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The Tyger英文赏析

The Tyger英文赏析
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 the monarchy, 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 the first 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 the first 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.

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译文对比分析

话说宝玉在林黛玉房中说"耗子精",宝钗撞来,讽刺宝玉元宵不知"绿蜡"之典,三人正在房中互相讥刺取笑。 杨宪益:Pao-yu,as we saw, was in Tai-yu?s room telling her the story about the rat spirits when Pao-chai burst in and teased him for forgetting the “green wax” allusion on the night of the Feast of Lanterns. 霍克斯: We have shown how Bao-yu was in Dai-yu?s room telling her the story of the magic mice; how Bao-Chai burst in on them and twitted Bao-yu with his failure to remember the …green wax? allusion on the night of the Lantern Festival; and how the three of them sat teasing each other with good-humored banter. 对比分析:杨宪益和霍克斯在翻译“耗子精”采用来了不同的处理方法,前者使用了异化”rat spirits”,后者用的是归化法”magic mice”,使用归化法更受英美读者的亲乃。但是二者同时采用了增译法,增添了the story,原文并没有。在翻译“宝玉不知绿烛之典”的“不知”,英文1用的是“forgetting”,而译文2用的是“with failure to ”,显然译文2更符合英美的表达习惯。 那宝玉正恐黛玉饭后贪眠,一时存了食,或夜间走了困,皆非保养身体之法。幸而宝钗走来,大家谈笑,那林黛玉方不欲睡,自己才放了心。 杨宪益:Pao-yu felt relieved as they laughed and made fun of each other, for he had feared that sleeping after lunch might give Tai-yu indigestion or insomnia that night, and so injure her health. Luckily Pao-chai?s arrival and the lively conversation that followed it had woken Tai-yu up. 霍克斯: Bao-yu had been afraid that by sleeping after her meal Dai-yu would give herself indigestion or suffer from insomnia through being insufficiently tired when she went to bed at night, but Bao-chai?s arrival and the lively conversation that followed it banished all Dai-yu?s desire to sleep and enabled him to lay aside his anxiety on her behalf. 对比分析:译文一对原文语序进行了调整,先说了“放心”,再说“担心”,但并不如不调整顺序的逻辑强。译文二只是用了一个“but”就把原文意思分层了两层,逻辑更加清晰,符合西方人注重逻辑的习惯。原文中的“谈笑”是动词,而两个译文版本都是译的“the lively conversation”,是名词,体现了汉语重动态,英文重静态的特点。 忽听他房中嚷起来,大家侧耳听了一听,林黛玉先笑道:"这是你妈妈和袭人叫嚷呢。那袭人也罢了,你妈妈再要认真排场她,可见老背晦了。" 杨宪益:Just then, a commotion broke out in Pao-yu?s apartments and three of th em pricked up their ears. “It?s your nanny scolding Hai-jen,” announced Tai-yu. “There?s nothing wrong with Hai-jen, yet your nanny is for ever nagging at her. Old age has befuddled her.”

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