【文章內(nèi)容簡(jiǎn)介】 acatastrophe。instead,shetreatstheangelofdeathasaverypolitegentleman,asalongmissingguest:givingupherworkandleisure,puttingonherfinesilkydresses,sheacpaniesdeathinthesamecarriagetoeternity.Allthebeautyofthisworkliesinthepoetess39。openmindedattitudetowardsdeath. In this poem, Dickinson describes dying and immortality in the dominant metaphor of a carriage on a Stanza 1, Death, acpanied by Immortality, stops to pick up the speaker in a carriage. In stanzas 24, they journey, leaving earthly life behind them (labor, leisure, children, grain, setting sun). In stanza 5, they pause before the grave (swelling of the ground), and stanza 6 depicts the speaker centuries later, speaking from eternity.The Romantic PeriodⅠ浪漫主義時(shí)期Washington Irving（華盛頓歐文）Ralph Waldo Emerson(拉爾夫華爾多愛默生)Nathaniel Hawthorne（納撒尼爾霍桑）Walt Whitman（華爾特惠特曼）Herman Melville（赫爾曼麥爾維爾）The Realistci PeriodⅡ現(xiàn)實(shí)主義時(shí)期Mark Twain（馬克吐溫）Henry James（亨利詹姆斯）Emily Dickinson（艾米麗狄金森）Theodore Dreiser（西奧多德萊塞）The Modern PeriodⅢ現(xiàn)代主義時(shí)期Ezra Pound（埃茲拉龐德）Robert Lee Frost（羅伯特佛洛斯特）Eugene O’Neil（尤金奧尼爾）F. Scott Fitzgerald（司各特菲茲杰拉德）Earnest Hemingway（歐內(nèi)斯特海明威）William Faulkner（威廉福克納）英國文學(xué)The Renaissance PeriodⅠ 文藝復(fù)興時(shí)期Edmund Spenser(埃德蒙斯賓塞)Christopher Marlowe(克里斯托夫馬洛)William Shakespeare(威廉莎士比亞)Francis Bacon(弗蘭西斯培根)John Donne(約翰鄧恩)John Milton(約翰彌爾頓)The Neoclassical PeriodⅡ 新古典主義時(shí)期John Banyan(約翰班揚(yáng))Alexander Pope(亞歷山大蒲伯)Daniel Defoe(丹尼爾笛福)Jonathan Swift(喬納森斯威夫特)Henry Fielding(亨利菲爾丁)Samuel Johnson(塞繆爾約翰遜) Richard Brinsley Sheridan(查理德比謝立丹)Thomas Gray(托馬斯格雷)The Romantic PeriodⅢ浪漫主義時(shí)期William Blake（威廉布萊克）William Wordsworth（威廉華茲華斯）Samuel Taylor Coleridge（塞特科勒律治）George Gordon Byron（喬治戈登拜倫）Percy Bysshe Shelley（柏比雪萊）John Keats（約翰濟(jì)慈）Jane Austen（簡(jiǎn)奧斯?。㏕he Victorian PeriodⅣ維多利亞時(shí)期Charles Dickens（查爾斯狄更斯）The Bronte Sisters（夏洛特布朗蒂和埃米麗布朗蒂）Alfred Tennyson（阿爾弗雷德丁尼生）Robert Browning（羅伯特布朗寧）George Eliot(喬治艾略特)Thomas Hardy（托馬斯哈代）The Modern PeriodⅤ現(xiàn)代時(shí)期George Bernard Shaw（蕭伯納）John Galsworthy（約翰高爾斯華綏）William Butler Yeats（威廉勃特勒葉芝） Eliot（. 艾略特） Lawrence（戴維赫伯特勞倫斯）James Joyce（詹姆斯喬伊斯）Pride and Prejudice(Jane Austen)1,moralmarriagebetweenMr.BennetandMrs.Bennet。2,perfectmarriagebetweenDarcyandElizabeth。3,happymarriagebetweenJaneandMr.Bingley.Therearethreemainfactorsthataffectmarriageintheeighteenthcentury.Thefirstfactormustbelove.Ihaveheardthatifthereislovebetweenamanandawoman,nomatterwhattheydo,theywillneverfeelboring.Inthenovel,unlikeCharlotte,Elizabethchoosestopursuetruelovebyherheartandherowngoodsense.Shebelievesthatmarriageshouldbebasedonmutualunderstandingandfeelings.AswellasElizabeth39。slaterinnerstruggletoDarcy,shereallylovesMr.Darcy.AndtherelationshipbetweenJaneandBingleyisundoubtedlytruelove.JaneAustensuggeststhatloveisanimportantfactortoasuccessfulmarriage.Marriagesthatlackoftruelovearedestinedtohaveabadresult.Thisrulealsosuitsinmodernsociety.Thesecondfactorisproperty.Theprogressofwholenovelisaroundproperty.Mr.BingleyandMr.Darcybeethecenterofthelittletown.Allthesemarriagesinvolvemoney.Andthewomenin18thcenturyinBritainlawfullyownednothing.Theonlywaytofinancialsecurityformanywomenofthattimewastomarrytoaricherman.Charlotteisjustanexampleinthemarriagemarketwherepersonalattractionsareweighedagainstfinancialconsiderations.Inourdailylife,thereisasuggestionthat“Everythinggoeswrongforthepoorcouple.”Andpropertyindicatessocialstatus.Propertyisnotthemostimportantfactor,butitdoesmatters.ThestruggleofMr.Darcyisasample.Infact,personalityisalsoamainfactorthataffect