William Blake的介绍.ppt

WilliamBlake,教育6班第5组组员：钱婷婷、郭丽娟,Born28November1757)London,EnglandDied12August1827)(aged69)London,EnglandOccupationWriter(poet),painter,printmakerGenresVisionary,poetryLiterarymovementRomanticismNotablework(s)SongsofInnocenceandofExperience,TheMarriageofHeavenandHell,TheFourZoas,Jerusalem,MiltonaPoem,AnddidthosefeetinancienttimeSpouse(s)CatherineBlake(17821831),LifePointofviewMainworksandwritingfeaturesEngravingsGeneralculturalinfluence,1、Life,BorninLondonon28November1757Asachild,hewasalreadyfocusedonimagination,theindividual,andnaturewhicharethemesoftheRomanticandTranscendental(超自然的)period.Attheage10,hewasenrolledinHenryParsdrawingschool.HewasexposedtoGreekandRomansculpture,whichinfluencedhislaterwork.Attheageof14,hebecameanapprenticeatanengravingbusiness.,Asanengraver,helearnedhowtomakecopperplates.thatwereusedassurfacesforetchings.Ashecontinuedtodevelophisskillinvisualarts,Blackalsodevelopedhiswritingskills.In1783,hisfirstsetofpoems,PoeticalSketches,waspublished.,ThesubjectmatterofhisworkswereRomanticintheirnaturebecausetheyincludeddiscussionofnaturereligion,theindividual,andideasfromhisownimagination.Blakediedin1827,MonumentnearBlakesunmarkedgraveatBunhillFieldsinLondon,2、Pointofview,PoliticallyBlakewasarebel,makingfriendswiththoseradicals.Hestronglycriticizedthecapitalistscruelexploitation.HecherishedgreatexpectationsandenthusiasmfortheFrenchRevolution.Heoncesaidthedarksatanicmillsleftmenunpployed,killedchildrenandforcedprostitution.LiterarilyBlakewasthefirstimportantromanticpoet,showingcontemptfortheruleofreason,oppositetheclassicaltraditionofthe18thcentury,andtreauringtheindividualsimagination.,3、Mainworksandwritingfeatures,1(1)ThesongsofInnocence(publishedin1789)isalovelyvolumepoems,presentingahappyandinnocentworld,thoughnotwithoutitsevilandsufferings.(2)ThesongsofExperience(publishedin1794)paintsadifferentworld,aworldofmisery,poverty,disease,warandrepresswithmelancholytoneStyle:Thetwobooksholdthesimilarsubject-matter,butthetone,emphasisandconclusiondiffers.,第一本诗集PoeticalSketches,BlakesMarriageofHeavenandHell(1790)markshisentryintomaturity.ThePoemwascomposedduringthechangeofFrenchRevolutionanditplaysthedoublerolebothasasatireandarevolutionaryProphecy.InthisPoem,Blakeexplaintherelationshipofthecontraries.Style:Blakewriteshispoeminplainanddirectlanguage,hispoemoftencarriesthelyricbeautywithimmensecompressingofmeaning.Hedistruststheabstractnessandtendtoembodyhisviewswithvisualimages,symbolisminwiderangeisalsoadistinctivefeatureofhispoetry,4、Engravings,AlthoughBlakehasbecomemostfamousforhisreliefetching（蚀刻术）,hiscommercialworklargelyconsistedofintaglioengraving（雕刻凹印）,thestandardprocessofengravingintheeighteenthcenturyinwhichtheartistwouldincise（切）animageintothecopperplate.Thiswasacomplexandlaboriousprocess,withplatestakingmonthsoryearstocomplete,butasBlakescontemporary,JohnBoydell,realised,suchengravingofferedamissinglinkwithcommerce,enablingartiststoconnectwithamassaudienceandsobecominganimmenselyimportantactivitybytheendoftheeighteenthcentury.,Blakealsoemployedintaglioengravinginhisownwork,mostnotablyfortheillustrationsoftheBookofJob,completedjustbeforehisdeath.MostcriticalworkhastendedtoconcentrateonBlakesreliefetchingasatechniquebecauseitisthemostinnovativeaspectofhisart,buta2009studydrawsattentiontoBlakessurvivingplates,includingthosefortheBookofJob:thesedemonstratethathemadefrequentuseofatechniqueknownasrepoussage,ameansofobliteratingmistakesbyhammeringthemoutbyhittingthebackoftheplate.Suchtechniques,typicalofengravingworkofthetime,areverydifferenttothemuchfasterandfluidwayofdrawingonaplatethatBlakeemployedforhisreliefetching,andindicateswhytheengravingstooksolongtocomplete.,TheNightofEnitharmonsJoy,1795.BlakesvisionofHecate,Greekgoddessofblackmagicandtheunderworld,ThearchetypeoftheCreatorisafamiliarimageinBlakeswork.Here,thedemiurgicfigureUrizenpraysbeforetheworldhehasforged.TheSongofLosisthethirdinaseriesofilluminatedbookspaintedbyBlakeandhiswife,collectivelyknownastheContinentalProphecies,BlakesTheGreatRedDragonandtheWomanClothedwithSun(1805)isoneofaseriesofillustrationsofRevelation,5、Generalculturalinfluence,BlakesworkwasneglectedforagenerationafterhisdeathandwasalmostforgottenwhenAlexanderGilchristbeganworkonhisbiographyinthe1860s.ThepublicationoftheLifeofWilliamBlakerapidlytransformedBlakesreputation,inparticularashewastakenupbyPre-Raphaelitesandassociatedfigures,inparticularDanteGabrielRossettiandAlgernonCharlesSwinburne.Itwasinthetwentiethcentury,however,thatBlakesworkwasfullyappreciatedandhisinfluenceincreased.Importantearlyandmidtwentieth-centuryscholarsinvolvedinenhancingBlakesstandinginliteraryandartisticcirclesincludedS.FosterDamon,GeoffreyKeynes,NorthropFrye,DavidV.ErdmanandG.E.Bentley,Jr.,WilliamBlakesportraitinprofile,byJohnLinnell.,WhileBlakehadasignificantroletoplayintheartandpoetryoffiguressuchasRossetti,itwasduringtheModernistperiodthatthisworkbegantoinfluenceawidersetofwritersandartists.WilliamButlerYeats,whoeditedaneditionofBlakescollectedworksin1893,drewonhimforpoeticandphilosophicalideas,whileBritishsurrealistartinparticulardrewonBlakesconceptionsofnon-mimetic,visionarypracticeinthepaintingofartistssuchasPaulNashandGrahamSutherland.HispoetryalsocameintousebyanumberofBritishclassicalcomposerssuchasBenjaminBrittenandRalphVaughanWilliams,whosethisworks.ModernBritishcomposerJohnTavenerhasalsosetseveralofBlakespoems,includingTheTygerandTheLamb.,Blakehadanenormousinfluenceonthebeatpoetsofthe1950sandthecountercultureofthe1960s,frequentlybeingcitedbysuchseminalfiguresasbeatpoetAllenGinsberg,songwritersBobDylan,JimMorrison,VanMorrison,andEnglishwriterAldousHuxley.MuchofthecentralconceitofPhillipPullmansfantasytrilogyHisDarkMaterialsisrootedintheworldofBlakesTheMarriageofHeavenandHell.AfterWorldWarII,Blakesroleinpopularculturehascometotheforeinavarietyofareassuchaspopularmusic,film,andthegraphicnovel,leadingEdwardLarrissytoassertthatBlakeistheRomanticwriterwhohasexertedthemostpowerfulinfluenceonthetwentiethcentury.,ThetwoHolyThursday,Inthepoems“HolyThursday,”byWilliamBlake,onecanseetwocompletelydifferentideas.Inthefirstpoem,BlaketriestoexpressanoptimisticandhopefulimageofinnocentchildrensingingtoChristonthedayofascension.ThepoemsrhythmisplayfulandchildishandeffectivelycarriesoutBlakesimage.Incontrast,thesecondpoemisnegativeandpessimisticanditquestionsthenatureorexistenceofaGod.Thechildrenarerejectedandabusedbysocietyandtheyareexactlytheoppositeofthechildreninthefirstpoem.,First:HolyThursday,Inthefirst“HolyThursday,”colorfulchildrenaremarchingintoStPaulscathedralforthecelebrationoftheascensionofChrist.Fromthefootnote,onelearnsthatthesechildrenarefromthecharityschoolsinLondon,meaningthattheyareverypoorandprobablydonthaveafamily.,HolyThursday,TwasonaHolyThursday,theirinnocentfacesclean,Camechildrenwalkingtwoandtwo,inread,andblue,andgreen:Grey-headedbeadleswalkedbefore,withwandsaswhiteassnow,TillintothehighdomeofPaulstheylikeThameswatersflow.Ohwhatamultitudetheyseemed,theseflowersofLondontown!Seatedincompaniestheysit,withradiancealltheirown.Thehumofmultitudeswasthere,butmultitudesoflambs,Thousandsoflittleboysandgirlsraisingtheirinnocenthands.Nowlikeamightywildtheyraisetoheaventhevoiceofso