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【英国】
Chapter 5 The
Modern Period
现代时期
1. The once sun-never-set Empire
finally
collapsed.
日不落帝国终于日薄西山了。
2. Arthur Schopenhauer, a pessimistic
philosopher, started a rebellion against
rationalism, stressing the importance
of will and intuition.
德国哲学家亚瑟
.
叔本华的悲
观主义与反理性哲学强调了人的意愿与直觉的重
要性。
3. Friedrich Nietzsche
advocated the doctrines of power and superman and
by
completely rejecting the Christian m
orality.
尼采继承了叔本华的理论后
,
更进一步的反
叛理性主义与基督教精神
,
推崇强权与霸权。
4. Henry
Bergson established his irrational philosophy,
which put the emphasis on
creation,
intuition, irrationality and unconsciousness.
亨利
.
伯格森在前人基础上创立了
非理性哲学
,
强调创造力
,<
/p>
直觉
,
非理性与无意识。
5. The appalling shock of the
First World War severely destroyed people’s faith
in
the Victorian values.
一战的毁
灭性灾难摧垮了人们对维多利亚道德标准的信奉。
6.
The French symbolism, appearing in the late 19th
century, heralded
modernism.19
世纪晚期法国的象征主义预示了现代主义的诞生。
7.
literary trends of modernism: expressionism,
surrealism, futurism, Dadaism,
imagism
and stream of consciousness.
一战后
< br>,
所有的现代主义文学潮流都产生了
:
< br>表现
主义
(
强调自我表现
,
反对艺术的目的性
,
超现实主义
,
未来主义
,
达达主义
(
颓废派文艺
,
意象主义以及意识流等等。
8.
The major figures were Kafka, Picasso, Pound,
Webern, Ts Eliot, Joyce and
Virginia Wo
olf.
这场运动的杰出代表人物有卡夫卡
,
< br>毕加索
,
庞德
,
韦伯恩
,T.S.
埃略特
,<
/p>
乔伊斯及费洛尼亚
.
沃尔夫。
9. After the Second World War, a
variety of modernism, or post-modernism, like
existentialist literature, theater of
the absurd, new novels and black humor, rose with
the
spur of the
existentialist idea that “the world was absurd,
and the human life wa s an
agony.”
二战后
,
另一种形式的现实主义
< br>,
即后现代主义
,
比如存在主义
文学
,
荒诞派戏
剧
,
新小说及黑色幽默
,
如雨后春笋
涌现出来
,
其理论基础便是存在主义所讲的
“
世界
是荒谬的
,
人生则是巨大的痛苦
”
。
10. Modernism takes the irrational
philosophy and the theory of psycho-analysis as
its theoretical base.
现代主义以非理
性哲学和精神分析原理作为理论基础。
11. The
major themes of the modernist literature are the
distorted, alienated and ill
relationships between man and nature,
man and society, man and man, and man and
< br>himself.
现代派文学的主题便是反映人与自然
,
人与社会
,
人与人
,
人与自我之间被扭曲
的
,
渐渐疏远的
,
病态的关系。
< br>
12. As a result, the works created
by the modernist writers are often labeled as
anti-
novel, anti-poetry and anti-drama.
这样一来
,
现代主义作品常被称为反小
说
,
反诗歌与
反戏剧。
13. With the coming of the 1950s, there was a
return of realistic poetry
again.50
年代
,
现实主义诗歌又开始回溯。
14. ce is regarded as
revolutionary as Joyce in novel writing. His
interest lay in his tracing of the
psychological development of his characters and in
his
energetic criticism of the
dehumanizing effect of the capitalist
Industrialization on human
nature. In
his best novels like The Rainbow and Women in
Love, he made a bold
psychological
exploration of various human relationships. D.H.
劳伦斯被认为和乔伊斯
一样大胆改革小说创作手法
< br>,
与乔伊斯不同
,
劳伦斯对写作
技巧的改革不感兴趣
,
依然
沿袭传统的
完整的故事情节
,
但他极力展现角色的心
理发展
,
尖锐的批判了资本主义工
业化对人性的非人道的扭曲。在他最优秀的
作品中
,
如《虹》
,
《恋爱中的女人》
,
劳伦斯大胆的探索了各种人性心理
,
人际关系
,
尤其是男人与女人之间的关系。
15. by the
whole capitalist mechanical civilization, which
turned men into inhuman
machines.
资本主义机器工业文明将人变成了无性的机器。
16. Oscar Wilde, his masterpiece, The
importance of Being Earnest.
奥斯卡
< br>.
王尔德
的代表作是《认真的重要性》。
17. Shaw is considered to be the
best-known English dramatist since Shakespeare.
萧
伯纳在戏剧方面被公认为自莎士比亚后
,<
/p>
英国最优秀的戏剧大师。
18.
The Silver Box and Strife are such examples, in
which Galsworthy presents not
only
realistic picture of social injustice, but also
the workers’heroic struggles against their
employers.
《银盒》与《抗争》便是很好的例子
,
其中高尔斯华绥不仅真实地展示了
社会的不公平
,
还生动描写了工人与资本家的英勇抗争。
19. The 1930s witnessed a revival of
poetic drama in England. One of the early
experimenters was who regarded drama
as the best medium of poetry.30
年代
,
英国的戏剧复兴了
,
最早
的改革试验者
T.S.
埃略特说
,
戏剧是诗歌传播与普及的最佳
媒介。
20. This revolution developed in two
directions: the working-class drama and the
Theater of Absurd.(The English dramatic
revolution
戏剧发展为两派
:
工人阶级戏剧与
荒诞派戏剧。
21. The most
original playwright of the Theater of Absurd is
Samuel
Beckett, who wrote about human
beings living a meaningless life in an alien,
decaying
world. He first play, Waiting
fro Godot.
荒诞派戏剧代表人物是塞缪尔
.
贝克特。他擅
长描写生活在孤立腐朽的世界里的人与毫无意义的人生。<
/p>
(I. George Bernard Shaw
乔治
..
萧伯纳
22. Shaw held that art should serve
social purposes by reflecting human life,
revealing social contradictions and
educating the common people.
萧主张艺术应该为社
会服务
,
应该反映人的生活与社会矛盾并教
育广大人民。
23. The mission of his drama was to
reveal the moral, political and economic truth
from a radical reformist point of view.
His works contain Widowers’House, Mrs.
Warren’s Profession, is a play about
the economic oppression of women.
他的剧作主要
揭露当时的社会
,
经济
,
道德
,
宗教中的罪恶
,
表现了自己作为左翼社会主义改良派的观
点
。他的早期代表作品包括《鳏夫的房产》
,
《沃伦夫人的职业》
的主题是对妇女
们经济上的压迫。
24. Shaw also produced several plays,
exploring his idea of“Life Force,”the power
that would create superior beings to be
equal to God and to solve all the social, moral,
and metaphysical problems of human soci
ety.
萧伯纳还创作了一系列话剧
,
探索了
“
生
命的力量
< br>”
---
一种能够与上帝齐平
,
解决各种社会
,
道德及玄奥问题的超级
力量。
25. Shaw wrote plays on
miscellaneous subject. The Apple Cart is about
politics;
John Bull’s Other Island is
about racial problems.
萧伯纳的作品还有关于政治的《苹果<
/p>
车》
,
关于种族问题的《约翰
.
布尔的另外岛屿》。
26. Too True to be Good is a better
play of t
he later period, with the
author’s almost
nihilistic bitterness
on the subjects of the cruelty and madness of
World War I and the
aimlessness and
disillusion of the young.
出色的作品《难以置信》
,
主题是对残忍疯狂
的第一次世界大战近乎虚
无主义的嘲讽和对幻灭失落的青年一代的忧伤。
27.
One feature of Shaw’s charac
terization
is that he makes the trick of showing up
one character vividly at the expense of
another.
萧伯纳人物塑造方面的特点是他经常不
惜贬低
另一些角色来
极力生动形象地展示某一个角色。
28. Much of Shavian drama is
constructed around the inversion of a conventional
theatrical situation.
萧伯纳的许多戏
剧情节与角色都在传统的基础上发生倒转错位。
29. The forward motion
consists not in the unrolling of plot but in the
operation of
the spirit of discourse.
动作的进行不仅体现在情节的铺展中
,
也体
现在对白的内涵
中。
(
情节丰富
,
但不以情节取胜
,
生动的对白超越了故事情节的光彩
(II. John Ga
lsworthy
约翰
.
高尔斯华绥<
/p>
30. The Forsyte Saga, his
first trilogy: The Man of Property, In Chancery
and To Let.
His second Forsyte trilogy,
A Modern Comedy, appeared in 1929, and the third,
End of
the chapter, posthumously in 193
4.
一战之后他完成了第一部费尔塞特世家三部曲
,
包
括《财主》
,
《骑虎难
下》
,
《出租》。第二部费尔塞特三部曲《现代喜剧》于
1929
年问世
,
第
三部《篇章末尾》
,
则在他去世后的
1
934
年出版。
31.
Galsworthy was a conventional writer, having
inherited the fine traditions of the
great Victorian novelists of the
critical realism such as Dickens and Thackeray.
高尔斯华
绥是传统型作家
,
< br>继承了狄更斯
,
萨克雷等维多利亚时期文学家的优良风格
。
32. He wrote in a clear
and unpretentious style with a clear and
straightforward
king1970uage.
他的语言与风格都是同样的清晰
,
直白
,
毫无做作。
33. The
Man of Property: The theme of this novel is that
of the predominant
possessive instinct
of the Forsytes and its effects upon the personal
relationships.
《财
主》
:
这部小说展示了费尔塞特家族盛行的占有欲与唯利是图
,<
/p>
这种占有欲深刻影响
到家族内的人际关系。
(m Butler Yeats
威廉
.
巴特勒
.
叶芝
< br>
34. In 1923, he was awarded Nobel
Prize for literature.1923
年他获得了诺贝尔文
学奖。
35. He came to see
that literature should not be an end in itself but
the expression of
conviction and the
garment of noble emotion.
他认为艺术的最终目的并非它本
身
,
而是
对社会成员的说教及对高尚情
感的抒发。
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