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英国文艺复兴时期的诗歌界群星璀璨,沃尔特·雷利爵士(Sir Walter Ralegh)便是其中一位。其诗《少女拒绝牧童》中的少女针对克里斯托弗·马洛的《多情牧童致爱人》中牧童热烈的田园爱情,并没有唱和顺从,反而以讽刺态度来发出属于女性自己独具一格的声音,这种声音在以男性为主体的文艺复兴时期是难能可贵的。从雷利背后最重要的两位女性和时代背景入手,以《少女拒绝牧童》的文本分析为基础,并回望这一时代不同阶层女性所传达的声音,以证实英国文艺复兴不仅是男性诗人的时代,也有女性声音的一席之地。
The poetry circles of the British Renaissance are so bright, Sir Walter Ralegh is one of them. Girls in her poem The Girl Who Refused to Shepherd Boy did not sing and obey the passionate pastoralism of the passionate shepherd boy in Christopher Malo’s passionate pastor. Instead, she gave a sarcastic attitude to women’s own unique style, This voice is commendable in the male-dominated Renaissance. Starting from the most important two women behind Raleigh and the background of the times, this article is based on the text analysis of “Girls Refusing Shepherd Boy” and looks back to the voices of women of different social strata in this era to prove that the British Renaissance is not only a male poet Era, there is also a place for female voice.