William Blake

William Blake简介演示课件

present a happy and innocent world, though with its evils and sufferings ❖ “The Songs of Experience” (1794) present a world of misery, poverty, disease, war and repression with a melancholy tone
❖ In 1790, “The Marriage of Heaven and Hell”. ❖ In 1793,Blake issued a “Prospectus, To the Public”. ❖ In 1794, “The Songs of Innocence” was published
again, together with “The Songs of Experience” . ❖ In 1804, Blake started to etch both “Milton” and
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❖ Blake should be remembered chiefly for his “Songs of experience” in which he poured out his bitter social criticism on the reality of his day, but also for the topical references to the fight for the freedom and the expose of tyranny in “ The French Revolution” and “America” and “The Songs of Los”, and for the great lyricism with which these poems and these great pages are written.

威廉·布莱克的诗

威廉·布莱克的诗【1】：残酷有一颗人的心，嫉妒有一张人的脸。

--威廉·布莱克【2】：如果相爱，那是无限的。

原文：If a thing loves? it is infinite. --威廉·布莱克【3】：一粒沙中见世界一朵花中见天国把无限存在你的手掌中一刹那便是永恒 --威廉·布莱克《天真的预言》【4】：To see a world in a grain of sand, And a heaven in a wild fllower, Hold infinity in the palm of your hand, And eternity in an hour. 一粒沙里看世界，一朵花里见天国，手掌里盛住无限，一刹那便是永劫。

（一沙一世界，一花一天堂。

手掌里盛住无限，一刹那便是永劫） --威廉·布莱克【5】：生活的地平线是随着心灵的开阔而变得宽广的。

--布莱克【6】：When the whirlwind of fury comes from the throne of god, 当愤怒的旋风自神座袭来，when the frowns of his countenance drive the nations together, 当神的皱眉令不同的民族也蹙紧， who can stand? 谁能承受？ --William Blake 《Who Can Stand》【7】：一颗沙里看出一个世界，一朵野花里一个天堂，把无限放在你的手掌上，永恒在那一刹那珍藏。

--威廉·布莱克【8】：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. (William Blake, English poet, 1757-1827) 一沙见世界，一花窥天堂；掌心纳无限，须臾含永劫。

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 ofInnocence, 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 inSongs 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.”Hereinstead 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 ofimagination 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 languageBlake 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 losecontract 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.。

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 ofInnocence, 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 inSongs 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.”Hereinstead 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 ofimagination 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 languageBlake 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 losecontract 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.。

威廉·布莱克《从一颗沙子看世界》（Toseeaworldinagrainofsand）

威廉·布莱克《从一颗沙子看世界》（Toseeaworldinagrainofsand）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 sandAnd a heaven in a wild flower,Hold infinity in the palm of your handAnd 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。

这首长诗通篇的风格与前四行诗很吻合，都是那种含有哲理的格言诗，总得来说很费解。

越到后面越难理解，我读了几遍，都没有看明白。

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 cagePuts 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 Predicts the ruin of the state.A horse misused upon the roadCalls to heaven for human blood.Each outcry of the hunted hareA fibre from the brain does tear.A skylark wounded in the wing,A cherubim does cease to sing.The game-cock clipt and arm'd for fight Does the rising sun affright.Every wolf's and lion's howlRaises from hell a human soul.The wild deer, wand'ring here and there, Keeps the human soul from care.The lamb misus'd breeds public strife, And yet forgives the butcher's knife.The bat that flits at close of eveHas left the brain that won't believe.The owl that calls upon the night Speaks the unbeliever's fright.He who shall hurt the little wrenShall never be belov'd by men.He who the ox to wrath has mov'dShall never be by woman lov'd.The wanton boy that kills the flyShall feel the spider's enmity.He who torments the chafer's sprite Weaves a bower in endless night.The caterpillar on the leafRepeats to thee thy mother's grief.Kill not the moth nor butterfly,For the last judgement draweth nigh. He who shall train the horse to war Shall never pass the polar bar.The beggar's dog and widow's cat, Feed them and thou wilt grow fat.The gnat that sings his summer's song Poison gets from slander's tongue.The poison of the snake and newtIs the sweat of envy's foot.The poison of the honey beeIs the artist's jealousy.The prince's robes and beggar's rags Are toadstools on the miser's bags.A truth that's told with bad intent Beats all the lies you can invent.It is right it should be so;Man was made for joy and woe;And when this we rightly know,Thro' the world we safely go.Joy and woe are woven fine,A clothing for the soul divine.Under every grief and pineRuns a joy with silken twine.The babe is more than swaddling bands; Every farmer understands.Every tear from every eyeBecomes a babe in eternity;This is caught by females bright,And return'd to its own delight.The bleat, the bark, bellow, and roar,Are waves that beat on heaven's shore. The babe that weeps the rod beneath Writes revenge in realms of death.The beggar's rags, fluttering in air,Does to rags the heavens tear.The soldier, arm'd with sword and gun, Palsied strikes the summer's sun.The poor man's farthing is worth more Than all the gold on Afric's shore.One mite wrung from the lab'rer's hands Shall buy and sell the miser's lands;Or, if protected from on high,Does that whole nation sell and buy.He who mocks the infant's faithShall be mock'd in age and death.He who shall teach the child to doubt The rotting grave shall ne'er get out.He who respects the infant's faith Triumphs over hell and death.The child's toys and the old man's reasons Are the fruits of the two seasons.The questioner, who sits so sly,Shall never know how to reply.He who replies to words of doubtDoth put the light of knowledge out. The strongest poison ever knownCame from Caesar's laurel crown.Nought can deform the human raceLike to the armour's iron brace.When gold and gems adorn the plow,To peaceful arts shall envy bow.A riddle, or the cricket's cry,Is to doubt a fit reply.The emmet's inch and eagle's mileMake lame philosophy to smile.He who doubts from what he seesWill ne'er believe, do what you please.If the sun and moon should doubt,They'd immediately go out.To be in a passion you good may do,But no good if a passion is in you.The whore and gambler, by the state Licensed, build that nation's fate.The harlot's cry from street to streetShall weave old England's winding-sheet. The winner's shout, the loser's curse,Dance before dead England's hearse.Every night and every mornSome to misery are born,Every morn and every nightSome are born to sweet delight.Some are born to sweet delight,Some are born to endless night.We are led to believe a lieWhen we see not thro' the eye,Which was born in a night to perish in a night, When the soul slept in beams of light.God appears, and God is light,To those poor souls who dwell in night; But does a human form displayTo those who dwell in realms of day.。

经典：浪漫主义诗人William-Blake

The poison of the Honey Bee
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❖
❖
❖ Is the Artist's Jealousy.
❖
The Prince's Robes & Beggars' Rags
❖
Are Toadstools on the Miser's Bags.
❖
A truth that's told with bad intent
11
<<天真的预兆>> Auguries of Innocence
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.
当你的心脏开始搏动时，使用怎样猛的手腕和脚胫？ ❖ （郭沫若译）
7
❖ 布莱克生活在工业革命刚刚起步的英国。
❖ 他用老虎来象征所有掠夺性的，可怕的和神秘的事物；用羔羊来比喻纯朴的，温和的和善良的事物。他不可理解造出了温顺羔羊的同一个造物主也造出了凶狠而嗜血成性的老虎。
❖ 《老虎》一诗既描写了老虎威风凛凛的英姿（第一节），但也更多的却是描叙了作者想象出来的造物如何造就这一庞然大物的过程细节。
2
❖ 第一本诗集 ❖ ——Poetical Sketches
（诗的素描）
这部书的出版现在已被认为是十八世纪后期诗坛的头等大事之一布莱克的少年时期作品就足以使他列入所谓“浪漫主义复兴” 的主要先驱者之一了。

威廉·布莱克语录

威廉·布莱克语录标题：威廉·布莱克语录：唤醒我们内心的灵魂之火导语：威廉·布莱克（William Blake）是一位英国著名的诗人、画家和版画家，他的作品充满了浓厚的浪漫主义色彩和对人性、宗教、艺术等问题的深刻思考。

他的语录不仅反映了他对艺术和创造力的独特见解，更是唤醒了我们内心深处的灵魂之火。

本文将通过威廉·布莱克的语录，探讨人类内心的力量和潜能，以及如何通过艺术来唤醒我们的灵魂。

正文：1. “艺术是一种爆发自内心的力量，它能够唤醒我们沉睡的灵魂。

”威廉·布莱克深信，艺术是一种源于内心的力量，它能够触动人们的情感和思想，唤醒沉睡的灵魂。

当我们欣赏一幅美丽的画作、阅读一首动人的诗歌或听一段激情四溢的音乐时，我们的内心会产生共鸣，我们的灵魂会被唤醒。

艺术是一种沟通的桥梁，它能够让我们与自己和他人建立起更深层次的联系。

2. “艺术是一种超越现实的力量，它能够让我们看到更多可能性。

”威廉·布莱克认为，艺术是一种超越现实的力量，它能够让我们看到更多可能性。

在现实生活中，我们常常受到各种限制和束缚，我们的想象力和创造力往往被压抑。

而艺术则能够打破这些束缚，让我们迈向更广阔的世界。

通过艺术，我们可以尽情展现自己的想法和梦想，创造出新的现实。

3. “艺术是一种自由的表达，它能够让我们找到内心的平静。

”威廉·布莱克认为，艺术是一种自由的表达，它能够让我们找到内心的平静。

在现实生活中，我们常常被琐事所困扰，内心充满了焦虑和不安。

而艺术则是我们释放情感、抒发情感的途径。

通过创作或欣赏艺术作品，我们可以暂时摆脱现实的束缚，找到内心的宁静与平衡。

4. “艺术是一种探索内心的方式，它能够帮助我们更好地认识自己。

”威廉·布莱克认为，艺术是一种探索内心的方式，它能够帮助我们更好地认识自己。

通过艺术的创作和欣赏，我们可以深入思考自己的内心世界，了解自己的欲望、痛苦、希望和梦想。

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。

对立世界中的象征隐喻——威廉·布莱克笔下的羔羊意象研究

对立世界中的象征隐喻——威廉·布莱克笔下的羔羊意象研究对立世界中的象征隐喻——威廉·布莱克笔下的羔羊意象研究威廉·布莱克（William Blake）是18世纪末至19世纪初英国一位重要的浪漫主义诗人和画家。

他的作品中充满了象征主义和隐喻，其中最引人注目的一个意象就是羔羊（Lamb）。

在布莱克的作品中，羔羊意象被广泛运用，代表了对立世界中的无辜和和平。

本文将探讨布莱克作品中羔羊意象的象征意义及其在对立世界中的隐喻。

首先，布莱克笔下的羔羊意象常常被视为无邪和纯洁的象征。

在他的诗歌集《儿童之歌》中，羔羊被描绘为无辜的孩童和无私的动物。

例如，在《羔羊之歌（一）》中，布莱克写道：“小明星，告诉我一下 / 谁创造了你？ / 谁给你生命和善良？”这个羔羊问题引发了一个深思的对话，从而使读者反思了“谁”所代表的创造者和神。

布莱克通过这样的描述，将羔羊与无辜和纯洁联系在一起，表达了他对纯洁与善良的追求。

其次，羔羊在布莱克的作品中也被解读为和平与和谐的象征。

在《羔羊之歌（二）》中，布莱克描绘了一个无忧无虑的田园场景，羊群安详地吃草，人们欢快地唱歌。

这个画面呈现出一种和谐的状态，表达了人类与动物之间和谐相处的愿景。

此外，在布莱克的其他作品中，羔羊也常常被用来代表宽容和平等。

作者通过羔羊这一象征，传递了对和平与和谐社会的向往。

然而，布莱克并非只把羔羊当作单纯的象征，他更深刻地将羔羊意象与对立世界相结合，进一步加深了其隐喻意义。

在布莱克的另一部著名作品《所在进，实际的车子》中，羔羊被描述为被统治和欺压的对象。

作为一种隐喻，羔羊代表着无辜受害者，受到社会不公正现象的伤害。

布莱克意图通过此象征表达对社会不公的批判和对被压迫群体的同情。

此外，在布莱克的作品中，羔羊还被用来反映个体和整体之间的对立。

他通过羔羊这个象征，揭示了个体的弱势和无力，以及整体对个体的支配和规范。

这种对比使羔羊更具象征意义，象征着个体无辜者在对立世界中的微弱存在。

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。

布莱克最经典的十首诗

布莱克最经典的十首诗
威廉·布莱克（William Blake）是英国著名的浪漫主义诗人和画家，其作品充满了宗教、神秘和个人内心的表达。

以下是布莱克最具代表性的十首诗，这些诗歌被认为是他最经典的代表作品：
《天真之歌》(Songs of Innocence)
《经验之歌》(Songs of Experience)
《虎》(The Tyger)
《愤怒之歌》(A Poison Tree)
《无辜之歌》(The Lamb)
《楼梯》(The Chimney Sweeper)
《哀歌》(The Sick Rose)
《怒视》(The Clod and the Pebble)
《火焰树》(The Mental Traveller)
《抱怨》(London)
这些诗歌代表了布莱克在文学创作上的独特风格和主题，涵盖了对人性、社会、宗教和自然等方面的思考和表达。

如果你对这些诗歌感兴趣，可以找到相关的文学作品集进行阅读。

William-BlakePPT课件

He'd have God for his father, and never want joy. And so Tom awoke, and we rose in the dark,
诉汤姆，如果他是一个乖小孩上帝会是他的父亲并且将永不欠缺喜乐。
And got with our bags and our brushes to work. 汤姆醒了过来，我们也都在黑暗中起床
And so he was quiet, and that very night,
嘿汤姆，不要理会你的头发，当没了你的头发你会知道煤灰不再可能弄脏你金黄的头发。
.
他安静了下来，而且就在那11
一夜
当汤姆沉睡时，他看到这样的一幅图
像千百个扫烟囱的小孩，狄克、乔伊、
As Tom was a-sleeping, he had such a sight! - 涅德与杰克
突地来了一位天使带着一把明亮的钥匙打开了棺木盒让所有的小孩起身出在青翠的草原上这些小孩尽情笑着跑着他们沐浴在溪流中并且在阳光下躺裸着身子洁白干净他们的工具袋抛在一旁他们在云间跳跃在风中嬉闹天使告诉汤姆如果他是一个乖小孩上帝会是他的父亲并且将永不欠缺喜乐
William Blake
(1757-1827)
The theme
.
13
the soul word
▪ angel There are so many poor children.No one loves them,so they can only hope that the angels.The children like Tom,they all have miserable lives .But they still have sweet dream and nice wish.

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)。

william Blake威廉布莱克 PPT课件

《啊，向日葵》
啊，向日葵！怀着对时间的厌倦 • 整天数着太阳的脚步． • 它寻求甜蜜而金色的天边—— • 倦旅的旅途在那儿结束；
• 那儿，少年因渴望而憔悴早殇， • 苍白的处女盖着雪的尸布， • 都从他们坟中起来向往—— • 向着我的向日葵要去的国度。
• （飞白译）
Auguries of Innocence
hallucination:幻觉 eg. a tree full of angels从童年时代起，布莱克就充满了
丰富的想像力，并且时常经历幻想。他说他曾看见过缀满天使的大树，曾见到过安葬在威斯敏斯特教堂中的古圣先贤，并给他们画过画像。他把自己所看到的一切用绘画和诗歌表现出来。他的画大多是经过深思熟虑后的变形人体或表现他幻觉中所见到的人物。
Life Experience
1783, his first collection of poems Poetical Sketches was printed
1782, he married the illiterate
Catherine and taught her to read, write and engrave
W i l l i a m B l a k e 威廉 ·布莱克 (1757-1827)
Life Experience Literary Creations Literary Position
a memorial of him was at the Poets Corner in Westminster Abbey
“And because I am happy, & dance & sing, They think they have done me no injury, And are gone to praise God & his Priest & King, Who make up a heaven of our misery”.

The Chimney-Sweeper解析

the political and religious leaders, represented by God, Priest and King, are hypocritically pious. They maintain a sumptuous life, but ignore the povertystricken groups. Through the child’s simple statement, the poet intends to attack them for their indifference and ruthlessness. Blake showcases the life of a common sweeper and exposes those who allowed barbaric actions against them to take place.
A little black thing among the snow 一个满身污垢的小小身影站在大雪里， Crying weep, weep, in notes of woe! “扫烟囱！扫烟囱！”他的叫声悲戚！（the child's attempt at saying "Sweep! Sweep!," which was the chimney sweeper's street cry. Weep : cry）
Summary
The Chimney Sweeper is the title of two poems by William Blake, published in Songs of Innocence in 1789 and Songs of Experience in 1794.In the earlier poem, a young chimney sweeper recounts a dream had by one of his fellows, in which an angel rescues the boys from coffins and takes them to a sunny meadow; in the later poem, an apparently adult speaker encounters a child chimney sweeper abandoned in the snow while his parents are at church.

william Blake威廉布莱克

“And because I am happy, & dance & sing, They think they have done me no injury, And are gone to praise God & his Priest & King, Who make up a heaven of our misery”.
“Because I was happy upon the heath, And smil‟d among the winter‟s snow; They clothed me in the clothes of death, And taught me to sing the notes of woe.
• 梁宗岱译
扫烟囱孩子（一）选自《天真之歌》（卞之琳译）
• • • •
• • • •
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。”
The Tiger
Ah Sunflower！
• • • • Ah Sunflower, weary of time, Who countest the steps of the sun; Seeking after that sweet golden clime Where the traveller's journey is done;
Literary Creations
1. Poems
Poetical Sketches 《诗歌素描》his first collection of poems Songs of Innocence (1789)《天真之歌》 Songs of Experience (1794)《经验之歌》

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。

英国浪漫主义诗人

英国浪漫主义诗人威廉·布莱克（William Blake，1757---1827），英国第一位重要的浪漫主义诗人、版画家。

主要诗作有诗集《天真之歌》、《经验之歌》等。

早期作品简洁明快，中后期作品趋向玄妙晦涩，充满神秘色彩。

威廉·华兹华斯（William Wordsworth,1770-1850）与柯尔律治（Samuel Taylor Coleridge）、骚塞（Robert Southey）同被称为“湖畔派”诗人（Lake Poets）。

他们也是英国文学中最早出现的浪漫主义作家。

他们喜爱大自然，描写宗法制农村生活，厌恶资本主义的城市文明和冷酷的金钱关系，他们远离城市，隐居在昆布兰湖区和格拉斯米尔湖区，由此得名“湖畔派”。

华兹华斯的主要作品有《抒情歌谣集》《丁登寺旁》《序曲》《革命与独立》《不朽颂》《远足》。

塞缪尔·泰勒·柯勒律治（1772年10月21日－1834年7月25日），英国诗人、文评家，英国浪漫主义文学的奠基人之一。

以〈古舟子咏〉(亦可称作〈古舟子之歌〉)(The Rime of the Ancient Mariner)一诗成为名家，其文评集《文学传记》(Biographia Literaria)以博大精深见称，书中对想像(imagination)与幻想(fancy)的区别尤其著名。

一生作诗不缀，但中年时自称弃诗从哲，精研以康德、谢林为首的德国唯心论。

罗伯特·骚塞（1774—1843）是“湖畔派”三诗人中才气较差的一位。

年青时代思想激进，饱读伏尔泰、卢梭的著作，在威斯敏斯特学校学习时曾因撰文反对校方体罚学生而被开除学籍。

进牛津大学后，他更醉心法国大革命，写史诗《圣女贞德》歌颂革命，后来还与柯尔律治计划在美洲的森林里建立乌托邦社会。

但中年后骚塞的政治态度却变得十分保守，还热衷于趋附权贵，成了统治者的御用文人，并因此获得“桂冠诗人”的称号。

1821年他以桂冠诗人身份作颂诗《审判的幻景》颂扬去世不久的英王乔治三世，攻击拜伦、雪莱等进步诗人，称他们是“恶魔派”（撒旦派）。

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