london William Blake
从英诗的美学角度鉴赏《London》
从英诗的美学角度鉴赏《London》作者：张玉姣来源：《青年文学家》2019年第18期[中图分类号]：I106; [文献标识码]：A[文章编号]：1002-2139（2019）-18--011.作者简介威廉·布莱克（William Blake），英国文学史上伟大浪漫主义诗人之一。
主要诗作有诗集《纯真之歌》、《经验之歌》等。
其早期作品简洁明快，中后期作品趋向玄妙深沉，充满神秘色彩。
他一生中与妻子相依为命，以绘画和雕版的劳酬过着简单平静的创作生活。
后来诗人叶芝等人重编了他的诗集，人们才惊讶于他的虔诚与深刻。
接着是他的书信和笔记的陆续发表，他的神启式的伟大画作也逐渐被世人所认知，于是诗人与画家布莱克在艺术界的崇高地位从此确立无疑。
布莱克的诗摆脱了18世纪古典主义教条的束缚，以清新的歌谣体和奔放的无韵体抒写理想和生活，有热情，重想象，开创了浪漫主义诗歌的先河。
他的浪漫主义气息远比其后的浪漫主义诗人，如华兹华斯、济慈、雪莱等更加深刻。
布莱克写作风格独特，被20世纪的学者们誉为英国文学史上最重要的伟大诗人之一。
《伦敦》主要写了当诗人走在伦敦街头时看到的悲惨景象。
在被占领的伦敦街道上，行人面容哀伤，婴儿们害怕地哭泣，禁令在不断地传达出来。
从教堂传出来的是扫烟囱的孩子的凄厉的哭声，士兵不断地倒在鲜血中，而在深夜，路边的妓女不停的诅咒声压过了新生婴儿的哭声，喜宴变成了丧葬仪式。
诗中诗人描写的就是这样一幅悲惨的景象。
2.《伦敦》的美学特征2.1音乐美诵读一首好诗，就像聆听一首优美的歌曲。
诗歌最早是和音乐一起诞生，在我国古代，合乐者为诗，不合乐者为歌。
而英诗中语言也具有很强的音乐性，雪莱在《诗辩》中说：“诗人的语言总是会有某种划一而和谐的声音之重现。
凡是诗情充溢的语言，都遵守和谐重现的规律，同时还注意这种规律与音乐美的关系”。
埃德加·艾伦·坡也认为“诗是与愉悦的思想结合在一起的音乐”。
在《伦敦》这首诗中，全诗由四个诗节组成，以五音步抑扬格的形式写成。
从英诗的美学角度鉴赏《london》
从英诗的美学角度鉴赏《london》
《London》是英国诗人William Blake于1794年创作的一首诗歌，它描绘了伦敦的景象，表达了作者对伦敦的热爱和深深的思念。
从美学角度来看，《London》是一首充满着悲伤和深情的诗歌，它把作者的心情和思绪表达得淋漓尽致。
诗中描绘的伦敦景象，令人感受到作者对伦敦的热爱和思念，他用悲伤的语调描绘了伦敦的街道、桥梁、建筑物等，以及伦敦人民的悲惨遭遇，表达了作者对伦敦的深深思念。
此外，诗中还描绘了伦敦的悲惨景象，比如“悲伤的婴儿哭泣着”，“悲惨的母亲把孩子抱在怀里”，“悲惨的母亲把孩子抱在怀里”，这些描绘出了伦敦人民的悲惨遭遇，令人感到悲伤。
总之，《London》是一首充满悲伤和深情的诗歌，它把作者对伦敦的热爱和思念表达得淋漓尽致，令人感受到作者对伦敦的深深思念。
它不仅描绘了伦敦的景象，还把伦敦人民的
悲惨遭遇表达得淋漓尽致，令人感到悲伤。
London By William Blake 作品赏析课件
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Songs of Innocence (1789)《天真之歌》
Purpose : “And I made a rural pen, / And I stained the
water clear, / And I wrote my happy songs, / Every child may joy to hear. ” (“ Introduction”)
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What is the location of the poem, countryside or city?
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The speaker is not the piping, pastoral bard of the earlier poem: he is in the city. The poem’s title denotes a specific geographic space, not the archetypal locales in which many of the other Songs are set.
Strange, simple beauty both in themes and in language and in verse form and rhythm
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Some songs from “Innocence”:
“ The Echoing Green”, “The Lamb”,
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London
William Blake
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What do you know about the poem from the title?
William Blake--London
Besides the word “chartered”, can you find other repetitions in the poem? How do you understand them?
Blake’s repetition, thudding and oppressive, reflects the suffocating atmosphere of the city.
Songs of Innocence (1789)《天真之歌》
Designed to publish for children, in simple language a child can understand, depicting a child’s delight in the harmony of nature and people (with illustrations of his own) Strange, simple beauty both in themes and in language and in verse form and rhythm
William Blake 布莱克
Life and Literary Career (1757-1827)
Engraver, painter, printer and poet At age 4, had a vision of God, later saw a tree full of angels Went to a drawing school at 10, thus began his career as an artist Started writing poetry in his teens (12) A man of sharp perception, original thinking, exceptional boldness, contempt for reason, deep concern with the Revolution
william blake
William BlakeIntroductionWilliam Blake (1757-1827) was an English poet, painter, and printmaker, who is now considered one of the most significant figures in the history of both literature and visual arts. Despite being relatively unknown during his lifetime, Blake’s works have gained immense recognition and admiration in the centuries that followed.Early Life and EducationBlake was born on November 28, 1757, in London, England. From a young age, he had a deep interest in literature and visual arts. His parents recognized his artistic talent and encouraged him to pursue his passion. Blake attended art school and received formal training. However, his unconventional ideas and unconventional methods of artistry often clashed with the traditional teachings of his mentors.Literary and Artistic Works1.Poetry: Blake’s poetry is known for its complex symbolism anddeeply spiritual themes. His collection of poems titled Songs of Innocence and Experience is considered one of his most notable works. The collection explores the contrasting states of the human soul, presenting a view of innocence that is gradually corrupted by societal constraints.2.Paintings: Blake’s paintings are characterized by their vibrant colorsand imaginative compositions. His most famous painting, The Ancient of Days, depicts a figure bending over a dark void with a compass-like object,representing divine creation and human imagination.3.Printmaking: Blake was also a skilled printmaker. His technique ofrelief etching, a combination of traditional engraving and new methods,allowed him to create intricate and detailed prints. His illustrated books, such as The Marriage of Heaven and Hell and Songs of Innocence and Experience, are prime examples of his innovative printmaking skills.Spirituality and MysticismBlake’s worl dview was deeply influenced by his mystical beliefs. He believed in the interconnectedness of all things and saw the divine in every aspect of life. His works often explore themes of spirituality, religion, and the nature of the human soul. Blake’s poetry and art were not merely a means of creative expression but served as a tool for him to convey his spiritual and philosophical ideas.Legacy and InfluenceThough Blake’s works were not widely recognized during his lifetime, his influence grew steadily after his death. The Romantic poets of the 19th century, such as William Wordsworth and Samuel Taylor Coleridge, greatly admired Blake’s imagination and creativity. In the 20th century, Blake’s works became more widely studied and appreciated as scholars recognized his unique contributions to both literature and the visual arts.ConclusionWilliam Blake was a visionary poet, painter, and printmaker who left an indelible mark on the world of literature and visual arts. His imaginative approach, complex symbolism, and spiritual themes continue to captivate audiences to this day. Blake’s legacy serves as a testament to the power of artistic expression and the enduring impact of creative individuals throughout history.Note: This text is written in Markdown format, a lightweight markup language used for formatting text.。
从英诗的美学角度鉴赏《London》
文学评论·外国文学从英诗的美学角度鉴赏《London》张玉姣 西北大学[中图分类号]：I106 [文献标识码]：A[文章编号]：1002-2139(2019)-18-121-01１．作者简介威廉•布莱克（William Blake），英国文学史上伟大浪漫主义诗人之一。
主要诗作有诗集《纯真之歌》、《经验之歌》等。
其早期作品简洁明快，中后期作品趋向玄妙深沉，充满神秘色彩。
他一生中与妻子相依为命，以绘画和雕版的劳酬过着简单平静的创作生活。
后来诗人叶芝等人重编了他的诗集，人们才惊讶于他的虔诚与深刻。
接着是他的书信和笔记的陆续发表，他的神启式的伟大画作也逐渐被世人所认知，于是诗人与画家布莱克在艺术界的崇高地位从此确立无疑。
布莱克的诗摆脱了18世纪古典主义教条的束缚，以清新的歌谣体和奔放的无韵 体抒写理想和生活，有热情，重想象，开创了浪漫主义诗歌的先河。
他的浪漫主义气息远比其后的浪漫主义诗人，如华兹华斯、济慈、雪莱等更加深刻。
布莱克写作风格独特，被20世纪的学者们誉为英国文学史上最重要的伟大诗人之一。
《伦敦》主要写了当诗人走在伦敦街头时看到的悲惨景象。
在被占领的伦敦街道上，行人面容哀伤，婴儿们害怕地哭泣，禁令在不断地传达出来。
从教堂传出来的是扫烟囱的孩子的凄厉的哭声，士兵不断地倒在鲜血中，而在深夜，路边的妓女不停的诅咒声压过了新生婴儿的哭声，喜宴变成了丧葬仪式。
诗中诗人描写的就是这样一幅悲惨的景象。
２．《伦敦》的美学特征2.1音乐美诵读一首好诗，就像聆听一首优美的歌曲。
诗歌最早是和音乐一起诞生，在我国古代，合乐者为诗，不合乐者为歌。
而英诗中语言也具有很强的音乐性，雪莱在《诗辩》中说：“诗人的语言总是会有某种划一而和谐的声音之重现。
凡是诗情充溢的语言，都遵守和谐重现的规律，同时还注意这种规律与音乐美的关系”。
埃德加•艾伦•坡也认为“诗是与愉悦的思想结合在一起的音乐”。
在《伦敦》这首诗中，全诗由四个诗节组成，以五音步抑扬格的形式写成。
London--William Blake鉴赏
英美文学London-William Blake
Group members：Kiwi Eudora Lesley Maia Jackie
I wander thro’1 each charter’d street2, Near where the charter’d Thames does flow, And mark3 in every face I meet Marks3 of weakness, marks of woe4.
LOGO
Structure
As the title of the collection suggests, London is presented in a very regular way, much like a song. There is a strict abab rhyme scheme in each of the four stanzas. The four stanzas offer a glimpse of different aspects of the city, almost like snapshots seen by the speaker during his "wander thro'" the streets.
LOGO
London
The poem describes a journey around London, offering a glimpse of what the speaker sees as the terrible conditions faced by the inhabitants of the city. Child labour, restrictive laws of property and prostitution are all explored in the poem.
William Blake威廉布莱克
The Tyger
"The
Tyger" is a poem by the English poet William Blake. It was published as part of his collection Songs of Experience in 1794 (see 1794 in poetry). It is one of Blake's best-known and most analyzed poems. The Cambridge Companion to William Blake (2003) calls it "the most anthologized poem in English."
William Blake
Willห้องสมุดไป่ตู้am Blake (28 November 1757 – 12 August 1827) , English artist, mystic and poet
William Blake (1757-1827)
William Blake was born in London, England, the third son of Catherine née Wright (1723–1792) and James Blake (c.1723–1784) a hosier and haberdasher on Broad Street in Golden Square, Soho. Young William was prone to fantastic visions, including seeing God, and angels in a tree. He would later claim that he had regular conversations with his deceased brother Robert. It was soon apparent that Blake’s internal world of imagination would be a prime motivator throughout his life. Noting something special in their son the Blakes were highly supportive of and encouraged his artistic creativity and thus began his education and development as an artist.
WilliamBlake经典诗歌代表作：London伦敦（双语）
WilliamBlake经典诗歌代表作：London伦敦（双语）威廉·布莱克，英国第一位重要的浪漫主义诗人、版画家。
主要诗作有诗集《纯真之歌》、《经验之歌》等。
早期作品简洁明快，中后期作品趋向玄妙深沉，充满神秘色彩。
他一生中与妻子相依为命靠绘画和雕版的劳酬清贫为生，没有大书特书之处，只有一些一直延续的简单事实和紧迫的艺术创作活动。
后来诗人叶芝等人重编了他的诗集，人们才惊讶于他的纯真与深刻。
London ——William Blake伦敦——威廉布莱克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.我走过每条独占的街道，徘徊在独占的泰晤士河边，我看见每个过往的行人有一张衰弱、痛苦的脸。
In every cry of every man,In every infant's cry of fear,In every voice, in every ban,The mind-forged manacles I hear:每个人的每声呼喊，每个婴孩害怕的号叫，每句话，每条禁令，都响着心灵铸成的镣铐。
How the chimney-sweeper's cryEvery blackening church appals,And the hapless soldier's sighRuns in blood down palace-walls.多少扫烟囱孩子的喊叫震惊了一座座熏黑的教堂，不幸兵士的长叹化成鲜血流下了宫墙。
But most, through midnight streets I hear How the youthful harlot's curseBlasts the new-born infant's tear,And blights with plagues the marriage-hearse. 最怕是深夜的街头又听年轻妓女的诅咒！它骇注了初生儿的眼泪，又用瘟疫摧残了婚礼丧车。
威廉布莱克与伦敦评价
威廉布莱克与伦敦评价威廉布莱克（William Blake）是英国著名的诗人、画家，被誉为“自由梦想的先驱”。
他的诗歌和绘画作品充满了浓郁的神秘主义色彩，表达了他对于自由、正义、人性的思考和探索。
同时，他也是一位来自伦敦的儒商之子，他的作品也深刻地反映了当时英国社会的种种矛盾和不公。
威廉布莱克正是在伦敦这个盛产艺术家的城市中成长起来的。
他从小就展现出惊人的绘画天赋，但是在当时的伦敦社会中，艺术并非是一条有前途的职业。
因此，威廉布莱克的父亲想让他学习商业，并将他送进了一家印刷厂学习。
然而，正是在这个印刷厂中，威廉布莱克学到了许多技术和知识，而这些技术和知识，成为了他之后进行版画和绘画的重要素材。
伦敦对于威廉布莱克的创作有着重要的影响。
他曾经在伦敦的街头漫步，观察当时的社会现象，并将他的观察与自己的创作结合起来。
他的绘画作品中，描绘了当时伦敦社会中的种种矛盾，如工人的贫困与资本家的富裕，警察的权力与人民的自由等等。
同时，他的诗歌作品中也反映了他对于当时社会现象的批判与探讨。
他的作品中，包含了对于人类自由的憧憬和追求，对于底层人民的同情与关注，以及对于宗教与哲学的思考和质疑。
威廉布莱克的作品对于当时的伦敦社会产生了重要的影响，同时也对于现代的人们产生了启示。
他的作品揭示了当时社会中的问题与矛盾，呼唤着人们对于自由、正义、平等的追求和保护。
他的作品也展现了一种独特的审美与文化价值观，对于后世的艺术家和文化学者具有深远的影响。
综述以上内容，威廉布莱克的作品和伦敦这座城市，都具有着重要的历史意义和文化价值。
他的作品通过对于社会的反映和对于自由、正义的追求，影响着人们的艺术、文化、哲学和社会价值观。
同时，伦敦这座城市是一个充满着艺术家和文化活动的城市，吸引着许多人们前来探索和追求自己独特的创造力。
因此，威廉布莱克和伦敦的历史和文化，都应该被认真地研究和探讨，以期启迪人们的思想和艺术创作。
London_William_Blake (1) 4
Structure
As the title of the collection suggests, London is presented in a very regular way, much like a song. There is a strict abab rhyme scheme in each of the four stanzas. The four stanzas offer a glimpse of different aspects of the city, almost like snapshots seen by the speaker during his "wander thro'" the streets.
• To express the dissatisfaction to the society, Both Wordsworth and Blake wrote poem about London
The reason of writing this poem
William Blake rejected established religion for various reasons. One of the main ones was the failure of the established Church to help children in London who were forced to work. Blake lived and worked in the capital, so was arguably well placed to write clearly about the conditions people who lived there faced.
william blake london解析
William Blake是18世纪英国最杰出的诗人、画家和创作家之一，他的作品被认为是浪漫主义文学的代表作之一。
其中《London》是他的代表作之一，描绘了当时伦敦城的景象，表达了他对城市中贫穷和不公的深刻关注和批判。
本文将对《London》进行解析，探讨其背后隐藏的意义和价值。
一、背景介绍1.1 William Blake简介William Blake（1757-1827）是18世纪末、19世纪初英国浪漫主义文学和美术的先驱者，他的作品充满了对社会不公、人性冲突和信仰的探讨。
他的绘画作品和诗歌作品均受到了后世的广泛赞誉。
1.2《London》简介《London》是William Blake的一首诗歌作品，最早出现于《Songs of Experience》（经验之歌）集中。
诗中描绘了18世纪末期伦敦城的贫困、污秽和不公，展现了一幅鲜明的社会画卷。
这首诗被视为对当时社会现实的抨击，同时也是对人性、存在和信仰的反思。
二、诗歌解析2.1 诗歌整体风格和结构《London》是一首由四个四行组成的简短诗歌，每一句都节奏明快、语言简洁，却又富有深刻的内涵。
整体的韵律和情感流露都表现出诗人对当时伦敦社会的悲愤和不满。
2.2 伦敦城的描绘诗中通过描述伦敦城的风景和景象，展现了当时城市中的贫困、污秽和不公。
诗句中的“街头的每个脸上都写满了悲伤之情”，以及“每个宫殿的每条街道都有苍白的双脸”的表述，都展现了对城市中贫穷和不公的深刻关注和批判。
2.3 社会现实的批判诗歌中通过对城市景象的描绘，隐含着对当时英国社会现实的批判。
诗中提到的“酒馆的每个发抖的人”和“每个宫殿烟囱中的哀叹”，都充满了对当时社会贫困与不公的愤慨。
诗歌语言间的悲愤和不满，呈现出诗人对社会现实的强烈关注和批评。
2.4 人性、存在和信仰的反思除了对社会现实的批判外，诗中还展现了对人性、存在和信仰的深刻反思。
诗句“黑色的教堂与黑色的城市融为一体”，表现了对当时宗教虚假与道德堕落的质疑。
William·black
威廉·布莱克布莱克是风格独特的诗人，被20世纪的学者们誉为英国文学史上最重要的伟大诗人之一。
1757年出生于伦敦一个贫寒的袜商家庭，未受过正规教育。
14岁当雕版学徒，后于1779年入英国皇家艺术学院学习美术，1782年结婚。
不久以后，布莱克印刷了自己的第一本诗集--Poetical Sketches。
William Blake is a famous painter of the late 18th century and early 19th century , one of the most personality of poets in the history of English literature.He was born in London A poor hosier families in 1757, lack of formal education.After 14 years of age when engraving apprentice, into the royal college of art study fine arts in 1779, married in 1782.Soon after, published his first book of poems - black Poetical Sketches.布莱克的早期诗歌以颂扬爱情、向往欢乐与和谐为主题。
他打破了18世纪新古典主义的教条，用歌谣和无韵体诗来书写理想和生活，诗歌语言质朴，形象鲜明，富有音乐感，充满想象和激情。
后期作品具有神秘主义倾向和宗教色彩，用象征手法表达思想。
Blake's early poetry to celebrate love, yearning for joy and harmony as the theme.He broke the 18 th-century neoclassical doctrine, with songs and blank verse writing ideal and life, plain language of poetry, the image is bright, full of music, full of passion and ter work with mysticism tendency and religious, express thoughts with symbolism.布莱克的诗摆脱了18世纪古典主义教条的束缚，以清新的歌谣体和奔放的无韵体抒写理想和生活，有热情，重想象，开创了浪漫主义诗歌的先河。
诗人威廉布莱克的简介
诗人威廉布莱克的简介威廉·布莱克，英国第一位重要的浪漫主义诗人、版画家，英国文学史上最重要的伟大诗人之一，下面是店铺搜集整理的诗人威廉布莱克的简介，希望对你有帮助。
诗人威廉布莱克的简介威廉·布莱克(William Blake)，1757年11月28日出生于伦敦，虔诚的__徒。
主要作品有：诗集《纯真之歌》、《经验之歌》等。
早期作品简洁明快，中后期作品趋向玄妙深沉，充满神秘色彩。
他一生与妻子相依为命，以绘画和雕版的劳酬过着简单平静的创作生活。
后来诗人叶芝等人重编了他的诗集，人们才惊讶于他的虔诚与深刻。
接着是他的书信和笔记陆续发表，他的神启式的伟大画作也逐渐被世人所认知，于是诗人与画家布莱克在艺术界的崇高地位从此确立无疑。
诗人威廉布莱克的生平出生于伦敦一个开设男子服饰经营商的家庭，由于个性独特，不喜欢正统学校的教条气氛拒绝入学，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，但他考虑到家庭负担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。
14岁当雕版匠人巴塞尔的徒弟，跟他学了七年。
他还被派往威斯敏斯特教堂制作墓碑雕刻。
虽然出生微贱，没有受过良好的教育，但这并不能遏止他非凡才智的发展。
他博览群书，甚至潜心于洛克和博克的哲学著作，早早便对这个世界有了深刻的认识。
1779年，22岁的布莱克学徒期满出师，成了一个自由的手艺人，靠当一名雕刻匠挣钱糊口。
然而，他却选择了继续去英国皇家美术学院学习，实现自己的画家之梦。
25岁那年，他与花匠的女儿凯瑟琳-布歇结了婚，教妻子读写，好让她帮助自己的工作。
这对年轻的夫妻以现在十分流行的“DIY”方式，携手出版了一本名为《纯真之歌》的诗画集从头到尾全是亲自动手：布莱克在铜版上刻上自己的诗和画，凯瑟琳则负责压印、上色和装订。
不过，夫妻二人的努力并没有在当时换来赏识和金钱，虽然一本书仅仅只卖几先令，却依然卖得极为缓慢(今天，这本书的复制品都可以随便卖到上千美元)。
布莱克的伦敦诗歌鉴赏
布莱克的伦敦诗歌鉴赏
布莱克（William
Blake）的《伦敦》是他著名的诗歌作品之一，以下是对《伦敦》这首诗进行的鉴赏：
《伦敦》展示了布莱克对18世纪伦敦社会现实的批判和忧虑。
他通过描绘城市的景象和人们的生活状况，传达了对社会不公、贫困和人们心灵束缚的关切。
诗中开篇的“伦敦“一词直接指代伦敦这座城市，但也具有象征意义，代表着整个社会体系。
布莱克用强烈的形象描绘了伦敦的街道、河流和教堂，却将它们都暗示为压迫和控制的象征。
他以黑暗、狭窄、哀叹等形容词揭示了城市中无尽的苦难和压抑。
诗中提到的“每个面容“、“每个婴孩的哭泣“和“每个守夜人的心“等描绘了城市中的普遍困扰，表达了人们受到的身体和精神的压迫。
通过这些形象，布莱克呼吁人们认识到社会中的不公和不平等，并鼓励他们为改变现状而奋斗。
诗中的语言简洁明快，使用了重复和象征手法，增强了表达的力度和冲击力。
布莱克的语言中透露出强烈的愤怒和悲伤，使读者更容易感受到他对社会现实的痛苦和不满。
总体而言，《伦敦》是一首饱含批判意义的诗歌，通过布莱克对城市景象的生动描绘和对社会现实的深刻洞察，呈现出对人性压迫和社会困境的强烈关切。
它引发了人们对社会问题的思考，并促使他们反思和追求更美好、更公正的社会。
William Blake’s “London”
a pre-romantic poet
Listen
William Blake’s “London”
chartered, 指享有专利
权的大商人或大公司所独占的 through I wander thro each charter’d street, 我徘徊在每条被独占的街上，
从每个声音里，从每一条禁令 用英国统治阶级思想铸成的镣铐
The mind-forg’d manacles I hear.
都能听到心灵铸的镣铐。
William Blake’s “London”
How the Chimney-sweeper’s cry
听扫烟囱孩子的叫喊
blackening Every blackning church appals; be surprised
most of all But most thro’ midnight streets I hear
但我常听见在深夜的街头
How the youthful Harlot’s curse
年轻妓女不停地诅咒。
William Blake’s “London”
使干枯，指吓得婴儿不敢哭泣
Blasts the new-born Infant’s tear,
Near where the charter’d Thames does flow,
靠近那也被霸占的泰晤士河，
William Blake’s “London”
notice And mark in every face I meet
注意到所遇的每个行人脸上
sadness Marks of weakness, marks of woe.
London-William Blake
但我常见在深夜的街头
How the youthful Harlot’s curse
年轻妓女不停地诅咒。
William Blake’s “London”
使干枯，指吓得婴儿不敢哭泣
Blasts the new-born Infant’s tear,
“London” “ 伦敦” William Blake
a pre-romantic poet
Listen
William Blake’s “London”
chartered, 指享有专利 through 权的大商人或大公司所独占的 I wander thro each charter’d street,
我徘徊在每条被独占的街上，
Near where the charter’d Thames does flow,
靠近那也被霸占的泰晤士河，
William Blake’s “London”
notice And mark in every face I meet
注意到所遇的每个行人脸上
Marks of weakness, marks ofsawdonee.ss
它吓得新生儿眼泪不敢流，
destroy
灵车, 灵柩
And blights with plagues the Marriage hearse.
妓女带来瘟疫，使婚车变成灵柩。
从每个声音里，从每一条禁令 用英国统治阶级思想铸成的镣铐
The mind-forg’d manacles I hear.
都能听到心灵铸的镣铐。
William Blake’s “London”
London William Blake
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London
- William Blake
• I wander through each chartered street, Near where the chartered Thames does flow, And mark in every face I meet • Marks of weakness, marks of woe. In every cry of every man, In every infant„s cry of fear, • In every voice, in every ban, ， • The mind-forged manacles I hear • How the chimney-sweeper„s cry • Every blackening church appals; • And the hapless soldier„s sigh • Runs in blood down palace walls. But most through midnight streets I hear • How the youthful harlot„s curse • Blasts the new-born infant„s tear, • And blights with plagues the marriage hearse.
The poem climaxes
• The poem climaxes at the moment when the cycle of misery recommences, in the form of a new human being starting life: a baby is born into poverty, to a cursing, prostitute mother. Sexual and marital union--the place of possible regeneration and rebirth--are tainted by the blight of venereal disease. Thus Blake's final image is the "Marriage hearse," a vehicle in which love and desire combine with death and destruction.
London鉴赏 翻译
About the poetWilliam Blake was born on 28 November 1757, and died on 12 August 1827. He spent his life largely in London, save for the years 1800 to 1803, when he lived in a cottage at Felpham, near the seaside town of Bognor, in Sussex. In 1767 he began to attend Henry Pars's drawing school in the Strand. At the age of fifteen, Blake was apprenticed to an engraver, making plates from which pictures for books were printed. He later went to the Royal Academy, and at 22, he was employed as an engraver to a bookseller and publisher. When he was nearly 25, Blake married Catherine Bouchier. They had no children but were happily married for almost 45 years. In 1784, a year after he published his first volume of poems, Blake set up his own engraving business.Many of Blake's best poems are found in two collections: Songs of Innocence (1789) to which was added, in 1794, the Songs of Experience (unlike the earlier work, never published on its own). The complete 1794 collection was called Songs of Innocence and ExperienceTwo Contrary States of the Human Soul. Broadly speaking the collections look at human nature and society in optimistic and pessimistic terms, respectively - and Blake thinks that you need both sides to see the whole truth.LondonThis is a poem which makes sense to the modern reader, as it exposes the gulf between those in power and the misery of poor people. The picture of the city as a place of nightmare is common in the 20th century, but is perhaps surprising to find in such an early text as this. We have to wait for the novels of Dickens and James Thomson's Victorian poem The City of Dreadful Night, before we find such a grim view of the city reappearing.Although there are several details which we need to note, we should begin with the central metaphor of this poem, the "mind-forg'd manacles" of the second stanza. Once more a vivid symbol explains a deep human truth. The image of the forge appears in The Tyger (stanza 4). Here Blake imagines the mind as a forge where "manacles" are made. "Manacles" (for the hands -French les mains) and shackles for the legs, would be seen on convicts, perhaps passing along the streets on their way to prison or, commonly in London in Blake's time, on their way to ships, for transportation to Australia. For Blake and his readers, the image is a very striking and contemporary one: they will have seen "manacles" and will view them with horror. The image is also an allusion (reference, loose quotation) to an even more famous statement. In 1762, some thirty years before Blake wrote London, the Swiss philosopher Jean-Jacques Rousseau wrote in The Social Contract: "Man is born free, but everywhere he is in chains". Blake agrees with Rousseau that man's lack of freedom, his "manacles" are "mind-forg'd" - they come from the ideas and outlook imposed on us by external authority.SummaryThe speaker wanders through the streets of London and comments on his observations. He sees despair in the faces of the people he meets and hears fear and repression in their voices. 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 monarch's residence. The nighttime holds nothing more promising: the cursing of prostitutes corrupts the newborn infant and sullies the "Marriage hearse."FormThe 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 speaker describes. CommentaryThe opening image of wandering, the focus on sound, and the images of stains in this poem's first lines recall the Introduction to Songs of Innocence, but with a twist; we are now quite far from the piping, pastoral bard of the earlier poem: we are in the city. The poem's title denotes a specific geographic space, not the archetypal locales in which many of the other Songs are set. Everything in this urban space--even the natural River Thames--submits to being "charter'd," a term which combines mapping and legalism. Blake's repetition of this word (which he then tops with two repetitions of "mark" in the next two lines) reinforces the sense of stricture the speaker feels upon entering the city. It is as if language itself, the poet's medium, experiences a hemming-in, a restriction of resources. Blake's repetition, thudding and oppressive, reflects the suffocating atmosphere of the city. But words also undergo transformation within this repetition: thus "mark," between the third and fourth lines, changes from a verb to a pair of nouns--from an act of observation which leaves some room for imaginative elaboration, to an indelible imprint, branding the people's bodies regardless of the speaker's actions.Ironically, the speaker's "meeting" with these marks represents the experience closest to a human encounter that the poem will offer the speaker. All the speaker's subjects--men, infants, chimney-sweeper, soldier, harlot--are known only through the traces they leave behind: the ubiquitous cries, the blood on the palace walls. Signs of human suffering abound, but a completehuman form--the human form that Blake has used repeatedly in the Songs to personify and render natural phenomena--is lacking. In the third stanza the cry of the chimney-sweep and the sigh of the soldier metamorphose (almost mystically) into soot on church walls and blood on palace walls--but we never see the chimney-sweep or the soldier themselves. Likewise, institutions of power--the clergy, the government--are rendered by synecdoche, by mention of the places in which they reside. Indeed, It is crucial to Blake's commentary that neither the city's victims nor their oppressors ever appear in body: Blake does not simply blame a set of institutions or a system of enslavement for the city's woes; rather, the victims help to make their own "mind-forg'd manacles," more powerful than material chains could ever be.The poem climaxes at the moment when the cycle of misery recommences, in the form of a new human being starting life: a baby is born into poverty, to a cursing, prostitute mother. Sexual and marital union--the place of possible regeneration and rebirth--are tainted by the blight of venereal disease. Thus Blake's final image is the "Marriage hearse," a vehicle in which love and desire combine with death and destruction翻译：伦敦威廉姆布莱克我在独占的大街上闲逛，独占的泰晤士在旁流淌，我注意遇到的每张脸庞写着孱弱，刻画着悲伤。
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Composed Upon Westminster Bridge
William Wordsworth
Summary
• In the beginning of the poem, the poet says there is nothing more beautiful on earth - a scene which is "touching in its majesty". He puts the beauty of such a scene down to the "smokeless air", an unusual thing for London in the 1800s. He even goes so far as to suggest that no "valley, rock, or hill" has been so beautifully lit by the early morning, which, considering Wordsworth's preference for rustic figures and nature. The beauty of the city is that it is sleeping. There are no people bustling about, there is no smoke... the sun (which note, is Nature) may only have such a deep effect on the city at this time, before the city becomes a city whilst it is still just buildings.
Form
• 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 speaker describes.
Structure
• In the first eight, he describes early morning London in detail, and then goes on in the final six to compare the city in that moment to natural wonders. The rhyme scheme is ABBAABBA CDCDCD.
• All the speaker’s subjects—men, infants, chimneysweeper, soldier, harlot—are known only through the traces they leave behind: the ubiquitous cries, the blood on the palace walls.In the third stanza the cry of the chimney-sweep and the sigh of the soldier metamorphose (almost mystically) into soot on church walls and blood on palace walls—but we never see the chimney-sweep or the soldier themselves. Likewise, institutions of power—the clergy, the government—are rendered by synecdoche, by mention of the places in which they reside. Indeed, it is crucial to Blake’s commentary that neither the city’s victims nor their oppressors ever appear in body: Blake does not simply blame a set of institutions or a system of enslavement for the city’s woes; rather, the victims help to make their own “mind-forg’d manacles,” more powerful than material chains could ever be.
• Wordsworth personifies the Earth by giving it a capital letter, and describing it as having the ability to "show". He also personifies the city, by describing it as wearing the morning beauty "like a garment". The image of the sun is powerful, as it is referred to as "he", with actions described by diction such as "steep". This diction creates the image of sunlight slowly submerging into the Earth's splits. The river is personified when it is described as having its "own sweet will", and the houses are personified by their description of being asleep. Lastly, the city itself is personified with the line "and all that mighty heart is lying still". These personifications again help us to draw the conclusion that Wordsworth is considering a sleeping city as part of nature. The compact description of London in lines six and seven emphasize the compactness of the city, and long vowel sounds such as "glideth" and "silent" emphasize the calm feeling of the occasion.
London
W• The speaker wanders through the streets of London and comments on his observations. He sees despair in the faces of the people he meets and hears fear and repression in their voices. 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 monarch’s residence. The nighttime holds nothing more promising: the cursing of prostitutes corrupts the newborn infant and sullies the “Marriage hearse.”
• The poem climaxes at the moment when the cycle of misery recommences, in the form of a new human being starting life: a baby is born into poverty, to a cursing, prostitute mother. Sexual and marital union—the place of possible regeneration and rebirth—are tainted by the blight of venereal disease. Thus Blake’s final image is the “Marriage hearse,” a vehicle in which love and desire combine with death and destruction.
Commentary
• The poem’s title denotes a specific geographic space. Everything in this urban space—even the natural River Thames—submits to being “charter’d,” a term which combines mapping and legalism. Blake’s repetition of this word reinforces the sense of stricture the speaker feels upon entering the city. Blake’s repetition, thudding and oppressive, reflects the suffocating atmosphere of the city. But words also undergo transformation within this repetition: thus “mark,” between the third and fourth lines, changes from a verb to a pair of nouns—from an act of observation which leaves some room for imaginative elaboration, to an indelible imprint, branding the people’s bodies regardless of the speaker’s actions.