<h1 class="pgc-h-arrow-right" data-track="1" > creative features</h1>
<h1 class="pgc-h-arrow-right" data-track="2" > works</h1>
Love and beauty were John Keats's lifelong spiritual pursuits. John Keats's dedication to eternal love and beauty in five long narrative poems, Endimon, Lamia, Hybirang, Eve of St. Ani," and Isabella, representing the artistic achievement of Keats's poetry. These five long poems not only played a crucial role in the creation of all of Keats's poetry, but also showed a distinctive artistic outlook compared to the Romantic poets Byron and Shelley of the same period. Although Keats's short life was full of "fatigue, fever, and anxiety," he still constructed a world of love and beauty in his long poems.
First, Keats's love: first of all, it is expressed as the description and pursuit of romantic love. Love in Keats's poetry can also be understood as concern and reflection on the universal spiritual dilemma of mankind.
Second, as for the substantive meaning of "beauty", Keats did not make a clear and detailed exposition in his short life. Perhaps similar to Plato's understanding of beauty, beauty in Keats's long poem is a "supreme idea that encompasses everything and dominates everything." This concept of beauty includes both works of art and the idea of human behavior; Beauty is both concrete and abstract.
Summary: Keats constructs a world of love and beauty in his long poems, which allows him to face difficult realities with optimism. Keats lost his parents at an early age, his third brother died prematurely when he grew up, his sister was depressed elsewhere, his second brother immigrated to the Americas to survive, Keats himself contracted lung disease while caring for his younger brother, suffered malicious attacks from critics after the publication of the poetry collection, and the tribulations that came and went damaged Keats's physical and mental health, and finally died young in poverty and illness. However, Keats did not give up the pursuit of love and beauty in the face of suffering in reality, and it was the pain in reality that prompted him to use art to pursue love and beauty, so it can be said that the suffering life was the catalyst of his poetry, prompting Keats to build an artistic world in which love and beauty are intertwined in the art of poetry.
<h1 class="pgc-h-arrow-right" data-track="7" > creative technique</h1>
Keats's work directly expresses the conflicts in life, and the author does not focus on telling his troubles, but presents himself in the world of "fatigue, fever and anxiety" to the reader. With a sense of resentment, the author sketches a sad and sad picture. The sorrow of the world and the happiness of the nightingale constitute a set of sharp contrasts, which strongly set off the author's theme of praising this eternal beauty, showing his humanistic tendencies and views. In his works, reality and ideals blend to form his unique creative style. Keats has been searching for beauty all his life, and he has allowed his imagination to pursue in mystery, so he has never forgotten his responsibility to society as a whole. Many of Keats's works profoundly express the tragedies of life, he denounced society, tried to show the evil side of human nature, and showed the real tragedies of that period.
In his early poems " To George Keats " , " A Chant for Peace " , there were descriptions of reality ; In the later works such as "Endimão" and "Lamia", this sense of reality is even more obvious. Especially in "Ode to the Nightingale", the conflict and grief in reality are vividly shown. In this work, Keats begins to describe the protagonist's wonderful world full of joy and laughter. The nightingale chirps happily in nature, expressing the beauty of life with euphemistic songs. Hearing the birds singing, the protagonist is at first overjoyed, followed by sorrow. He was tormented by illness, heard the happy singing of the nightingale, and was sad in comparison with his own situation.
In his early days, Sleep and Poetry was one of his successful works. With deep observation and deep thinking, he shows the conflicting and related relationship between sleep and writing. Sleep is the human brain in an uncontrolled state, and the creation of poetry is a high-order mode of human consciousness; The two are completely different and do not seem to have anything to do with each other. But Keats sees the two as two interrelated and inseparable aspects of artistic creation from a unique perspective. In his opinion, the imagination in sleep is extraordinary, and can be seen as poetry.
In his later works, especially the outstanding six "Ode Poems", Keats's philosophical views are vividly expressed, and "Ode to Melancholy" is one of them. Keats uses incisive and original commentary and various literary rhetorical techniques to naturally integrate his own feelings into the psalms, so that the whole work has a unique charm, continuous meaning, and thought-provoking; At the end of the work, he leaves behind a unique and touching golden jade good word: she coexists with "beauty" - the "beauty" that is destined to wither. The author uses anthropomorphic methods to vividly express the three personalities of "beauty", "pleasure" and "comfort", which makes people marvel; "Joy" will always make a farewell appearance to people, and coexist with sadness; "Relief" and grief coexist, so "painful gladness". The author further shows the duality of life - depression and happiness are interdependent, and only by always striving for happiness and having the courage and strength to brave hardships and dangers can we truly realize the true meaning of life. Although the ending of the work is pessimistic - the person who has the courage to try the "happy fruit" eventually becomes another kind of person who is "melancholy", the reader can still feel the author's bitter heart: why human life is so precious is because happiness and sorrow exist at the same time, and they are not separated from each other.
<h1 class="pgc-h-arrow-right" data-track="12" > form of work</h1>
Keats's work is extremely philosophical, and the author uses his own wisdom and insights from his observations and reflections on life. Keats has been working hard all his life to experiment with the innovation and improvement of poetry, hoping that the expression and content of poetry can be perfectly integrated to create a beautiful masterpiece. Therefore, when he creates, he will definitely choose a creative form that is consistent with the content, and strive to combine the form and content to express his thoughts. Sonnets were a form he often used in the early days of his work. This poetic style is divided into the first eight lines and the last six lines, in order to express a completely different view. Keats's "Bright Star" adopts this poetic style, the realm of poetry is profound, the intention is deep, and the two views are obviously compared, which can be called an outstanding masterpiece in the sonnets.
Keats placed particular emphasis on poetic form, which he refined to take the form of poetry that matched its content. For example, in "The Cold Demon Girl", he adopted the form of a medieval folk song, he simplified the last line of each section, prompting the rhythm of the work to become faster, making the rhythm of the poem more beautiful, and the short sentences implied the meaning of meandering twists and turns, focusing on the cunning of the demon girl and the tragedy of the knight in the work, which is consistent with the somber and sad atmosphere of the poem. In "The Eve of the Agnes Festival", he added numbers to the last line of each section, so that the beat of the whole work was slow and powerful, and the narrative and depiction of the poem became deep and delicate, showing a multi-angle life scene.
After continuous innovation, Keats pioneered the expression of lyric poetry, in addition to lyricism through scenery, there are also lyricism and lyricism of things. The former is more common in its narrative poems. In Isabella, there are many lyrical chapters. For example, verse 30 tells the protagonist's grief after his lover was killed. The author's description of these contents is extremely impactful, expressing his deep hatred for the sins of the world and his deep sympathy for the poor people. Although his poems are rare, they occupy an important place in his works, including the Ode to the Ancient Urn of Greece. The work not only depicts the shape characteristics of the ancient urn, but also focuses on the paintings carved on it, and Keats integrates chants, scenes and lyricism, prompting the whole work to highlight a unique artistic charm.
<h1 class="pgc-h-arrow-right" data-track="16" > character influence</h1>
Keats put forward the proposition of "beauty is truth, truth is beauty" in the "Ode to the Ancient Urn of Greece", which had a great influence on the creation of lyric poetry in later generations.
Keats had an influence on British literature in the second half of the 19th century and the beginning of the 20th century, and he influenced numerous poets and artists in three ways: rich sensory depictions, comfortable and idyllic representations of medieval ideals, about art and thought, or paradoxes of thought and the mundane. Poets and artists deeply influenced by Keats include: the Romantic poet Thomas Hood, the English Victorian poet Alfred Tennison, the former Raphaelite poet and painter D. Hood. G. Rossetti, symbolist poet w. B. Yeats and the young poet Wilfred Owen, who died in World War I. Keats provided creative inspiration, poetry writing techniques, story content, and thematic style for their poems.
<h1 class="pgc-h-arrow-right" data-track="19" > character evaluation</h1>
English poet Percy Bissy Shelley: He was part of "beauty", and this "beauty", ah, was once more lovely by him.
Lebanese writer Ki Ha Gibran: Keats should say that the eternal rest of this place, his reputation is forged with fire in the sky.
Chinese writer Tu An: If tian yi borrows years, what kind of achievements he can achieve is difficult to predict. But it is widely accepted that by the time he stopped writing at the age of twenty-four, his contribution to poetry had greatly surpassed that of Chaucer, Shakespeare, and Milton of the same age.
American writer Daniel M. S. Burt: With the exception of Milton, no other English poet has had such a profound influence on later generations as Keats.
<h1 class="pgc-h-arrow-right" data-track="24" > posthumous commemoration</h1>
Keats House
London's Keats House is located in the hampstead district of the northwest, and in Keats's time it was a remote suburban countryside, surrounded by jungle and meadows. Keats stayed here for a not too long time. In December 1818, Keats's brother Tom died of tuberculosis, and his friend Brown took him to live with him in his home, which is now the Keats House. Keats left the house for a time and lived in it again until september 1820, when he went to Italy. Here he wrote his most important works, "Eve of St. Ani", "Haibi Lang" and so on.
Keats's letters, manuscripts and other works are mainly in the Collection of Harvard University Hughton Library, and some of them are in the British Library and the Keats Memorial In North London.
<h1 class="pgc-h-arrow-right" data-track="28" > literary analysis</h1>
Elliott's first poetry was at the end of the First World War, and those poems showed his early influences: the French Symbolist poetic school, especially the irony of Stephanie Mallarmé and Jules Laforg, and the urban imagery of Charles Baudelaire. Elliot's lifelong focus on the plight of modern civilization and postwar disillusionment also begins here.
The Love Song of Prufolk (published in the Poetry Journal in 1915) is an early example of this influence and concern. It's the inner monologue of a shy, repressed man. It shows that Elliot had already become interested in the idea of "fragmentation" as a technique by this time. Prufolk is eager to socialize with people, but he is isolated, sensitive and numb, always worried that communicating and contacting people will have adverse consequences. By listing throughout the poem images that seem unrelated, Eliot emphasizes the fragmented character that he considers to belong to modern men and women.
The Wasteland, a landmark work from the 1920s, also demonstrates his focus on the plight of the 20th century. Its achievements owe it to the enthusiastic help of Ezra Pound, Elliott's mentor and friend. He suggested that Eliot revise the original manuscript, delete some explanatory material, cut out the seventy-two lines of rhyming dialogue, and delete some verbose and vulgar poetic wording. As a result, it became an unparalleled experimental poem, the language was simple and unpretentious, the imagination was extraordinary, and it formed a revolution in the history of literature. The skill and foresight that Eliot expresses in his poems will, to some extent, have a profound impact on present and future generations.
In The Wasteland, he experimented with a technique he thought had discovered by James Joyce: the use of myths. In a 1922 review of Ulysses, Eliot interpreted this use of mythology as providing "an eternal comparison between reality and history." Eliot also experimented with this approach in two poems, "Straight Sweeney" and "Sweeney in the Nightingale," which are included in the 1919 poetry collection Poems. In Wasteland, he is the last to use the technique of mythology. He conceived works around the myth of death and rebirth, believing that this myth is the archetype of all the major religions in the world. Eliot's conception stems from two anthropological books, Ms. Jesse Weston's From Ritual to Myth (1920) and Sir James Fraser's Golden Branch, which inspired him to depict in his poems a mythical kingdom in which a wounded (or dead) king waited for someone to save him and restore his land to its abundance. With the help of symbols of desert, water, abundance, and regeneration, Eliot creates a picture that he considers to belong to both modernity and any era.
Eliot's post-Wasteland poetry continues to explore contemporary culture, placing great emphasis on the need for individuals to find a standard by which individuality is determined. This poetic question reflects Eliot's personality journey, which is hinted at in the titles of poems about religious skepticism and reconciliation: The Journey of the Three Saints, Grey Wednesday (1930), and The Four Quartets (1943). The creation of the Four Quartets, which began in 1934 and was not completed until 1943, was his proselytizing work; he did not overly represent the refuge of religious belief as a smooth path to truth. It is a group of poems containing religious and philosophical contemplation. As its title suggests, The Quartet has a musical structure, consisting of four long lyric poems with place-named titles: "Burning Norton," home to an English manor; "East Cook," a small village inhabited by Eliot's ancestors; "Dry Selvigis," a set of reefs off The Sea off Cape Ann, Massachusetts, U.S.; and "Little Giding," home to a 17th-century Anglican society in England. Each quartet of the poem contains a fluid, fluctuating rhythm, with a meditative tone that accompanies the theme of its theme, repetitive and multiple original musical, and contemplative tones. In short, this quartet represents Eliot's efforts to seek value affirmation in the development of personality and literature.
These explorations prompted Elliot to try his hand at other genres. He wrote five plays: Murder in the Cathedral (1935), Family Reunion (1939), Cocktail Party (1949), Confidential Secretary (1953), and Political Elders (1958). Religious themes are reflected in every play, and all five plays were successfully staged on Broadway in London and New York. The plays, all written in rhyme, show Eliot trying to explore the same themes he touched on in his poems, only this time bringing them to the stage.
Eliot's concerns in his poetry are also shown in his literary reviews. He has published works on Dante, Georges Hubbert, Elizabethan plays, 17th-century poetry, and a collection of essays on society and religion, on a variety of aesthetic issues. One of his most important books was The Sacred Forest (1920), which contained Eliot's famous essay Tradition and Individual Talent. In this paper, he speaks of traditional agency, emphasizing the importance of the poem itself rather than the poet's personality. These ideas are also contained in Eliot's poems, whose poems constantly express the connection between the past and the present. He declared that this was a way for artists to reconstruct tradition through their contributions and reflections on it. In the process of this reconstruction, Elliott says, the artist must suppress individuality through "constant self-sacrifice." The most important thing in modern poetry should be the poem itself, not the personal style of the poet's creator. He not only preached this view, but he also practiced it himself.
Despite his achievements in literary criticism and poetry, Eliot remained a poet. He was an American who later became a British citizen, and because of his unusual, almost split personality, readers asked Eliot whether his poetry belonged to the American tradition or the British tradition. In response to this question in the Paris Review in 1959, he said: "I must say that my poetry clearly has more in common with my famous American contemporaries, while the characteristics of my English contemporaries are less expressed in my work." That's something I can be sure of. ”
Just as he clearly understood his place in the history of literature, so did critics that Eliot, one of the founders of modernist English poetry, had an unquestionable influence on literature before he won the Nobel Prize in Literature, and will certainly influence the future. Eliot's obscure experimental poetry challenges his readers and continues to do so. Obscure standards are part of Eliot's aesthetic vision, and he believes that poetry, especially 20th-century poetry, cannot be simple and clear. In The Use of Poetry and the Use of Criticism (1933), he explained this idea: "Incomprehensible (when reading certain poems) is caused by the author omitting something that the reader is accustomed to looking for, so the reader is confused and searches around for what is omitted from the poem. What gives poetry this inherent difficulty is an experiment of Eliot's technique: his listing of images without obvious connections, his reliance on metaphors, his rough, unadorned language, his innovation of structure, etc. Elliott eventually expressed his views on modern civilization, his sense of the chaos and cultural poverty of the 20th century, and the question of how to respond appropriately to the disconnects of modern civilization. Obscure, innovative, prophetic, T.S. Eliot's praise for the Swedish Academy's awards, recognizing him as "able to find the right words with a remarkable talent, both in poetry and in literary theories defending certain ideas."
<h1 class="pgc-h-arrow-right" data-track="35" > influences</h1>
Eliot's Tradition and Personal Talent was translated into Chinese by the famous poet Bian Zhilin as early as the 1930s. For this far-reaching paper, Borges says, instead we created the ancestors and the lineage thomas Sturnas Eliot, not tradition that created us. After the publication of Wasteland, various interpretations emerged, and people often used it as a portrayal of the decline of Western civilization. There are also critics who argue from the salvation of the wasteland, arguing that "The Wasteland" is essentially different from "Ulysses", and Eliot describes the helpless individual facing the boundless darkness and trembling, and the solution to the problems of contemporary society is beyond human reach, but waiting for the arrival of Ganlin in the rumbling thunder.
Yan Feng, an associate professor at the Department of Chinese at Fudan University, recalled that in the 1980s, domestic college students had the saying that "talking about Eliot is not talking, and reading all the poetry books is in vain", which shows the great influence of Eliot on The Chinese cultural circle. Today, poetry is marginalized, and the publication of Eliot's collected works feels "20 years late." Zhang Xinxin, a well-known literary critic and professor of Fudan Chinese Department, also said that when opening the history of modern and contemporary Chinese poetry, many famous poets have said that they are deeply influenced by Eliot, for example, Xu Zhimo once imitated Eliot's poetic style to write "West Window". Bian Zhilin, Xia Ji'an, Mu Dan and others were also deeply influenced by it, "from Xu Zhimo and Sun Dayu to today's literary youth, several generations of people have read Eliot's long poems "Wasteland" and "Pruflock's Love Songs", which constitute an unforgettable memory of Chinese literature."
Eliot was also one of the most important critics of 20th-century Britain, and his ideal of "common pursuit of correct judgment" became a powerful slogan. Eliot's first collection of essays, The Sacred Forest, gives readers a sense of authority that ushers in a new era, and his Selected Papers, 1917-1932 is a rare classic in the history of British criticism.
<h1 class="pgc-h-arrow-right" data-track="39" > honors</h1>
Eliot was also very successful in the field of poetry, and he tried to create a modern poetic model. The play Murder in the Cathedral (1935), featuring the 12th-century Archbishop Beckett, affirms religious devotion. His other screenplays include "Family Reunion" and "Cocktail Party". Eliot was also an important literary theorist, writing numerous reviews of his famous literary essays " Tradition and Individual Talent " and " The Three Voices of Poetry " . He put forward a series of important insights, such as writers should have a sense of history, writers should not depart from the literary tradition but can enrich and change the tradition with their own creations, poets should look for "objective counterparts", and so on. He also put forward the principles of poetry creation and evaluation in articles such as "The Sacred Forest" and "On Poetry and Poets". These insights have had a great influence on the new critics. In 1948, he was awarded the Nobel Prize in Literature for his poem "Four Quartets". Considered the most influential poet who wrote in English before World War II.
<h1 class="pgc-h-arrow-right" data-track="41" > character works</h1>
Eliot began his poetry writing in 1909, publishing Love Songs of Pruflock (1917), Poetry Collection (1919), Wasteland (1922), Elliot's Poetry Collection (1909-2925), Journey of the Wise Men of the East (1927), Gray Wednesday (1930), Selected Poems (1909-1935), And Four Quartets (1943). Among them, "Prufolk's Love Song" is a representative work of early poetry; "Wasteland" was produced in the middle of the creation and is an epoch-making work of Western literature in the 20th century, a milestone in modernist poetry; "Four Quartets" is a representative work of late poetry.
Influenced by French Symbolist poetry, late Renaissance English playwrights and metaphysical poetry, Eliot's poems are concrete and accurate, and thoughts and feelings are connected by associations and suggestions, reflecting the emotions of doubt and disillusionment that existed in capitalist society in the 1920s, and in the 1930s and 1940s there was a sentiment of seeking liberation from religion.
The most important of Eliot's early poems are: The Love Song of Pruflock (1915), about the ambivalence of a mediocre young man in courtship poetry in high society; The Portrait of a Lady (1915), about the emptiness of high-society women's life; and The Little Old Man (1919), which depicts an empty feeling through an old man's monologue. These poems reflect the spiritual emptiness, poverty, and despair of the British and American upper classes before and after the First World War.
The Waste Land (1922) is an epoch-making work in 20th-century Western literature, a milestone in modernist poetry and a masterpiece by Eliot. The poem is divided into 5 chapters. In the first chapter, Funeral Rites of the Dead, the poet uses the wasteland as a symbol of postwar European civilization, which needs the moisture of water, the need for spring, the need for life, and reality is full of vulgar and low-level desires, neither life nor death. The second chapter, "Pairings", compares the lives of women in the upper class and the lower male and female citizens in the bar room, showing that such a life is equally low-level and meaningless. The third chapter, The Fire Commandment, writes of vulgar obscenity, emptiness and no real love caused by the fire of lust. The fourth chapter, Death in the Water, is the shortest, suggesting that death is inevitable and that the water of life that people crave cannot save mankind. The fifth chapter, The Words of Thunder, returns to the theme that Europe is a dry wasteland, fearful of the revolutionary wave, and preaching religious "giving, sympathy, restraint." Using the results of anthropological research on myths and legends, Eliot quotes or changes the plots, allusions and nouns in European literature in large quantities, and forms a complete poem with consistent ideas and moods in 6 languages, with distinct images and through hints and associations, and strict structures. The poems rarely use rhymes, most of them are rhythmic free bodies, and the language is varied. The poem was a great technical breakthrough, and was highly criticized after the first two issues of the Standard quarterly, after which the author added annotations and the researchers made interpretations and comments, which were basically readable.
In Eliot's other important poems, such as The Hollow Man (1925), despair is more pronounced: man is just an empty shelf in the land of the dead, a man filled with straw, a shadow. "The world ends in a whimper". The number of abstract terms in this poem gradually increases. Ash Wednesday (1930) refers to the first day of Lent, sprinkling ash on the heads of repentants, preaching the Christian doctrine of obedience to God's will and repentance.
The Quartet of Four was written between 1935 and 1941 and is titled from four locations: Burned Norton refers to the site of a rose garden in an English country house; Le Cork is the village and village trail where Ai's ancestors lived in Britain; Dry Salvicz refers to a group of reefs in Haida, Massachusetts, USA; and Little Geding refers to a chapel in the Anglican settlement during the English Civil War in the 17th century. This is a group of philosophical and religious meditation poems, the central theme is consistent with "The Wasteland", through personal experience, historical deeds, etc., expressing the illusion of time (past, present and future), the sense of disillusionment of life, Qi always, such as life and death, "Yew and roses live together", and promote the humble spirit of Christianity. This poem is meditative and interwoven with images, the language is rhythmic, there is no "Wasteland" fabrication, it reads naturally and smoothly, it is clear and clear, and it is considered to be the poem of Eliot's peak.
Elliot's plays are mostly poetic. The early Sweeney the Gladiator (1926) was not completed. The Rock (1934), staged to raise money for a parish in London, is a costume play in which choir lines render the difficulties the church has experienced in the past and present, and preach that it will eventually triumph.
Eliot's most famous poem was The Cathedral Murder (1935), written for the Canterbury Cathedral Sunday event. The story begins in the 12th century when Khan Mas, Archbishop of Canterbury, was killed. The conflict between E. Becket and King Henry II. Becket resisted all kinds of temptations and was eventually killed by knights sent by the king. Critics believe that the play celebrates the dedication to atonement for the sins of the world, while others believe that it is the crime of pride that is denied by opposition to doctrine.
The Family Reunites (1939) uses modern themes to write about the retribution of crime, which breaks the family apart, emphasizing the character's psychology of atonement. The Cocktail Party (1950) and The Confidential Secretary (1954) promote religious belief in the form of realistic comedies that bring the light of self-knowledge to the guilty, and only religious belief can keep people from getting lost. The last screenplay, The Patriarch of Politics (1959), turned to the glory of love.
Eliot's earliest critical works were collected in The Sacred Forest (1920), and later he published critical articles, in 1932 he compiled another "Selected Papers" (revised in 1951), and in 1936 he compiled "Ancient and Modern Papers".
His most important literary criticism articles are Tradition and Individual Talents (1917), The Function of Criticism, 1923, Poetry in Poetry and Poetry in Criticism (1930), in addition to articles and speeches on poetry, individual playwrights, and poets. Elliott had no respect for Shakespeare; he believed that Milton had a bad influence on poetic technique; he considered Shelley to conceptualize and Byron to entertain only the upper classes. He greatly admired Dante, the English Renaissance (especially late) playwright, and the metaphysical poet. He praised Dryden's poetic skills for surprising pleasure.
In his essay "Tradition and Individual Talent", he proposed that a writer cannot create from tradition, but can change tradition like a catalyst, which is where the writer's personal talent lies. The function of literary criticism is to put the facts that the reader has not seen in front of the reader and improve his ability to appreciate and feel.
Eliot also proposed two important concepts of poetic criticism: "the differentiation of feelings" and "objective counterparts." He believes that English poetry tended to be conceptualized and conceptualized after the I8th century, and the ideas and feelings, ideas and images were disconnected, and the thoughts and feelings of 19th century poetry tended to be hazy and vague, so poets should turn back to the poetry of the early 17th century, that is, the late Renaissance and metaphysics. He believes that poets expressing thoughts and feelings cannot be expressed or expressed directly like philosophers or less skilled poets, but must find "objective counterparts". The writer must use a cool mind like the classical writers, and combine the "objective counterparts" such as various images, situations, events, palms, and quotations into a pattern to express a certain complex, and can immediately arouse the same feelings in the reader's mind, so that the literary feelings are consistent, in order to correct the hazy and vague effect of 19th-century poetry.
In addition to literary criticism, Eliot also published many famous works and articles on religion and culture, the main ones being "What is Christian Society" (1940) and "Notes on the Definition of Culture" (1949).
Eliot's creations and commentaries played a pioneering role in British and American 20th-century modernist literature and new critical criticism, and few people can compare with him in the entire Western literary scene.
<h1 class="pgc-h-arrow-right" data-track="57" > author of the same name</h1>
Elliot, George (1819–1880)
British writer. Her original name was Mary Ann Evans. Born 22 November 1819 in Warwickshire, England, died 22 December 1880 in London. She grew up familiar with the customs and customs of the British countryside. As a teenager, she attended a girls' residential school, helped her father with housework after her mother's death, taught herself at home, and was a language genius who mastered German, French, Italian, Latin and Greek. At the age of 20, he moved to Coventry with his father, where he became acquainted with young people with liberal ideas, such as Charles Brey and Charles Hannell, and read skeptical treatises such as "An Investigation into the Origins of Christianity" by the latter, resolutely abandoning religious beliefs and paying keen attention to the new trends of social reform. This was a turning point in her life, when in 1846 she translated and published the atheist work of the German thinker David Strauss, The Biography of Jesus, and a few years later Feuerbach's The Nature of Christianity. The publication of these two books had a considerable influence on the development of liberal thought in Britain in the 19th century. In 1851 she became assistant editor of the Westminster Review, approaching more liberal intellectuals and maturing her thinking further.
During this period she lived with the critic and husband George Henry Louis because of her intellectual union. Encouraged by the latter, he began to work, publishing under the pseudonym George Eliot. Initially, he published 3 novellas under the title of "Scenes of pastor's life", which attracted the attention of critics. The next publication, Adam Bede, is a novel that truly reflects the style of the British countryside at the end of the 18th century and shows the profound moral strength of the protagonist of the same name. The Mill on the Flos River is a novel about rural life in early 19th-century England, reflecting the author's moral thinking through the story and fate of a pair of brothers and sisters. "Manan the Weaver" is a psychological novel with high artistic achievements. Due to her cohabitation with her husband, she was banished by the "decent" society of the Victorian era in England, and the two later traveled frequently across the continent. Twice in Italy she wrote the novel Romura, which reflects the life of an Italian reformer. Her other important works include Felix Holt, Middlemarkt, Daniel Delonda, etc.
Considered her most important novel, Middlematche is considered to be her most important novel, and through the complex intertwined fates of many characters, she deeply considers the free will and free choice of people, the consequences of personal actions on themselves and others, etc., and exerts the author's idea that "people must pay for their moral choices" to the extreme. It is a novel about the disillusionment of life and contains a lot of psychological analysis. Eliot has a profound sense of observation and thinking, and has created many female characters with sound and color in the novel.
<h1 class="pgc-h-arrow-right" data-track="62" > creative features</h1>
Set against the backdrop of British society in the late 19th and early 20th centuries, Goolsworth's work depicts the social and family life of the British bourgeoisie, as well as the history of prosperity and decline. His works are concise in language, vivid in imagery and poignant in satire. The novel is a sharp satire of the bourgeoisie, and is the most realistic masterpiece that best embodies the progressive ideas and artistic techniques of Golsworthy. But it also reflects the limitations of the author's thinking: the circle of life described is too narrow, confined to the family, marriage, and moral spheres of the middle and upper bourgeoisie, without showing the broad social landscape of that era; While exposing and satirizing the "Spirit of Forsay", it also made idealized descriptions of some important members of the Fulsa family, such as Jorion Sr.
<h1 class="pgc-h-arrow-right" data-track="64" > topic</h1>
Goldsworth was born in the era of modernist literature, but he did not go with the flow. It is said that his good friends Such as Conrad persuaded him to learn something fashionable, but he did not change his original intention and adhered to the traditional realist path.
His characters are roughly divided into three categories: "people with property" like himself, that is, "Forsys"; Second, there are the lower classes; Then there are people between these two categories, the intellectual class, or the "outsiders" who break into the "people with property." He usually lived among the first type of people, and some of them were his relatives, even himself. For example, the archetype of the elder Joryn in The Man with the Property is the author's father. Jorian's archetype is, to some extent, the author himself. The archetype of the rogue-like, quintessential "Forsy" Soless is the author's cousin Arthur Golsworthy; Somis's wife, Irene, is based on Arthur's original wife, Ida. Like Irene, Ida is divorced due to Arthur's abuse, and eventually becomes the author's lifelong partner. The author's portrayal of these characters is naturally handy. As for the second category, although he did not live with them, because when he was young, he went to the slums for his father's company to collect rent, collect debts, and when he grew up, he traveled all over the world, visited various places, including prisons, witnessed their poverty, and deeply felt the injustice of society, so his description of them also appeared vivid and vivid. As for the third type of person, he does not have much contact with it, and he does not understand it thoroughly, so his characters are generally pale.
As a writer with a sense of justice and a deeper understanding of social life, Golsworthy exudes criticism of society, satire of the upper class and sympathy for the poor people in his works. However, his criticism was generally limited to the moral spirit, and this critical attitude was not always the same as he himself said: "My early works are indeed more lyrical than critical." But for the 9 years from 1901 onwards, it was generally critical that prevailed. This sentence does outline the tendencies of his earlier works.
For example, the protagonist of "The Man with the Property", Somis, is portrayed as a typical figure with a "Forsy spirit", his concept of property consciousness is extremely biased, in his eyes, everything must be considered in advance of its due value, as a primitive capital to let him accumulate more wealth, such as when he collects famous paintings and antiques, he does not consider its own artistic value, but how much additional profit it can get in the auction house; When he invested in real estate funds, he always put the interests at the forefront, considering how much he could get in return after building the house" In his eyes, his wife was his private property, he valued Irene's beauty, and snatched it from her stepmother with money, and then he did not treat Irene well, and even did not regard her as a person with thoughts and life, but only regarded her as a collection of antiques, announced to the people of London his possession of the beautiful woman Irene, and he was also complacent about it as a supreme honor So after marriage, he treated Irene as inviolable private property, sealing Irene in his personal world" His actions aroused Irene's disgust and hatred for him, but Somis disagreed, and declared that Irene had violated the provisions of the law on property law, and as punishment, he wanted to imprison Irene in a country villa to prevent her from escaping from his side" Therefore, when Somis discovered that his private property Irene fell in love with the architect Poseini, his possessiveness was threatened. So he firmly disagreed with the divorce, and he not only took illyne strongly, but also designed to frame Poseny so that he would end his life when he suffered career trauma" The novel depicts the "Forsy spirit" of the Folsies' intriguing and selfish "Fersay spirit" in detail, making the "Fersay spirit" more prominent.
Although in his later works, the criticality gradually faded. But Golsworthy's two-part trilogy of "The Family of The Forsyth" and "Modern Comedy" artistically depicts the spiritual outlook of the British bourgeoisie in the 40 years from the end of the 19th century to the beginning of the 20th century, and the true picture of the decline of the class, creating a typical image of the Phelsai who almost became a "common name".
<h1 class="pgc-h-arrow-right" data-track="70" > technique</h1>
<h1 class="pgc-h-arrow-right" data-track="71" > novel</h1>
Series of novels
Using the method of the family history series of novels to reflect the historical changes in capitalist society from prosperity to decline can be said to be a major contribution of Golsworthy. In the entire composition of Gowerswarssui, the two trilogies of the Forsy family, "The Family of Forsy" and "Modern Comedy", are important, which depict the family's five generations from its beginning to its decline. But they differ from Zola's The Lugong-Makar Family, which is not written about a group of people who are only related by blood, but a whole, which Gowerswars sees as a microcosm of society, a microcosm of the English bourgeoisie. The writer closely links this family with British society and British history, and through the contradictions within this family and the history of its rise and fall, writes about the historical changes that took place in Britain from the end of the 19th century to the beginning of the 20th century, that is, the historical changes of British capitalism from free competition to monopoly concentration, from extreme prosperity to decline, and the evolution of the British bourgeoisie from prosperity to decline. In other words, the series of novels reflects the changing times and the changing classes through a family history. monologue
In Goldworthy, the author's descriptions are interspersed with unquoted monologues, and mostly about the inner activities of the characters, much like the so-called "indirect inner monologues." However, we are only saying that the two are "very similar", not that the two are the same. There are still important differences between the two. For example, the "indirect inner monologue" of modernist literature is often in the form of a small discussion, an entire genre, while The works of Golsworthy only occasionally use this technique. Moreover, the various monologues in modernist literature are often illogical and irrational. The author often deliberately adds some incoherent elements, deliberately obscures the cause and meaning of the event, and deliberately fails to explain it; There are often inconsistencies, and because streams of consciousness are written for the sake of writing streams of consciousness (and sometimes of course to show the erraticity of consciousness), there are often phenomena that drift away from the subject. This is not the case with Golsworthy, but is rational and logical, and the context is always coherent and causal. Of course, most of these unquoted monologues are the inattentive stream of consciousness of the characters. Along with this, he sometimes uses quoted inner monologues to express the character's explicit, conclusive thoughts after reflection.
Unlike stream-of-consciousness literature, Galsworthy is by no means skillful for the sake of skill, and when he uses these indirect monologue techniques, he has both the function of unfolding the plot and the means of portraying the character. Golsworthy mastered this technique skillfully and was able to apply it with ease, so that these "indirect monologues" were fused with the author's narrative in harmony, leaving no trace of axes.
In addition, a large part of Gowersworth's short stories are based on the daily lives of ordinary people, writing about ordinary events of ordinary people. The protagonists of these novels include boot makers (such as "Quality"), literati who sell literature for a living ("Conscience"), and barbers ("Courage"). Because he has a deeper understanding of their lives and is able to observe them carefully with compassion, he is often able to grasp the extraordinary qualities of these ordinary people. Make the article more vivid and realistic, deeply rooted in the hearts of the people.
drama
In Golsworth's plays, although his sympathetic tendencies to suppress the rich and promote the poor can be seen, he adopts a symmetrical or parallel structure to shape the characters, pointing out that both sides of the conflict have their own rationality and irrationality, thus achieving calmness, objectivity and justice outside.
For example, the focus of the author's expression in the play "Struggle" is not the struggle between labor and capital, but the flogging of the extremism represented by the strike leader Roberts and the company's chairman Anthony. But while denying them, Gowersworthy did not portray them as villains. Instead, he portrayed them as the best of their respective camps with a sympathetic and calm, impartial attitude. In addition to differences in political views and social status, Roberts and Anthony bear striking similarities. They both share the same virtues: they stick to their principles, make great contributions to their respective classes or groups, and are sacrificial. At the same time, they both have the same shortcomings: they cannot understand and unite their companions, they are stubborn and obstinate, and they insist on fighting to the end in total disregard of the suffering and misfortune caused by the strike. At the board meeting, Anthony ignored the advice of the directors and his sons and daughters, believing that the striking workers must be treated with an "iron fist policy" and constantly shouting "never give in". And the tenacious, selfless and fearless Roberts also issued a vow of "never compromise". The arduousness of the struggle, the misfortune of the family, and the poverty of life could not shake his confidence.
Golsworthy's writing style is expressed in the smooth writing, vivid, beautiful and infectious. While inheriting the tradition of realism, Golsworth also absorbed the techniques of naturalism, described one social tragedy after another, recorded the real social life in England at the beginning of this century, and achieved a high degree of unity between truth and objectivity, making him unique among the new drama writers with social issues as the main content. Although Golsworth's writing style has also been criticized by some critics as too moderate and compromised, his approach undoubtedly opened up a new path for the development of social problem dramas. The alienated, objective and impartial attitude he adopted in the play injected a fresh vitality into the social issue drama with discussion as the main way at that time, mobilized the enthusiasm of readers, stimulated their interest in reading, and enabled them to participate in the work and give full play to their imagination. In this way, the script gains vitality through the reader's reading, and its meaning is also produced and sublimated in the process.
<h1 class="pgc-h-arrow-right" data-track="81" > character evaluation</h1>
The remarkable art described by John Golsworthy for him (Golsworthy)—an art that peaks in the Family of Forsy. (Swedish Academy)
Goldsworthy's creation has pushed the great national art forward on the historical road in terms of source, conception and ending. in Conrad
Some of Gowersworth's early plays and novels did leave a charm, an atmosphere, mixed with country scenery and dinners in London's high society. (George Orwell)
<h1 class="pgc-h-arrow-right" data-track="85" > creative features</h1>
<h1 class="pgc-h-arrow-right" data-track="86" > layout features</h1>
Agatha Christie's work is characterized by layout and plot. As soon as the work is opened, it is full of doubts and strange things, which confuses and curiosities the reader. Reading Christie's work, the climax is so high that the reader can't stop, and when he stares at her, he can't guess what kind of medicine christie is selling in his gourd. When the reader is slightly negligent, she will surprise you. The author is familiar with history, geography, and worked in hospitals during the two world wars, and has studied medicines (especially poisons), which also provides conditions for Christie to design murderers to commit crimes.
In works in which a famous detective is the protagonist, the ending is often that the famous detective summons all the living people to reveal the truth, and this model is widely adopted. However, many of the author's works are repetitive, especially the murderous motive of seeking inheritance, which is tried and tested in almost all her works.
< h1 class="pgc-h-arrow-right" data-track="89" psychological depiction ></h1>
Each of Agatha Christie's detective novels is a clever use of psychology in literature. There are countless "gray cells" in her poirot's mind, and the "gray cells" are the factors that the short detective has reasoned about everyone's psychology to the scientific action of everyone. Poirot is good at making a comprehensive analysis of the other party's clothing, demeanor, hobbies, experiences and outlook on life, and then logical reasoning. Poirot barely fought any of the murderers, he was always slow and leisurely, like an experienced old cat observing a group of giggling rats, finding out which "mouse" was the perpetrator and bringing it to justice. Christie's other female detective, Miss Marple, is ostensibly a ridiculous old girl nicknamed "Old Cat", but in fact, Miss Marple uses idleness to reason, she always associates irrelevant gossip with intentional murder, peeking into the secrets of the criminal through certain details and unusual behavior. Like Poirot, she was a psychologist. In Murder on the Orient Express, Poirot speculates on the psychological activities of 12 travelers and learns about each person's history, from which he concludes that it was 12 people who killed Rechte, who were supposed to avenge the innocent children. In The Mist, Dr. Shelber performs extremely well, but Poirot is not fooled by the illusion, he is good at reasoning, and finally brings Dr. Shelber to justice. In The Cat Who Stole the Jewels, Poirot conducts a detailed investigation of the Meadowbank School, using rigorous reasoning to reveal the true face of the real murderer Ann Shaplan. Miss Marple has an amazing performance in the two cases of "Murder in the Priest's House" and "Dead Body in the Study", with her wisdom and psychological knowledge, so that the real murderer in the fog has come from behind the scenes to the front of the curtain. Fully demonstrate the charm of psychological reasoning in detective novels. In particular, it is worth pointing out that although Christie's detective novels are written about murder and the love between men and women, her creative attitude is serious, there is no rendering of atrocities, and there is no pornographic description, and the writing is quite clean.
<h1 class="pgc-h-arrow-right" data-track="91" > language features</h1>
Although Agatha Christie did not attend a formal school, her writing was exquisite and beautiful, her language was fluent and natural, and she was clearly influenced by Dickens's novels. Her novels surpassed Conan Doyle in structure. Conan Doyle excelled at writing short stories, while Christie mastered a multitude of characters and complex plots to conceive long detective novels. She also has more foreshadowing and clues in her novels than Conan Doyle. Christie is good at using multi-faceted expression to reflect social reality, and inserting descriptions of the background and customs of the times behind each murder. For example, in "Massacre on the Nile", the beautiful writing depicts the style of the water and the places of interest and monuments; In the book "The Cat Who Stole The Jewel", the geographical environment and local customs of the Middle East are described with a strong sense of life. Especially after the murder, the psychological activities of everyone involved in the case can be described as wonderful. Christie's style of language also has a modernist connotation. Her language is rich in meaning and has a wide space for interpretation. Until the reader reaches the end, she simply cannot be sure of the true meaning of her linguistic symbols. The ambiguity of this depiction is in line with the narrative slogan of the genre of detective fiction, prompting readers to doubt the motives of each character and enhancing the suspense.
<h1 class="pgc-h-arrow-right" data-track="93" > character influence</h1>
French President Charles de Gaulle called herself an "Agatha Christie fan", and the Queen Mary of England also made reading Agatha Christie's novels a best enjoyment. On Queen Mary's 80th birthday, BBC Radio celebrated the Queen's birthday, and Queen Mary designated Agatha Christie's work to be broadcast.
The works of Agatha Christie have been translated into one hundred and three languages. According to a UNESCO 1961 report, Agatha Christie was the best-selling author of works in the world at the time. Her writings were sold in one hundred and two countries. The American magazine New Yorker pointed out that the sales volume of Christie's works is second only to Shakespeare's works and the Bible in the history of book distribution. Her excellent works such as "Murder on the Orient Express", "Massacre on the Nile", "Sin in the Sun" and so on have been adapted into films, translated into many Chinese, and have been widely released around the world and are quite popular. Her novel adaptation of "The Mousetrap" has been staged for many years and has endured for many years. The name Christie has been listed as the top of the best-selling author list for several consecutive years in the United Kingdom and the United States. In 1971, for her literary achievements, the Queen of England awarded her the title of Lady Agatha of the British Empire. Many of her works have been translated into China.
Agatha Christie pioneered the "country house faction" of detective fiction, in which the murder takes place in a specific enclosed environment, and the murderer is also one of several specific related people. Many detective works in Europe, the United States and even Japan also use this model.
<h1 class="pgc-h-arrow-right" data-track="97" > character evaluation</h1>
Christie's work has lasting value. (Detective novelist Cheng Xiaoqing's "On Detective Novels" review)
Christie's keen observation of social context, characterization, and dialogue is unmatched. (Historian C. V. Wychawood Review)
Christie was the first to gamify the plot of "killing", because previously, Conan Doyle's murder-themed novels were mostly full of blood and horror, while Christie's novels were neither depressing nor bloody, and truly gamified and entertaining. Christie's suspense novels are unparalleled, in fact, reading Christie's works, readers can find a sense of pleasure in playing against the writer, but unfortunately, in each round, the reader will fall behind, and the best result is to play a draw. (Writer Ma Yuanping)
<h1 class="pgc-h-arrow-right" data-track="101" > second marriage</h1>
Having lost her financial resources, Agatha Christie had to get back into writing. While recuperating in the Canary Islands in Spain, she completed Secrets on the Blue Express. Loving life, she finally plucked up the courage to return to England and signed a divorce agreement in 1928. At the low point of her life, Agatha Christie created the image of Miss Jane Marple, the lovely old lady who had never been married.
In 1929, Agatha Christie boarded the Orient Express at the suggestion of a friend and headed for the Middle East. The peculiar customs and customs turned a new page in her life. She visited the excavation site of archaeologist Leonard Woolley in your (now iraq) and became friends with the Woolleys.
In 1930, when Agatha Christie revisited the area, Woolley's assistant Max Malloen was commissioned to receive her and accompany her on her journey back to England. However, unexpected telegrams sent news that her daughter Rosalind was suffering from pneumonia, which made her panic. The sympathetic Max escorts Agatha back to England. She was relieved to see that her daughter had gradually recovered under the care of her sister. Life seems to be at peace again. However, Max's sudden marriage proposal, 14 years younger than her, shattered the calm and surprised her. After weighing it up and consulting her family, she overcame her fear of a love life and entered the palace of marriage on September 11, 1930, with her nephew's college classmate Max Mallown.
Since then, writing and annual family visits have become the main themes of Agatha Christie's life. With a love of life, she wrote every bit of her careful observations into her detective novels.
<h1 class="pgc-h-arrow-right" data-track="106" > World War II</h1>
The arrival of the Second World War disrupted the order of life for all. Max joined the army and was sent to North Africa as a Middle Eastern expert. Daughter Rosalind married and had children, but her husband was killed in 1944.
Agatha Christie volunteered at the local hospital in the midst of the hectics, still devoting her spare time to writing. The Curtain for Rosalind and the Mysterious Villa for Max, written under fire, were the last cases of Poirot and Miss Marple, respectively, and were not published until 30 years after their completion. To be on the safe, she also kept copies of the manuscript in a safe.
In 1945, Max finally returned to England.
<h1 class="pgc-h-arrow-right" data-track="110" > twilight years</h1>
In 1947, Agatha Christie was invited by the BBC to create the radio drama Three Blind Rats for Queen Mary's eightieth birthday. Max then began excavation work in Nimrud, Iraq– which led to his knighthood many years later.
In 1950, Agatha Christie's 50th detective novel, Murder Notice, was published; She became acquainted with theatre producer Peter Sanders; She also began 15 years of autobiographical writing at the Nymrud archaeological site in her dedicated study, Bet Agatha (Old Arabic, meaning Agatha's House). In the same year, Agatha Christie became a fellow of the Royal Society of Literature. On November 25, 1952, Peter Sanders brought the play "Mousetrap" based on "Three Blind Mice" to the stage. It was from that day that the work began to set an unprecedented record in the history of world theatre that had been staged continuously for more than fifty years (only on Sundays) uninterrupted and still unbroken.
In addition to speculative fiction and drama, Agatha Christie has devoted her creative passion to other genres, such as Syria, a true account of her life in the Middle East, the children's literature Star of Bethlehem, and poetry collections. She also secretly published several emotional novels under the pseudonym Mary Westmarcourt.
In 1958, Agatha Christie became president of the Detective Club and was re-elected for life. In 1961, Agatha Christie was awarded an honorary doctorate in literature by the University of Exeter.
In 1965, the Autobiography of Agatha Christie was completed. The following year, Max completed his book Nimrud and Its Ruins.
In 1973, Agatha Christie shelved her writing after writing the story of the elderly Tommy and Tarpens, "The Gates of Destiny."
In 1975, The Curtain was published, and many Western newspapers, including The New York Times, rushed to publish Poirot's obituary. In 1976, The Mysterious Villa was published, which was missEsspeople's curtain call. The two books topped the British and American best-seller lists that year.
On January 12, 1976, he died in the Wallingford family in Oxfordshire, England, and was buried in st. Mary's Church cemetery in Oxfordshire at the age of 85.
<h1 class="pgc-h-arrow-right" data-track="119" > character biography</h1>
Born in 1707 in Somerset, England, Fielding came from a squire family henry fielding's sister, Sarah Fielding, who later became a prominent children's writer. He attended Eton College at the age of 13. In 1728, he entered the University of Leiden in the Netherlands. A year and a half later, he dropped out of school because his father was unable to provide financial support and returned to London to earn a living on his own. Before going to the Netherlands, he staged his first play in London, Love in a Cabaret, modeled after William Congreve's genre comedy. The theatrical work after returning to London lasted until 1737.
In 1734, he married and, in order to make ends meet, rented the "Little Theater" as his own manager and wrote his own script. He wrote and adapted no less than 25 plays of different types, mostly in the form of operetta or genres, conspiracy comedies, and most importantly satires Basquet (1736) and Historical Chronicles (1737). The first half satirizes bribery and fraud in elections, and the second half satirizes the corruption of priests, lawyers, doctors, and other professions. "Historical Chronicles", borrowing the name of the yearbook that described major events at home and abroad at that time, wrote about the social, political, and dramatic situations that occurred in 1736. In the political scene, five politicians discuss the tax, and they decide to tax ignorance, because most rich people are ignorant. There is a scene in which the incumbent prime minister, Robert Walpole, bribes the opposition with looted money. This political satire greatly infuriated Robert Walpole, and in May 1737, the government passed the "Theater Inspection Act", which closed off a large number of theaters, and Fielding had to end the writing of plays.
Fielding changed his studies to law, completed 7 years of courses in 3 years, and qualified as a lawyer in 1740. At the same time, he began to write, editing four periodicals, including The Fighter, and began to write novels.
In November 1740, When Richardson's Pamela was published, Fielding came across Richardson's Pamela by chance, and because he did not like the moral preaching in it, Fielding wrote a parody, The Justification of the Life of Lady Charmeira Andrew, which is considered the inheritance of Jonathan Swift and John Gray.
In 1742 he published a biography of Joseph Andrew, featuring Pamela's younger brother Joseph. In 1743 he published the Biography of the Great Man Jiang Nasheng Weilde, which had been written three years earlier. The book is considered a satire of Walpole, and its protagonists, Gernison Weeder and Walpole, present a relationship of parallel development. With a bunch of thieves in it, Weilde, who aspires to become a "great man", is believed to be an allusion to Walpole's Whig Party.
In 1748 he was appointed Commissioner of Police in Westminster, London, where he trained the first group of detective police officers to investigate criminal activities, and was exposed to all kinds of social life, providing rich material for his novel creation. In his pamphlet Proposal for Effective Measures for the Poor (1753), he expressed sympathy for the poor. In 1754 he retired due to the exacerbation of gout, went to Lisbon, Portugal, for medical advice, and wrote the Diary of a Lisboa Voyage (1755), but died shortly after his arrival.
In May 1921, Lin Shu and Chen Jialin co-translated Fielding's novel "Journey from the Yang World to the Underworld" and published it by the Shanghai Commercial Press under the title "The Book of Cave Meditation". [1]
<h1 class="pgc-h-arrow-right" data-track="128" > character evaluation</h1>
Fielding is considered by George Bernard Shaw to be Britain's greatest playwright outside of Shakespeare from the Middle Ages to the 19th century.
Fielding's theatrical works are mainly comedy, imitation mockery and satire. He wrote plays for theaters and once hosted small theaters. He wrote twenty-five political satirical comedies such as "Don Quixote in Britain" and "Historical Chronicle", all of which were banned.
Walter Scott called Fielding "the father of the English novel".
After the 1940s, Fielding devoted himself to writing the novel "The Biography of the Great Man Ganason Weilde", which sharply satirized the social and political system of the time, and his "Biography of Joseph Andrews" exposed the inequality of society with humor. The masterpiece "Tom Jones", through the life of an outcast, satirizes and attacks the vulgarity, hypocrisy and moral corruption of the aristocratic bourgeois society of the time, and Fielding also puts forward opinions on the creation of novels in the introduction of each volume, arguing that writers should be familiar with life. Fielding laid the foundation for the realist tradition of a comprehensive reflection of contemporary society that dominated the English novel until the end of the 19th century, and his work had a great influence on the development of the European novel.
<h1 class="pgc-h-arrow-right" data-track="133" > major works</h1>
<h1 class="pgc-h-arrow-right" data-track="134" > Andrew's biography</h1>
Fielding was an outstanding dramatist, but his greatest contribution to literary history was his novels
Creation of the biography of Joseph Andrew. In 1741, there was a parody of Richardson's Pamela novel, Chamilla, which is said to be the work of Fielding. Mocking Pamela and determining that it was Fielding's work was the biography of Joseph Andrew (1742).
The novel abandons the usual epistolary style and speaks in the author's tone. Pamela's brother Joseph works as a maid in the house of Mr. B's relative, Bubi, and is seduced by Mrs. Bubi. Joseph was as virtuous as his sister, but far less fortunate than his sister, and was banished by Madame Bubi for refusing to be seduced. Joseph traveled from London to the countryside to find his lover and maid Fanny, and on the way met the village priest Adams, the two of them, and met Fanny, who went to look for Joseph. The novel no longer plays from the tenth chapter of volume one, but writes about the experiences of the three people on the road, which constitutes the main part of the work. On the way, they encounter various characters: innkeepers, broken road robbers, good and evil priests, benevolent and selfish travelers, confused magistrates, squires who try to insult Fanny, landlords, housekeepers, hermits, poor people, etc. The depiction of road scenes and pictures reflects the social situation in the British countryside at that time. The author also creates a vivid proclivistic character, Pastor Adams, who is a Don Quixote figure, kind-hearted, ill-hearted, but eccentric, lacking understanding of human nature, believing that good intentions will be rewarded, and the author contrasts this unrealistic idealist with social vices.
<h1 class="pgc-h-arrow-right" data-track="138" > the biography of the great man</h1>
The Biography of Joseph Andrew was Fielding's first novel, and the first novel he wrote was The Biography of the Great Man Janason Weilde (1743). Werder was a notorious leader of criminals in the 18th century, known as the "Great Man", and was eventually hanged. Ballads, fictional dialogues, biographies and pamphlets about him appeared in the early 18th century, including a biography written by Defoe. Opposition writers compared Werder to Prime Minister Walpur, arguing that they were all robbers. Fielding also satirized Walpur-type politicians based on Werder's exploits, but his satire was the most scathing and artistic.
The novel is framed by the legend of Werder. Werder stole from an early age, and when he became an adult, he organized a group of thieves, practiced strict discipline, and most of the stolen goods went to him, and reported to the government those who disobeyed. In prison, he also fought with another robber for control and extortion of other prisoners. At the center of the story is political satire. In the ironic definition, "great" is the opposite of goodness, the success of a career is often unrelated to virtue, and "great" is to oppress, exploit, and deceive ordinary people, so "conqueror, absolute monarch, prime minister" is no different from a thief. Fielding attacks the politicians for personal gain, and the chapter in which the two factions of prisoners in prison compete for the "hat", alluding to the ridiculousness of the bipartisan rivalry and their essential consistency in plunder. The novel portrays the Hartfleys, a jewelry merchant with a positive image, who are ruthlessly persecuted by Weilde and end up suffering. But their portrayal was not successful, Hartfley was kind and affectionate, but lifeless, and Mrs. Hartfley's inability to escape from Weilde's hands was incredible.
<h1 class="pgc-h-arrow-right" data-track="141" > Tom Jones</h1>
The History of tom Jones (1749), the full title, is Fielding's masterpiece, and Tom Jones is often regarded as the most outstanding work of the British 18th-century novel. The story begins with the protagonist's experience in the countryside. The wealthy, kind-hearted squire Olvassui adopted the abandoned baby Tom Jones and raised him with his sister Britfield, the son of his sister Burridge. The two children grew up, and Tom was sincere, kind, chivalrous but flippant and willful. Bu Lifei is hypocritical and scheming. Tom is loved by susoya, the daughter of the squire Weston, but Weiston forces her daughter to marry Briffy, who can inherit a large inheritance, and Briffy also wants to marry Susoya out of selfishness, and he tries to slander Tom, which eventually makes Olvasui drive Tom away in anger. Sawyer also took his maid to London to join him. In order to find Tom.
The second part of the novel is about Tom and Susoya's activities on the road. Tom, who wanted to go to sea, got lost and went to London, where he and Sussoa were close many times, but never met. He meets a group of soldiers in the guest house, who are injured by a quarrel with others, and meet the former school master Bartrich, and the two go together. On the way they meet hermits, beggars, entertainers, lawyers, gypsies, robbers, tax collectors and others. This part, which occupies one-third of the novel, is the most interesting and meaningful part of the novel, depicting characters from all walks of life and showing sympathy for the unfortunate.
The protagonist's experiences in London form the third part of the novel. Tom, who was looking for Susoa, met Sussoa's cousin, Madame Bellaston, and was seduced by her. Madame Bellaston also instigated Sir Ferramo to take possession of Susoya, but Weiston arrived in time to save her daughter. Tom was imprisoned for injuring someone in self-defense. Eventually, the truth is revealed, and Tom is actually Burrice's illegitimate son, Brit's half-brother. Breffer's ruse is exposed, Tom, who is acquitted, becomes The heir of Mr. Olvassy, and a couple who have endured hardships eventually become dependents.
Fielding created a brilliant character. Tom is not an idealized youth, he is impatient, impulsive and reckless, especially unable to restrain his lust, unable to withstand temptation, and his relationship with women is not proper. But he was kind by nature, bright, compassionate, helpful, and never deliberately self-serving. Tom is not the embodiment of morality, but he is full of life and embodies a healthy, natural humanity. As the Romantic poet Coleridge said, "After reading Richardson, reading Fielding's book is like coming out of a hospital room baked in the fire and walking into the open-air meadows of may be beautiful." Brifie and Tom seem to be at opposite poles, he appears to be a firm believer in God, obeys all prescribed codes of conduct, and does not forget responsibility and morality, but in fact the inner cunning, selfish greed, piety and virtue are only the masks of his self-interest. The opposition between Briffy and Tom is the opposition between hypocritical Puritan morality and "natural morality".
Fielding denounced the hypocrisy and vulgarity of the civilized world and praised the goodness of the simple, similar to the idea of "returning to nature" during the Enlightenment. He recounts the misfortunes experienced under the conditions of urban civilization through the mouth of the hermit in the mountains, but he does not approve of the hermit's solution to the problem, hoping to achieve social harmony through the improvement of people's morality.
Tom Jones is praised for its excellent structure. The novel is grand, with three parts: countryside, road and London, depicting a panoramic view of rural and urban life, and various portraits of men and women, but the clues are clear, the story is continuous, and the story is fascinating. The mystery of Tom's life becomes a strong suspense, and it is not solved until the end. The ending is unexpected, but the previous foreshadowing is convincing. The language of the novel is also clear, flexible, and witty.
<h1 class="pgc-h-arrow-right" data-track="149" > Amelia</h1>
Amelia (1751) is Fielding's fourth and final novel.
"Amelia" is his favorite. The reaction to the publication of the work was cold, and Fielding did not write a novel. Amelia, who came from a wealthy family, despite her mother's objections, married the poor officer Captain Booth, as if they were the married Tom and Sophia. Good-hearted but weak-willed, Booth gamblers and was imprisoned for a group fight. In prison, he meets his old acquaintance, Miss Matthew, and the two get along. Amelia has always been tolerant of her husband, she endures the poverty of life, resolutely resists the temptation of powerful people, insists on her conduct, and finally pays off happiness: Booth recognizes her past mistakes, they get the inheritance of Amelia's mother, and the family life is beautiful.
This novel is more melancholy than the author's other novels, depicting the dark side of society, rarely having the comical humor of the first two novels, and the heroine's unfortunate encounter with sentimental elements. The novel criticizes the inequality of society, the privileged characters do what they want, virtue is trampled on arbitrarily, the law helps the rich, and the poor are oppressed and humiliated everywhere. Amelia said sadly, "Oh my God! What are some of our big people made of? Are they really of a different type than others? Were they born without hearts and livers?" The novel is highly critical, but poorly organized in terms of plot structure. The novel has two distinctly separate parts, namely Booth's account of his early life and Amelia's encounters and misfortunes. The narrative is lengthy and the long dialogue is rather tedious. However, the portrayal and description of the psychology and feelings of the main characters is meticulous.
<h1 class="pgc-h-arrow-right" data-track="153" > fiction theory</h1>
Fielding also made great contributions to the theory of the novel, first establishing the novel's place in the literary form. In the preface to The Biography of Joseph Andrew, he refers to his novel as a "prose burlesque epic", and in the introduction to the chapters of Tom Jones, he expounds his theory of the novel. He believes that the novel is the closest to the epic, except that it has no rhythm, and has all the characteristics of the epic: "story, plot, characters, feelings and style." His novels are comical, but they are also different from comedies, "its plot is broader, more all-encompassing, contains a wider range of events, and it introduces a wider variety of characters." In terms of character building, he emphasizes "typical". In terms of plot, he emphasizes the combination of necessity and contingency. He paid special attention to the structure of the novel, believing that it should be properly detailed. The story is fascinating and has to have internal unity. He established an omniscient and omnipotent narrative form in the novel, distinguishing the narrative language from the language of the characters, so that the British novel was no longer a simple narrative but a deliberate and interesting genre.
From fiction theory to practice, Fielding made outstanding contributions to the development of the English novel.
<h1 class="pgc-h-arrow-right" data-track="156" > list of works</h1>
Chronicle of the Year 1736 (1737)
Jonathan the Great. Field Biography (1743)
Tom Jones (1749)
Emilia (1751)
Diary of a Lisboa (1754)
<h1 class="pgc-h-arrow-right" data-track="162" > life</h1>
Samuel Richardson (1689–1761), English novelist. Born into the lower classes of the petty bourgeoisie. His father was a furniture maker, a Puritan who believed that virtues such as honesty, loyalty, and thriftiness were the pillars of society. He highly praised these virtues in his later novels. At the age of 16, he went to London publisher John Weilde as an apprentice. Take advantage of your leisure time to teach yourself. He opened his own printing house in 1721, and his printing house was one of the 3 best in London in the 1730s. He was the chairman of the Book Industry Association, a royal printer, and in addition to running the publishing industry, he also engaged in writing.
In 1739, two booksellers asked Richardson to write a "letter booklet" to instruct readers (especially women) on how to write letters, not only to provide a model of a ruler that people could refer to, but also to teach the world. As a result, a book entitled "Letters to And Letters to Good Friends" was published in 1741. In the course of writing the book, Richardson recalled a story he had heard before about a maid who refused to court his master and eventually married him, and he began writing it into a novel in November 1739 and completing it in January 1740 under the title Parmele, aka Virtue Rewarded, the first two volumes published in 1740 and the last two the following. It is a novel in the form of a letter, popular with readers, and has been called the first modern English novel in literary history. It combines depictions of the social environment with an analysis of the psychological activity of the characters, educating the reader in Puritan morality through interesting stories. Richardson's emphasis on the feelings of the characters introduced sentimentalism into Western European literature, leading to the rise of the Romantic movement at the end of the 18th century. In his book Richardson's Praise (1761), the French Enlightenment thinker Diderot juxtaposed Richardson with Moses, Homer, and Sophocles, praising his profound insight into human psychic activity. On the other hand, Richardson also inherited Defoe's tradition of realist fiction, combining sentimentalism with realism, thus giving rise to the new literary genre of the modern novel.
Richardson's second novel, Clarissa, aka The Story of a Young Woman (1747–1748), is the longest English novel and one of the finest tragic novels, with about 1 million words. It tells the story of clarissa, a young girl who falls in love with the young man, Robert Lovelas, despite her family's objections, but Lovellas only wants to play with her and does not really want to marry her. Later, Clarissa was raped by him and died of grief. Her relative Colonel Morden dueled with Lovellas, killed him, and avenged Clarissa. The novel is also written in epistolary style. Richardson was adept at narrating stories in epistolary style and analyzing the motivations of characters' mental activities and actions. Clarissa is very moving and has a profound influence on Western European literature. The epistolary novel Julie, also known as the New Eloise (1761), written by the French Enlightenment writer Rousseau, was written in strict imitation of Richardson's novel Clarissa. The German writer Goethe's early epistolary novel The Troubles of Young Werther (1774) was also written indirectly from Richardson's novel. The Italian playwright Goldoni adapted Richardson's first novel, Parmele, into two plays.
Richardson's third novel, Sir Charles Glendison (1753), also written in epistolary style, was an exhortatory romance novel. Richardson's prose is vivid, natural, and powerful, containing a wealth of English idioms. This is one of the reasons why his novels were extremely popular at the time.
He, along with Daniel Defoe, Jonathan Swift, and Henry Fielding, were four of the leading writers of the 18th-century Period of British Realist fiction. Defoe was known for his prose, Swift was known for his satirical novels, Richardson was known for his epistolary novels, and Fielding was known for his legendary novels.
Richardson was a conservative writer. He attempted to establish bourgeois Puritan moral norms in order to maintain the order of capitalist society. His novels do not write about adventures and adventures, but about the daily life of the family, pay attention to the psychological description of the characters, and in terms of structure, they also break through the serial method of the tramp novel and concentrate on a complete story. All these brought new factors to the development of the novel.
<h1 class="pgc-h-arrow-right" data-track="169" > works</h1>
<h1 class="pgc-h-arrow-right" data-track="170" > Pamira</h1>
His first epistolary novel, Pamela (1740-1741), was subtitled "Virtue is Rewarded". The story of the novel is simple, with the young maid Pamela Andrew writing to her parents and two friends about her experiences at the owner's house. The young master B repeatedly tried to seduce her, she resolutely refused and left, B is still entangled. Pamela's virtues finally led B to true love, determined to marry her. The novel was a great hit when it was published. Richardson used Pamela as the embodiment of virtue and justice. Her resistance to B is out of a kind of "female morality" and also out of the maintenance of her own dignity. In a letter to her father, she wrote: ". You can see how the poor are despised by the proud countrymen! But we are equal, and many gentlemen boast of their disciples, but in fact they are not necessarily as innocent as ours. These proud people must have never imagined how short life is, and despite the glory and wealth, one day they will have to be on an equal footing with us. Philosophers have said it well that the skeleton of a king is no different from the skeleton of a poor man. Besides, they do not know that by the end the richest prince and the poorest beggar will stand before the same great judge. This religiously charged notion of equality was typical of the bourgeoisie of the 18th century, which demanded equality with the upper classes, while political demands were mixed with Puritan ideas. In Pamela's story, there is a Puritan moral concept of Christians rejecting selfish desires, being tested and then saved, which is a common theme of resisting temptation. There is a progressive and sincere side to the bourgeois Puritan conception, as well as a hypocritical and utilitarian side. Pamela's virtues were rewarded with a considerable income and high social status, and seemed to have become commodities, which were ridiculed and ridiculed by Fielding at that time. "Pamela" is the first novel centered on character portrayal, from the "tramp novel" traditional writing to writing people, the character psychology of the meticulous portrayal, Pamela a naïve, simple, sentimental letters, aroused the reader's emotional resonance.
<h1 class="pgc-h-arrow-right" data-track="172" > Clarissa Harlow</h1>
Richardson's most successful novel, Clarissa Harlow (1747–1748), is also epistolary, with more than a million words long. Clarissa, the daughter of a middle-class countryman, beautiful, intelligent, and virtuous, unwilling to marry the wealthy but repulsive youth of her family, runs out with the help of the versatile young man Robert Lebres. Lefres seduced Clarissa in every way and finally insulted her with despicable means. Clarissa was ashamed and bitter, and she refused Lefres's marriage proposal, dying of grief and hatred. Richardson intended to warn of "the calamity that can arise from the misconduct of both parents and children in marriage." Clarissa is a spiritually idealistic woman, rebelling against the arranged marriage of the family, pursuing a new life, although she unfortunately fell into the wrong hands, she always fought, not only to defend her virginity, but also to maintain the dignity of the human person. Although her virtues were not rewarded, her evil deeds were finally punished. The novel is emotionally delicate and sentimental, as the famous critic Johnson said, "the story is only used as an occasion to exert emotions", and the book is full of descriptions of the heroine's spiritual feelings and various moral issues. This novel was more popular than Pamela and influenced Continental, such as the French writer Rousseau's "New Eloise".
<h1 class="pgc-h-arrow-right" data-track="174" > biography</h1>
Tobias Smollett (1721–1771) English novelist. Born in Scotland. The grandfather was a judge, and the father had no inheritance rights because he was not the eldest son. Shortly after the author's birth, his father died and he became an orphan. He grew up a little longer than the University of Glasgow and apprenticed to a physician. In his youth, he wrote a poetic drama "The King-Killer", which wrote about the deeds of King James I of Scotland and expressed his patriotism. He brought the work to London in 1739, hoping to stage it, but without success. In 1741 he served as a naval medic aide and took part in the Anglo-French war over the Spanish colony in the West Indies. He retired from the Navy, stayed in Jamaica, and returned to England in 1744 after marriage, where he practiced medicine and wrote for a living. He went abroad in 1763 to recuperate and died in Italy in 1771.
Smolett wrote poetry and medical papers; He also ran magazines for the Tories (Critical Review, The Briton) and was imprisoned for it; Wrote a 4-volume history of England and a Journey to France and Italy (1766); Translated Gilles Blas and Don Quixote.
<h1 class="pgc-h-arrow-right" data-track="177" > introduction to the work</h1>
Influenced by the Spanish literary tradition, the tramp novel became popular in 18th-century England. Smolett's novel debut novel, The Legend of Landon (1748), is a typical tramp novel that strings together a series of interesting events to show the protagonist's search for love and wealth. The novel is highly autobiographical, and is the first Novel in England to reveal the inside story of the Navy, exposing a wide range of british society, from aristocrats to gamblers and prostitutes, and their adventures in France and Germany. The protagonist, Langdon, was born into a family of gentlemen in Scotland. Unable to bear the tyranny of his grandfather, Langdon's father ran away from home at an early age. After becoming an adult in an environment without fatherly love, Landon took a squire to London to earn a living. Through his efforts, he qualified as a physician, became an assistant naval doctor, experienced various tribulations at sea, and once became a slave and fell in love with his master's niece. Hopeless, he returned to London and was imprisoned for being in debt. Later, his uncle rescued him, and the two wandered around together, meeting his father, who had run away from home in his early years and is now a rich man. Langdon has since lived a life of a gentleman with no worries.
The Biography of Landon is the product of Smollett's reinvention of the Spanish tradition of vagabond fiction. It is very "suitable for the realist appreciation of modern British readers, and depicts a recognizable modern world". The biggest feature of the novel is that the storyline is thrilling and twisty, but the character modeling is too bland. In his masterpiece "Henffley Klink", the situation is just reversed.
The protagonist of The Biography of Peregrin Picker (1751) is an Englishman and contains some of Smollett's wittiest and cheerful satires. The Biography of Picker (1751) is also a tramp novel, using the protagonist's adventures in England, France, and the Netherlands as a clue to portray a series of better characters, such as the intimidating but kind-hearted captain Trennin. The Count of Ferdinand (1753) writes about the actions of a villain who does nothing wrong. This work is poorly written as Sir Lancelot Grifvers (1760-1762, published in installments, writing a Don Quixote-like figure). In 1769, he published "Atomic Biography", which pretended to write the history of Japan, using the war between Japan and China as a clue to satirize British politics.
The author's last novel, Humphrey Klink (1771), in epistolary style, depicts society through letters sent by the Welsh gentleman Bramber family on their journeys in England and Scotland, with delicate and humorous characters, and the protagonist's eccentric and kind, close to sentimental novel, often regarded as Smollett's best novel. It mainly describes the experience of Matthew, a sick Welsh gentleman, who went to Bath for recuperation, his sister Bisha and her maid, and then traveled north to Edinburgh and returned to Wales. The Klink in the title is a male servant they took in during their journey, and it is later learned that he is Matthew's illegitimate son. The book is composed of eighty-two letters written by different characters, depicting the social life of 18th-century England from different sides, creating unique characters such as the intimidating but kind-hearted captain Trennin. The rational chasson's artistic approach and fielding's novel theme show that the author has got rid of the early model of imitating the tramp's novel and has a stronger artistic creation ability.
<h1 class="pgc-h-arrow-right" data-track="182" > literary status</h1>
Smollett's novels have both a strong element of realism and a strong subjective color. Like Fielding and Richardson, Smolett was a character who played an extremely important role in the development of the 18th-century English novel. Through the unremitting efforts and exploration of these novelists, the literary style of the novel has matured in Britain, thus laying a solid foundation for the prosperity of the realist novel in the 19th century.
<h1 class="pgc-h-arrow-right" data-track="184" > biography</h1>
John Dryden (1631–1700), English poet, playwright, and literary critic, was the originator of dramatic criticism in the history of English theatre. From the Restoration (1660) to the end of the seventeenth century, he was a leading figure in English literature, serving as poet laureate from 1668 to 88. He influenced Alexander Pope and other young writers, who were known as "Glorious John."
Born in Northamptonshire to a Puritan family. He entered the Westminster School around 1644 and received a good education in classical literature. He studied at Cambridge University in 1650 and graduated in 1654 with a Bachelor of Arts degree. He began his literary work before the end of the Puritan regency and dedicated his first poem, "In Memory of the Patriotic Hero Oliver Cromwell" (1659), to Richard Cromwell in praise of the Puritan leader. In 1660, the Stuart dynasty was restored, and he wrote a poem "The Returning Stars" in praise of the Restoration and the Restoration of Charles II. In 1663, Dryden married the sister of a friend and poet Sir Robert Howard. Married life, though unhappy, helped Dryden rise to the ranks of royalty and aristocratic life. Early in the year, Dryden's first screenplay, The Wild Gallant, was staged, but the response was mediocre. His famous early poem The Strange Age (1667) wrote about major events such as the Great Fire of London, the Plague, and the Dutch War of 1666.
In 1670, Dryden was named Poet Laureate and served at the court. Since then, he has written many political poems. For example, Absalom and Achitofer (1681), a Whig who sought to establish the Duke of Monmouth as heir to the throne, is considered his best satirical poem. The poem Medal (1682) also attacks the Whigs, mocking them for inciting the people. In the same year, he wrote the satirical poem Mark Flecknow (1682). Dryden was originally a Puritan. In 1682 he wrote a poem called "The Religion of the Laity" denouncing Catholicism, glorifying the Church of England and opposing non-believers. In 1687 James II attempted to turn England into a Roman Catholic state, Dretton converted to Catholicism and wrote a poem called "The Stag and the Leopard" (1687) praising the Roman Catholic Church, comparing it to a clean, immortal stag and insulting the Church of England as a dirty and murderous leopard.
After the Glorious Revolution, in order to earn a living, Dryden again turned to drama and other types of creation. Dreiden famously wrote lyrical hymns dedicated to the day of the musical goddess Cecilia: The Song of St. Cecilia Day (1687) and The Banquet of Alexander, aka The Power of Music (1697), which extoll music as a wonderful art (later composed by Handel). Dreyden's hymns and satires marked the establishment of classicism in English poetry. Fables Ancient and Modern (1700) describes the works of Ovid, Chaucer, and Boccaccio in the form of poetry. Despite his unrivalled literary prestige in London and his own hard work, he lived, as he himself put it, living in "embarrassment and sickness" in his later years. Dreighton was buried in the "Poet's Corner" of Westminster Abbey after his death.
Dryden is a rich playwright who has written nearly 30 comedies, tragicomedies, tragedies and operas. He mainly imitated the French tragic poet Corneille and wrote many "heroic dramas". Some of the better plays are Conquest of Granada (1672) and Oren-Zebby (1676). The theme of these heroic tragedies is the contradiction between love and honor. Dryden also rewrote Shakespeare's tragedy Anthony and Cleopatra into All for Love (1678). Although he still adopted the rhymeless poetic style, he strictly adhered to the trinity rule of classicism and wrote a perfect classical tragedy.
Dryden was the founder of English literary criticism, and his famous works of literary criticism include On Dramatic Poetry (1668) and Preface to the Collection of Fables (1700). He first correctly evaluated Chaucer, Spencer, Shakespeare, Jonson, Baumont, and Fletcher. Because of his outstanding contributions to literature in many aspects, literary historians usually refer to the era of his creation as "The Age of Dreyden".
<h1 class="pgc-h-arrow-right" data-track="191" > literary review</h1>
Dryden's literary criticism differed from earlier traditional methods in that they included not only theory but also practical topics such as technique, discussing not only poets and playwrights of the classical period, but also recent works. His praise for Shakespeare was particularly influential.
In his satirical poems, Dryden usually made some religious or political point of view. Absalom and Achitophel (1681) condemned the plot of the Earl of Shaftesbury to make the Duke of Monmouth the heir to the throne. Mac Flecknoe (1682) satirizes the poet Thomas Shadwell, who supported the Earl of Shaftesbury. The Hind and the Panther (1687) defended the Catholic Church.
Most of Dryden's poems use heroic double rhymes (two lines and one rhyme, five steps per line, each in the form of a suppressed yang). His prose is clear, concise, and powerful. His literary criticism shows good judgment.
Dryden was a promoter of hero dramas. Hero drama is a kind of tragedy, it is magnificent, using a heroic double rhyme body, with the theme of love and honor. Among the heroic plays created by Dryden, The Conquest of Granada (1670) was the most popular. All for Love (1677), based on Shakespeare's Antony and Cleopatra, is probably his finest work of tragedy. Dryden's comedy was crude and vulgar, reflecting the public tastes of the era.