tyger
The-Tyger英文赏析
The Tyger and The lamb: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 reference to the lamb in the penultimate stanza reminds the reader that a tiger and a lamb have been created by the same God, and raises questions about the implications of this. It also invites a contrast between the perspectives of "experience" and "innocence" represented here and in the poem "The Lamb." "The Tyger" consists entirely of unanswered questions, and the poet leaves us to awe at the complexity of creation, the sheer magnitude of God's power, and the inscrutability of divine will. The perspective of experience in this poem involves a sophisticated acknowledgment of what is unexplainable in the universe, presenting evil as the prime example of something that cannot be denied, but will not withstand facile explanation, either. The open awe of "The Tyger" contrasts with the easy confidence, in "The Lamb," of a child's innocent faith in a benevolent universe.Theme:The poem is more about the creator of the tiger than it is about the tiger itself. The poet was at a loss to explain how the same God who made the lamb could make the tiger. So, the theme is : humans are incapable of fully understanding the mind of God and the mystery of his handiwork.Symbolism:Black 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 poetry. The Tyger, included in Songs of Experience, is one of Blake's best-known poems. It seemingly praises the great power of tiger, but what the tiger symbolizes remains disputable: the power of man? Or the revolutionary force? Or the evil? The poem is highly symbolic with a touch of mysticism and it is open to various interpretations. The tiger initially appears as a strikingly sensuous image. However, as the poem progresses, it takes on a symbolic character, and comes to embody the spiritual and moral problem the poem explores: perfectly beautiful and yet perfectly destructive, Blake's tiger becomes the symbolic center for an investigation into the presence of evil in the world. Since the tiger's remarkable nature exists both in physical and moral terms, the speaker's questions about its origin must also encompass both physical and moral dimensions. The poem's series of questions repeatedly ask what sort of physical creative capacity the "fearful symmetry"of the tiger bespeaks; assumedly only a very strong and powerful being could be capable of such a creation.Background:"The Tyger" just might be William Blake’s most famous poem. Published in a collection of poems :Songs of Experience in 1794, Blake wrote "The Tyger" during his more radical period. He wrote most of his major works during this time, often railing against oppressive institutions like the church or themonarchy, or any and all cultural traditions – sexist, racist, or classist –which stifled imagination or passion. The French revolution is a revolution against the feudalism, it has profound effects on the Britain. It brings the thoughts of “liberty”, “equality”, “fraternity”to the English. After the industrial revolution, the contradictions of the British social class becomes more serious. People found that the industry and technology just brought them with pain instead of happiness. So more and more people became disappointed about the society. That’s why William Blake has changed his writing style during this time.Blake published an earlier collection of poetry: the Songs of Innocence in 1789. Once Songs of Experience came out five years later, the two were always published together. In general, Songs of Innocence contains idyllic poems, many of which deal with childhood and innocence. Idyllic poems have pretty specific qualities: they’re usually positive, sometimes extremely happy or optimistic and innocent. They also often take place in pastoral settings :think countryside; springtime; harmless, cute wildlife; sunsets; babbling brooks; wandering bards; fair maidens, and many times praise one or more of these things as subjects. William Blake published the Songs of Experience in 1794, often railing against oppressive institutions like the church or the monarchy, or any and all cultural traditions –sexist, racist, or classist –which stifled imagination or passion. The Songs of Innocence was published in 1789. In general, Songs of Innocence contains idyllic poems, many of which deal with childhood and innocence. Idyllic poems have pretty specific qualities: they’re usually positive, sometimes extremely happy or optimistic and innocent. They also often take place in pastoral settings :think countryside; springtime; harmless, cute wildlife; sunsets; babbling brooks; wandering bards; fair maidens, and many times praise one or more of these things as subjects. The themes of the two collections are extremely different.The first and last stanzas are identical except the word "could" becomes "dare" in the second iteration. Kazin says to begin to wonder about the tiger, and its nature, can only lead to a daring to wonder about it. Blake achieves great power through the use of alliteration ("frame" and "fearful") combined with imagery, (burning, fire, eyes), and he structures the poem to ring with incessant repetitive questioning, demanding of the creature, "Who made thee?". In the second stanza the focus moves from the tiger, the creation, to the creator – of whom Blakes wonders "What dread hand? & what dread feet?" . "The Tyger" is six stanzas in length, each stanza four lines long. Much of the poem follows the metrical pattern of its first line and can be scanned as trochaic tetrameter catalectic. A number of lines, however—such as line four in thefirst stanza—fall into iambic tetrameter.The first and last stanzas are identical except the word "could" becomes "dare" in the second iteration. Kazin says to begin to wonder about the tiger, and its nature, can only lead to a daring to wonder about it. Blake achieves great power through the use of alliteration ("frame" and "fearful") combined with imagery, (burning, fire, eyes), and he structures the poem to ring with incessant repetitive questioning, demanding of the creature, "Who made thee?". In the second stanza the focus moves from the tiger, the creation, to the creator – of whom Blakes wonders "What dread hand? & what dread feet?".[1] "The Tyger" is six stanzas in length, each stanza four lines long. Much of the poem follows the metrical pattern of its first line and can be scanned as trochaic tetrameter catalectic. A number of lines, however—such as line four in thefirst stanza—fall into iambic tetrameter.The Tyger" is the sister poem to "The Lamb" (from "Songs of Innocence"), a reflection of similar ideas from a different perspective (Blake's concept of "contraries"), with "The Lamb" bringing attention to innocence. "The Tyger" presents a duality between aesthetic beauty and primal ferocity, and Blake believes that to see one, the hand that created "The Lamb", one must also see the other, the hand that created "The Tyger”. The Songs of Experience were written as a contrary to the "Songs of Innocence" – a central tenet in Blake's philosophy, and central theme in his work The struggle of humanity is based on the concept of the contrary nature of things, Blake believed, and thus, to achieve truth one must see the contraries in innocence and experience. Experience is not the face of evil but rather another facet of that which created us. Kazin says of Blake that, "Never is he more heretical than ... where he glories in the hammer and fire out of which are struck ... the Tyger".[1] Rather than believing in war between good and evil or heaven and hell Blake thought each man must first see and then resolve the contraries of existence and life; in the "The Tyger" he presents a poem of "triumphant human awareness", and "a hymn to pure being", according to Kazin.。
回归虎性_布莱克_老虎_一诗的主题分析
第8卷第4期燕山大学学报（哲学社会科学版）V ol.8No.4 2007年12月Journal of Yanshan University(Philosophy and Social Science Edition)Dec.2007威廉布莱克的著名短诗《老虎》对老虎的活力和能量中体现的雄浑之美与和谐之美进行讴歌，该诗表达了诗人的辩证哲学观：恶是一种自然状态，它和社会进步必不可分。
[关键词]美感；邪恶；自然状态[中图分类号]I32[文献标识码]A[文章编号]1009-2692(2007)04-0113-04[收稿日期]2007-05-20[作者简介]刘丽霞（1977－），女，内蒙古鄂尔多斯人，燕山大学外国语学院讲师；王娜（1982－），女，河北廊坊人，燕山大学外国语学院助教。
114燕山大学学报(哲学社会科学版)2007年下抛在读者面前。
不仅如此，为了更好地烘托老虎的雄浑之美与和谐之美，诗人对整首诗的节奏安排、结构安排和比喻意象的挑选也是匠心独具。
在诗中，节奏对体现主题起着重要作用。
几乎每个热爱诗歌的人看到这首诗都忍不住大声的读出来：Tyger,tyger,burning brightIn the forests of the night,What immortal hand or eyeCould frame thy fearful symmetry?当我们双唇用力发出这些铿锵有力的爆破音[t],[b]及元音[ai]时，我们仿佛感到了老虎那神圣的威严和一触即发的爆发力。
在诗行内部诗人使用“burning bright”、“distant deeps”、“frame thyfearful”等押头韵的词，而整首诗的韵律则是两行押运，更增加了节奏的紧迫感；在视觉和听觉上达成一种共鸣，总体创造出一种强度和张力，强化了老虎的雄浑意象。
而这种雄浑的力道之美又被包裹在一种和谐美当中，诗人用“可怕的对称（fearful symmetry）”耶利米书》中的一段来解释老虎中火的象征意义，引用如下：Deliver him that is spoiled out of the hand of theoppressor,lest my fury go out like fire,and burn that none can quench it,because of the evil of your doingÒ®ºÍ»ªÓÖ˵£¬Îұذ´ÄãÃÇ×öʵĽá¹ûÐÌ·£ÄãÃÇ¡£ÎÒÒ²±Øʹ»ðÔÚҮ·ÈöÀäµÄÁÖÖÐ×ÅÆ𣬽«ËýËÄΧËùÓеľ¡ÐÐÉÕÃð¡££©£¨Ò®ÀûÃ×Êé21:12-14）根据以上引文，王先生认为森林中的火象征了被压迫者对压迫者的愤怒。
英语诗歌赏析
William Blake 威廉·布莱克(1757—1827)Of all the romantic poets of the eighteenth century, William Blake is the most independent and the most original. Blake, born on 28 November 1757, the son of a London haberdasher, was a strange, imaginative child, whose soul was more at home with brooks and flowers and fairies than with the crowd of the city streets. Beyond learning to read and write, he received no ducation. His only formal education was in art: at the age of 10 he entered a drawing school and later studied for a time at the school ofthe Royal Academy of Arts. At 14 he apprenticed for seven years to a well-known engraver, James Basire, read widely in his free time, and began to try his hand at poetry. At24 he married Catherine Boucher, daughter ofa market gardener. She was then illiterate, but Blake taught her to read and to help him in his engraving and printing. In the early and somewhat sentimentalized biographies, Catherine is represented as an ideal wife for an unorthodox and penniless genius. Blake, however, must have been a trying domestic partner, and his vehement attacks on the torment caused by a possessive, jealous female will, which reached their height in 1793, and remained prominent in his writings for another decade, probably reflect a troubled period at home. The couple had no children.In 1800, he moved to Felpham in Sussex, where he had a patron who wanted to transform Blake into a conventional artist and bread earner. But Blake had his ideals and wanted to pursue his spiritual life. He rebelled. After three years at Felpham Blake moved back to London, determined to follow his “Divine Vision” though it meant a life of isolation, misunderstanding, and poverty. He had a one-man show put on in 1809, which proved a total failure. Blake passed into almost complete obscurity. Only when he was in his 60’s did he finally attract a small but devoted group of young painters who served as an audience for his work and his talk, Blake’s old age was serene, selfconfident, and joyous, largely free from the bursts of irascibility with which he had earlier responded to the shallowness and blindness of the English public. He died in his seventieth year in 1827.Blake was a very important poet in the history of English literature. His poems seem easy, but difficult to understand onaccount of his use of mysterious images and symbols. And one cannot really understand him if not versed in religious knowledge.He was strongly influenced by The French Revolution, the ideas of Thomas Paine, William Godwin, Mary Wollstonecraft and others. His main works include Songs of Innocence (1789) and Songs ofExperience (1794), The Marriage of Heaven and Hell (1790).London1I wander thro 2 each charter’d 3 street,Near where the charter’d Thames 4 does flow,And mark 5 in every face I meetMarks of weakness, marks of woe.In every 6 cry of every Man,In every Infant’s cry of fear,In every voice, in every ban, 7The mind-forg’d manacles 8 I hear.How the chimney-sweeper’s 9 cryEvery blackning 10 church appalls; 11And the hapless Soldier’s sighRuns in blood down Palace walls. 12But most 13 thro’ midnight streets I hearHow the youthful Harlot’s curseBlasts 14 the new-born Infant’s tear,And blights 15 with plagues 16 the Marriage hearse. 17 注释1. “London”: from Songs of Experience2. thro’: through3. charter’d: chartered, 指享有专利权的大商人或大公司所独占的4. Thames: 泰晤士河5. mark: notice6. every: 具体地从成人和婴儿、话语和法令的角度描绘伦敦的苦难7. ban: 禁令8. mind-forg’d manacles: 指用英国统治阶级思想铸成的镣铐，-forg’d: -forged9. chimney-sweeper: 扫烟囱者10. black’ning: blackening11. appalls: be surprised12. And the hapless soldier’s sigh / Runs in blood down palace walls:诗人听到不幸士兵的叹息，仿佛看到他们的鲜血正从王宫的墙壁上流下来。
描写动物的英语押韵诗
描写动物的英语押韵诗以下是一首描写动物的英语押韵诗：Tyger!Tyger!burning bright,In the forests of the night,What immortal hand or eye Could frame thy fearful symmetry?In what distant deeps or skies Burnt the fire of thine eyes!On what wings dare he aspire?What the hand,dare sieze the fire?And what shoulder,and what art,Could twist the sinews of thy heart?And when thy heart began to beat,What dread hand?and what dread feet?What the hammer?what the chain?In what furnace was thy brain?What the anvil? what degree despiteful fire?deserted free?Who hath mingled the cup of Soma,With the waters of Zam-ma?In what wrestle souncèd theela,When the Bear invaded Soma?In whatfountain or what cave Imbibed they the pencil?whose wrists are the mightier For the dark to support so weighty a pen?Tyger!Tyger!burning bright,In the forests of the night,What immortal hand or eye, Dare frame thy fearful symmetry?。
郭沫若翻译思想与作品评析
In the forests of the night,
What immortal hand or eye
Could frame thy fearful symmetry?
In what distant deeps or skies
Burnt the fire of thine eyes?
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一株树，他的饥渴的嘴
吮吸着大地的甘乳。
-
一株树，他整日望着天
高攀着叶臂，祈祷无语。
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一株树，夏天在他的发间
会有知更鸟砌巢居住。
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一株树，白雪躺在他胸上，
他和雨是亲密的伴侣。
-
诗是我辈愚人所吟，
树只有上帝才能赋。
THE OUTCAST(冥冥)By A.E --郭沐若译文
Sometimes when alone
Winter moon《冬月》By Evelyn Scott郭沬若译
冬月
初月如银钩，
吹过冰岩沼；
如钩初月白，
吹渡寒郊草。
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Winter moon
By Evelyn Scott伊夫林.斯科特
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A little white thistle moon
Blown over the cold crags and fens；
地板也不怕冷。
门户就是半开着，
也不怕有甚眼睛。
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哦，种地回来的人们！
请把脚步放轻，放轻。
玛莉亚要把青披衫，
盖上宝宝的身！
Trees-- By Joyce Kilmer树郭沬若译(17)
I think that I shall never see
修辞与文体论文试析威廉布莱克诗歌老虎thetyger的修辞妙用
A Stylistic Analysis of William Blake’s Poem“The Tyger”Abstract: William Blake’s The Tyger is considered one of his best poems for its marvelous use of illusion and symbols and its musical beauty. In the thesis, the author attempts to make a stylistic analysis of this poem, and the analyses will focus on the phonological, graphological, lexical, syntactical and semantical levels of the poem. Key words: William Blake; the Tyger; stylistic IntroductionWilliam Blake, poet, painter, and visionary, was considered by many one the forerunners of British Romanticism, whose most poems are concerned with creation and full of romantic elements. Among his works, Songs of Innocence and Songs of Experience are two famous ones. The Tyger, one poem in Songs of Experience, has been described by one critic as Blake’s most fully developed art --- a process using small revelations leading to greater discoveries through profound use of symbol.Born into a time when the society was experiencing great changes---the Industrial Revolution, Blake was amazed and astonished the creation as well as the destruction the power of the revolution can bring. In this poem, by bringing forth the central image the tiger and describe both the tiger and the creation of the tiger, Blake poses many questions without answering them, leaving the readers to think.In order to get his ideas across, Blake uses many unique techniques in this poem to get the effect of foregrounding if considered under the term of stylistics. So in the following part of the thesis, we will deal with the stylistic features in details at four levels: phonological, graphological, lexical and semantic respectively.I. At the Phonological LevelMeterIn this poem, William Blake adopted the trochaic tetrameter in the whole poem so as to imitate the sound in a forge and set the dignified and stately tone for the whole poem:_V_V_V__V_V_V__V_V_V__V_V_V_By deliberately making the stress sounds fall into the more important words, Blake expresses the power and strength of the tiger, and adds to the musical beauty when reading it.RhymeThe rhythmical sounds in this poem is achieved by the use of regular end rhymes,which is presented by the rhyme pattern aabb ccdd eeff gghh iijj aabb, and such figures of speech as alliteration and repetition.Every two lines have the same endrhyme(bright/night, eye/symmetry, skies/eyes ) and most of the rhymes are masculine rhymes(bright/night, art/heart, see/thee), which strengthen the image of the tiger with an overwhelming momentum; repetition is used for the subject discussed(Tyger! Tyger ) and also the first stanza and the last one are identical so that readers can feel the power of the beast from the very beginning; Blake also employs alliteration abundantly(burning bright, what wings, distant deeps, began to beat, dare its deadly terror clasp, frame thy fearful symmetry ), among which many stops such as /b/ /d/ /t/ /p/ are used to imitate the sound of the hammer, thus paint a vivid image in front of the reader of the making of the tiger, also give them a hint of the destructive force of the beast. II. At the Graphological LevelFormatThe whole poem contains six stanzas and each stanze is a quatrain, adding that the first stanza and thelast one are identical, so the poem has a beauty of uniformity in the term of the form. Also the repetition ofthe stanzas makes the theme profound.PunctuationThrough the unconventional use of punctuation,particularly the question mark, Blake in this poem uses twelve whats(what dread hand? And what dread feet? ) to pose questions to create an atmosphere of mystery,giving the image of the tiger a mysterious and religious color. The exclamations used to address the tiger(Tyger! Tyger! ) help to emphasize the urgency of the question. CapitalizationIn the whole poem, except the first word of each line and the beginning of a sentence, there is still one word capitalized(Lamb in line 20 ), which probably is the intertextuality with Blake’s another poet The Lamb. By the contrast between the tiger and the lamb, Blake emphasizes the strength and the dark power of the former, also by pointing out that both the powerful tiger and the weak lamb are created by the some God, Blake expresses the divine power of the Creator.III.At the Lexical LevelPoetic and archaic wordsMany poetic words are employed by Blake to make the poem elegant and poetic(deeps, aspire, art, symmetry), also the words some times are chosen according to the end rhyme.Archaic words can be found in the poem(tyger/tiger, dread/dreadful,thy/your,thine/yours, thee/you ).Short and powerful wordsWords to show strength and speed (frame, aspire, seize, clasp, make, twist) ,words to show the process of making the tiger (hammer, chain, furnace, anvil) and words to describe the fire (fire, bright, burn) are used not only to express the power of the tiger but also to create the scene of making the tiger so as to emphasize the evengreater power of the Creator.IV. At the Semantic LevelSymbolismSome words in this poem bore symbolic meanings. The tiger (the central image in the poem) is considered by many as representing the dark shadow of the human soul. This is the beastly part of ourselves that we would prefer to keep only in our dreams at night. Night(line 2 ) in Blake's poetry often seems to suggest this sort of dream time. The forests(line 2 ) might represent the wild landscape of our imagination under the influence of this beast. The heart (line 10) represents not only the biological engine of the tiger, but perhaps its passion for living.AllusionBlake also employs allusion in this poem since it is somewhat concerned with religion. For example, on what wings dare he aspire (line 7 ) is an allusion from Milton’s Paradise Lost;seize the fire ( line 8) could be a possible reference to Prometheus; and when the starsthrew down their spears, and water’d heaven with their tears( lines 17 and 18) is an allusion to Satan and his angels and also to the God of Old Testament. It could be debated that Blake argues here that the Fallen Archangel Lucifer is the creator of the tiger, or the beastly part of our own nature. The abundant use of allusion adds to the ambiguity of the poem, thus leads to many versions of interpretation of this poem.ConclusionIn this thesis, we have given a careful analysis to William Blake’s The Tyger from the stylistic perspective. First, by giving an elaborate account of the phonological characteristics of the poem, we are able to get a more comprehensive understanding of the role the sound patterns played in a poem and the stately momentum created by the use of certain phonological devices suchas the use of archaic tetrameter, alliteration and repetition. Then, we have looked into the graphological features of this poem so that we have got a better understanding of the theme. Next,through the continuous analysis of the diction of the poem, we are able to get a clear picture of the careful and deliberate choice of the short and powerful words that described the tiger and the creating of the tiger, which helped to highlight the idea the poet wants to convey, that is, the tiger has fury and grounds to believe in its own strength and it could be understood as similar to our psychological view of the ego which is the part of us that believes in its own power, in its own vision, and the creator of this powerful creature is awesome in its own right. Finally, we have analyzed the semantic characteristics, which mainly concern with the figures of speech the poem employed, which, in this case, is symbolism and allusion particularly.After this stylistic study of William Blake’s The Tyger, we are able to have a more comprehensive understanding both this poem and the importance of stylistics in analyzing and appreciating poems.References康利英. 2012.从文体学角度分析威廉·布莱克诗歌《老虎》隐喻意义的表达——以威廉·布莱克的《老虎》为例[J]. 忻州师范学院学报,(6):68-70.李菁菁. 2012.歌唱光明与驱逐黑暗的统一——布莱克的“羔羊”意象与“老虎”意象解析[J]. 大众文艺,(21):34-37.刘云雁,吴虹. 2012.威廉·布莱克诗歌的泛神主义倾向[J]. 湖南大学学报(社会科学版),(1):111-114.唐梅秀. 2010.威廉·布莱克:文化边缘的履冰者——《老虎》与《羔羊》诗的互文性解读[J]. 长沙理工大学学报(社会科学版),(2):67-71.王博. 2010.威廉·布莱克诗歌的文体分析[D]. 辽宁:辽宁大学.汪雪盈. 2010.《老虎》的象似性解读[J]. 长江大学学报(社会科学版),(2):161-162.杨志刚. 2009.论布莱克作品中的圣经元素[D]. 石家庄:河北师范大学.曾令富. 2010.布莱克诗歌《老虎》的永恒魅力与其语言的含混[J]. 宜宾学院学报,(4):29-32.。
神秘的精神力量--布莱克《老虎》诗鉴赏
神秘的精神力量--布莱克《老虎》诗鉴赏张露颖【摘要】“Tiger” is masterpiece of Songs of Experience by William·Blake. It is straightforward and easy-under-standing in the writing, containing mysterious symbolism and leaving enough imagination space for reader. Tiger is not only an ordinary one in the picture, but new revolutionary force riches passion and rebellious spirit, by auditory and visual expression. The poem has suggestive symbol and features mystery with inexplicit language. The poet in-tegrates mysticism, symbolism and romanticism so perfectly to create the timeless and enduring work, that readers of different ages in different cultures have different interpretations.%《老虎》是威廉·布莱克《经验之歌》的代表作，在直白易懂的文字上，蕴含着神秘的象征意义，留给读者更多的想象空间。
通过听觉视觉的双重描绘，使老虎不仅仅是画面中的一只普通的老虎，更是充满激情和富含反叛精神的革命新生力量。
这种象征具有丰富的暗示性，这种在语言下未加明言的意念更让此诗带有神秘感。
郭沫若与徐志摩译诗思想之比较分析
郭沫若与徐志摩译诗思想之比较分析作者：刘智临李亦凡来源：《北方文学》2017年第32期摘要：郭沫若的“风韵译”翻译理念及徐志摩的“爱、自由、美”的翻译理念，影响着他们对诗歌的翻译，笔者选取布莱克《老虎》郭译本及徐译本，从措辞、音韵、意象三个角度对两篇译文进行对比分析，来讨论两者的译诗思想，据此认为两者翻译理念受环境影响至深。
关键词：《老虎》；郭沫若；徐志摩；译诗思想以郭沫若为代表的“创造社”及以徐志摩为代表的“新月派”是上个世纪20至30年代两个颇具影响力的学派。
两派不仅仅在文学创作中对现代中国的文学发展产生了深刻的影响，翻译的西方文学作品，尤其是诗歌的翻译，更是给翻译界带来了不少成果。
其中创造派的革命化倾向使得其翻译的作品更为朴素易懂，而新月派的超功力的、自我表现的、贵族化的“纯诗”立场则使得其翻译的诗歌讲究艺术表现、形式美及文学美。
文学观念的不同也催生了译诗观念的不同，这从郭沫若及徐志摩英译威廉·布莱克的《老虎》中可见一斑。
一、威廉·布莱克的《老虎》布莱克的《老虎》收录在其代表作《经验之歌》中，《老虎》这首诗比喻奇特，想象丰富。
诗人在这首诗中将“老虎”比作熊熊烈火，将老虎这个意象描写的栩栩如生，并且利用“老虎”堂堂威严来表达对造物者的赞美和崇敬之情。
原诗如下：The TygerWilliam BlakeTyger！ Tyger！ Burning brightIn 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 aspire？What the hand dare seize the fire？And what shoulder and what artCould twist the sinews of thy heart？And when thy heart began to beat，What dread hand and what dread feet？What the hammer？ What the chain？In what furnace was thy brain？What the anvil？ What dread grasp？Dare its deadly terrors clasp？When the stars threw down their spears，And watered heaven with their tears，Did he smile his work to see？Did he who made the lamb make thee？Tyger！ Tyger！ Burning brightIn the forests of the night！What immortal hand or eyeDare frame thy fearful symmetry？二、對比分析郭译《老虎》及徐译《老虎》郭沫若认为在诗歌的翻译中，对于语言的音和意，应该给予“意”特别的关注。
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When the stars threw down their spears, And watered heaven with their tears, Did He smile His work to see? Did He who made the lamb make thee?
群星投下了他们的投枪。 用它们的眼泪润湿了穹苍， 他是否微笑着欣赏他的作品？ 他创造了你，也创造了羔羊？
• The poem is comprised of six quatrains（四行诗） in rhymed couplets（对联）. The meter is regular and rhythmic, its hammering beat suggestive of the smithy （锻冶场）that is the poem‘s central image. The simplicity and neat proportions of the poems form perfectly suit its regular structure, in which a string of questions all contribute to the articulation （接合） of a single, central idea.
Since the tiger's remarkable nature exists both in physical and moral terms, the speaker's questions about its origin must also encompass both physical and moral dimensions. The poem's series of questions repeatedly ask what sort of physical creative capacity the "fearful symmetry" of the tiger bespeaks; assumedly only a very strong and powerful being could be capable of such a creation.
• The tiger initially appears as a strikingly sensuous image. However, as the poem progresses, it takes on a symbolic character, and comes to embody the spiritual and moral problem the poem explores: perfectly beautiful and yet perfectly destructive, Blake's tiger becomes the symbolic center for an investigation into the presence of evil in the world.
William Blake
(28 November 1757 – 12 August 1827)
• William Blake was an English poet, painter, and printmaker.
• “The Tyger” is a poem by the English poet William Black. It was published as part of his collection Songs of Experience in 1794. 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."
And what shoulder, and what art, Could twist the sinews of thy heart? And when thy heart began to beat, What dread hand? and what dread feet?
In this verse the poet gives us a vision that the tiger's beating heart awakening a powerful beast. The phrase "...twist the sinews of thy heart" is an allusion that a beast of prey must have towards the creatures it kills.
Tiger! Tiger! burning bright In the forests of the night, What immortal hand or eye Dare frame thy fearful symmetry? The final verse repeated
the wondrous question of the tiger's creation and gives the reader another chance to think the question, “What immortal hand or eresents a traditional image of artistic creation; here Blake applies it to the divine creation of the natural world. The "forging" of the tiger suggests a very physical, laborious, and deliberate kind of making; it emphasizes the awesome physical presence of the tiger and precludes the idea that such a creation could have been in any way accidentally or haphazardly produced.
In what distant deeps or skies Burnt the fire of thine eyes? On what wings dare he aspire? What the hand dare seize the fire?
你炯炯的两眼中的火 燃烧在多远的天空或深渊？ 他乘着怎样的翅膀搏击？ 用怎样的手夺来火焰？
Analysis
Tiger! Tiger! burning bright In the forests of the night, What immortal hand or eye Could frame thy fearful symmetry? In the first verse, the author compares the fierceness of a tiger to a burning presence in dark forests. He wonders what immortal power could create such a fearful beast.
In what distant deeps or skies Burnt the fire of thine eyes? On what wings dare he aspire? What the hand dare seize the fire?
Here the poet compares the burning eyes of the tiger to distant fire that only someone with wings could reach. The poet wonders where such a powerful fire could have come from?
The Tyger
By William Blake
Tyger, tyger, burning bright In the forests of the night, What immortal hand or eye Could frame thy fearful symmetry?
老虎！老虎！黑夜的森林中 燃烧着的煌煌的火光， 是怎样的神手或天眼 造出了你这样的威武堂堂？
And what shoulder and what art Could twist the sinews of thy heart? And, when thy heart began to beat, What dread hand and what dread feet?
又是怎样的膂力，怎样的技巧， 把你的心脏的筋肉捏成？ 当你的心脏开始搏动时， 使用怎样猛的手腕和脚胫？
• Blake is building on the conventional idea that nature, like a work of art, must in some way contain a reflection of its creator. The tiger is strikingly beautiful yet also horrific in its capacity for violence. What kind of a God, then, could or would design such a terrifying beast as the tiger? In more general terms, what does the undeniable existence of evil and violence in the world tell us about the nature of God, and what does it mean to live in a world where a being can at once contain both beauty and horror?