William Blake简介

威廉·布莱克（William Blake，1757年-1827年），是英国浪漫主义文学的先驱者之一，同时又是18世纪英国文学的特殊代表。

他在文学领域涵盖了诗歌、散文、绘画等多种形式，作为一位多才多艺的艺术家，他的作品广泛地表达了对宗教、社会、政治等方面的兴趣和反思。

在威廉·布莱克的文学作品中，最为人熟知的是他的诗歌作品。

他的诗歌作品以其深刻的思想和独特的艺术表现形式而著称，打破了当时诗歌创作的传统形式，开辟了新的文学风景。

以下将对威廉·布莱克的文学作品进行探讨和分析。

一、威廉·布莱克的诗歌作品1. "The Tyger"（《老虎》）这首诗是威廉·布莱克最著名的作品之一，被誉为是他的代表作。

诗中描绘了一只老虎的形象，探讨了人类对于自然、创造力和造物主的认知与思考。

通过对老虎的描绘，布莱克表达了对造物主的钦佩和对自然的敬畏之情，同时也蕴含着对于恶和暴力的思考。

2. "Songs of Innocence and Experience"（《无辜与经验之歌》）这是布莱克的一部诗集，包含了一系列的短诗，主题涵盖了对于童年时期的无辜与纯真的追忆，以及成年后所面临的经验和挑战。

诗集中的作品多以儿童的视角来描绘世界，通过对无辜和经验的对比，反映了布莱克对人性和社会的深刻思考。

3. "The Marriage of Heaven and Hell"（《天堂与地狱的婚姻》）这首诗是布莱克的另一部代表作，通过对天堂和地狱的对立与统一的思考，表达了布莱克对于宗教、道德和人性的独特见解。

诗中融合了宗教、哲学、神秘主义等多种元素，展现了布莱克独特的艺术风格和思想深度。

二、威廉·布莱克的散文作品除了诗歌作品之外，布莱克还有大量的散文作品，其中最著名的是《天真与经验的对照》，这部作品深刻地探讨了人类天性和社会现实的关系，对于儿童、教育和社会问题进行了系统性的分析和解读。

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.。

William Blake 18世纪（william blake 18世纪）我知道这个世界是一个想象和想象的世界。

“我工作的本质是想象力丰富的想象力。

”---威廉·布莱克（1757-1827）前浪漫主义前浪漫主义是什么时候出现的？在十八世纪的后半部分前浪漫主义的主要特征是什么？浪漫主义的复兴；强烈反对古典主义的束缚激情与情感的诉求对中世纪文学的新兴趣代表是谁？威廉·布莱克和罗伯特·彭斯有什么意义？标志着古典主义的衰落。

为英国浪漫主义的到来铺平道路生活出生在伦敦绘画天才雕刻机幸福的婚姻生活在贫困中主要文学作品诗歌小品（1783）：他最早的诗歌，充满了欢乐、欢笑、爱和和谐纯真之歌（1789）：呈现一个快乐而纯真的世界，尽管它的罪恶和苦难天堂与地狱的婚姻（1790）：他的第一个预言家的工作和最重要的散文作品；对立面的关系探讨。

经验之歌（1794）：以忧郁的语调呈现一个悲惨、贫穷、疾病、战争和镇压的世界。

耶路撒冷：巨大的阿尔比恩的放射（1820）：他长的照明工作；阐明他的想象理论纯真之歌（1809）一卷可爱的诗集，呈现出一个快乐而纯真的世界，尽管不是没有罪恶和苦难。

然而，在《小黑人男孩》和《扫烟囱工》中，我们发现了穷人的种族歧视和苦难。

经验之歌（1794）成熟得多的工作展示悲惨的苦难这标志着诗人在人生观上的进步。

对他来说，经验使人们更清楚地认识到邪恶的力量，以及人们生活中的巨大痛苦和痛苦。

象征从羔羊变成老虎。

天真的预言天真的预言威廉·布莱克布莱克从一粒沙子看到一个世界一沙一世界，从一朵野花看到一个天堂，一花一天空；把握在你的手掌内包无限无限，永恒在一小时内。

片刻现永恒。

威廉·布莱克“老虎”p.288the虎”被一位评论家描述为布莱克的“最”充分发展艺术——一个通过使用小的启示，通过符号的深刻运用而获得更大发现的过程。

Tiger! Tiger！ In the forest of darknessBurning bright light,What immortal hand or eyeYou made such a mighty?Thine eyes of fire twoHow far away is the sky or the abyss?On what wings did he fight?With what hand do you take the fire?What is the physical skills, how,The sinews of thy heart?When your heart starts beating,How to use fierce wrists and shins?Tyger! Tyger! Burning bright!In, the, forests, of, the, night,What, immortal, hand, or, eyeCould, frame, thy, fearful, symmetry?In, what, distant, deeps, or, skiesBurnt, the, fire, of, thine, eyes?On, what, wings, dare, he, aspires?What, the, hand, dare, seize, the, fire?And, what, shoulder & & what art,Could, twist, the, sinews, of, thy, heart?And, when, thy, heart, began, to, beat,What, dread, hand, and, what, dread, feet? What kind of mallet is it? What kind of chain?In what furnace would you make your head? What the anvil? How TiebiDare its deadly terrors clasp?When the stars threw down their spears. And watered heaven with their tears, Does he smile at his work?He created you, and created the lamb Tiger！ Tiger！ In the forest of darkness Burning bright light,What immortal hand or eyeYou made such a mighty?What, the, hammer, What, the, chain?In, what, furnace, was, thy, brain? What, he, anvil, What, dread, grasp Dare, its, deadly, terrors, clasp?When, the, stars, threw, down, their, spears,And water ', D, heaven, with, their, tears,Did, he, smile, his, work, to, see?Did, he, who, made, the, Lamb, make, thee?Tiger! Tiger! Burning bright!In, the, forests, of, the, night,What, immortal, hand, or, eye,Dare, frame, thy, fearful, symmetry?Question 1What, parts, of, the, tiger, have, been, described,, in, the, poem?Eyes:, burning, bright, in, darkness/, fieryFigure: in fearful symmetryHeart:, hard, to, twist, its, sinews, sturdyHand and feet: dreadfulBrain: framed in furnace; strongQuestion 2What, does, the, tiger, stand, for, or, symbolize?Powerful, force, with, terror, mystery, and, violenceEg:, fearful, symmetry, dread, handSymbolismThe creation verbs "twist," "dare," "burnt," "and seize" emphasize the danger and daring of the Creation Act, while the place of creation is described as a distant, fiery furnace., And the "hammer," "anvil," "and furnace" are images of an industrial revolution which Blake would have seen approaching in his lifetime.The creator persona featured in the poem "twisted the sinews" of the tiger heart. These sinews are the tendons which make the heart (hamstring) work; they are the source of power, the biological engine as well as a symbol of the Tiger s passion for living. tiger "! Tiger！ In the forest of darknessBurning bright light,What immortal hand or eyeYou made such a mighty?Thine eyes of fire twoHow far away is the sky or the abyss?On what wings did he fight?With what hand do you take the fire?What is the physical skills, how,The sinews of thy heart?When your heart starts beating,How to use fierce wrists and shins?What kind of mallet is it? What kind of chain? In what furnace would you make your head? What the anvil? How TiebiDare its deadly terrors clasp?When the stars threw down their spears.And watered heaven with their tears,Does he smile at his work?He created you, and created the lambTiger！ Tiger！ In the forest of darkness Burning bright light,What immortal hand or eyeYou made such a mighty?Southern China tiger, a famous modern poet, Niu Han In GuilinIn the little ZooI saw a tiger.I huddled among the chattering crowdTwo iron fencesTo the caged tigerLooked around for a long time,But I never saw himThe tiger's gorgeous faceAnd flaming eyes.Your strong legsStretched rigid around,I see every claw of your feetIt's all broken,Congealed with blood,Your toes!It's tied upDid you hinge off alive?Or because of grief and indignation?You use the same broken teeth(heard your teeth are cut off by hacksaw Their blood and teeth......I saw the cageGray cement wallThere is a trail of bloody ravinesLike a flash of lightning which are dazzling!I finally understand......Left the zoo in shame.I heard a tranceThe roar,Have an unruly soulOver my headFly away,I saw flaming markingsFlaming eyes,And huge and brokenA bloody claw!His, Positions, in, English, LiteratureThe, most, extraordinary, literary, genius, of, his, ageA, Pre-Romantic, or, a, forerunner, of, the, Romantic, poetry, of,, the, 19th, Century()) His, lyrics, display, all, the, characteristics, of, the, romantic, spirit (natural, sentiment & individual, originality)()) He, influenced, the, Romantic, poets, recurring, themes,of, good, and, heaven, and, hell, knowledge, and, innocence, and, evil,, external, reality, with, versus, inner, imagination.。

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.。

william blake的诗歌威廉·布莱克（William Blake）是18世纪英国的一位重要诗人、画家和版画家。

他的诗歌作品独特而又富有表现力，通常涉及宗教、自然和人类心灵的主题。

在他的作品中，布莱克探索了人类存在的意义、灵魂的复杂性以及社会的不公。

布莱克的诗歌作品可以分为两种风格：一种是具象与清晰的，另一种是模糊与抽象的。

无论是哪种风格，他都热衷于使用象征、隐喻和对比手法，以便传递他深刻的思想和感受。

布莱克的一系列诗歌作品，如《天国之书》（The Book of Thel）、《无辜之书》（The Book of Innocence）和《经验之书》（The Book of Experience），反映了他对人类经验的深度思考。

这些作品以寓言形式呈现，探讨了人类天性、天堂、地狱和苦难等主题。

布莱克在这些诗歌中使用了自己创造的象征符号和画面，以帮助读者更好地理解他表达的思想和情感。

举例来说，《天国之书》中的《铸光者》（The Clod and the Pebble）是一首描写爱情的诗歌。

通过比较泥土和鹅卵石的态度，布莱克表达了对不同类型的爱之观念。

泥土代表了无私和牺牲的爱，而鹅卵石则代表自私和占有的爱。

这首诗歌充满了对人类情感复杂性的思考，在简洁的文字中呈现了丰富的意义。

布莱克的另一首著名诗作是《西南风》（The Tyger），它反映了人类理解上帝造物之奇妙的困扰。

诗歌以问句的形式提出一系列问题，探讨了创造者和创造物之间的关系。

布莱克使用强烈的视觉、听觉和意象，将读者引入对善恶、美丽和恐怖之间微妙辩证关系的探索。

此外，布莱克的《杀人蠕虫的咒语》（The Chimney Sweeper）系列诗歌描述了伦敦的烟囱清扫工人的悲惨生活。

这些诗歌揭示了工业时代社会不正义的一面，探讨了儿童权益和社会贫困的问题。

通过讲述一个受苦受难的孩子的悲惨故事，布莱克谴责了身体和心灵的压迫。

无论是诗歌还是他的版画作品，布莱克都常常使用黑暗和光明的对比，以表达他对人类存在的矛盾和复杂性的认识。

williamblake 春天的诗歌
原文：
《春之颂》
春风拂柳绿，花苞欲吐鲜。

彩蝶翩翩舞，暖阳照大千。

一、衍生注释：
“春风拂柳绿”：春风轻柔地吹拂着柳树，使之变得翠绿。

“花苞欲吐鲜”：花骨朵即将绽放，展现出鲜艳的色彩。

“彩蝶翩翩舞”：色彩斑斓的蝴蝶在空中优美地飞舞。

“暖阳照大千”：温暖的阳光照耀着广阔的天地。

二、赏析：
这首诗用简洁而生动的语言描绘了春天的景象。

春风、柳绿、花苞、彩蝶、暖阳，这些元素共同构成了一幅充满生机与活力的春景图。

诗
句的语言清新自然，让人仿佛能身临其境，感受到春天的美好和温暖。

三、作者介绍：
William Blake（威廉·布莱克）是 18 世纪末、19 世纪初的英国诗人、画家。

他的作品具有独特的想象力和神秘主义色彩，常常探讨宗教、
人性和自然等主题。

四、运用片段：
春天来了，我漫步在公园，眼前的景象不正是威廉·布莱克笔下“春
风拂柳绿，花苞欲吐鲜。

彩蝶翩翩舞，暖阳照大千”的美好吗？你看那
柳树在微风中摇曳，好似在向人们诉说着春天的故事；花朵努力地绽
放着自己的美丽，仿佛在争奇斗艳；蝴蝶在花丛中穿梭，如同快乐的
精灵；阳光温暖地洒在大地上，给万物带来了生机和希望。

这样的春天，怎能不让人心生欢喜？。

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.。