The tyger
Summary
什么叫安全感The poem begins with the speaker asking a fearsome tiger what kind of divine being could have created it: “What immortal hand or eye/ Could frame they fearful symmetry?” Each subquent stanza contains further questions, all of which refine this first one. From what part of the cosmos could the tiger’s fiery eyes have come, and who would have dared to handle that fire? What sort of physical prence, and what kind of dark craftsmanship, would have been required to “twist the sinews” of the tiger’s heart? The speaker wonders how, once that horrible heart “began to beat,” its creator would have had the courage to continue the job. Comparing the creator to a blacksmith, he ponders about the anvil and the furnace that the project would have required and the smith who could have wielded them. And when the job was done, the speaker wonders, how would the creator have felt? “Did he smile his work to e?” Could this possibly be the same being who made the lamb?
Commentary
The opening question enacts what will be the single dramatic gesture of the poem, and each subquent stanza elaborates on this conception. 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?
The tiger initially appears as a strikingly nsuous image. However, as the poem progress, 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 prence 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 ries of questions repeatedly ask what sort of physical creative
三年级上册语文教案capacity the “fearful symmetry” of the tiger bespeaks; assumedly only a very strong and powerful being could be capable of such a creation.
The smithy reprents 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 prence of the tiger and precludes the idea that such a creation could have been in any way accidentally or haphazardly produced. It also continues from the first description of the tiger the imagery of fire with its simultaneous connotations of creation, purification, and destruction. The speaker stands in awe of the tiger as a sheer physical and aesthetic achievement, even as he recoils in horror from the moral implications of such a creation; for the poem address not only the question of who could make such a creature as the tiger, but who would perform this act. This is a question of creative responsibility and of will, and the poet carefully includes this moral question with the consideration of physical power. Note, in the third stanza, the parallelism of “shoulder” and “art,” as well as the fact that it is not just the body but also the “heart” of the tiger that is being forged. The repeate
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d u of word the “dare” to replace the “could” of the first stanza introduces a dimension of aspiration and willfulness into the sheer might of the creative act.追梦女郎
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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 rais questions about the implications of this. It also invites a contrast between the perspectives of “experience” and “innocence” reprented 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 univer, prenting 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 univer.
