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1、1757-1827,1,h,1757-18271h,2,h,2h,3,h,3h,4,h,4h,William Blakes life,William Blake was born in London in 1757. His father, a hosier, soon recognized his sons artistic talents and sent him to study at a drawing school when he was ten years old. At 14, William asked to be apprenticed to the engraver Jam
2、es Basire, under whose direction he further developed his innate skills. As a young man Blake worked as an engraver, illustrator, and drawing teacher, and met such artists as Henry Fuseli and John Flaxman, as well as Sir Joshua Reynolds, whose classicizing style he would later come to reject.,5,h,Wi
3、lliam Blakes lifeWilliam Bl,Blake wrote poems during this time as well, and his first printed collection, an immature and rather derivative volume called Poetical Sketches, appeared in 1783. Songs of Innocence was published in 1789, followed by Songs of Experience in 1793 and a combined edition the
4、next year bearing the title Songs of Innocence and Experience showing the Two Contrary States of the Human Soul.,6,h,Blake wrote poems during this,He disapproved of Enlightenment rationalism, of institutionalized religion, and of the tradition of marriage in its conventional legal and social form (t
5、hough he was married himself).,7,h,He disapproved of Enlightenmen,In the 1790s and after, he shifted his poetic voice from the lyric to the prophetic mode, and wrote a series of long prophetic books, including Milton and Jerusalem. Linked together by an intricate mythology and symbolism of Blakes ow
6、n creation, these books propound a revolutionary new social, intellectual, and ethical order.,8,h,In the 1790s and after, he shi,Blake has been called a pre-romantic because he rejected neoclassical literary style and modes of thought. His graphic art also defied 18th-century conventions. Always str
7、essing imagination over reason, he felt that ideal forms should be constructed not from observations of nature but from inner visions. Among the “Prophetic Books” is a prose work, The Marriage of Heaven and Hell (1790-1793), which develops Blakes idea that “without Contraries is no progression.”,9,h
8、,Blake has been called a pre,Blake published almost all of his works himself, by an original process in which the poems were etched by hand, along with illustrations and decorative images, onto copper plates. These plates were inked to make prints, and the prints were then colored in with paint. Thi
9、s expensive and labor-intensive production method resulted in a quite limited circulation of Blakes poetry during his life.,10,h,Blake published almost all of,His contemporaries saw him as something of an eccentric-as indeed he was. Suspended between the neoclassicism of the 18th century and the ear
10、ly phases of Romanticism. Blake belongs to no single poetic school or age. Only in the 20th century did wide audiences begin to acknowledge his profound originality and genius.,11,h,His contemporaries saw him as,Blakes Songs of Innocence and Experience (1794) juxtapose the innocent, pastoral world o
11、f childhood against an adult world of corruption and repression; while such poems as The Lamb represent a meek virtue, poems like The Tyger exhibit opposing, darker forces.,12,h,Blakes Songs of Innocence and,The Songs of Innocence dramatize the naive hopes and fears that inform the lives of children
12、 and trace their transformation as the child grows into adulthood. Some of the poems are written from the perspective of children, while others are about children as seen from an adult perspective.,13,h,The Songs of Innocence dramati,The Songs of Experience work via parallels and contrasts to lament
13、 the ways in which the harsh experiences of adult life destroy what is good in innocence, while also articulating the weaknesses of the innocent perspective (The Tyger, for example, attempts to account for real, negative forces in the universe, which innocence fails to confront).,14,h,The Songs of E
14、xperience work v,THE TYGER (from Songs Of Experience)By William BlakeTyger! Tyger! burning bright In the forests of the night, What immortal hand or eye Could frame thy fearful symmetry? In what distant deeps or skies Burnt the fire of thine eyes? On what wings dare he aspire? What the hand dare sie
15、ze the fire? And what shoulder, & what art. Could twist the sinews of thy heart? And when thy heart began to beat, What dread hand? & what dread feet? What the hammer? what the chain? In what furnace was thy brain? What the anvil? what dread grasp Dare its deadly terrors clasp? When the stars threw
16、down their spears, And watered heaven with their tears, Did he smile his work to see? Did he who made the Lamb make thee? Tyger! Tyger! burning bright In the forests of the night, What immortal hand or eye Dare frame thy fearful symmetry?,15,h,THE TYGER (from Songs Of Exper,Picture of the original i
17、lluminated manuscript of his work that he painted himself.,16,h,Picture of the original illum,The poetic form in London,The poem has four quatrains, with alternate lines rhyming. Repetition is the most striking formal feature of the poem, and it serves to emphasize the prevalence of the horrors the
18、speaker describes.,17,h,The poetic form in LondonThe p,I wandered through each chartered street,Near where the chartered Thames does flow,A mark in every face I meet,Marks of weakness, marks of woe.,The speaker wanders through the streets of London and comments on his observations. He sees despair i
19、n the faces of the people he meets and hears fear and repression in their voices.,18,h,I wandered through each charte,In every cry of every man,In every infants cry of fear,In every voice, in every ban,The mind-forged manacles I hear:The repeated “every” indicates that no one can escape the misery,1
20、9,h,In every cry of every man,In,How the chimney-sweepers cryEvery blackening church appals,And the hapless soldiers sighRuns in blood down palace-walls.,The woeful cry of the chimney-sweeper stands as a chastisement to the Church, and the blood of a soldier stains the outer walls of the monarchs re
21、sidence.,20,h,How the chimney-sweepers cry,But most, through midnight streets I hearHow the youthful harlots curseBlasts the new-born infants tear,And blights with plagues the marriage-hearse,The nighttime holds nothing more promising: the cursing of prostitutes corrupts the newborn infant and sulli
22、es the Marriage hearse.,21,h,But most, through midnight str,An Analysis of “The Tyger”,The whole poem is written in the form of question, and though the speaker does not offer answers to these questions, but the questions tell how the tiger is made. On the other hand, the purpose for the speaker to
23、apply the question form is to want the reader to pay enough attention to the question.,22,h,An Analysis of “The Tyger”The,There are six stanzas. The first stanza tells in what condition the body of the tiger is made; the second stanza tells how the eyes of tiger are made; the third stanza tells how
24、the heart is made; the fourth stanza tells how the brain is made.,23,h,There are six stanzas. The fir,Tiger! Tiger! burning bright,This is a beginning for an epic. The capitalization of the second Tiger indicates strength. The alliteration of the hard consonant sounds also capture attention. The Tig
25、er is burning bright - a first reference to fire that is a constant recurring theme in the poem. Blake here describes the tigers eyes as emitting flashes like lightning. Think of the fire in the Bible.,24,h,Tiger! Tiger! burning bright,In the forests of the night,Attention should be paid to the plur
26、al form of “forests.” The plural form probably implies different places (Heaven, earth, Hell). The image “night” implies something dark. If so, the tiger exist in Heaven, on earth, and as well in Hell.,25,h,In the forests of the nightA,What immortal hand or eyeCould frame thy fearful symmetry?,Webst
27、ers Dictionary says of symmetry: beauty of form arising from balanced proportion. If so, “fearful symmetry” implies fearful beauty.,26,h,What immortal hand or eyeCo,In what distant deeps or skiesAgain an interesting likely reference to Heaven and Hell and continuing the doubt regarding the creation
28、of such a beast from the question posed in the first stanza.Burnt the fire of thine eyes?Fire again. The burning eyes in Heaven or Hell, or the burning eyes in both Heaven and Hell? No absolute boundary.,27,h,In what distant deeps or skies,On what wings dare he aspire?What the hand dare seize the fi
29、re?Blake was visited with visions of Angels from time to time which may have led him to see the creator also with wings. These two lines tell: on what wings was the creator able to rise so high? And with what hand could he seize the fire from that high place so as to create the burning fire in your
30、eyes?,28,h,On what wings dare he aspire?2,And what shoulder, and what art, Could twist the sinews of thy heart?The image “shoulder” refers to physical prowess. So the meaning is: what unimaginable power and also art are needed for creation of your heart? From the following two lines, heart endows th
31、e tiger with life.,29,h,And what shoulder, and what ar,What dread hand? and what dread feet?There is another version: What dread hand formd thy dread feet?What the hammer? what the chain?In what furnace was thy brain?These two lines tell the process of how the tigers brain was created.,30,h,What dre
32、ad hand? and what drea,What the anvil, what dread graspDare its deadly terrors clasp?“grasp” refers to arm; “clasp” means hold. So the meaning is: what dreadful arm dare hold the deadly terrors of your brain?,31,h,What the anvil, what dread gra,When the stars threw down their spears,And waterd heave
33、n with their tears,Did he smile his work to see? Did he who made the Lamb make thee? The spears of the stars refer to star light, which is often imagined or compared to be angels tears. So here, “spear” and “tears” are the same thing. Why do angels shed their tears? Possibly they feel sad about some
34、thing that has been created.,32,h,When the stars threw down thei,In Dantes Paradiso, God is compared to a smith. Here we can imagine the process in which the creator created the Tiger: He held hammer and chain, made the tiger on the anvil, first the burning eye (lines 5-8), then the heart (line 10),
35、 next the feet (line 12), last the brain (line 14).,33,h,In Dantes Paradiso, God is,Tyger! Tyger! burning bright In the forests of the night, What immortal hand or eye Dare frame thy fearful symmetry?,34,h,Tyger! Tyger! burning bright,To understand The Tyger fully, you need to know Blakes symbols. O
36、ne of the central themes in his major works is that of the Creator as a blacksmith. This is both God the Creator (personified in Blakes myth as Los) and Blake himself (again with Los as his alter-ego.) Blake identified Gods creative process with the work of an artist. And it is art that brings creat
37、ion to its fulfillment - by showing the world as it is, by sharpening perception, by giving form to ideas.,35,h,To understand The Tyger full,What does tiger symbolize in the poem?,1) violence of French revolution; 2) power of Gods creation; 3) violence of evil; 3) God created both good and evil.,36,
38、h,What does tiger symbolize in t,The poem is comprised of six quatrains in rhymed couplets. The meter is regular and rhythmic, its hammering beat suggestive of the smithy that is the poems central image. The simplicity and neat proportions of the poems form perfectly suit its regular structure, in which a string of questions all contribute to the articulation of a single, central idea.,37,h,The poem is comprised of six q,38,h,38h,39,h,39h,
