词条 | London (William Blake poem) |
释义 |
PoemI wander thro' each charter'd street, Near where the charter'd Thames does flow, And mark in every face I meet, Marks of weakness, marks of woe. In every cry of every Man, In every Infant’s cry of fear, In every voice, in every ban, The mind-forg'd manacles I hear. How the Chimney-sweeper’s cry Every black'ning Church appalls; And the hapless Soldier’s sigh Runs in blood down Palace walls. But most, thro' midnight streets I hear How the youthful Harlot’s curse Blasts the new born Infant’s tear, And blights with plagues the Marriage hearse. PublishingSongs of Innocence and Experience was originally hand-printed and illustrated by Blake in 1794.[2]AllusionsBlake suggests that the experience of living there could encourage a revolution on the streets of the capital. This could have been influenced by the recent French revolution. The use of the word "chartered" is ambiguous and goes against control and ownership. It may express the political and economic control that Blake considered London to be enduring at the time of his writing. Blake's friend Thomas Paine had criticised the granting of Royal Charters to control trade as a form of class oppression.[3] However, "chartered" could also mean "freighted" and may refer to the busy or overburdened streets and river or to the licensed trade carried on within them.[4] In the original draft, the word used was simply "dirty" ("I wander through each dirty street / Near where the dirty Thames does flow"). Blake makes reference to the "Blackening church" suggesting that the church as an institution is not only physically blackening from the factories of Victorian-era London, but is actually rotting from the inside, insinuating severe corruption.[5] Blake created the idea of the poem from using a semantic field of unhappiness. This is presented through the verbs 'curse', 'cry' and 'sigh'. AdaptationsRalph Vaughan Williams set the poem to music in his 1958 song cycle Ten Blake Songs. The poem was set to music in 1965 by Benjamin Britten as part of his song cycle Songs and Proverbs of William Blake. The poem was set to music in 1987 by Tangerine Dream on their album Tyger (album); the album is based on the poems of William Blake. References1. ^{{cite web| url =http://www.blakearchive.org/exist/blake/archive/object.xq?objectid=songsie.aa.illbk.46&java=yes | title = Songs of Innocence and of Experience, object 46 (Bentley 46, Erdman 46, Keynes 46) "LONDON" | editors = Morris Eaves, Robert N. Essick, and Joseph Viscomi| publisher = William Blake Archive|accessdate = June 10, 2014}} 2. ^1 {{Cite web|url=http://www.bbc.co.uk/schools/gcsebitesize/english_literature/poetryplace/londonrev1.shtml|title=BBC - GCSE Bitesize: Context|language=en-GB|access-date=2018-08-24}} 3. ^Stephen Bygrave (ed), Romantic Writings, Routledge, 1996, p. 20; Tom Paulin, [https://www.theguardian.com/books/2007/mar/03/poetry.williamblake "The Invisible Worm"], The Guardian, London, March 3, 2007. 4. ^E. P. Thompson, Witness Against the Beast: William Blake and the Moral Law, Cambridge University Press, 1993, p. 176. 5. ^http://www.bl.uk/learning/timeline/item126746.html External links{{wikisource|London (Blake)}}
4 : 1794 poems|Songs of Innocence and of Experience|Works about London|Poems about cities |
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