威廉 布莱克介绍

威廉布莱克

William Blake (1757-1827)

William Blake was a poet, artist, and mystic（神秘主义者）---a transitional figure in English literature who followed no style but his own. Blake grew up in the middle of London, surrounded by the grit （unyielding courage）and poverty of the new industrial age. His family was poor, and Blake received virtually no education as a child. When he was ten his father was able to send him to drawing school, and at fourteen he was apprenticed to an engraver (雕刻师). As an apprentice he had time to read widely and began to write the first of his poetry, realizing early that he was not content to follow the artistic and literary values of the day. （the zeitgeist (the general intellectual, moral, and cultural state of an era) of his age）

In 1778, when he had completed his apprenticeship at the age of 21, Blake became a professional engraver and earned a living over the next twenty years by supplying booksellers and publishers with copperplate engravings （雕版）. In 1789 when he was 32, he published a volume of lyrical poems called Songs of Innocence. Five years later he published another volume Songs of Experience，which is a companion volume to Songs of

Innocence, and was meant to be read in conjunction with it. The two works contrast with each other. One deals with good, passivity, and reason; the other, with evil, violence, and emotion. They were the first of Blake’s books to be illustrated, engraved, and printed on copperplates by a process of his own. Blake’s engravings and paintings are an important part of his artistic expression, for the verbal and visual work together to evoke one unified impression. Blake himself manufactured all his poems that appeared during his lifetime.

As Blake grew older, he became more and more caught up in (沉湎于) his mystical faith and his visions of a heavenly world. As a child he was fascinated by the Bible and by the ideas of the German mystic Jaccob Boehme. Blake’s heavily symbolic later works, including The Marriage of Heaven and Hell (1790), The Gates of Paradise(1793), and Jerusalem (1804), reflect his ever-deepening reflections about God and man. His interest in the supernatural and his imaginative experimentation with his art and verse classify him, like Robert Burns, as a pre-Romantic. During the last twenty years of his life Blake’s genius as an artist, especially evident in his illustrations of Chaucer’s Canterbury Pilgrims, Dante’s Divine Comedy, and the Book of Job, overshadowed his work as a poet.

Toward the end of his life, Blake had a small group of devoted followers, but when he died at seventy his wok was virtually unknown. The Romantics praised his Songs of Innocence and Songs of Experience, but the full extent of his creative genius went largely unrecognized for over half a century after his death. Although scholars today continue to puzzle over the complex philosophical symbolism of his later works, all readers can appreciate the delicate lyricism of his Songs of Innocence and Songs of Experience.

Maybe the best way to understand Blake is to recognize a quotation of his: “Without contrast, there is no progression.”Blake’s Songs of Innocence (1789) and Songs of Experience (1794) clearly reflect this idea. In the two groups of poems, Blake, the great poet of contraries, points out the need for both childhood innocence and the wisdom gained by experience. The two collections, which contain some of the most beautiful lyrics of English language, clearly show the contrast. Comparative studies of the poems in the two collections may help us to see the contrast that marks the progress in his outlook on life. The bright pictures of a happy world full of harmony and love in

Songs of Innocence change into the dark paintings of a miserable world full of miseries and sufferings in Songs of Experience. The imagines also change with the change of ideas.

William Blake is called a forerunner of the Romantic Movement. His greatness lies in his mastery of art and verse of an extreme and moving simplicity. William Wordsworth thus commented on Blake: “there is something in the madness of this man which interests me more than the sanity of Lord Byron or Walter Scott”and Blake’s lyric poetry displays the characteristics of the romantic spirit. Blake’s revolutionary passion is much similar to that of Percy Shelley. Their similarity is also shown in imagery and symbolism. His great influence was strongly felt in the romantic poems of the 19th century.

An analysis of the three of his poems:

“The Lamb”and “The Tiger”form a natural contrast in every possible sense of the term. The images stand as self-evident opposites, and everything else changes accordingly. The blissful, confident tone of “The Lamb，”not colored with any shadow of doubt or pain, with the pervasive pastoral setting and the comforting wooly tender assurance of God’s blessing---all these find a direct foil （陪衬）in the world of “The Tiger.”Here

instead of the delightful bright day, there is “the forest of the night,” a reminder of a labyrinth （迷宫）wrapped up in total darkness. Then there is the description, both outright and implied, of the terribleness of the Tiger, and the harrowing question（折磨人的问题）, rather rhetorical, “Who had the art and the courage to make the Tiger?”The “he”throughout the poem refers in a progressively clearer way to the being or God who make the Lamb. The riddle or the labyrinth left to the imagination after reading the poem remains yet to be addressed. It seems to relate to the fact that life is not all rosy and bright, and that there is a downside to it as well. But the ultimate enigma（迷）may lei in the question, much deeper and more philosophical, which has not been adequately, unequivocally resolved even today, that is, Why does He place evil alongside good? Or in the more stereotyped phrasing, why does God allow evil to exit?

“The Sick Rose”

In this poem two images stand out one against the other---the rose and its bed of crimson joy, and the invisible worm flying over in the storm to destroy it with his “dark secret love.” Rape is apparent, but the identity of the rapist needs the power of

imagination to figure out. The criminal is powerful and irresistible, probably supernatural (“night”and “storm”) in its destructive force. The metaphor here may stand for Time (as the villain with a T) imposing upon the mortal humanity. It may stand for a repressive society versus the people, in which case social satire is at work here evidently.

Another version of simpler language

Blake was the son of a London tradesman. He was a strange and imaginative child. He never went to school but learned to read and write at home. His favorite writers were Shakespeare, Milton and Chatterton.

When he was 14, he was apprenticed to an engraver. His business never became prosperous, and he always lived in poverty. Blake was a lover of poetry. He devoted some of his time to writing verses. Many of his verses are nothing but accompanying commentaries for his engravings and drawings. As a poet, Blake is famous for his short lyrics. They are remarkable and highly individual. His imagination is so little controlled by fact or logic that his works at times seem to lose

contract with ordinary human experience. He looks toward an anarchistic society and a religious mysticism seems to be the source of his inspiration. His poetry strikes us with its childish vision and simplicity.

In his early attempt at poetry, in his first collection of poems Poetical Sketches(1783), he tried the Spenserian stanza, Shakespearean and Miltonic blank verse, the ballad form and lyric meters. He showed contempt for classicist rule of reason and a strong sympathy for the freshness of Elizabethan poetry.

He is very creative, isn’t he? Maybe such is he a person as is above described that he is referred to as strange and imaginative by another writer of English literature.

William Blake——London赏析英文版威廉布莱克 《伦敦》评析

London I wander thro’ each charter’d street, Near where the charter’d Thames does flow、 And mark in every face I meet Marks of weakness, marks of woe、 In every cry of every Man, In every Infants cry of fear, In every voice: in every ban, The mind-f org’d manacles I hear How the Chimney-sweepers cry Every black’ning Church appalls, And the hapless Soldiers sigh Runs in blood down Palace walls But most thro’ midnight streets I hear How the youthful Harlots curse Blasts the new-born Infants tear And blights with plagues the Marriage hearse The poem London was written by the British poet and engraver William Blake、It has 4 quatrains with alternative lines rhyming、Written in iambic pentameter, the poem is beautifully rhymed、 London deals with the dreadful scene in the industrialized London in the 18th century、In the first stanza, Blake gives an overview of the city and successfully creates the gloomy, dark and suffocating atmosphere、Blake applies varied rhetorical devices in the poem, of which the most striking and significant is repetition、For example, the word “chartered” is reiterated in line 1 and line 2 to emphasize the fact that the streets and river are owned by the wealthy upper class、And the word “mark” occurs in “mark in every face I meet”(line 3) and “mark of weakness, mark of woe”(line 4)、The transition of the word “mark” from verb to noun manifests the change of observation to noticeable signs、Every person Blake meets in London is desperate and feeble、What a horrible scene it is! Repeated appearance of the word “every “in the second stanza stresses the idea that everyone suffers from misery、Blake hears the cry of the grown-ups, and of the infants in fear、Blake perceives the destructive restrictions on people’s mind caused by law and rules、“Mind-forged manacle” is a metaphor、Blake compares limitations with manacles、The expression that Blake hears “manacles” is synesthesia、 In the third stanza Blake satirizes the church and the monarchies、The church walls are becoming black because of pollution; the sound of crying from the chimney sweepers combines with the sigh of soldiers arouses a feeling of fear and scare in me、On account of relentless warfare, soldier’s blood runs down from palace walls where、The thought of the color of scarlet contrasting with the pale walls makes me shivering、 During the midnight, the poet wonders through streets and hears the curse of prostitutes、They

威廉布莱克《从一颗沙子看世界》(toseeaworldinagrainof

威廉布莱克《从一颗沙子看世界》（to see a world in a grain of... 威廉·布莱克《从一颗沙子看世界》（To see a world in a grain of sand） 2011-03-17 01:07:08 威廉·布莱克（William Blake）是18世纪末、19世纪初的一个英国诗人，活着的时候没人知道，直到20世纪初才被挖掘出来。他在国内最出名就是下面四行诗：To see a world in a grain of sand And a heaven in a wild flower, Hold infinity in the palm of your hand And eternity in an hour.这四行诗的中译，我估计至少有二三十种。下面选贴几种。一沙见世界, 一花窥天堂. 手心握无限, 须臾纳永恒.——译者不详在一颗沙粒中见一个世界， 在一朵鲜花中见一片天空， 在你的掌心里把握无限， 在一个钟点里把握无穷。 ——《布莱克诗集》上海三联，张炽恒译从一粒沙看世界，从一朵花看天堂，

把永恒纳进一个时辰， 把无限握在自己手心。——王佐良一花一世界， 一沙一天国， 君掌盛无边， 刹那含永劫。——宗白华一颗沙里看出一个世界 一朵野花里一座天堂 把无限放在你的手掌上 永恒在一刹那里收藏——《世界上最美丽的英文——人生短篇》但是，这几行诗在欧美并不是那么有名，讲起布莱克的时候，也不把这看作他的代表作。似乎只有中国人才特别迷恋这几句话，我猜想也许因为这首诗跟佛教思想有相通之处有关系。这四行诗选自一首长达132行、名为《天真的预兆》（Auguries of Innocence）的长诗，是开头四行。这首长诗似乎并不重要，没有收在布莱克主要几本诗集里，评论家也不谈，我在网上甚至找不到它是写于哪一年的。William Blake - Auguries of InnocenceTo see a world in a grain of sand, And a heaven in a wild flower, Hold infinity in the palm of your hand, And eternity in an hour.A robin redbreast in a cage Puts all heaven in a rage.A dove-house fill'd with doves and pigeons

威廉布莱克

天真的预示 一颗沙里看出一个世界， 一朵野花里一座天堂， 把无限放在你的手掌上， 永恒在一刹那里收藏。 梁宗岱译 苍蝇 小苍蝇， 你夏天的游戏 给我的手 无心地抹去。 我岂不象你 是一只苍蝇？ 你岂不象我 是一个人？ 因为我跳舞， 又饮又唱， 直到一只盲手 抹掉我的翅膀。 如果思想是生命 呼吸和力量， 思想的缺乏 便等于死亡， 那么我就是 一只快活的苍蝇， 无论是死， 无论是生。 梁宗岱译

扫烟囱孩子（一） 我母亲死的时候，我还小得很， 我父亲把我拿出来卖给了别人， 我当时还不大喊得清“扫呀，扫，” 我就扫你们烟囱，裹煤屑睡觉。 有个小托姆，头发卷得像小羊头， 剃光的时候，哭得好伤心，好难受， 我就说：“小托姆，不要紧，光了脑袋， 大起来煤屑就不会糟蹋你白头发。” 他就安安静静了，当天夜里， 托姆睡着了，事情就来得稀奇， 他看见千千万万的扫烟囱小孩 阿猫阿狗全都给锁进了黑棺材。 后来来了个天使，拿了把金钥匙， 开棺材放出了孩子们（真是好天使！） 他们就边跳，边笑，边跑过草坪， 到河里洗了澡，太阳里晒得亮晶晶。 光光的，白白的，把袋子都抛个一地， 他们就升上了云端，在风里游戏； “只要你做个好孩子，”天使对托姆说， “上帝会做你的父亲，你永远快乐。” 托姆就醒了；屋子里黑咕隆咚， 我们就起来拿袋子、扫帚去做工。 大清早尽管冷，托姆的心里可温暖； 这叫做：各尽本分，就不怕灾难。 选自《天真之歌》 （卞之琳译） 扫烟囱孩子（二） 风雪里一个满身乌黑的小东西 “扫呀，扫呀”在那里哭哭啼啼！

“你的爹娘上哪儿去了，你讲讲？” “他们呀都去祷告了，上了教堂。 “因为我原先在野地里欢欢喜喜， 我在冬天的雪地里也总是笑嘻嘻， 他们就把我拿晦气的黑衣裳一罩， 他们还教我唱起了悲伤的曲调。 “因为我显得快活，还唱歌，还跳舞， 他们就以为并没有把我害苦， 就跑去赞美了上帝、教士和国王， 夸他们拿我们苦难造成了天堂。” 选自《经验之歌》 （卞之琳译） 老虎 老虎！老虎！黑夜的森林中 燃烧着的煌煌的火光， 是怎样的神手或天眼 造出了你这样的威武堂堂？ 你炯炯的两眼中的火 燃烧在多远的天空或深渊？ 他乘着怎样的翅膀搏击？ 用怎样的手夺来火焰？ 又是怎样的膂力，怎样的技巧， 把你的心脏的筋肉捏成？ 当你的心脏开始搏动时， 使用怎样猛的手腕和脚胫？ 是怎样的槌？怎样的链子？ 在怎样的熔炉中炼成你的脑筋？ 是怎样的铁砧？怎样的铁臂 敢于捉着这可怖的凶神？ 群星投下了他们的投枪。 用它们的眼泪润湿了穹苍， 他是否微笑着欣赏他的作品？

威廉·布莱克的天真与想象

威廉·布莱克的天真与想象 作者：殷效庚 威廉·布莱克(William.Black)的一生极其简单，也没有什么大书特写之处，只有一些一直延续的简单事实和紧迫的艺术创作活动。1757年，他出生于伦敦一个贫寒的袜商家庭。由于个性过于独特，不喜欢正统学校的压抑气氛拒绝入学，因而没有受过正规教育。他从小就喜欢绘画和诗歌。11岁起就进入绘画学校学习了三年并表现出非凡的艺术才能。其父有意让他师从一位著名的画家继续深造，但他为了家庭及弟妹的前途而主动放弃了这次机会，去雕版印刷作坊当了一名学徒。他的一生便是一方面与妻子相依为命靠绘画和雕版的劳酬清贫为生，一方面继续从事12岁就开始的诗歌创作并配上自己的插图出版。直到1827年8月去世前的几天，他仍然在工作，“叫人用最后的几个先令去买碳笔”，画完最后一幅画把它放下，说道“我已经尽力而为了”。 谈论威廉．布莱克必然要澄清有关对他的诸多猜测与指责，有人说他是疯子和魔鬼信仰的杜撰和散播者，像伦敦夜间人们能够听到的墓地里走出的勾小孩子灵魂的新年老人，当然，布莱克不可能如拉伯雷与阿莱丁诺一样对世俗做彻底的思考或澄清，也许他是信仰的迷雾，但那也是饱蘸着痛苦和爱的“紫雾”，布莱克开创了一种藉想象力促成的幻觉而进行的思考，从这一点上看，他启发了爱米莉迪金森和迪兰·托马斯，甚至阿尔蒂尔·兰波。布莱克是想象力的先知，和经验的忠实记录者，我们宁愿把他看成从“魔鬼作坊”里冲出来的最优秀的净化知觉的学徒。 布莱克最被人们引用和传诵的，也是后代文学大家反复赞美的几首诗歌如《擦烟囱的少年》、《保姆之歌》、《病玫瑰》、《老虎的赞美诗》，皆可以看作构筑布莱克之“天国原形”的一部分，这个自比为以西结的少年，四岁就看到了宗教幻象，并且可以用一种亲喃的语言和“白色诸神”寂静的交谈，尽管世风低落，文途滞涩，但布莱克怀着极大的天真和壮丽的想象力与战斗力，投入了类似班扬和马娄的“世俗反讽”运动中。 这种文艺复兴是旨在和针对于时弊而进行的抒情与想象力神话的回归，这些人对美大加赞美，并加之比喻为自己的面具，而对尘世中的人的命运却大加伤感，并认为他们破坏了作家的“美”的面具。于是拉伯雷戴上了讽刺，班扬戴上了布道，马娄戴上了戏拟与夸张，当然还有一种惊人的反讽，而布莱克则戴上了天真。 布莱克在和他相伴一生的乡村姑娘凯瑟琳的邂逅与共处中，获悉了平民心中的童话与贞洁，并以此与自身的经验和想象作为对比，参照了很多从中世纪就开始进行和流传的童话寓言式写作，并加上了自己独一无二的意象创造力，布莱克为我们留下了最重要的18世纪诗集《天国与地狱的婚姻—想象力的赞美诗》和《天真与经验之歌》，如果说前者是为结婚后守教的人看的，那么后者更多是小学生们的新年读物，或者圣诞老人给大家的金黄色的发光玩具。但我宁愿认为，布莱克构筑了我们世界的宏伟与庄严教堂的顶层，在那里，理想与现实的箴言熠熠闪光，时时为我们提醒着圣母般的洁净与肃穆。 布莱克从不否认自己是一个藉天真想象而进行创作的人，但同时代的人除了为他的怪异举止和热情四溢的精力而感到困惑外，还为他的面貌的高深与可敬而感到迷惑。布莱

威廉布莱克《从一颗沙子看世界》(to see a world in a grain of...

威廉布莱克《从一颗沙子看世界》 （to see a world in a grain of... 威廉·布莱克《从一颗沙子看世界》（To see a world in a grain of sand） 2011-03-17 01:07:08 威廉·布莱克（William Blake）是18世纪末、19世纪初的一个英国诗人，活着的时候没人知道，直到20世纪初才被挖掘出来。他在国内最出名就是下面四行诗：To see a world in a grain of sand And a heaven in a wild flower, Hold infinity in the palm of your hand And eternity in an hour.这四行诗的中译，我估计至少有二三十种。下面选贴几种。一沙见世界, 一花窥天堂. 手心握无限, 须臾纳永恒.——译者不详在一颗沙粒中见一个世界， 在一朵鲜花中见一片天空， 在你的掌心里把握无限， 在一个钟点里把握无穷。 ——《布莱克诗集》上海三联，张炽恒译从一粒沙看世界，从一朵花看天堂， 把永恒纳进一个时辰，

把无限握在自己手心。——王佐良一花一世界， 一沙一天国， 君掌盛无边， 刹那含永劫。——宗白华一颗沙里看出一个世界 一朵野花里一座天堂 把无限放在你的手掌上 永恒在一刹那里收藏——《世界上最美丽的英文——人生短篇》但是，这几行诗在欧美并不是那么有名，讲起布莱克的时候，也不把这看作他的代表作。似乎只有中国人才特别迷恋这几句话，我猜想也许因为这首诗跟佛教思想有相通之处有关系。这四行诗选自一首长达132行、名为《天真的预兆》（Auguries of Innocence）的长诗，是开头四行。这首长诗似乎并不重要，没有收在布莱克主要几本诗集里，评论家也不谈，我在网上甚至找不到它是写于哪一年的。William Blake - Auguries of InnocenceTo see a world in a grain of sand, And a heaven in a wild flower, Hold infinity in the palm of your hand, And eternity in an hour.A robin redbreast in a cage Puts all heaven in a rage.A dove-house fill'd with doves and pigeons Shudders hell thro' all its regions. A dog starv'd at his master's gate

试论威廉·布莱克的诗歌风格及艺术特色

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试论威廉·布莱克的诗歌风格及艺术特色 论文关键词：诗歌浪漫主义 论文摘要：威廉·布莱克是英国浪漫主义诗歌的先驱，是英国诗歌史上成就巨大，影响深远的诗人，本文着重介绍了他的主要诗歌风格及艺术特色。 威廉·布莱克(William Blake)于1757年11月28日出生于伦敦一个小商人家庭，是英国18-19世纪最富有天才的诗人和艺术家，是浪漫主义诗歌的先驱。布莱克从小就与众不同，他个性极强，想象力丰富他一生没有受过什么正规教育，却精通刻字、雕版、绘画及写诗，以诗、画、小说等形式揭露和讽刺虚伪傲慢的上流社会二 他生活在英国产业革命和法国革命交接的历史时刻，对于法国革命的意义，他有着正反两方面的深刻了解:一方面，他歌颂革命在摧毁旧制度时所表现出来的猛烈力量，把革命志士看成是天国派来的使者加以欢迎;另一方面，他对于替这场革命铺平了道路的崇理性、重智慧的哲学思想又深感厌恶;他称实验科学的哲学家培根的话为“魔鬼的劝合，，，并且把卢梭和伏尔泰这两位启蒙主义者看成是嘲笑真理的人，把他们所宣扬的理性主义看成是迷住人们眼睛的沙子二 布莱克是个需要用辩证法来加以研究的诗人，因为在他的诗作中他就用了“羔羊”(lamb)同“老虎”(tiger)对照，“天真之歌”(Songs of Innocence)同“经验之歌”(Songs of Experience)对照，甚至还用同一题目如《耶稣升天节》(Holy Thursday),((扫烟囱的孩种(The ChimneySweeper)等，写两首内容完全不同的诗，描写两种截然不同的场景，反映了当时社会的两面，也象征了人身上本能与理性，纯真与世故，想象力与现实感等一系列的矛盾。用布莱克自己的话说，就是“表现人的灵魂的两种相反状态”布莱克自己也倾向于辩证地看问题:他早就看出人生里充满矛盾，但又认识到矛盾不是坏事，“没有相反就没有进程”他擅长用异常朴素的语言以最形象的方式说明最深刻的道理。布莱克的诗句里没有中古时代的“诗意词藻”(PoeticDiction)。他的诗一点儿也不复杂，相反，是惊人的简单:文字简单，全是基本词汇;形式简单，不是儿歌，便是歌谣;音乐性极强，多是迭句和重唱，朗朗上口，富于乐感;就连形象多数也是简单的，或明亮如金阳，或沉郁如黑夜，但都是来自大自然的所谓原始性根本性形象: 他还擅长运用形象来营造特别的艺术氛围。如在《伦敦》一诗中，他刻画的每个形象都是阴暗的，这正准确而人神地描绘了当时伦敦的凄惨夜景和泰晤士河畔夜行人的沉重心情。而在《弥尔顿》序中，诗人又运用了鲜明而闪亮的形象来描写喜悦的心情以及诗人自己向邪恶势力的斗争二不仅如此，在形象的对比和叠嵌上，布莱克甚至比后世的现代主义诗人还要大胆。在

赏析威廉·布莱克的《黑皮肤的小男孩》

赏析威廉·布莱克的《黑皮肤的小男孩》 作为一名特立独行的诗人兼画家，闻名于世的威廉·布莱克（1757-1827）在小的时候却没有同我们一样接受正规的学校教育。或许是贫困、阶级和战争等的磨难，这位诗人成为了英国文学史上最复杂、最具个性的诗人之一。布莱克深受法国革命思想的影响，追求人与人之间的平等，反对奴隶制度和种族歧视。今天，和大家分享一下他的一首诗歌《黑皮肤的小男孩》，也就是The Little Black Boy。 我出生在南方的荒野上 虽然是黑人但噢，我的灵魂却是白的 英国的孩子白如天使， 但我的黑，恰似全无光泽 妈妈在树下劝导我 我们在午前坐下 她抱起我，放在大腿上，亲吻我 指向东方，开始道来 看那冉冉上升的太阳，那是上帝的住所 他赐予光和热 照耀着世间万物 安抚黎明，愉悦午间 我们虽占世间一隅 来学着承接爱的光辉 黑色的躯体和晒黑的脸 就像一片云，亦似阴凉的小树林 灵魂足以承受热的炙烤之际 云便会消散，他的声音将在我们的耳畔响起 从小树林里出来的吧，我又忧又爱的人 围着我金色的帐篷，恰似那欢快的羔羊 正如妈妈说的那般，亲吻我 我对英国小男孩说道 当我们能在黑云、白云里来去自如时 围着上帝的帐篷，便似欢快的羔羊 我会为他遮挡炎热，直至他能承受 快乐地倚靠在上帝的膝盖上 我会站起来，轻抚他的银发 像他那样，而他，也会爱我

布莱克以小黑孩的口吻，探索黑色肌肤的意义。通过小黑孩妈妈的口吻，我们可以感受到全文的基调比较平和，令人愉悦身心。这也反映出了布莱克，虽身处充满种族歧视的时代，却能坚持平等和宽以待人，闪烁着人性的光辉。 本诗语言虽然简单，有儿歌民谣般的朗朗上口，但也有不少节奏美、修辞美的句子哦！就韵律而言，本诗歌全文有七节，每节四行，是典型的英雄体四行诗。本诗全文押abab尾韵，其格律是抑扬五步格,，如下面两个例子所示：1）My mo/ther bore /me in /the sou/thern wild, And I/ am black,/ but O!/ my soul /is white; 2）When I/ from black/ and he/ from white/ cloud free And round/ the tent/ of God/ like lambs/ we joy, 就修辞格而言，本诗用了明喻（simile）、暗喻(metaphor)、呼语（apostrophe）等修辞，如下所示： 明喻（simile）: And these black bodies and this sun-burnt face Is but a cloud, and like a shady grove. 英语中的明喻有很明显的标志词，如as, like, seem, as if, as thought, such as, similar to等。 暗喻(metaphor): Look on the rising sun! there God does live. 句子中的暗喻的比较不是很明显，需要找的小伙伴们要细细品读哦，像在明喻里的标志词并不出现在暗喻里，但is也可以作为暗喻的标志哦。 呼语（apostrophe）: And I am black, but O! my soul is white. 呼语一般有O、Ode之类的标志词，能够引发情感的共鸣，拉近彼此间的距离，如雪莱的《Ode to the West Wind》和济慈的《Ode to a Nightingale》。 当然，英语中还有很多的修辞格啦，比如转喻、提喻、拟人、拟声、移就、双关、夸张等等。有兴趣的伙伴们可以多多了解一下哦！

修辞与文体论文 —试析威廉布莱克诗歌《老虎》the tyger 的修辞妙用

A Stylistic Analysis of William Blake’s Poem “The Tyger” Abstract: William Blake’s The Tyger is considered one of his best poems for its marvelous use of illusion and symbols and its musical beauty. In the thesis, the author attempts to make a stylistic analysis of this poem, and the analyses will focus on the phonological, graphological, lexical, syntactical and semantical levels of the poem. Key words: William Blake; the Tyger; stylistic Introduction William Blake, poet, painter, and visionary, was considered by many one the forerunners of British Romanticism, whose most poems are concerned with creation and full of romantic elements. Among his works, Songs of Innocence and Songs of Experience are two famous ones. The Tyger, one poem in Songs of Experience, has been described by one critic as Blake’s most fully developed art --- a process using small revelations leading to greater discoveries through profound use of symbol. Born into a time when the society was experiencing great changes---the Industrial Revolution, Blake was amazed and astonished the creation as well as the destruction the power of the revolution can bring. In this poem, by bringing forth the central image the tiger and describe both the tiger and the creation of the tiger, Blake poses many questions without answering them, leaving the readers to think. In order to get his ideas across, Blake uses many unique techniques in this poem to get the effect of foregrounding if considered under the term of stylistics. So in the following part of the thesis, we will deal with the stylistic features in details at four levels: phonological, graphological, lexical and semantic respectively. I. At the Phonological Level Meter In this poem, William Blake adopted the trochaic tetrameter in the whole poem so as to imitate the sound in a forge and set the dignified and stately tone for the whole poem: _V_V_V_ _V_V_V_ _V_V_V_ _V_V_V_ By deliberately making the stress sounds fall into the more important words, Blake expresses the power and strength of the tiger, and adds to the musical beauty

电影《离魂异客》中的威廉布莱克由死亡到重生的象征意义

成都理工大学工程技术学院本科毕业论文 题目：电影《离魂异客》中的威廉 布莱克由死亡 到重生的象征意义 作者：刘智蕙 学号：201020701220 指导教师：关英森 专业：英语 时间：二〇一四年五月

The Symbolic Meaning of William Blake’s Dea th and Rebirth in Dead Man Major: English Name: Liu Zhihui Supervisor: Guan Yingsen

Abstract Dead Man, a mature work of Jim Jarmusch bespeaks strong influence of the beat generation on him. The director not only employs poetic symbols, but also makes use of the details of the life to put across to his audience the cultural meaning of his film. The film makes a point of revealing a cultural diversity in ethnic and religion, while criticizing the racism or religious ethic. This film expresses that in spite if their being strangers to the cultures other than their own, the various individuals, ethnics and cultures want to mix together keep connections with each other, but in vain because they realize that they still keep the special on origins. The hero of the film, William Blake, is ostracized from the mainstream of society, who lives beyond the pale of social revolution, law and morality. Accountant William Blake and Indian Nobody with different cultures stand in sharp contrast in terms of life background and culture legacy they inherited. This thesis wants to unravel the meaning of ubiquitous symbols therein from different angles, especially the symbolic meaning of death and rebirth on the part of the hero. For instance, music of the film can supple footnote and help explain cultural milieu, and ethnical traits and customs. Dead Man prompts the viewer to look at the movie from a deeper, symbolic point of view—the protagonist?s spiritual voyage of death and rebirth. Key Words: symbol, spiritual essence, voyage of death and rebirth