42815 (Daniel Defoe and His Novel Robinson Crusoe), страница 7

The same period is also interesting from the educational viewpoint for the first appearing the magazine language of English. The founders of it were Joseph Addison with his “Tatler” and Richard Steel with his “Spectator”.

The appearance of the first dictionaries is also the education peculiarity of 1770’s. Samuel Johnson edited the first English dictionary. Among the other important literary figures significant for modern teaching process was Alexander Pope - the most admired poet of 1700’s with his own sense of the words. Many English poets tried to imitate Pope’s language but couldn’t. Among the writers the most significant after Defoe was Jonathan Swift. His educational value was in foundation of the English satire. According to the opinions of modern critics, Swift is the best satirist of England now and then.¹¹

The second half of the 1700’s is also noticeable for teaching as its poetic significance The first near Romantic, the poet Robert Burns (1759-1796), spoke as a voice of reviving nationalism (Poems, Chiefly in the Scottish Dialect, 1786). Burns drew from the Scots' traditions and folklore and proved that a Scot need no longer be Anglicized to write great poetry in English. The educational value of Burns is in enlarging the English language with the words of Scotch origin. The second significant poet, whose “Songs of Innocence” are worth teaching the students is William Blake. The works of William Blake (1757-1827), whose Songs of Innocence appeared in 1789, contained a special kind of visionary indepen­dence. Its roots were partly in a tradition of religious mysticism of a deeply individual kind. Blake's later Prophetic Books (1793-1804) anticipated the mixture of politics, religion, and individualism that make up much of modern literature. His "high" lyric style had not been heard in England since the age of Milton. But Blake remained all but unheard in his lifetime. And now we understand that Blake’s poetry is the Example of “pure English” we learn at schools. So that is why his works can serve as an example of literary English which is to be taught by teachers.

The next period of literature which is to be basic for teaching English is the period of Romanticism and its best English representatives - Wordsworth and Coleridge. The real beginning of English Romanticism was the publication of the Lyri­cal Ballads (1798) by William Wordsworth (1770-1850)¹² and Samuel Taylor Coleridge (1772-1834)¹³. We must teach students to it because Wordsworth, the greatest poet of the age, combined a Miltonic dignity with the plain speech and direct feeling of the English country folk among whom he had grown up. Coleridge's more polite and more inhibited poems often provided the trigger to Wordsworth's deeper, but slower response and, what is more important, his works were written on simply understood language, which students can use for improving lexical skills. The other famous poet whose works must be studied is George Gordon (Lord) Byron (1738-1824), whose popularity, political involvement, and frequent lapses of taste made him the chief literary celebrity of his day, is perhaps best known for his Don Juan (1819-1824), a brilliant comic assertion of wit, sex­uality, and physical self-confidence. Byron showed in The Vision of Judgment (1822¹⁴) and a half-dozen lyrics even more concentrated instances of a prodigious and prodigal talent. John Keats, the other romantic poet, (1795-1821) is probably the best loved lyric poet in the language. The great poems of the end of his life (among them, "Ode to a Nightingale," "Ode on a Grecian Urn," "To Autumn," and "La Belle Dame sans Merci") show a faith in the imagination far in advance of the symbolists. His best poems, along with those of Wordsworth, Byron, and Blake are with Chaucer, Shakespeare, Milton, and Pope the center of English literary achievement. So learning English without learning his works seems as impossible.

Percy Bysshe Shelley (1792-1822) is a possible addition to the other four Romantic masters. Other writers continue to rediscover him, admiring his heroic intellectual conceptions and his mastery of propulsive rhythmic force.

Almost as swiftly as the Romantic movement began, it ended. With the death of Keats, the high lyric style disappeared. Lesser writers were not of the same inspiration, and the succeeding generation seemed to hear other voices, abandoning the lyric or writing it without conviction.

The 1800’s became a new age of novelists’ approaching. Jane Austen wrote three of her novels in the 1790's but published only after 1810 (Pride and Prejudice, 1813; Mansfield Park, 1814; Emma, 1816). She is meaningful for teaching for she went to Keats's imaginative church of the open heart but sat at the pew of keen observation and careful structure, and her language was the same as beautiful as Keats’s but written in prose.

Sir Walter Scott, a Scotsman, be­came a model for intelligent commercial success all over Europe (Waverley, 1814; Ivanhoe, 1820). Mary Shelley Frankenstein, 1818) and Maria Edge-worth (Castle Rackrent, 1800) extended the daring of women in literature to the portrayal of psychological and social nightmares. In mid-century, an extraordinary trio, Charlotte and Emily Bronte and Elizabeth Gaskell, widened this range still further. George Eliot (Mary Ann Evans) also became a major English novelist (The Mill on the Floss, I860; Middlemarch, 1871-1872).

There were to be no English moral giants on the scale of the great French and Russian novelists. Charles Dickens, however (The Posthumous Papers of the Pickwick Club, 1836-1837; David Copperfield, 1850; Bleak House, 1853; Our Mutual Friend, 1865; among many others), attained to something at least as great. He wrote, like the early Wordsworth, with the courage of the decent lower middle class, though of city rather than country folk. We teach it for every writer in Europe learned from his broad sympathies, skillful characterizations, and shrewd sense of pace. If he lacked philosophic vision, he made up for it with a stage nearly as broad and all-encompassing as Shakespeare's.

William Makepeace Thackeray, Dickens' contemporary, continued the tradition of 18th-century social satire with a new vitality and a deft hand at well turned and swift moving prose (Vanity Fair, 1848; Henry Esmond, 1852).

As the century progressed, English writers of fiction who worked at a very high level and should be taught include George Meredith (The Ordeal of Richard Feverel, 1859), Anthony Trollope (the "Barsetshire" novels, 1855-1867), Samuel Butler (The Way of All Flesh, 1903), and the remarkable Thomas Hardy (Tess of the D'Urbervilles, 1891; Jude the Obscure, 1896), also recognized as among the most enduring of English poets.

Next noticeable period for teaching was the period of Victorian poetry which underwent a difficult time after the death of Keats. The large voices among the Victorians belonged to Alfred Tennyson (Poems, 1832; In Memoriam, 1851; Idylls of the King, 1859-1885) and Robert Browning (Men and Women, 1855; The Ring and the Book, 1868). Both were so preoccupied with the responsibilities of national greatness that their considerable gifts were ultimately betrayed. Educational value of them is that Tennyson's saving grace is his occasional flight of sober lyric; Browning's is his delight in the sheer variety of life's ironies.

Other interesting, intelligent poets seemed unable to find a sense of identity. They include Matthew Arnold and the gifted friend, whose premature elegy he was to write,-Arthur Hugh Clough; and the "Pre-Raphaelites," a group seeking a supposed medieval spiritual unity; the group included Dante Gabriel Rossetti, William Morris, and Coventry Patmore. Even a few of great promise seemed somehow blocked from fully realizing their gifts. These include Elizabeth Barrett Browning (Sonnets from the Portuguese, 1850) and Christina Rossetti (Goblin Market, 1862 ;) Thus these poets had no any meaningful educational significance.

Thus we can draw the following conclusions:

• Teaching English is impossible without treating to the literary sources of this beautiful language.

• Every period of the English literature had its significant language peculiarities which must be observed when learning English.

• One who knows the English literature well owes the conversation partners of any rank and position!

Bibliography:

1. Daniel Defoe Robinson Crusoe McMillan Publishers 1997 pp.34-39, 45-49, 59-63, 128, 214-226

2. ”Robinson Crusoe and his adventure“ М. Prosveshcheniye 1973 pp.59,64, 78-79

3. M. A. Shishmoreva About the translation of “Robinson Crusoe” M. “Knowledge” 1987 pp.55-58, 99, 114

4. Z. N. Shuravskaya About Daniel Defoe and his novel “Robinson Crusoe” L. Art Literature Publishing House. 1974 pp.56-59

5. J.Priestley Novel School in Britain Washington University Press W.2002 pp.17-46

6.Readings on the English Literature M. High School 1978 pp.161-165

7. History of the English Literature M. Prosveshcheniye 1971 pp.204-212

8. G.H.Healey The history of writing of “Robinson Crusoe” London University Press London 2001 pp.329-330

9. I.Turgenev Collection of works in 27 volumes Vol.26 pp.311-312

10. В.Г. Белинский Робинзон Крузо. Собр.соч. в 45тт. Т.44 стр.478-483

11. П.А.Корсаков Л.Н.Толстой о Даниэле Дефо М. Просвещение 1967 стр.63

12. П. Кончаловский

Among many publish and bad translations we may mansion. P. A. Korsakov and P. Konchalovsky’s translation.

13. Даниэль Дефо Робинзон Крузо М. ИХЛ 1986 стр. 45-46, 90-93, 101-107, 27б, 298

14. World Book Encyclopedia Vol 4 New York 1993 pp.146-148

15. Internet: www.online-literature.com/defoe./ Extensive Biography of Daniel Defoe and a searchable collection of works.pmp. pp.1-9

16. Internet:http://www.academic.brooklyn.cuny.edu/english/melani/novel_18c/

defoe/ Daniel Defoe in The Cambridge History of English and American Literature.txt pp.3-7

17. Internet: http//www.cepa.newschool.edu/het/profiles/defoe. / Texts of classic literature, drama, and poetry together with detailed literature study guides.html pp.45-47.

18. Internet: http//www.bibliomania.com/0/0/17/31/frameset./ The selected works of Daniel Defoe .htm pp.14-15

19. Internet: http://www.kirjasto.sci.fi/defoe.htm / Daniel Defoe:A depth look at the author's life and his impact on the world of literature.htm pp.2-9

20. Internet: http ://www.spartacus.schoolnet.co.uk/Jdefoe.htm/Short biography of Daniel Defoe.html pp. 4-8

21. Internet: http://www.wikipedia.org/wiki/Daniel_Defoe/ The Letters of Daniel Defoe edited by GH Healey.htm. pp. 45-49

1Short biography geared toward a him.

2 Daniel Dafoe „ Robinson Crusoe“ p.231 „ Ginriff Publisher“

3 Daniel Defoe Robinson Crusoe McMillan Publishers 1997 pp.34-39, 45-49, 59-63, 128, 214-226

4 Daniel Defoe Robinson Crusoe McMillan Publishers 1997 pp.34-39, 45-49, 59-63, 128, 214-226

5 П.А.Корсаков Л.Н.Толстой о Даниэле Дефо М. Просвещение 1967 стр.63

6 M. A. Shishmoreva About the translation of “Robinson Crusoe” M. “Knowledge” 1987 pp.55-58, 99, 114

7 Даниэль Дефо Робинзон Крузо М. ИХЛ 1986 стр. 45-46, 90-93, 101-107, 27б, 298

8 Даниэль Дефо Робинзон Крузо М. ИХЛ 1986 стр. 45-46, 90-93, 101-107, 27б, 298

9 „Robinson Crusoe and his adventure“ Мосва “Издательство Просвещение” 1973г

10 Daniel Defoe in The Cambridge History of English and American Literature.txt pp.3-7

11 В.Г. Белинский Робинзон Крузо. Собр.соч. в 45тт. Т.44 стр.478-483

12 World Book Encyclopedia Vol 4 New York 1993 pp.146-148

13 ”Robinson Crusoe and his adventure“ М. Prosveshcheniye 1973 pp.59,64

14 Z. N. Shuravskaya About Daniel Defoe and his novel “Robinson Crusoe” L. Art Literature Publishing House. 1974 pp.56-59