1、WILLIAM BLAKE -LONDON,students: 方芳 张东梅,William Blakes portrait,Contents,Biography Point of view AchievementsPoem -London,Biography,Born in London on 28 November 1757 As a child ,he was already focused on imagination,the individual,and nature which are themes of the Romantic and Transcendental period
2、. At the age 10,he was enrolled in Henry Pars drawing school. He was exposed to Greek and Roman sculputure, which influenced his later work. At the age 14,he became an apprentice at an engraving business. As an engraver, he learned how to make “copperplates.“that were used as surfaces for etchings.B
3、elow is a picture of some of the tools he used for engraving.A lot of theme look like tools from modern kitchens or garages. As he continued to develop his skill in visual arts,Black also developed his writing skills. In 1783 ,his firstset of poems,Poetical Sketches,was published.,Point of view,Poli
4、tically Black was a rebel, making friends with those radicals. He strongly criticized the capitalist cruel exploitation. He cherished great expectations and enthusiasm for the French Revolution. He once said the “dark satanic mills left men employed , killed children and forced prostitution“. Litera
5、rily Black was the first important romantic poet, showing contempt for the rule of reason, opposite the classical tradition of the 18th century, and treasuring the individuals imagination.,Achievements,Poetry All Religions Are One (1788) America, a Prophecy (1793) Europe, a Prophecy (1794) For Child
6、ren: The Gates of Paradise (1793) For the Sexes: The Gates of Paradise (1820) Poetical Sketches (1783) Songs of Experience (1794) Songs of Innocence (1789) The Book of Ahania (1795) The Book of Los (1795) The First Book of Urizen (1794) The Marriage of Heaven and Hell (1790) The Song of Los (1795) T
7、here Is No Natural Religion (1788) Visions of the Daughters of Albion (1793),A Grain of Sand一粒沙子 William Blake/威廉.布莱克 To see a world in a grain of sand, 从一粒沙子看到一个世界， And a heaven in a wild fllower, 从一朵野花看到一个天堂， Hold infinity in the palm of your hand, 把握在你手心里的就是无限， And eternity in an hour. 永恒也就消融于一个时
8、辰。,LONDON,a I wander thro each charterd street, b Near where the charterd Thames does flow, a And mark in every face I meet b Marks of weakness, marks of woe. c In every cry of every Man, d In every Infants cry of fear, d In every voice, in every ban, c The mind-forgd manacles I hear. e How the Chim
9、ney-sweepers cry f Every blackning Church appalls; e And the hapless Soldiers sigh f Runs in blood down Palace walls. d But most thro midnight streets I hear g How the youthful Harlots curse d Blasts the new born Infants tear, g And blights with plagues the Marriage hearse. oxymoron,Parallelism(repi
10、tation),summary,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 sold
11、ier stains the outer walls of the monarchs residence. The nighttime holds nothing more promising: the cursing of prostitutes corrupts the newborn infant and sullies the “Marriage hearse.”,Form,The poem has four quatrains, with alternate lines rhyming. Repetition is the most striking formal feature o
12、f the poem, and it serves to emphasize the prevalence of the horrors the speaker describes.,解说词 The poems title denotes a specific geographic space. Everything in this urban spaceeven the natural River Thamessubmits to being “charterd,” a term which combines mapping and legalism. Blakes repetition o
13、f this word reinforces the sense of stricture the speaker feels upon entering the city. Blakes 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
14、from a verb to a pair of nounsfrom an act of observation which leaves some room for imaginative elaboration, to an indelible imprint, branding the peoples bodies regardless of the speakers actions All the speakers subjectsmen, infants, chimney-sweeper, soldier, harlotare known only through the trace
15、s 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 wallsbut we never see the chimney-sweep or the soldier themselves. Lik
16、ewise, institutions of powerthe clergy, the governmentare rendered by synecdoche, by mention of the places in which they reside. Indeed, it is crucial to Blakes commentary that neither the citys victims nor their oppressors ever appear in body: Blake does not simply blame a set of institutions or a
17、system of enslavement for the citys woes; rather, the victims help to make their own “mind-forgd manacles,” more powerful than material chains could ever be.,The poem climaxes at the moment when the cycle of misery recommences, in the form of a new human being starting life: a baby is born into pove
18、rty, to a cursing, prostitute mother. Sexual and marital unionthe place of possible regeneration and rebirthare tainted by the blight of venereal disease. Thus Blakes final image is the “Marriage hearse,” a vehicle in which love and desire combine with death and destruction.,Figure of speech,ParallelismIn every cry of every Man,In every Infants cry of fear,In every voice, in every ban,OxymoronAnd blights with plagues the Marriage hearse.,Thank you,
