文学术语01

Romanticism:

A movement in art and literature in the eighteenth and nineteenth

centuries in revolt against the Neoclassicism of the previous

centuries...The German poet Friedrich Schlegel, who is given credit for first using the term romantic to describe literature, defined it as "literature depicting emotional matter in an imaginative

form." This is as accurate a general definition as can be

accomplished, although Victor Hugo's phrase "liberalism in

literature" is also apt. Imagination, emotion, and freedom are

certainly the focal points of romanticism. Any list of particular characteristics of the literature of romanticism includes

subjectivity and an emphasis on individualism; spontaneity;

freedom from rules; solitary life rather than life in society; the beliefs that imagination is superior to reason and devotion to

beauty; love of and worship of nature; and fascination with the past, especially the myths and mysticism of the middle ages.

English poets: William Wordsworth, Samuel Taylor Coleridge, Lord Byron, Percy Bysshe Shelley, and John Keats

American poets: Ralph Waldo Emerson, Nathaniel Hawthorne, Edgar

Allen Poe, Henry David Thoreau, Herman Melville, Walt Whitman Neoclassicism:

The dominant literary movement in England during the late

seventeenth century and the eighteenth century, which sought to

revive the artistic ideals of classical Greece and Rome.

Neoclassicism was characterized by emotional restraint, order,

logic, technical precision, balance, elegance of diction, an

emphasis of form over content, clarity, dignity, and decorum. Its appeals were to the intellect rather than to the emotions, and it prized wit over imagination. As a result, satire and didactic

literature flourished, as did the essay, the parody, and the

burlesque. In poetry, the heroic couplet was the most popular verse form. Writers: John Dryden, Alexander Pope, Jonathan Swift, Joseph Addison, and Samuel Johnson.

Morner, Kathleen and Ralph Rausch. NTC's Dictionary of Literary Terms. Chicago: NTC Publishing Group, 1997.

Romanticism:

The American Scholar A.O. Lovejoy once observed that the word

'romantic' has come to mean so many things that, by itself, it means nothing at all...The variety of its actual and possible meanings and connotations reflect the complexity and multiplicity of

European romanticism. In The Decline and Fall of the Romantic Ideal

(1948) F.L. Lucas counted 11,396 definitions of 'romanticism'. In

Classic, Romantic and Modern (1961) Barzun cites examples of

synonymous usage for romantic which show that it is perhaps the most remarkable example of a term which can mean many things according to personal and individual needs.

The word romantic (ism) has a complex and interesting history. In the Middle Ages 'romance' denoted the new vernacular languages

derived from Latin - in contradistinction to Latin itself, which was the language of learning. Enromancier, romancar, romanz meant to compose or translate books in the vernacular. The work produced was then called romanz, roman, romanzo and romance. A roman or

romant came to be known as an imaginative work and a 'courtly

romance'. The terms also signified a 'popular book'. There are early suggestions that it was something new, different, divergent. By the 17th c. in Britain and France, 'romance' has acquired the derogatory connotations of fanciful, bizarre, exaggerated, chimerical. In

France a distinction was made between romanesque(also derogatory) and romantique(which meant 'tender', 'gentle', 'sentimental' and 'sad'). It was used in the English form in these latter senses in the 18th c. In Germany the word romantisch was used in the 17th c.

in the French sense of romanesque, and then, increasingly from the middle of the 18th c., in the English sense of 'gentle',

'melancholy'.

Many hold to the theory that it was in Britain that the romantic movement really started. At any rate, quite early in the 18th c. one can discern a definite shift in sensibility and feeling,

particularly in relation to the natural order and Nature. This, of course, is hindsight. When we read Keats, Coleridge and Wordsworth, for instance, we gradually become aware that many of their

sentiments and responses are foreshadowed by what has been

described as a 'pre-romantic sensibility'.

Cuddon, J.A. The Penguin Dictionary of Literary Terms and Literary Theory. Third Ed. London: Penguin Books, 1991.

Heroic Couplet: A Brief Introduction

David Cody, Associate Professor of English, Hartwick College

The heroic couplet, lines in iambic pentameter rhymed in pairs, appeared early in English--it was Chaucer's favorite meter--and came into vogue in poetic drama in the seventeenth century, but in the eighteenth century,

in the hands of masters like Dryden, Pope, and Johnson, it became for many years the dominant English verse form. In the Neo-classical period the heroic couplet consisted of a couplet of end-stopped lines which formed a short stanza, and substituted for the Greek and Latin heroic hexameter.

Why should this meter, with its strongly symmetrical grammatical structure, be perceived by poets like Pope and Johnson as an ideal structure to embody and convey the emphasis on form and sense and wit which they sought so insistently in their work? And why would the rebellious Romantics, in their quest for personal and poetic freedom, (with a few important exceptions, such as Byron, and, to a lesser degree, Keats) react so strongly against these same qualities?

The Rhetorical Organization of the Neoclassical Couplet

George P. Landow, Professor of English and Art History, Brown University

1.Parallel and contrast

Know farther yet; Whoever FAIR and CHASTE

Rejects [verb1: -] Mankind, is by some Sylph Embrac'd [verb1: +]:

For Spirits, freed from mortal laws, with ease

Assume WHAT Sexes and WHAT Shapes they please.

What guards the purity of Melting Maids,

In Courtly Balls [noun-adjective1a], and Midnight Masquerades [n-adj1b], The Glance by Day [obj1c], the Whisper in the Dark [obj1d];

WHEN kind Occasion prompts their warm Desires,

WHEN Musick softens, and WHEN Dancing fires?

(-- The Rape of the Lock, Canto I, lines 67-76)

Note how Pope turns each set of two lines into a unit by closing it off with a strong rhyme. What kind of words and what parts of speech does he chose to create this closure? What kind does he avoid?

How many different kinds of parallels can you find in these lines? How does Pope create variety so the form doesn't get monotonous? Hint: line 73 pairs "treach'rous Friend" and "daring Spark." What does the second half of the couplet use for a similar parallel?

2. Rhetorical organization

An example of the way that the rhetorical organization of Pope's couplets generates his characteristic wit:

Whether the Nymph shall break Diana's Law,

Or some frail China Jar recieve a Flaw,

Or stain her Honour, or her new Brocade,

Forget her Prayer's, or miss a Masquerade,

Or lose her Heart, or Necklace, at a Ball... (Canto II, lines 103-9)

What point does Pope make by placing side by side (and in similar grammatical forms) the important and the trivial? How does this establish tone, point of view, the subject of the poem? (follow for a woman's response)

3. Puns and wordplay

Here Britain's Statesmen oft the Fall foredoom

Of Foreign Tyrants, and of Nymphs at Home;

Here Thou, Great Anna! whom three Realms obey,

Dost sometimes Counsel take and sometimes Tea. (Canto III, lines 5-9; compare lines 157-60)

How do the verbs act to create puns? Why is a pun particularly suitable for this kind of verse form? subject? Satire？

The Mock Epic as Genre

David Cody, Associate Professor of English, Hartwick College

As the name indicates, the Mock-Epic is a literary form that burlesques the Classical epic by bringing the formulas characteristic of the epic -- the invocation of a deity, a formal statement of theme, the division of the work into books and cantos, grandiose speeches, battles, supernatural machinery, and so on -- to bear upon a trivial subject. The main effect of thus employing techniques of the epic is, however, not so much to have fun with the epic as to deflate a subject or characters that by contrast appear particularly trivial. For example, Pope's Rape of the Lock uses its highly polished verses, mordantly satirical heroic couplets, wit depth, and intelligence to satirize the fuss that results when an idle young lord cuts a small lock of hair from the head of an idle young beauty.

By ludicrously overstating the importance of the whole affair (largely by parodying the epic, which readers in Pope's day knew well), he succeeds, paradoxically enough, in making the whole thing seem ridiculous and funny but also somehow tragic. As a result, Pope makes us aware of the fact that not only the participants in the drama but also the rest of humanity, including Pope himself and certainly his readers, are somehow ridiculous and funny -- and tragic -- too. Here are a few of the ways in which the

plot and structure of The Rape of the Lock burlesques elements characteristic of the epic:

Satire

David Cody, Associate Professor of English, Hartwick College and George P. Landow, Professor

of English and Art History, Brown University

The word satire derives from the Latin satira, meaning "medley." A satire, either in prose or in poetic form, holds prevailing vices or follies up to ridicule: it employs humor and wit to criticize human institutions or humanity itself, in order that they might be remodeled or improved. Satire as an English literary form derives in large part from Greek and Roman literature. Aristophanes, Juvenal, Horace, Martial, and Petronius all wrote satires of one kind or another, and the tradition maintained a tenuous existence in England down through the Middle Ages in the form of the fabliau and the Beast-epic. The eighteenth century, however, in which poetry, drama, essays, and literary criticism were all imbued with the form, was the golden age of English satire. Dryden, Swift, Pope, Addison, Steele, and Johnson were all great satirists, and self-described heirs of the Roman poets Horace and Juvenal. Horatian satire tends to be gentler and more sympathetic than the more biting and bitter Juvenalian satire, in which the author Swift is the great example frequently rails savagely against the evil inherent in man and his institutions. Byron and Thackeray, in the nineteenth century, maintained and refined the satiric tradition, as did T. S. Eliot in the twentieth.

Alex Derwent Hope, the contemporary Australian poet, agrees with Pope that satire

has a social function that places it on a level with Religion, Law, and Government. Though its tone may be light, its function is wholly serious; and as for passion, it is actuated by a fierce and strenuous moral and intellectual enthusiasm, the passion for order, justice, and beauty. . . . It keeps the public conscience alert, it exposes absurdity for what it is and makes those inclined to adopt foolish or tasteless fashions aware that they are ridiculous. It shows vice its own feature and makes it odious to others. . . . Satire is an aristocratic art. It is not afraid to tell unpopular truths, but its habit is to tell them with the assurance and detachment of ridicule, and ridicule is the weapon of contempt. (pp. 62, 66-67).

The Restoration, 1660-1702

Samuel Butler ( 1612-1680 ).

John Evelyn ( 1620-1706 ).

John Bunyan ( 1628-1688 ).

John Dryden ( 1631-1700 ).

John Locke ( 1632-1704 ).

Samuel Pepys ( 1633-1703 ).

Aphra Behn ( 1640-1689 ).

Sir Isaac Newton ( 1642-1727 ).

John Pomfret ( 1667 - 1702 ). "The Choice" ( 1700 ). Local HTML Text On Line. A composition that enjoyed phenomenal popularity during the Eighteenth Century.

William Congreve ( 1670-1729 ).

Isaac Watts ( 1674 - 1748 ).

The Eighteenth Century From the Accession of Queen Anne until the Death of Johnson, 1702-1784

Daniel Defoe ( 1659-1731 ).

Jonathan Swift ( 1667-1745 ).

Bernard Mandeville ( 1670 - 1733 ).

Joseph Addison ( 1672-1719 ).

Sir Richard Steele ( 1672-1729 ).

John Gay ( 1685-1732 ).

Alexander Pope ( 1688-1744 ). The premier poet of his age.

Samuel Richardson ( 1689-1761 ).

Philip Stanhope, Earl of Chesterfield ( 1694-1773 ).

James Thomson ( 1700-1748 ).

John Wesley ( 1703 - 1791 ).

Henry Fielding ( 1707-1754 ).

Samuel Johnson ( 1709-1784 ). The ultimate man of letters of the 18th Century, The Great Cham of Literature.

David Hume ( 1711 - 1777 ).

Laurence Sterne ( 1713-1768 ).

Thomas Gray ( 1716-1771 ).

Horace Walpole ( 1717-1797 ).

William Collins ( 1721-1759 ).

Tobias Smollett ( 1721-1771 ). Christopher Smart ( 1722 - 1771 ). Edmund Burke ( 1729-1797 ).

Oliver Goldsmith ( 1730-1774 ). William Cowper ( 1731-1800 ). Edward Gibbon ( 1737-1794 ).

Richard Brinsley Sheridan ( 1751-1816 ). Fanny Burney ( 1752-1840 ).

William Godwin ( 1756-1836 ).

Ann Radcliffe ( 1764-1823 ).

世界著名英语词典

牛津词典系列 牛津辞典是英国牛津大学出版社出版的多种英语词典的统称，是英国语言词典的代表。牛津词典详细追溯了每个英语词的历史演变（对其最早的出现年代有明确的标注），释义和引证繁富，因而是英语词汇的最高权威。 牛津老大 The Oxford English Dictionary，20 Volume Set《牛津英语大辞典》【查早到1150年（的古旧词）】类似《汉语大词典》 牛津老大：最高级的牛津词典，就是The Oxford English Dictionary（20 Volume Set）简称OED，这是牛津兄弟的老大，也是英语词典界的圣经。它一共有20卷，目前国内书商动辄索价￥20000RMB。这么贵的词典谁会买呢？问得好。其实，没有任何人能够读完这本词典，它的存在更具有象征意义，象征着人类对知识无限的追求。 然而人类的这点成就这一切，在电子时代失去了骇人的体量和质感。OED的光盘版，只需要两张CD-ROM。但凡买过这套电子版的人，无不怨声载道，因为它的接口设计实在太差了。查完一个词之后，居然没有一个后退键。只能用鼠标浏览，但又不支持鼠标右键的COPY和粘贴。总之，如果花钱买来的话，大概会非常痛苦。 顺便说一句，The Oxford English Dictionary（20 Volume Set）有个缩印版，The Compact Oxford English Dictionary，内容跟OED一样，价格只要￥3200，但字体非常恐怖，是把OED四页的内容印到一页上，如果你不想写一部失乐园续集的话，最好还是打消买它的念头。 牛津老二 The New Shorter Oxford English Dictionary，2 Vol.Set《牛津简编英语词典》【查早到17世纪（的古旧词）】类似《辞源》 牛津老二：The New Shorter Oxford English Dictionary （2 Vol. Set），可能是牛津也觉得自己浪费森林太不象话，于是出了一个简编版。不要以为看到Shorter，就真Shorter，其实，这是牛津家族中第二大的词典。两大本3888页的厚度，也够意思了。这本词典在国内由上海外语教育出版社引进第五版。网上可以找到供Mdict词典软件使用的牛津简编词典包。 牛津老三 The New Oxford Dictionary of English《新牛津英语大词典》【查现代的（百科新词）】类似《辞海》 该词典国内已经出版了，双解版名为《新牛津英汉双解大词典》（上海外语教育出版社），在网上也要卖￥315左右。如果OED和SOED侧重词源学，引经据典太多，太学术的话，那么ODE就是给人类预备的。不过这本词典的中文翻译挺讨厌，因为把每个例句都翻译了，包括：“Yes，I will.” 这样的。如果你想拥有一本英英的原版，先不要急着去亚马逊下单，下面有一个终极解决办法，金山词霸2009[牛津版]收录其双解版。 牛津老四 Concise Oxford Dictionary《牛津简明英语词典》【查现代的（英文新词）】类似《现代汉语词典》 该词典是大学级别词典（College Dictionary），中高级用用也足够了，简称COD。由外语教学与研究出版社引进。

文学术语1

文学术语1、Romance: It is a narrative verse of prose singing knightly adventures or other heroic deeds. Romances are popular in the medieval period. 2Ballad: :A story told in song, usually in four line stanzas, with the 2nd and the 4th lines rhymed. 3、Renaissance--a thristing curiosity for classical literature;--a keen interest in life and human activities. 4、Humanism--individualism; the joy of the present life; reason; the affirmation of self-worth--Humanism emphasizes the dignity of human beings and the importance of the present life. Humanists voiced their beliefs that man was the center of the universe and man did not only have the right to enjoy the beauty of the present life, but had the ability to perfect himself and to perform wonders. 5、Sonnet: : It is a poem of 14 lines that follows a strict rhyme scheme and specific structure; it expresses a single idea or theme. (Thomas Wyatt first introduced it to England) 6、Shakespearean sonnet: : A Shakespearean sonnet consists of three four-line stanzas (called quatrains) and a final couplet composed in iambic pentameter with the rhyme scheme abab cdcd efef gg. 7、iambic pentameter:is a form of rhythm that appears in poetry, songs, and some prose compositions. It is most closely associated with poetry, especially English poetry, which lends itself very well to this particular form of rhythm 8、Blank verse: having a regular meter, but no rhyme. (Henry Howard, Earl of Surrey) 9、Spenserian stanza斯宾塞诗体: : Each stanza contains nine lines in total: eight lines in iambic pentameter followed by a single 'Alexandrine' line in iambic hexameter. The rhyme scheme of these lines is "ababbcbcc." 10、--Sonnet 18 by Shakespeare (“Shall I Compare Thee to a Summer’s Day”): time, mortality, immortality 11、Cavalier poets骑士诗人: --Reflected the royalist values;--Themes: beauty, love, loyalty, morality;--Style: Direct, short, frankly erotic--Motto: “Carpe Diem”“Seize the Day” 12、Metaphysical school:玄学派--the founder of the Metaphysical school: John Donne--conceit: an extended metahpor involving dramatic contrasts or far-fetched comparisons; 13、Enlightenment启蒙运动--an intellectual movement in Europe in the 18th century;--Reason as the guiding principle for thinking and action;--the belief in eternal truth, eternal justice, natural equality ;--a continuation of Renaissance; (Belief in the possibility of human perfection through education). 14、Neo-classicism:新古典主义--A revival of classical standards of order, harmony, balance, simplicity and restrained emotion in literature in the 18th century. 15、Sentimentalism--the middle and later decades of the 18th c.;--definition: passion

古代文学名词解释及参考答案

古代文学名词解释参考答案 1、献诗说：关于《诗经》的编辑主要有献诗说、采诗说两种。据《国语》、《左传》等先秦等古籍记载，《诗经》主要来自公卿列士的献诗，公卿列士通过献诗的方式进行讽谏或赞颂。现在一般认为，《诗经》中《大雅》《小雅》和《国风》中的许多诗可能便是通过献诗的途径搜集出来的。 2、采诗说：关于《诗经》的编辑主要有献诗说、采诗说两种。汉代学者明确提出采诗说，认为周代有采诗制度，周王朝及各诸候国的乐官到民间采集诗歌，借以了解民情。现在一般认为，《诗经》中《国风》的大部分可能是通过采诗的途径汇集起来的。 3、孔子删诗说：孔子删诗说最早出自司马迁《史记?孔子世家》，认为《诗经？原有三千余篇，“及至孔子，去其重复，取可施于礼仪”，删定为三百五篇。删诗说长生在汉代，在传统社会一直影响很大。但现代学者一般认为，孔子删诗说不够可靠。 4、四家诗：《诗经》的传授在汉代主要有四家，一是鲁诗，其创始人为鲁国人申培；二是齐诗，出自齐人辕固；三是韩诗，出自燕人韩婴，四是毛诗，出自鲁人毛亨、毛苌。鲁、齐、韩三家早出，属今文学家，故称“今文三家”。毛诗晚出，属古文学家。 5、六诗说：始自《周礼》，六诗为风、雅、颂、赋、比、兴。《周礼》六诗产生的时代主要用诗于典礼、讽谏、言语，人们还没有注意到《诗经》的表现技巧，六诗的目的也主要是传授用诗的方法。风即《国风》，主要是各地方民歌；雅包括《大雅》、《小雅》，主要是周王朝京畿地区的歌曲；颂包括《鲁颂》、《商颂》、《周颂》，主要是宗庙祭祀的舞曲。 6、六义说：源自《毛诗序》，六义说实本于《周礼》，六义为风、雅、颂、赋、比、兴。风即《国风》，主要是各地方民歌；雅包括《大雅》、《小雅》，主要是周王朝京畿地区的歌曲；颂包括《鲁颂》、《商颂》、《周颂》，主要是宗庙祭祀的舞曲。 7、四始说：始自西汉司马迁《史记》，认为《关雎》为《风》之始，《鹿鸣》为《小雅》

中国现代文学史名词解释

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文学术语

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结构手法22种细解大全

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文学术语

allegory a story which teaches a lesson because the people and places in it stand for other ideas. an example is john bunyan’s pilgrim’s progress（see page 67）. alliteration repeating a sound or a letter, especially at the beginning of words, in poetry：e.g.（see page 8）.“five m iles m eandering with a m az y m otion…” assonance repeating a vowel sound, often in the middle of words, in poetry：e.g. p a le/br a ve. autobiography the written account of a person’s own life （see page 136） ballad originally a song for dancers, then in mediaeval times a simple poem with short stanzas telling a story. some romantic poets of the 19th century also wrote ballads （see page 91）. biography the written account of someone else’s life （see page 61）. blank verse any verses, especially iambic pentameters （see metre）, that do not rhyme. used by marlowe, shakespeare, milton and many other poets, this is the most characteristic english form （see page 23）. caricature a way of drawing or writing which makes the special features of a person or group stronger, so that they are ridiculous. chorus in greek drama the chorus watched the action of the play and told the story. the modern meaning can be simply a group of people other than the hero or heroine. chronicle a history of events year by year classic a. work as a great work b. ancient greek and latin literature c. writing influence by ancient greek and latin comedy something that is funny couplet two lines of verse that rhyme crisis the most important part of a play diary a written record of daily life drama a. any kind of work to be performed on the stage .b. something exciting or important edition the printing of the book elision leaving out a vowel or a syllable, or running 2 vowels together ellipsis leaving out words which give the full sense epic a long narrative poem in the grand style elegy a poem of mourning for someone epigram a short, funny, sharp poem or remark epilogue an ending, or an extra part after the end of a book or a play epitaph sth. written on a tombstone essay a short prose work fantasy an imaginative work , no basis in the real life farce a comedy, with ridiculous plot fiction a work invented by the writer, with characters and events are imaginary fairy tale（story） a popular story told to children foot a unit of sound in verse, in which there is on stressed syllable, one or more unstressed syllables free verse verse in which the lines can vary in length without strict metre heroic couplet a pair of lines in iambic pentametre that rhyme heroic play a grand play in restoration period hexametre a line of verse with 6 metrical feet iambic抑扬格of metrical foot consisting of an unstressed syllable followed by a stressed syllable or a short syllable followed by a long syllable pentametre五音步诗行a line of verse consisting of five metrical feet idiom an expression of saying sth. that is typical of a language at a certain time idyll a short, descriptive, sentimental poem with a pastoral theme image a word picture imagery using images such as metaphors or similes to produce an effect in the readers’ imagination irony sth. that has a second meaning intended by the writer, often the opposite legend a story, usually one that has come down to us from ancient times

考研古代文学名词解释

名词解释 诗六义 诗经学名词，也叫“六诗”，即风、雅、颂、赋、比、兴。一般来讲，风、雅、颂是根据音乐的不同而对《诗经》进行的分类，赋、比、兴则是《诗经》所用的表现手法。风分15国风，是十五个地区的土风歌谣；雅分大雅和小雅，是周王朝直接统治地区的音乐；颂分周颂、鲁颂和商颂，是宗庙祭祀用的舞曲。赋是“敷陈其事而直言之者”，即铺叙陈述；比是“以彼物比此物也”，即引譬设喻；兴是“先言他物以引起所咏之词也”，即托物起兴。 春秋三传 指《左传》、《公羊传》和《谷梁传》。有人认为这三部书是解释《春秋》的，故合称“春秋三传”。《左传》又称《春秋左氏传》或《左氏春秋》。 楚辞 产生于战国后期的楚国，是屈原在楚地民歌的基础上吸收中原文化的精髓而创造的一种新诗体。句式以六、七言为主，多用“兮”字，具有浓厚的地方色彩。因《离骚》是楚辞的代表，故后人又把楚辞称为“骚”或“骚体”。西汉刘向将屈原、宋玉等人以及汉代东方朔、淮南小山等人的作品编为一集，名为《楚辞》。 乐府、汉乐府、汉乐府民歌 乐府原指音乐机构（乐指音乐，府指官署），始于秦，汉武帝时规模甚大。魏晋六朝时，又把乐府所唱的诗歌也叫“乐府”，于是乐府机构的名称变为带有音乐性的诗体的名称。汉乐府就是汉代的乐府诗。汉乐府包括贵族文人制作的歌辞和采集来的民间歌辞两类作品，后者具有强烈的现实主义精神和崭新的形式，是汉乐府的精华所在，因此，我们常说的汉乐府，多是指汉乐府民歌而言。（注意：宋元以后的词、曲，有时也称“乐府”，如《东坡乐府》是苏轼的词集，《东篱乐府》是马致远的散曲集。） 汉赋 汉代最具代表性的文学样式。汉赋的发展大致经历了三个阶段：汉初流行骚体赋，承楚辞余绪，多带“兮”字，抒情性较浓，代表作家是贾谊；汉武帝起盛行散体大赋，篇幅加长，多采用主客问答形式，铺陈夸张，词藻华丽，气势恢宏，“劝百而讽一”，代表作家是司马相如、扬雄等；东汉中叶以后兴起抒情小赋，篇幅短小，针砭时弊，语言整饬，感情浓郁，代表作家是张衡、赵壹等。 古诗十九首 东汉末年无名氏文人所作的一组五言诗。南朝梁代萧统把它们辑集在一起，冠以“古诗十九首”的总名，编入他编的《文选》之中。这些诗反映了汉末中下层知识分子的生活和思想感情，它的艺术成就标志着文人五言诗达到了成熟阶段。 建安风骨 指汉末建安时期作家的作品在内容和风格方面所表现出来的时代特色。以“三曹”（指曹操、曹丕和曹植）、“建安七子”（指孔融、陈琳、王粲、徐幹、阮瑀、应瑒和刘桢）为中心的邺下文人在诗歌创作中，多反映社会的动乱和人民的疾苦，抒写个人理想抱负，风格悲凉慷慨、刚健遒劲。建安文学的这种特色，被后人称为“建安风骨”。唐代陈子昂所说的“汉魏风骨”，也是指此而言。 竹林七贤 指魏正始时期的七个文人名士，即阮籍、嵇康、山涛、王戎、向秀、阮咸和刘伶。七人大都狂放不羁，藐视礼法，常集于竹林中酣饮，故世谓“竹林七贤”。他们的作品，多用隐晦曲折的方式揭露司马氏的恐怖统治，表达愤世嫉俗之情。阮籍、嵇康最为著名，诗风各具特色，有“阮旨遥深”、“嵇志清峻”之说。

文学理论名词解释

文学观念：文学观念就是对文学的看法，是对“文学是什么”的回答。文学观念是发展变化的。 再现说：在文学四要素中强调“世界”与“作品”的对应关系，即认为作品是对世界的摹仿或再现。 客观说：在“文学四要素”中，客观说把作品抬到高于一切重于一切的地步，认为作品一旦从作家的笔下诞生之后，就获得了完全客观的性质，它既与原作家不相干，也与读者无涉，它从外界的参照物中孤立出来，本身是一个自足体，出现了所谓的“客观化走向”。 文以载道：中唐时期韩愈等古文运动家提出，经宋代理学家的解释得到完善。“文以载道”的意思是说“文”像车，“道”像车上所载之货物，通过车的运载，可以达到目的地。如果车装饰得很漂亮，却不载物，那么车再美也是无用的。可见文学也就是传播儒家之“道”的手段和工具。这样的文学观念偏于文学的教化目的。 寓教于乐：古罗马时期的思想家贺拉斯提出。认为文学的摹仿要达到“既劝谕读者，又使他喜爱，才能符合众望”。这是一种既重视摹仿又重视读者得到快感和教益的文学观念。 文学的定义：文学作为一种人类的文化形态，它是具有社会的审美意识形态性质的，凝聚着个体体验的，沟通人际的情感交流的语言艺术。 价值阅读：价值阅读表示阅读者“试图尽可能敏锐和准确地描述出他在作品中所发现的价值”。当然这里所说的价值，首先是文化价值。 审美：审美是心理处于活跃状态的主体，在特定的心境、时空中，在有历史文化渗透的条件下，对于客体的美的观照，感悟、判断。 情致：由黑格尔提出。情致是两个方面的互相渗透，一方面是个体的心情，是具体感性的，是会感动人的，另一方面是价值和理性，可以作为认识。但这两个方面完全结合在一起，不可分离。因此，对那些情致特别微妙深邃的作品，它的情致往往是无法简单地用语言传达出来的。 虚静：中国古代文论概念。“虚静” 就是使人的精神进入一种无欲无得失无功利的极端平静的状态，这样事物的一切美和丰富性就会展现在眼前。所以“虚静”可以理解为审美活动时的心理状态。 艺术真实性：简括地说，艺术真实性是指文学作品的艺术形象的合情合理的性质。 体验：所谓体验是经验中见出意义、思想和诗意的部分。 “出入”说：王国维提出。作家的体验不但要能“入”，而且要能“出”：诗人对宇宙人生，须人乎其内，又须出乎其外。人乎其内，故能写入。出乎其外，故能观之。入乎其内，故有生气。出乎其外，故有高致。”“入乎其内”就是“移情”式体验。“出乎其外”就是体验主体对体验的反刍。 文学文本：文学文本是供读者阅读的包含完整意义的实际语言形态，是文学这种语言艺术品的基本存在方式。 文学语言组织：文学语言组织是文学文本的最基本层次和直接现实，它是一种具有表现目的和表现性及个性。 语言层面：语言层面是文学语言组织的基本层面两种形态。 节奏：节奏是文学语言层面的基本形态之一，是语言在一定时间里呈现的长短，高低和轻型，高低和轻重型。 音律：音律也称声律，声韵或韵律，是文学的语言层面的基本形态之一，是由声调，语调和韵的变化和协调而形成的内部和谐状况。 文法层面：文法层面是文学语言组织的基本面之一，它是文学语言组织在语词，语句和篇章方面的构面法则。文法通常有三类：词法、句法和篇法。 词法：词法，又称字法，是文法层面的类型之一，是特定文本内语词的构成法则。

文学术语解释

An Introduction to Old and Medieval English Literature(450—1066) Definitions of Literary Terms(名词解释与文学术语) 1. Couplet 对句( 指两行尾韵相谐的诗句) A couplet is two consecutive lines of poetry that rhyme. The couplet composed of two iambic pentameter lines (五音步抑扬格诗行)—more commonly known as the heroic couplet ( 英雄偶句诗)—--is the most favored form. 2. Elegy哀歌、挽歌 A poem of mourning, usually over the death of an individual. It may also be a lament over the passing of life and beauty or a meditation on the nature of death. An elegy is a type of lyric poem, usually formal in language and structure. 3. Epic 史诗An epic is a long narrative poem telling about the deeds of a great hero and reflecting the values of the society from which it originated. Many epics were drawn from an oral tradition and were transmitted by song and recitation before they were written down. 4. Exodus 《出埃及记》The second book of the Old Testament, containing an account of the departure of the Israelites from Egypt under the leadership of Moses. 5. Genesis A：《创世纪》The second book of the Old Testament, containing an account of the departure of the Israelites from Egypt under the leadership of Moses. 6. Homer 荷马Greek epic poet, probably of the 8th century BC, to whom are ascribed the Iliad ( 《伊利亚特》) and Odyssey (《奥德赛》). Nothing is known about his life, nor even of the genesis of the poems. 7. Iambic pentameter 五音步抑扬格：英诗的韵律主要包括两方面的内容: 1) 每个音步中轻重音节的排列形式, 即格律。抑扬格指每一音步中含有一个轻音和一个重音; 2) 这种排列形式在一个诗行中出现的次数, 也就是每行内所含有的音步数目。下面以教材中Thomas Gray 的Elegy Written in a Country Churchyard为例, 诗歌第一行如下: \ / ┃\ /┃\ / ┃\ /┃\ / The curfew tolls the knell of parting day ( \ 表示“抑”, 即轻读的音节, / 表示“扬”, 即重读的音节; ┃表示音步的分布情况) 8. Lyric抒情诗 A poem, usually a short one, that expresses a speaker’s personal thoughts or feelings. The elegy, ode, and sonnet are all forms of the lyric. As its Greek name indicates, a lyric was originally a poem sung to the accompaniment of a lyre（古代希腊的七弦竖琴）, and lyrics to this day have retained a melodic quality. 9. Motif 主题、母题 A motif generally contributes in some way to the theme of a short story, novel, poem, or play. At times, motif is used to refer to some commonly used plot or character type in literature. It can also be motive, a main subject, pattern, etc. on which a work of art is based, or from which it is developed. 10. New Testament 《新约全书》The part of the Bible which contains the life and teachings of Christ recorded by his followers, together with their own experiences and teachings. It is the second of the two principal divisions of the Christian Bible. 11. Old Testament 《旧约全书》The earlier and larger part of the Bible, which contains the religious and social laws of the Hebrews, a record of their history, their important literature, and writings of their prophets. 12. Romance 骑士传奇、浪漫文学Any imaginative literature that is set in an idealized world and that deals with heroic adventures aand battles between good characters and villains or monsters. Originally, the term referred to a medieval tale dealing with the loves and adventures of kings, queens, knights, and ladies, and including unlikely or supernataural happenings. 13. Verse 韵文Form of writing arranged in lines, each containing a pattern of accented and