【正文】 32. Wordsworth is a poet in memory of the past .華茲華斯是一個(gè)懷舊的詩(shī)人。 30. His works contain “The Solitary Reaper”, “To a Highland Girl”, ”The Old Cumberland Beggar ” and “The Ruined Cottage”.他的作品包括《孤獨(dú)的收割者》，《致高地姑娘》，《老坎伯蘭的乞丐》和《被摧毀的茅屋》。 28. Wordsworth is regarded as a “worshipper of nature.”華被稱為 ”大自然的膜拜者 ”。 26. In 1842 he received a government pension, and in the following year he succeeded Southey as Poet 政府為他發(fā)了津貼，次年他壓倒騷塞成為了“桂冠詩(shī)人”。 24. Symbolism in wide range is also a distinctive feature of his 征。 Vision” and that “The Nature of my work is visionary or imaginative.”布萊克熱切地宣布：“我認(rèn)為人世凡塵是一個(gè)充滿想象與幻想的世界，我的作品也如人世凡塵一樣充滿想象與幻覺(jué)。 21. The “marriage,” to Blake, means the reconciliation of the contraries, not the subordination of the one to the 姻對(duì)布萊克意味著矛盾的調(diào)和，而并非一方從屬于另一方。 要點(diǎn)中英文對(duì)照版 第 11 頁(yè)，共 34 頁(yè) 19. Childhood is central to Blake?s concern in the Songs of Innocence and Songs of Experience, and this concern gives the two books a strong social and historical 《天真之歌》和《經(jīng)驗(yàn)之歌》中，童年是布萊克主要描述的中心，這個(gè)描述中心使作品富有社會(huì)與歷史性的參考價(jià)值。這種小說(shuō)的主要題材是暴力，恐怖及 對(duì)超自然力（鬼神）的描寫。他是英國(guó)文學(xué)史上第一位重要的歷史小說(shuō)家。 12. To the Romantics, poetry should be free from all rules. They would turn to the humble people and the mon everyday life for ，他們會(huì)在窮苦百姓及日常生活中找尋素材。 10. The Romantics not only extol the faculty of imagination, but also elevate the concepts of spontaneity and inspiration, regarding them as something crucial for true ，還強(qiáng)調(diào)靈感與創(chuàng)作的自發(fā)性，認(rèn)為有這兩種才智才能創(chuàng)造出真正的詩(shī)歌。 8. Wordsworth defines the poet as a “man speaking to men,” and poetry as “the spontaneous overflow of powerful feelings, which originates in emotion recollected in tranquillity.”華茲華斯認(rèn)為詩(shī)人是對(duì)著廣大人民講話的人，而詩(shī)歌是強(qiáng)烈情感的自發(fā)流露，發(fā)乎情，止乎靜。 6. The Romantic period is an age of 。 4. The Romantics demonstrated a strong reaction against the dominant modes of thinking of the 18thcentury writers and philosophers. Where their predecessors saw man as a social animal, the Romantics saw him essentially as an individual in the solitary 18 世紀(jì)盛行的文學(xué)及哲學(xué)基調(diào) 理性，新古典主義文學(xué)家認(rèn)為人是社會(huì)性的動(dòng)物，而浪漫主義文學(xué)家認(rèn)為人應(yīng)該是獨(dú)立自由的個(gè)體。 2. In 1832, the Reform Bill was enacted, which brought the Industrial capitalists into 年“改革法案”在議會(huì) 通過(guò)并實(shí)施。這首詩(shī)被列為英國(guó)十八世紀(jì)最優(yōu)秀的詩(shī)歌之一。其中，格雷揭示了生與死的愁苦與神秘，并略述了自己憂傷的心情。 74. A conscientious artist of the first rate, Gray wrote slowly and carefully, painstakingly seeking perfection of form and ，作品誕生速度慢，卻精益求精。 72. His masterpiece, “Elegy Written in a Country Churchyard” was published in 1751. The poem once and for all established his fame as the leader of the sentimental poetry of the day, especially “the Graveyard School”.1757 年，他的代表作《墓園挽歌》出版這首詩(shī)奠定了他在當(dāng)時(shí)作為感傷主義詩(shī)歌創(chuàng)始人的地位，尤其是從此他便成為“墓地詩(shī)歌”流派的代表。 (VII)Thomas Gray 托馬斯 .格雷 70. he declined the Poet laureateship in 年，他竟謝絕了授予他的詩(shī)人桂冠獎(jiǎng)?！对熘{學(xué)?！肥菍?duì) 18 世紀(jì)英國(guó)貴族資產(chǎn)階級(jí)的道德敗壞，對(duì)無(wú)聊的富人惡意的制造謠言，對(duì)上層社會(huì)驕奢淫逸的生活以及對(duì)在高貴生活方式和高尚道德準(zhǔn)則的掩飾下的道德淪喪與虛偽假善的辛辣諷刺。 69. The School for Scandal is mainly a story about two brothers, the hypocritical Joseph Surface and the goodnatured, imprudent, spendthrift Charles Surface. The play ends with great disgrace for Joseph and double bliss for Charles. It is a sharp satire on the moral degeneracy of the aristocraticbourgeois society in the eighteenthcentury England. No wonder, the play has been Regarded as the best edy since Shakespeare. 《造謠學(xué)?！分饕v述了 兩個(gè)兄弟的故事，一個(gè)是偽君子約瑟夫 .薩爾菲斯，另一個(gè)是放蕩不羈但心地善良的查爾斯 .薩爾菲斯。 67. His plays, especially The Rivals and The School for Scandal, are generally regarded as important links between the masterpiece of Shakespeare and those of Bernard Shaw, and as true classics in English 《情敵》和《造謠學(xué)校》被認(rèn)為是上承莎士比亞，下接蕭伯 納的紐帶，是真正的英國(guó)古典派喜劇。 65. Reading his works gives the reader the impression that he is talking with a very learned 種感覺(jué)，他在與一位非常博學(xué)的人士對(duì)話。 63. Johnson was the last great neoclassicist enlightener in the later eighteenth century. He was very much concerned with the theme of the vanity of human ，他十分關(guān)心人類欲望的虛幻，幾乎他所有的作品都含有這樣的主題。 a tragedy: ：《倫敦》，《人類欲望的虛幻》騎士浪漫詩(shī)：《拉塞拉斯的歷史》，《阿比西尼亞王子》；一部悲?。骸栋铡贰? 61. His chief works include pomes: “London”, and “The Vanity of Human Wishes”。 59. In his famous Literary Club, where he was surrounded with respect by the elite of the literary 里，周圍圍滿了敬仰 他的文學(xué)精英。 57. Tom Jones brings its author the name of the “Prose Home.” The panoramic view it provides of the 18thcentury English country.《湯姆 .瓊斯》為費(fèi)爾丁贏得了“散文荷馬”的盛名，小說(shuō)為讀者提供了一幅英國(guó) 18 世紀(jì)鄉(xiāng)村與城市的宏偉的全景圖。 55. Fielding ?s language is easy, unlaboured and familiar, but extremely vivid and vigorous. His sentences are always distinguished by logic and rhythm, and his structure carefully planed toward an inevitable 言自然流暢，通俗易懂，同時(shí)又栩栩如生并富有活力，他的句子以邏輯性和韻律性見(jiàn)長(zhǎng)，小說(shuō)結(jié)尾總是水到渠成，順理成章。 要點(diǎn)中英文對(duì)照版 第 8 頁(yè)，共 34 頁(yè) 53. he was the first to set out , both in theory and practice, to write specifically a “ic epic in prose,” the first to give the modern novel its structure and “散文體喜劇史詩(shī)”，并第一個(gè)為現(xiàn)代小說(shuō)確立了結(jié)構(gòu)和風(fēng)格。 51. the purpose of the novel was not just to amuse, but to instruct, the object of novel was to present a faithful picture of life, “the just copies of human manners,” with sound teaching woven into their texture, so as to teach men to know themselves, their properspheres and appropriate manners.，小說(shuō)不僅供娛樂(lè)，而且更有教育意義，他的小說(shuō)的主旨是要真實(shí)地展示生活，使之成為“人類態(tài)度的完整拷貝”，并將說(shuō)教巧妙的引入作品，教導(dǎo)人們認(rèn)識(shí)自己，尋求適宜的人生態(tài)度 。 49. “The Great Man, properly considered, is no be