(第六讲William_Blake

Review Quiz•1. A Red, Red Rose is written by ______ who is called the national poet of ______. The poem’s theme is _____.•A: Robert Burns, Scotland, love•2. Many of Burns’ songs deal with friendship, _____ has long become a universal parting-song of all the English-speaking countries.•A: Auld Lang SyneWilliam Blake: Innocence & ExperienceBlake: Life (1757-1827)•Born in a poor London hosier’s family→ largely self-taught and widely read;•At 7, Blake’s first vision—"a tree filled with angels‖ (right)→ mysticism in his poetry;•At 10, sent to a drawing school—learning to draw from the antique while writing verses under the influence of Ossian poems;Blake: Life•At 14, apprenticed to James Basire, an engraver, who set Blake to copy the sculpture and ornament of old London monuments, in particular Westminster Abbey →influenced by the linear design of medieval art and showing interest in Gothic art;•After his 7-year term, studied briefly at the Royal Academy, but rebelled against the aesthetic doctrines of its president, Sir Joshua Reynolds (calling him "a man hired to depress Art");•By 1780 working for the radical publisher Joseph Johnson, engraving political and literary works.•In 1784 set up a print shop; although it failed after a few years, for the rest of his life, Blake made a living as an engraver and illustrator.Blake: Life•Famous for illustrations:, the Bible, Robert Blair's The Grave, Milton's Paradise Lost, and Dante's Divine Comedy. •Happy marriage with Catherine Boucher in 1783. Though being illiterate, Catherine Boucher became his lifelong apprentice, assistant, guardian and best friend.•While working on John Linnell's commission to illustrate Dante's Divine Comedy, Blake died at home in 1827, at age 70. The Ancient of Days (1794; relief etching with watercolor )The Book of Urizen: The Web of Religion (1794. watercolor and ink on paper )Pietà (watercolor)Satan Smiting Job with Boils (engraving, watercolor)The Body of Abel Found by Adam and Eve (1825; watercolor on wood )Whirlwind of Lovers (1826; watercolor)Newton (1804; color print finished in ink and watercolor on paper)Blake Being A Rebel•Politically the permanent left & mixed a good deal with the radicals like Thomas Paine & William Godwin; •Strongly criticized the capitalists' cruel exploitation→―the dark satanic mills left men unemployed, killed children and forced prostitution.‖•Great expectations & enthusiasm for the French Revolution;Blake the Poet•A precursor of Romanticism in English poetry;•Showing contempt for the rule of reason;•Opposing the classical tradition of the 18th century;•Treasuring the individual's imagination.Blake’s Works•2 groups:•1) His early lyrical poems:•Poetic Sketches (1783)—a collection of youthful verse (joy, laughter, love and harmony)•Songs of Innocence (1789)•Songs of Experience (1794)•* Poetry +Images=combining poetic text and images on the same engraved plate, tinted by hand with watercolor (revealed to him in a vision of his dead brother Robert).•2) “Prophetic Books” :•Marriage of Heaven and Hell (1790~1793): marks Blake’s entry into maturity: his spirit of revolt against oppression; Liberty against the law of bourgeois society•Prophetic Books: Visions of the Daughters of Albion (1791), The Book of Urizen (1794), America (1793), Europe (1794), Milton (1802), The Four Zoas (1803)•*Oblivion for their obscurity.Blake the Poet•His masterpieces:•Songs of Innocence《天真之歌》(1789)•Songs of Experience《经验之歌》(1794)•Blake’s words→Songs of Innocence and of Experience/ Shewing the Two Contrary States of the Human Soul.•Same style (short, lyrical, childlike tone, and simple language) and similar subject matters; the tone, emphasis and conclusion differ.Songs of Innocence•A lovely volume of poems;•A happy and innocent world with all things in harmony, though with its evils and sufferings→ depict the happy condition of a child before it knows anything about the pains of experience;•Subjects: Delight in the sun, the hills, the streams, the insects and the flowers, the innocence of children and of the lamb. Songs of Experience•More mature work; The poet’s eyes opened to the evils and vices of the world;•The world full of misery, poverty, disease, war and repression;•A melancholy tone: the atmosphere of intense sorrow and sadness, esp. for small children.•The harsh experiences of adult life destroy what is good in innocence;•Rewrote and revised a number of poems from Songs of Innocence in Songs of Experience →the joyful atmosphere or the harmonious ending →a bitter mood or a sad story, e.g. two ―The Chimney Sweeper‖.Features of Blake’s Poetry•A. Mysticism: Influenced by the Swedish theologian Emanuel Swedenborg (Swedenborgianism);•B. Natural sentiment and individual originality are essential to literary creation;•C. ―Without contraries is no progression.‖•D. The revolutionary passion•E. SymbolismLondon (1793)Q & A•What is the rhythmical pattern of the poem? --iambic tetrameter•What is the rhyme scheme of the poem? --a b a b/ c d c d/ e f e f/ d g d g•Stanza I Sights•1. Where is the poet?•2. What does he see?•Stanza II Sounds•1. What does he hear?•2. What is the sound which he can hear while others cannot hear?•3. What d oes the speaker mean when he says ―The mind-forg’d manacles I hear‖? --the manacles made by the minds of the rulers. The poet here suggests that the basic cause of the various forms of oppression he mentions is a kind of mental enslavement.London•Stanza III Sounds•1. What rhetorical device is mainly used in this stanza?•Bold and sharp contrast•2. Why does the poet use the sharp contrast?•What does the “blackening Church” suggest? What does the palace represent?•--Every London church grows black due to soot and air pollution and then hires a chimney sweeper, usually a small boy, to help clean it.•The poet suggests that the church makes profits from the suffering of the child laborer and hence, is soiling its original purity.•The church=the clergy, the palace=the government →the device of synecdoche (提喻法, uses places to refer to the institutions).•Stanza IV Sounds and sights•What does Blake want to show in the last 2 stanzas?•Why does the poet use the phrase ―Marriage hearse‖? What kind of plague would be associated with the harlot’s curse?•--the use of oxymoron (矛盾修饰法)→ satirically to compare the wedding to a funeral and combine love, desire with death and destruction.•The harlot spreads the plague of syphilis, which, carried into marriage, can cause a baby to be born blind. Sexual and marital union, the place of possible regeneration and rebirth, are tainted by the blight of venereal disease.•What is the main idea of the poem?•--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 whole picture of miseries of the common people in London is reflected in all its bareness.•The poet utters his social criticism and reveals the evils of the commercial capitalism and attacks certain institutions like the clergy and the government.•Repetition is the most striking formal feature of the poem. What role does it play?•--Chartered→ the streets and river are monopolized, imprisoned and enslaved, just like every inhabitant of London.•--Chartered & mark→ reinforce the sense of stricture the speaker feels upon entering the city.•--Every→emphasizes the prevalence of misery and horror among the people in London, which reflects the suffocating•Anvil music:•1) Simple, short easy words are repeatedly used.•2) Regular stanza form – four-line stanza with rhyme scheme a b a b•Past-participle is used as adjective which makes the poem more vivid, and deeply, clearly expresses the poet’s theme.•Repetition•Synecdoche•Synesthesia•Oxymoron。

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（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.。

William Blake (1757 - 182 7 / London / England)Education and lifethe second of five children;In 1772 he was apprenticed to an engraver and was sent to make drawings of the sculptures in Westminster Abbey, and thus awakened his interest in Gothic art.In 1779 the Royal Academy as an engraving student.On Aug. 18, 1782, Blake married Catherine Boucher,、Early in 1787 his brother Robert died。

Illuminated printing.1824, make a series of illustrations based on Dante's Divine Comedy.Died on Aug. 12, 1827.Point of viewPolitically Black was a rebel, making friends with some radicals. He strongly criticized the capitalist cruel exploitation. He cherished great expectations and enthusiasm for the French Revolution.Literarily Black was the first important romantic poet, showing contempt for the rule of reason, opposite the classical tradition of the 18th century.Writing featuresBlake writing his poems in plain an direct language. He presents his view in visual images rather that abstract ideas.Symbolism in wide range is a distinctive feature of his poetryThe subject matter of his works were Romantic in their nature because they included discussion of nature religion, the individual ,and ideas from his own imagination.Main Works1783 Poetical Sketches1789 Songs of Innocence The Book of Thel1790 The Marimage of Heaven and Hell1793 Visions of the Daughters of Albion1794 Songs of Experience1795 The Songs of LosPictorial workCompletely out of the artistic mainstreamEnglish figurative painting of the later 18th century.Blake stressed the primacy of art created from the imagination over that drawn from the observation of nature.He was an engraver, painter and a political activist as well as one of the most revolutionary of the Romantic. In the Twentieth century, Blake has been recognized as a highly original and important poet, artist and writer, and as a member of an enduring tradition of visionary artists and philosophers, an individualist, a libertarian, and an uncompromising critic of orthodoxy and authoritarianism.Geoffrey Chaucer Herbert Spencer John Milton Wordsworth，William ShakespeareSongs of Innocence is Blake's first masterpiece of "illuminated printing." differs radically from the rather derivative pastoral mode of the Poetical Sketches; in the Songs, Blake took as his models the popular street ballads and rhymes for children of his own time, transmuting these forms by his genius into some of the purest lyric poetry in the English language.Songs of Experience in Blake's own words "showing the two contrary states of the human soul.”The "two contrary states" are innocence, when the child's imagination has simply the function of completing its own growth; and experience, when it is faced with the world of law, morality, and repression. The earlier collection's celebration of a beneficent God is countered by the image of him in Experience, in which he becomes the tyrannous God of repression. The key symbol of Innocence is the Lamb; the corresponding image in Experience is the Tyger, The Tyger in this poem is the incarnation of energy, strength, lust, and cruelty, and the tragic dilemma of mankind is poignantly summarized in the final question, "Did he who made the Lamb make thee?"He contrast with "The Lamb" is obvious. ("Little Lamb, who made thee? Dost thou know who made thee?" The answer is God, who became incarnate as Jesus the Lamb.) "The Tyger" asks, "Did he who made the Lamb make thee?" And the answer is, "Yes, God made the Tyger too." In The Tyger Blake points to the contrast between these two animals: the tiger is fierce, active, predatory, while The Lamb is meek, vulnerable and harmless. The tiger is symbol of (endangered) wildlife, and the beauty and the horror of the natural world.To understand "The Tyger" fully, you need to know Blake's symbols. One of the central themes in his major works is that of the Creator as a blacksmith. This is both God the Creator (personified in Blake's myth as Los) and Blake himself (again with Los as his alter-ego.) Blake identified God's creative process with the work of an artist. And it is art that brings creation to its fulfillment -- by showing the world as it is, by sharpening perception, by giving form to ideas. Blake considered our own world to be a fine and wonderful place, but one that would ultimately give way to a restored universe. Blake believed that his own visions, which included end-of-the- world images and sometimes a sense of cosmic oneness, prefigured this, and that his art would help raise others "to the perception of the infinite."。

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)。