

epigrams found in _____.

A. Bacon‟s “Of Studies”

B. Bunyan‟s Pilgrim’s Progress

C. More‟s Utopia

D. Fielding‟s Tom Jones

22. Which of the following is not typical of metaphysical poetry best represented by John Donne‟s

work?

A. Common speech B. Conceit

C. Argument D. Elegant language

B. Blank-filling

1. “When in disgrace with fortune and men‟s eye” is the beginning line of a ______ written by

William Shakespeare.

2. The epoch of Renaissance witnessed a particular development of English drama. It was

Christopher Marlowe who made ____ the principal vehicle of expression in drama.

3. The greatest and most distinctive achievement of Elizabethan literature is _____.

4. John Milton is regarded the greatest ______ of the 17th century, and one of the giants of English

literature.

5. Shakespeare‟s plays have been traditionally divided into three categories: histories, _______

and tragedies.

6. In 1637 Milton wrote the finest _____ in English, Lycidas, in honor of a Cambridge friend.

7. “Death, Be Not Proud” focuses on a key _____ of Christian doctrine: we are afraid of death, yet

we are not afraid of death.

8. The predominant rhetorical device employed in “The Sun Rising” is _______.

9. With few exceptions Shakespeare uses the sonnet form in the popular English form of three

_______ and a couplet.

10. Edmund Spenser is often referred to as “the poet‟s _____”. His masterpiece is The Fairie

Queene.

C. T-F statements

1. Odyssey, Beowulf and Samson Agonistes are all great epics.

2. In his love poetry, Donne describes love as single, constant, spiritual and eternal.

3. In all his works, Spenser effectively blended classical literary themes and conventions with Christian morallism.

4. It was first in Dr. Faustus that Marlowe influenced later drama with his concentration on one heroic figure and his development of blank verse into a flexible poetic form for tragedy.

5. Donne‟s dramatic conversational style enables him to devour all kinds of experiences in life and to put them into poetry.

6. William Caxton is important to the development of English literature because he wrote important tales about King Arthur.

7. In his history plays, Shakespeare expressed his wish for freedom and national unity.

8. Hamlet‟s melancholy derives from his sudden exposure to the evil world and his thoughtfulness of the meaning of life in a corrupted society.

9. The Reformation was the great 16th-century religious revolution that resulted in the establishment of the Catholic churches.

10. The new humanistic learning that resulted from the renovation of classical literature is frequently taken as the beginning of the Renaissance on its conscious, intellectual side.

D. Work-author pairing-up:

( ) 1. Samson Agonistes A. Thomas More

( ) 2. Songs and Sonnets B. Francis Bacon

( ) 3. “Of Studies” C. John Donne

( ) 4. King Lear D. Edmund Spenser

( ) 5. Tamburlaine the Great E. John Milton

( ) 6. The Shepheardes Calender F. Philip Sidey

( ) 7. Antony and Cleopatra G. William Shakespeare

( ) 8. Lycidas H. George Herbert

( ) 9. The Jew of Malta I. Ben Jonson

( ) 10. As You Like It J. Christopher Marlowe

E. Reading Comprehension

(For each of the quotations listed below please give the name of the author and the title of the

literary work from which it is taken and then briefly interpret it.)

1. “Nor lose possession of that fair thou ow‟st;

Nor shall Death brag thou wand‟rest in his shade,

So long as men can breathe or eyes can see,

So long lives this, and this gives life to thee.”

Reference: William Shakespeare, Sonnet 18: “Shall I Compare Thee to a Summer‟s Day?”

This lines mean “You will not lose your own beauty, nor shall death boast that you roam about in his darkness; So long as men can stay alive, so long as this poem lives, it gives you eternal life.” The sestet provides a major “turning” in the sonnet and answer the question raised earlier: a nice summer‟s day is usually transient, but the beauty in poetry is eternal.

2. “One short sleepe past, wee wake eternally,

And death shall be no more; death, thou shalt die.”

John Donne, “Death Be Not Proud”.

The meaning is “shortly after we die (compared to „sleep‟), we‟ll wake up and live eternally. In this sense, it‟s death that shall die.” Paradox is very common in metaphysical poetry. John Donne concludes his poem with a couplet that first balances the ideas of death as a sleeping and death as a sleeping and death as a waking, and then summarizes the more profound paradox that a person‟s death is his victory over dying and death.

3. “They perfect nature, and are perfected by experience; for natural abilities are like natural plants, that need proyning by study; and studies themselves do give forth directions too much at large, except they be bounded in by experience.”

Francis Bacon：Of Studies

These remarks mean: studies improve a person‟s natural abilities and are themselves made complete by experience, because natural abilities are like natural plants, which need trimming by study; the directions given forth by studies themselves are too general, unless they are restricted by experience. Here we get a glimpse of the pithy aphoristic style of Bacon‟s essays.

4. “Busy old fool, unruly sun,

Why dost thou thus,

Through windows and through curtains call on us?”

These are the beginning lines of John Donne‟s poem “The Sun Rising”. The speaker questions the sun‟s authority and speaks condescendingly, placing the sun in the status of a subordinate. In the lovers‟ kingdom, the sun has no right to dictate the time of day or the passing of seasons. His presence in their bedchamber is an intrusion on their privacy.

5. “From rest and sleep, which but thy pictures be,

Much pleasure; then from thee much more must flow,

And soonest our best men with thee do go,

Rest of their bones, and soul‟s delivery.”

These lines are taken from Donne‟s poem “Death, Be Not Proud.” Apparently, Donne is saying that relaxation and slumber are desirable things in life, and death offers human beings eternal “rest” and “sleep”, and therefore “much pleasure”. By saying “which but thy picture be”, Donne

refers to the fact that our image of Death is rest and sleep. Of course, all men and women, not just the “best man”, eventually walk with Death. Donne means to say that even the best among us will perish in the end. No one is safe; but that‟s not necessarily the way to look at it. Death is not something we should fear, for it is part of a natural cycle. It is the preface to our final sleep, which offers “freedom” (and final delivery) for the soul. Here Donne is implying that our life offers only imprisonment for the soul, and in this sense Death would be more powerful.

F. Questions: (答案请写在作业本上)

(For each of the following questions you are asked to give a brief answer, explaining what you know about it. You should write no more than 100 words for each answer, and, therefore, concentrate on those essential points.)

1. Why can Book I of The Faerie Queene be read as both romantic narrative and spiritual

allegory? Redcross Knight culminating in his killing the dragon, rescuing Una‟s parents, and winning her as his bride. the book tells the story of the Christian‟s struggle for salvation--- his wandering between the evil extremes of pride and despair, his encounter with the seven deadly sins, his separation from and reunion with the one true faith, the purgation of his sinfulness, and his final salvation by divine grace added to heroic effort.

2. Give a brief comment on Marlowe‟s contribution to English tragedy.

In the medieval tradition tragedy invariably represents the hero‟s falling into misery or adversity from prosperity or happiness and thereby inculcates a moral or didactic lesson. There is no moral of this sort in Marlowe‟s plays. He perceived that tragic action must issue from, and be reflected in, the individual. Though death comes to all Marlowe‟s tragic heroes, the kernel of his play lies rather in the struggle of a brave human soul against forces that in the end prove too great for it. This conception of serious drama --- Renaissance virtue battling on to success and then falling unconquered before fate--- is one of Marlowe‟s most outstanding contributions to the development of a truly august type of English tragedy.

3. What is the theme of Shakespeare‟s Sonnet 18?

4. State briefly Donne‟s view of love.

5. Give a brief analysis of Hamlet‟s “To be or not to be” soliloquy.

G. Essay questions:（答案请写在作业本上）

(In this part you are asked to write a short essay on each of the given topic. You should write no more than 150 words on each one. Therefore, you should concentrate on those most important points, try your best to be logical in your essay, and keep your writing clear and tidy.)

1. Analyze and comment on John Donne‟s poem “The Sun Rising”.

2. Analyze and comment on the character of Shylock in The Merchant of Venice

3. Comment on the character of Satan in Book I of Paradise Lost.