【導(dǎo)讀】德賽》ParadiseLost《失樂園》，TheDivineComedy《神曲》。

　　

【正文】 vel) and thematic works (., the essay). Within the fictional category, we note a distinction between novel and romance, and other forms such as satire and confession. The object of making these distinctions in literary tradition is not simply to classify but to judge authors in terms of the conventions they themselves chose. [51] Novel: The extended prose fiction that arose in the 18th century to bee a major literary expression of the modern world. The term es from the Italian novella, the short new tale of intrigue and moral euppance most eminently disseminated by Boccaccio39。s Decameron (13481353). The terms novel and romance, from the French roman, peted interchangeably for most of the 18th century. [52] Stanza: A term derived from an Italian word for room or stopping place and used, loosely, to designate any grouping of lines in a separate unit in a poem: a verse paragraph. More strictly, a stanza is a grouping of a prescribed number of lines in a given meter, usually with a particular rhyme scheme, repeated as a unit of structure. Poems in stanzas provide an instance of the aesthetic pleasure in repetition with a difference that also underlies the metrical and rhyming elements of poetry. [53] Tragedy: Fundamentally, a serious fiction involves the downfall of a hero or heroine. It is a literary form, a basic mode of drama. Tragedy often involves the theme of isolation, in which a hero, a character of greater than ordinary human importance, bees isolated from the munity. Then there is the theme of the violation and reestablishment of order, in which the neutralizing of the violent act may take the form of revenge. Finally, a character may embody a passion too great for the cosmic order to tolerate, such as the passion of sexual love. Renaissance tragedy seems to be essentially a mixture of the heroic and the ironic. It tends to center on heroes who, though they cannot be of divine parentage in Christianized Western Europe, are still of titanic importance, with an articulateness and social authority beyond anything in our normal experience. [54] The Angry Young men: In the mid1950s and early 1960s, there appeared a group of young playwrights and novelists with lowermiddle class or workingclass background。 who were greatly discontented with the corruption of the upperclass society. These writers, known as the Angry Young Men, demonstrated a particular disillusion over the depressing situation in Britain and launched a bitter protest against the outmoded social and political values in their society. [55] Bloomsbury Group: In Bloomsbury district of London, Virginia Woolf is the center of the famous “Blo omsbury Group” of intellectuals . They often gathered to discuss art and philosophy with an unusual degree of frankness and open mindedness. [56] Parody: Originally, a song sung beside another. From this idea of juxtaposition arose the two basic elements of parody, edy and criticism. As edy, parody exaggerates or distorts the prominent features of style or content in a work. As criticism, it mimics the work, borrowing words or phrases or characteristic turns of thought in order to highlight weaknesses of conception or expression. [57] Epistolary novel: An epistolary novel is a novel written as a series of documents. The usual form is letters, although diary entries, newspaper clippings and other documents are sometimes used. The word epistolary es from the Latin word epistola, meaning a letter. The epistolary form can add greater realism and verisimilitude to a story, chiefly because it mimics the workings of real life. It is thus able to demonstrate differing points of view without recourse to the device of an omniscient narrator. [58] Byronic hero: is an idealized but flawed character exemplified in the life and writings of Lord Byron. It first appears in Byron39。s semiautobiographical epic narrative poem Childe Harold39。s Pilgrimage (181218). The Byronic hero typically exhibits the following characteristics: high level of intelligence and perception。 cunning and able to adapt。 criminal tendencies。 sophisticated and educated。 selfcritical and introspective。 mysterious, magic and charismatic。 struggling with integrity。 power of seduction and sexual attraction。 social and sexual dominance。 emotional conflicts, bipolar tendencies, or moodiness。 a distaste for social institutions and norms。 being an exile, an outcast, or an outlaw。 dark attributes not normally associated with a hero。 disrespect of rank and privilege。 a troubled past。 cynicism。 arrogance。 selfdestructive behavior。 a good heart in the end. [59] Setting: In fiction, setting includes the time, location, and everything in which a story takes place, and initiates the main backdrop and mood for a story. Setting has been referred to as story world or milieu to include a context (especially society) beyond the immediate surroundings of the story. Elements of setting may include culture, historical period, geography, and hour. Along with plot, character, theme, and style, setting is considered one of the fundamental ponents of fiction. A setting is the time place and social environment a story takes place. [60] Humor: A humor is a theory used by Ben Jonson in his play writing. A humor, according to the physiology and the psychology of the time, was one of the liquid constituents of the body, each of which had its peculiar emotional propensity. Every character in Jonson’s edies personifies a definite humor, so his characters are like caricatures.