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从英诗的美学角度鉴赏《London》

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》

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

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

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 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》

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

London deals with the dreadful（可怕的）scene in the industrialized London in the 18th century. In the first stanza（节）, Blake gives an overview of the city and successfully creates the gloomy, dark and suffocating（令人窒息的）atmosphere. Blake applies varied rhetorical devices（修辞手法）in the poem,of which the most striking and significant is repetition. For example, the word “chartered” is reiterated i n 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”(li ne 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. “Mindforged manacle” is a metaphor（象征）. Blake compares limitations with manacles. The expression that Blake hears “manacles” is synesthesia（牵联感）.

英美文学London-William Blake

—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。

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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.