?fanciful

fanciful發(fā)音

['fænsifəl]

英：　　美：

fanciful中文意思翻譯

adj.想像的, 奇怪的, 稀奇的

fanciful詞形變化

副詞: fancifully | 名詞: fancifulness |

fanciful同義詞

thing | see | care | ostentatious | idea | visualize | for | preference | reckon | flowery | take to | decorative | fondness | imagination | elaborate | imagine | castle in the air | love | exclusive | pretentious | realize | prefer | delusion | upmarket | want | desire | adore | favor | presume | envision | fussy | phantasy | vapor | ornate | envisage | harbor | thirst | conceive | go for | fantasy | will | conceit | romance | visualise | hope | notion | figure | care for | be attracted to | caprice | dream | picture | partiality | illusion | wish | adorned | frilly | like | image | project | suppose | impulse | whim | daydream | think | expensive | enjoy

fanciful反義詞

plain

fanciful常見(jiàn)例句

1 、"Phut " , stood in front of her so brilliant that exceed fanciful prince, she falls in love at first sight the ground is looking at him.───“砰”一聲，在她前面站了一位英俊得超乎想像的王子，她一見(jiàn)鐘情地望著(zhù)他。

2 、But they played very well and give me and Anny many fanciful and interesting ideas.───之前采訪(fǎng)了一個(gè)做紙藝的女孩，也即將離開(kāi)學(xué)校，她十分不舍“同學(xué)”這個(gè)稱(chēng)謂。

3 、Pardonable also, this follows ocean namely originally, with blue sky, the world of as pure as nature freedom, the child can open fanciful wing here, without any fetter.───也難怪，這本來(lái)就是一個(gè)跟海洋、跟藍天、跟大自然一樣純凈自由的世界，孩子可以在這里張開(kāi)想像的翅膀，沒(méi)有任何羈絆。

4 、Icon Processor is a goodie for icon lovers or those who adorn their desktops and Explorer with fanciful little graphics.───Icon Processor 可以轉換BMP, JPEG, GIF, PNG, PSD, WMF, PCX, TIFF 和 CUR格式為方案Windows操作系統圖標。

5 、But all of this is a fancy, a dream.─── 但所有這些只是一個(gè)幻想 一個(gè)夢(mèng)

6 、You done went up north and got your college degree, your fancy cars, and your fancy suits.─── 你去北方拿了個(gè)大學(xué)文憑 開(kāi)一輛好車(chē) 穿一身靚衣

7 、unrealistic notions; fanciful ideas───不切實(shí)際的幻想

8 、You are never fanciful, my dear.───親愛(ài)的，你一點(diǎn)兒也不怪僻。

9 、Your idea is rather fanciful.───你的想法頗為虛懸。

10 、I don't have a fancy camera, or fancy special effects, or a fancy cameraman.─── 我可沒(méi)有昂貴的攝像機 也不會(huì )做精美特效 也沒(méi)有厲害的攝影師

11 、"By no means, madame; the fanciful exists no longer in the East───“決不是這樣的，夫人，東方已不再有那種異想天開(kāi)的事情了。

12 、It will be found, in fact, that the ingenious are always fanciful, and the truly imaginative never less than analytic.───人們將發(fā)現,實(shí)際上真正的天才總有天馬行空般的想像力;而真正有想像力的人分析起問(wèn)題來(lái)也永遠不會(huì )缺乏條理。

13 、Russian-born artist noted for his dreamlike,fanciful imagery and brilliantly colored canvases. Among his works are two huge murals designed for the New York City Metropolitan Opera House(1966).───夏加爾，馬克1887－1985俄裔畫(huà)家，以其夢(mèng)幻式、奇特的意象且色彩亮麗的帆布油畫(huà)聞名。其作品中有兩幅為紐約市都市歌劇院設計（1966年）的大型油畫(huà)。

14 、That may be reasonable in theory but it sounds fanciful in practice.───從理論上看這是說(shuō)得過(guò)去的，可實(shí)際上卻有點(diǎn)異想天開(kāi)。

15 、An intricate, delicate, or fanciful ornamentation.───復雜而精致奇特的裝飾

16 、But inwardly, inside the skin as it were, we try to identify ourselves with the past, with tradition, with some fanciful romantic image, a symbol much cherished.───但是，內在地，我們總試圖讓自己歸屬于過(guò)去，傳統，某些奇特的浪漫形象，或者珍視的一種象征。

17 、FOR anyone with memories of the economic crises of the past 25 years, recent talk of emerging markets as the new safe havens of the financial world might seem, at best, a little fanciful.───任何一個(gè)人，只要他對過(guò)去25年間的經(jīng)濟危機仍然記憶猶新，那么對于最近有關(guān)新興市場(chǎng)就是金融世界的新避難所的說(shuō)法，他會(huì )認為有些異想天開(kāi)了。

18 、In particular they sought a fanciful substance called "the elixir of life", a powerful medicine which was to cure all illness, and which some people thought would turn out to be the same substance as "the philosopher's stone".───他們特別是要尋求一種名為“長(cháng)生不老”的奇異物質(zhì)，一種能治百病的靈丹妙藥，而且有些人認為事實(shí)將證明這種靈丹妙藥和“哲人之石”是同一種物質(zhì)。

19 、Now some fat pig has his ass plopped in his fancy chair and his fancy table.─── 現在那些肥豬把* 坐在了他家的豪華桌椅上

20 、Their interpretations are often fanciful.───他們的解釋有時(shí)是富于假想的。

21 、Elaborate castles and fanciful creatures grace Florida's Bradenton Beach during a sand-sculpting competition.───在一次沙雕比賽中，精致的城堡和奇幻的生物把佛羅里達州的布萊登頓海灘變得美麗無(wú)比。

22 、not actually such; being or seeming fanciful or imaginary───不真實(shí)的；是或似乎是想象虛構出來(lái)的

23 、On Conception of the Novel in the Early Tang Dynasty and Contemporary Fanciful Literature in China───中國當代幻想文學(xué)與先唐**的幻想觀(guān)念

24 、In the design of a modern business card, with its developed professional conventions, one can still detect the two conflicting approaches, the fanciful and the functional.───在現代名片設計中，隨著(zhù)其職業(yè)協(xié)定的發(fā)展，人們仍然可以察覺(jué)到互相矛盾的兩個(gè)方面：裝飾性與功能性。

25 、Created by or as if by a wildly fanciful imagination; highly improbable.───大膽虛構或異想天開(kāi)的；非常不可能的

26 、But talk of peace and reconciliation is just fanciful and theoretical unless we are prepared to undergo such a revolution.───不過(guò)除非我們愿意經(jīng)歷這種巨變，否則談?wù)摵推脚c和解不過(guò)是臆想和空談。

27 、The maps sketched by this new generation of cartographers range from the useful to the fanciful and from the simple to the elaborate.───在地圖上勾勒出新一代有文化,從有用的臆測,從簡(jiǎn)單以精心設計的。

28 、"My dear Maximilian, you are really too fanciful;you will not love even me long.───“我們剛才談了一番心事，”瓦朗蒂娜答道。

29 、He would invent fanciful names on the spot.───他會(huì )當場(chǎng)想出些稀奇古怪的名子。

30 、You can fanciful putting up a classroom be what make a noise?───你能想像的出教室是多么的吵嗎?

31 、fanciful idea or desire;whim───奇異的念頭或興致;奇想

32 、He had a fanciful idea about crossing the Pacific in a barrel.───他有個(gè)坐在木桶里橫渡太平洋假想的點(diǎn)子。

33 、The floors were laid in fanciful figures wrought in mosaics of many-coloured marbles.───地上都有五彩云石鑲嵌的怪獸異禽。

34 、Ordinary folks in solid earthly pleasures rejoice/In fanciful dreams King Xiang alone lost himself.───“微生盡戀人間樂(lè )/只有襄王憶夢(mèng)中?！?/p>

35 、He woould invent fanciful names on the spot.───他會(huì )當場(chǎng)編出好多希奇古怪的名字。

36 、” Others say the threat is fanciful.───但其他人說(shuō)這樣看伊斯蘭教徒有點(diǎn)杞人憂(yōu)天。

37 、A condor's-eye view reveals a colorful mosaic of smoldering volcanoes, gleaming tin and tile roofs, and fanciful flamingos.───像禿鷹一樣翱翔在南美上空,鳥(niǎo)瞰煙霧籠罩的火山,閃閃發(fā)光的鐵皮屋頂還有,稀奇的火烈鳥(niǎo)，一幅五光十色壯觀(guān)的自然畫(huà)卷。

38 、But his book will provide a valuable corrective to the more fanciful outpourings of Bolivarianism which can be expected in the bicentennial junketing.───但他的書(shū)卻給那些對“波利瓦拉主義”過(guò)于異想天開(kāi)的描述提供了一個(gè)修正，這也是這場(chǎng)持續兩百年的盛宴中很值得期待的事情。

39 、I suppose a fancy restaurant like this is too fancy for a common man such as yourself.─── 我覺(jué)得這么豪華的餐廳 不適合你這樣的小*絲

40 、A fanciful mind.───充滿(mǎn)幻想的頭腦

41 、A style of painting, sculpture, and ornamentation in which natural forms and monstrous figures are intertwined in bizarre or fanciful combinations.───奇異風(fēng)格，形狀怪誕的圖案一種自然的形式和奇異的圖形以一種奇異或古怪的方式結合在一起的繪畫(huà)雕塑和裝飾風(fēng)格

42 、Mingfeng luxuriated in fanciful imagination: She wore pretty clothing; she had parents who loved and cherished her; she was admired by handsome young gentlemen.───于是她就沉溺在幻想里，想象著(zhù)自己穿上漂亮的衣服，享受父母的寵愛(ài)，受到少爺們的崇拜。

43 、He already is to be a technology's turn to have applied for a patent ", this technology can bring along the business machine having no way to fanciful".───他已經(jīng)為該技術(shù)申請了專(zhuān)利，“這個(gè)技術(shù)可以帶來(lái)無(wú)法想像的商機?！?/p>

44 、Dilbert is one of your favorite favorite, with its vivid, though fanciful, portrayal of the workplace.───“呆伯特”是你的最?lèi)?ài)之一，動(dòng)畫(huà)中對他公司的描述雖然很怪異卻很生動(dòng)。

45 、Russian - born artist noted for his dreamlike, fanciful imagery and brilliantly colored canvases.Among his works are two huge murals designed for the New York City Metropolitan Opera House(1966.───夏加爾，馬克1887－1985俄裔畫(huà)家，以其夢(mèng)幻式、奇特的意象且色彩亮麗的帆布油畫(huà)聞名。其作品中有兩幅為紐約市都市歌劇院設計（1966年）的大型油畫(huà)

46 、He had such a fanciful, pictorial way of saying things.───他有一種隱晦曲折、光怪陸離的表達方式。

47 、I Like thinking quietly, making myself down-to-earth, as so many ordinary girls, I have lot of fanciful dreams.───喜歡靜靜地思考，踏實(shí)地做人，像所有普通女孩子一樣，有許多美好的夢(mèng)想！

48 、not actually such; being or seeming fanciful or imaginary.───不真實(shí)的；是或似乎是想象虛構出來(lái)的。

49 、At her place, she was trying on fancy clothes, fancy shoes.─── 在她家 她試了一些高檔衣服和鞋

50 、A style of painting, sculpture, and ornamentation in which natural forms and monstrous figures are intertwined in bizarreor fanciful combinations.───奇異風(fēng)格,形狀怪誕的圖案一種自然的形式和奇異的圖形以一種奇異或古怪的方式結合在一起的繪畫(huà)雕塑和裝飾風(fēng)格。

51 、As other teams have found, whatever hopes Turkey had of intimidating a player who comes from a family of boxers and sparred in his youth proved fanciful.───其他球隊發(fā)現，不管土耳其怎樣威脅一個(gè)生于拳擊家庭球員都是徒勞的。

52 、You fancy each other, then you don't.─── 小孩會(huì )彼此喜歡 然后又不喜歡了

53 、It's got two sleeves and it has a, a fancy hole to put your fancy head through.─── 它有兩個(gè)衣袖 而且還有個(gè)高大上的洞 你高大上的頭可以從中穿過(guò)來(lái)

54 、No doubt you will think me fanciful.───不消說(shuō)，你會(huì )當我異想天開(kāi)。

55 、But it is not fanciful to imagine peer-to-peer networking among large investors developing to the degree that such trading starts to lead rather than follow share price movements.───但是，試想大型投資者之間的點(diǎn)對點(diǎn)網(wǎng)絡(luò )交易發(fā)展到這樣的程度，以至于這種交易開(kāi)始引導而不是跟隨股價(jià)走勢，這一想法并不匪夷所思。

56 、as it was a festival day the peasants decked out their houses in fanciful colours───因為那天是節日，農民們用五顏六色的飾品把房屋打扮起來(lái)。

57 、They decked out their room in fanciful colors.───他們把房間裝飾得五顏六色。

58 、a fanciful mind; all the notional vagaries of childhood.───充滿(mǎn)幻想的頭腦；所有童年的幻想。

59 、The picture above depicts a "photonic micropolis," a rather fanciful collage of many different photonic crystal devices.───上圖展示的是“光子微域”，是由許多不同的光子晶體圖案拼接而成，相當具有幻想色彩。

60 、But suggestions that China will overtake American primacy are fanciful.───但它無(wú)力超越狹窄的地理限制投放力量。

61 、Still, the presence of Monte Cristo at such an hour, his mysterious, fanciful, and extraordinary entrance into her room through the wall, might well seem impossibilities to her shattered reason.───基督山在這時(shí)出現，而且是透過(guò)墻壁走進(jìn)她的房間，對神志恍惚的瓦朗蒂娜來(lái)說(shuō)，更是難以置信。

62 、Even fashion editors who tout couture's more fanciful currents on the pages of their magazines venerate Sander.───即使是在自己雜志上大力吹捧更奇巧的服裝設計風(fēng)潮的時(shí)裝編輯，也尊敬桑德這位時(shí)裝設計大師。

63 、And he'd show up every year in hishis fancy car, wearing his fancy watch, spend ten minutes with us and pose for a photo so he'd get his name in the papers.─── 他每年都會(huì )開(kāi)著(zhù)豪車(chē)來(lái)到這里 帶著(zhù)名牌表 和我們一起待個(gè)十分鐘 拍個(gè)照片 好讓自己上回頭條

64 、But most business-minded observers think such plans fanciful, like the models of Juba skyscrapers in government offices.───但是最具經(jīng)營(yíng)頭腦的觀(guān)察家認為，這些計劃又如空中樓閣，又如政府辦公樓里擺放的一些朱巴摩天大廈的模型。

65 、Fanciful? Certainly, and it has been imagined before. But in volatile times, imaginings sometimes come true.───天方夜談?當然，以前一直是在想象中的場(chǎng)景。但是，在動(dòng)蕩不安的時(shí)局下，有時(shí)想象也能成為現實(shí)。

66 、Thus, until well into the 19th century, medical authorities entertained various fanciful theories about conception and pregnancy that had little to do with the truth as it finally emerged.───因而，直到19世紀逝去好久了，醫學(xué)權威們盡管對**和妊娠懷有各種各樣的富有幻想的推測，但是對于其最終大白于天下的真相仍然知之甚少。

67 、The purpose of buying such tickets is to materialize their colorful and fanciful dreams.───買(mǎi)**的目的是為了實(shí)現他們各式各樣的發(fā)財夢(mèng)。

68 、In the modern business card design, with its developed professional conventions, one can yet detect the two conflicting approaches, the fanciful and the functional one.───在現代名片設計中，隨著(zhù)其事業(yè)協(xié)定的進(jìn)展，大部分人仍然沒(méi)去外國疑問(wèn)察覺(jué)到互相矛盾的兩個(gè)方面：裝飾性與功能性。

69 、"My dear Maximilian, you are really too fanciful; you will not love even me long.───“我親愛(ài)的馬西米蘭，你真的太喜歡幻想了，你不會(huì )愛(ài)我很長(cháng)久的。

70 、Gegege no Kitaro 2: 1000 Year Old Cursed Song), again directed by Motoki Katsuhide, followed quickly in 2008, set in the same fanciful world populated by yokai, demon spirits with supernatural powers.───在鬼太郎和同伴的追查后，發(fā)現原來(lái)是由一只經(jīng)過(guò)千年封印后蘇醒的惡魔作怪。

71 、Why aren't we tired of something so fanciful,───為什么我們對這些虛無(wú)縹紗的故事樂(lè )此不彼呢，

72 、An exception is Sunday, Old Russia (1904) where Kandinsky recreates a highly colorful (and fanciful) view of peasants and nobles before the walls of a town.───一個(gè)例外是星期天，老俄羅斯（1904年）在康定斯基再現一個(gè)高度豐富多彩（和幻想）鑒于農民和貴族的墻壁前的一個(gè)小鎮。

73 、1.unrealistic; impractical; fanciful; illusory; quixotical; 2.outside the limits of the practical───不實(shí)際

74 、The Times, Matt Dickinson : “The idea that his team might be rattled by the raucousness of a febrile occasion had seemed fanciful, but something made Chelsea unusually subdued in the first 30 minutes.───“狂熱的主場(chǎng)氣氛可能讓穆里尼奧的隊伍感到不安，這樣的想法看來(lái)有些異想天開(kāi)，但的的確確有什么東西使得切爾西的前30分鐘不同尋常的疲軟。

75 、Still, because homeowners don’t receive margin calls, it makes it easier to procrastinate over selling and to entertain fanciful ideas about your home’s value.───不過(guò)，由于房屋所有者不會(huì )收到追加保證金的要求，他們在賣(mài)出房屋時(shí)可能更容易拖延，也會(huì )對房屋的價(jià)值抱有一些不切實(shí)際的想法。

76 、So it probably pays not to be too fanciful when designing your avatar.───因此也許你在設計你的虛擬化身的時(shí)候不要設計得太奇怪會(huì )有好處。

77 、His composition abound in Etudes, Poetic Studies, Nocturnes, and Preludes, telling some fanciful story, fantasies giving free reign to his poetic thought, and also the dance forms.───他的作品包括大量練習曲，音詩(shī)研究[3]，夜曲，前奏曲，講述離奇故事的敘事曲，自由支配詩(shī)意的幻想曲，也有一些舞曲。

78 、Okay, so... lady puts on a fancy dress, goes to a fancy party out at sea, fancy boat.─── 好的 這位女士精心打扮 去參加一場(chǎng)盛大的豪華游輪聚會(huì )

79 、In Florence XXX found the ideal terrain to develop his fanciful inventiveness and build on the contemporary myth of the Renaissance workshop, the place where artists were trained, where ideas were born, where masterpieces were created.───佛洛倫薩，這座孕育藝術(shù)家們成長(cháng)、創(chuàng )意和靈感迸發(fā)交匯、無(wú)數杰作誕生的城市，為XXX提供了一方理想的天地，施展自己奇異非凡的創(chuàng )造力、締造這座文藝復興之城的當代傳奇。

80 、a fanciful mind; all the notional vagaries of childhood───充滿(mǎn)幻想的頭腦；所有童年的幻想

81 、He is a fanciful writer.───他是個(gè)富於幻想的作家。

82 、They offered a reasoned approach in place of the fanciful and uncritical accounts of the poets.───他們用合理化的解釋來(lái)代替詩(shī)人的想象和不加分析的傳說(shuō)。

83 、a fanciful pattern with intertwined vines and flowers.───一幅藤、花纏繞的奇異圖案。

84 、Mobility may be thought of in more than a fanciful sense, as the "pulse of the community."───可以用一個(gè)更形象化的概念把流動(dòng)想象成“社區的脈搏”。

85 、I soon observed that all these authors nearly always contradicted each other, and I conceived the fanciful idea of reconciling them, which fatigued me greatly, and made me lose considerable time.───不久以后，我發(fā)現所有這些作者幾乎總是相互否定，我構思著(zhù)，想要把他們的思想統一，好玄沒(méi)把我給累死！而且浪費了我相當多的時(shí)間。

86 、You believe in god, so that belief gives you a certain security, and tomorrow you will still believe in god whether it is illusory or fanciful or nonsensical.───你相信上帝，那信念給你某種安全感，明天你還會(huì )繼續相信上帝，不管它是不是虛幻的或者假想出來(lái)的或者荒謬的。

87 、Children are very fanciful.───兒童都很富於幻想.

88 、But the government's hopes that it would grow this year by 9% look fanciful;the real rate may be closer to 4%.───但是政府希望今年9%的增長(cháng)率看起來(lái)有點(diǎn)兒不切實(shí)際，4%倒是有可能。

89 、Though admittedly wild and fanciful, the ghost stories of the Liao Zhai Zhi Yi have a beauty that has captivated countless readers over the years.───《聊齋志異》所記鬼怪故事誠屬荒誕不經(jīng)，然而卻能引人入勝，多年來(lái)為無(wú)數讀者所喜愛(ài)。

90 、Wildean language is lofty, graceful, formal, rhetorically polished and sometimes full of humorous and fanciful expressions.───唯美原則、快樂(lè )原則、藝術(shù)無(wú)功利等都在該劇中得到了完美的體現。

有沒(méi)有人有關(guān)于英國浪漫派詩(shī)人的一些資料，最好是英文的

給你發(fā)來(lái)微軟百科的說(shuō)明.

Romanticism (literature)

I INTRODUCTION

Romanticism (literature), a movement in the literature of virtually every country of Europe, the United States, and Latin America that lasted from about 1750 to about 1870, characterized by reliance on the imagination and subjectivity of approach, freedom of thought and expression, and an idealization of nature. The term romantic first appeared in 18th-century English and originally meant “romancelike”—that is, resembling the fanciful character of medieval romances.

II ORIGINS AND INSPIRATION

By the late 18th century in France and Germany, literary taste began to turn from classical and neoclassical conventions (see Classic, Classical, and Classicism). Inspiration for the romantic approach initially came from two great shapers of thought, French philosopher Jean Jacques Rousseau and German writer Johann Wolfgang von Goethe.

A The Romantic Spirit

Rousseau established the cult of the individual and championed the freedom of the human spirit; his famous announcement was “I felt before I thought.” Goethe and his compatriots, philosopher and critic Johann Gottfried von Herder and historian Justus Möser, provided more formal precepts and collaborated on a group of essays entitled Von deutscher Art und Kunst (Of German Style and Art, 1773). In this work the authors extolled the romantic spirit as manifested in German folk songs, Gothic architecture, and the plays of English playwright William Shakespeare. Goethe sought to imitate Shakespeare's free and untrammeled style in his Götz von Berlichingen (1773; translated 1799), a historical drama about a 16th-century robber knight. The play, which justifies revolt against political authority, inaugurated the Sturm und Drang (storm and stress) movement, a forerunner of German romanticism. Goethe's novel The Sorrows of Young Werther (1774; translated 1779) was also in this tradition. One of the great influential documents of romanticism, this work exalts sentiment, even to the point of justifying committing suicide because of unrequited love. The book set a tone and mood much copied by the romantics in their works and often in their personal lives: a fashionable tendency to frenzy, melancholy, world-weariness, and even self-destruction.

B The Romantic Style

The preface to the second edition of Lyrical Ballads (1800), by English poets William Wordsworth and Samuel Taylor Coleridge was also of prime importance as a manifesto of literary romanticism. Here, the two poets affirmed the importance of feeling and imagination to poetic creation and disclaimed conventional literary forms and subjects. Thus, as romantic literature everywhere developed, imagination was praised over reason, emotions over logic, and intuition over science—making way for a vast body of literature of great sensibility and passion. This literature emphasized a new flexibility of form adapted to varying content, encouraged the development of complex and fast-moving plots, and allowed mixed genres (tragicomedy and the mingling of the grotesque and the sublime) and freer style.

No longer tolerated, for example, were the fixed classical conventions, such as the famous three unities (time, place, and action) of tragedy. An increasing demand for spontaneity and lyricism—qualities that the adherents of romanticism found in folk poetry and in medieval romance—led to a rejection of regular meters, strict forms, and other conventions of the classical tradition. In English poetry, for example, blank verse largely superseded the rhymed couplet that dominated 18th-century poetry. The opening lines of the swashbuckling melodrama Hernani (1830; translated 1830), by the great French romantic writer Victor Hugo, are a departure from the conventional 18th-century rules of French versification; and in the preface to his drama Cromwell (1827; translated 1896), a famous critical document in its own right, Hugo not only defended his break from traditional dramatic structure but also justified the introduction of the grotesque into art. In their choice of heroes, also, the romantic writers replaced the static universal types of classical 18th-century literature with more complex, idiosyncratic characters; and a great deal of drama, fiction, and poetry was devoted to a celebration of Rousseau's “common man.”

III THE GREAT ROMANTIC THEMES

As the romantic movement spread from France and Germany to England and then to the rest of Europe and across to the western hemisphere, certain themes and moods, often intertwined, became the concern of almost all 19th-century writers.

A Libertarianism

Many of the libertarian (see Libertarianism) and abolitionist movements of the late 18th and early 19th centuries were engendered by the romantic philosophy—the desire to be free of convention and tyranny, and the new emphasis on the rights and dignity of the individual. Just as the insistence on rational, formal, and conventional subject matter that had typified neoclassicism was reversed, the authoritarian regimes that had encouraged and sustained neoclassicism in the arts were inevitably subjected to popular revolutions. Political and social causes became dominant themes in romantic poetry and prose throughout the Western world, producing many vital human documents that are still pertinent. The year 1848, in which Europe was wracked by political upheaval, marked the flood tide of romanticism in Italy, Austria, Germany, and France.

In William Tell (1804; translated 1825), by German dramatist Friedrich von Schiller, an obscure medieval mountaineer becomes an immortal symbol of opposition to tyranny and foreign rule. In the novel The Betrothed (1825-1827; translated 1834), by Italian writer Alessandro Manzoni, a peasant couple become instruments in the final crushing of feudalism in northern Italy. Lord Byron and Percy Bysshe Shelley, who for some most typify the romantic poet (in their personal lives as well as in their work), wrote resoundingly in protest against social and political wrongs and in defense of the struggles for liberty in Italy and Greece. Russian poet Aleksandr Sergeyevich Pushkin, whose admiration for the work of Byron is clearly manifested, attracted notoriety for his “Ode to Liberty” (1820); like many other romanticists, he was persecuted for political subversion.

The general romantic dissatisfaction with the organization of society was often channeled into specific criticism of urban society. La maison du berger (The Shepherd's Hut, 1844), by French poet Alfred Victor de Vigny, expresses the view that such an abode has more nobility than a palace. Earlier, Rousseau had written that people were born free but that everywhere civilization put them in chains. This feeling of oppression was frequently expressed in poetry—for example, in the work of English visionary William Blake, writing in the poem “Milton” (about 1804-1808) of the “dark Satanic mills” that were beginning to deface the English countryside; or in Wordsworth's long poem The Prelude (1850), which speaks of “... the close and overcrowded haunts/Of cities, where the human heart is sick.”

B Nature

Basic to such sentiments was an interest central to the romantic movement: the concern with nature and natural surroundings. Delight in unspoiled scenery and in the (presumably) innocent life of rural dwellers is perhaps first recognizable as a literary theme in such a work as “The Seasons” (1726-1730), by Scottish poet James Thomson. The work is commonly cited as a formative influence on later English romantic poetry and on the nature tradition represented in English literature, most notably by Wordsworth. Often combined with this feeling for rural life is a generalized romantic melancholy, a sense that change is imminent and that a way of life is being threatened. Such intimations were early evinced in “Ode to Evening” (1747) by William Collins, “Elegy Written in a Country Churchyard” (1751) by Thomas Gray, and The Borough (1810) by George Crabbe. The melancholic strain later developed as a separate theme, as in “Ode on Melancholy” (1820) by John Keats, or—in a different time and place—in the works of American writers: the novels and tales of Nathaniel Hawthorne, which probe the depths of human nature in puritanical New England, or the macabre tales and melancholy poetry of Edgar Allan Poe.

In another vein in American literature, the romantic interest in untrammeled nature is found in such writers as Washington Irving, whose Sketch Book of Geoffrey Crayon, Gent. (1819-1820), a collection of descriptive stories about the Hudson River valley, reflects the author's knowledge of European folktales as well as contemporary romantic poetry and the Gothic novel. The Leather-Stocking Tales by James Fenimore Cooper celebrate the beauty of the American wilderness and the simple frontier life; in romantic fashion they also idealize the Native American as (in Rousseau's phrase) the “noble savage.” By the middle of the 19th century the nature tradition was absorbed by American literary transcendentalism, chiefly expressed in the essays of Ralph Waldo Emerson and Henry David Thoreau.

C The Lure of the Exotic

In the spirit of their new freedom, romantic writers in all cultures expanded their imaginary horizons spatially and chronologically. They turned back to the Middle Ages (5th century to 15th century) for themes and settings and chose locales ranging from the awesome Hebrides of the Ossianic tradition, as in the work of Scottish poet James MacPherson (see Ossian and Ossianic Ballads), to the Asian setting of Xanadu evoked by Coleridge in his unfinished lyric “Kubla Khan” (1797?). The compilation of old English and Scottish ballads by English poet Thomas Percy was a seminal work; his Reliques of Ancient English Poetry (1765) exerted a significant influence on the form and content of later romantic poetry. The nostalgia for the Gothic past mingled with the tendency to the melancholic and produced a fondness for ruins, graveyards, and the supernatural as themes. In English literature, representative works include Keats's “The Eve of St. Agnes,” the Gothic novels of Matthew Gregory Lewis, and The Castle of Otranto (1764) by Horace Walpole. The Lay of the Last Minstrel (1805), by Scottish writer Sir Walter Scott, and his historical novels, the Waverley series (1814-1825), combine these concerns: love of the picturesque, preoccupation with the heroic past, and delight in mystery and superstition.

D The Supernatural

The trend toward the irrational and the supernatural was an important component of English and German romantic literature. It was reinforced on the one hand by disillusion with 18th-century rationalism and on the other by the rediscovery of a body of older literature—folktales and ballads—collected by Percy and by German scholars Jacob and Wilhelm Karl Grimm (see Grimm Brothers) and Danish writer Hans Christian Andersen. From such material comes, for example, the motif of the doppelgänger (German for “double”). Many romantic writers, especially in Germany, were fascinated with this concept, perhaps because of the general romantic concern with self-identity. Poet Heinrich Heine wrote a lyric apocryphally titled “Der Doppelgänger” (1827; translated 1846); The Devil's Elixir (1815-1816; translated 1824), a short novel by E. T. A. Hoffmann, is about a double; and Peter Schlemihl's Remarkable Story (1814; translated 1927), by Adelbert von Chamisso, the tale of a man who sells his shadow to the devil, can be considered a variation on the theme. Later, Russian master Fyodor Mikhaylovich Dostoyevsky wrote his famous novel The Double (1846), an analysis of paranoia in a humble clerk.

IV DECLINE OF THE TRADITION

By about the middle of the 19th century, romanticism began to give way to new literary movements: the Parnassians and the symbolist movement in poetry, and realism and naturalism in prose.

See also American Literature: Poetry; American Literature: Prose; Brazilian Literature; Danish Literature; Dutch Literature; English Literature; French Literature; German Literature; Italian Literature; Latin American Literature; Polish Literature; Portuguese Literature; Russian Literature; Spanish Literature; Swedish Literature.

Contributed By:

Robert J. Clements

Microsoft ® Encarta ® Encyclopedia 2003. © 1993-2002 Microsoft Corporation. All rights reserved.

關(guān)于英文名詞前后綴的問(wèn)題

painful important unfriendly