لـ دوآفير وعبآقرة مآدة ( poetry ) تفضلـو هووون

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آلسلآم عليكم

لو سمحتو يآريت تسآعدوني فـ حل دآ آلوآجب
لآنو يعتبـر كآنو آختبآر دوري تآني ومرآ محتآجه آلدرجآت فـ دي آلمآده
مآآطول عليكم دآ هوآ آلوآجب


وهوآ عبآره عـ قصيدة ( The Tiger ) لـ ( William Blake )
عليهآ بعض آلآسئله ,, كلهآ حـ كتبهآ لكم هووون
وشكرآ لكـم مقدمآ ...





[Tiger! Tiger! 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 seize 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 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?

Tiger! Tiger! burning bright
In the forests of the night,
What immortal hand or eye
Dare frame thy fearful symmetry?






Intrduction about the ege or the type of poetry you choose and the poet , not mor than two pages ( his life and a list of main works



Meaning of the Vocabulary English - English Glassary & paraphrase



Main theme of the poem & the poetic experience



Form



List of imageries and sensory language included ( Write The Stanza - Line & The Image

[M.o_o.N]

Intrduction about the ege

The Romantic Age

http://en.wikipedia.org/wiki/The_Romantic_Age



The poem was published in 1794, as one of the Songs of Experience, which is a contrast to the Songs of Innocence inclusive of ‘The Lamb. While the latter portrays innocence, peace, joy and childish bliss; ‘The Tyger’ talks about the darker, ferocious and beast-like aspect of Creation.

According to Blake’s perceptions, a person must remain innocent and child-like, even in the midst of contrasting conditions of experience in order to dispel ignorance! The series of poems are a reflection of this thought. Thus, Blake delves into the inner-most chambers of human psychology and ethics, in an era when it was not as advanced as it is today.

The title, ‘The Tyger’ uses the archaic spelling of the fierce beast of the jungle, in order to alert the readers that the poem is beyond the superficial title it uses. It is an attempt to gradually help the reader travel through the numerous kinds of imagery and themes that are a part of the poem.

The poem was written in the era when the Industrial Revolution had made its way into Europe and had greatly altered life. Phrases like ‘hammer’, ‘chain’, ‘anvil’, ‘furnace’ and the like refer to a heavenly workshop. It is a direct attack on the encroachment brought about by the widespread industrialization, which threatened the pastoral world Blake was brought up in. It also hints at the French Revolution and its impact on the world.

The poet also focuses on a profound philosophical note in the poem—the theme of the existence of contradictory elements like peace, love, humanity, as opposed to hardships, hatred, evil, threats, etc. The composition of God’s universe and the Concept of Forgiveness that is portrayed through the Lamb and Punishment that is portrayed through the ‘Tyger’ are also major ideas reflected in the poem.

Thus, ‘The Tyger’, though an 18th century poem, finds relevance even in today’s fast-paced modern world, where humanity is clearly demarcated into Good and Evil and forces a co-existence of both on the Paradise God intended for Man.

[M.o_o.N]

Themes


Religion

“The Tyger” was written to accompany Blake’s poem “The Lamb.” Both are creation poems, and together they explore the power and grandeur of God. This is especially clear in “The Lamb,” in which the speaker asks “Little Lamb, who made thee? / Dost thou know who made thee?” An answer is soon provided:

Little Lamb I’ ll tell thee!
He is called by thy name,
For he calls himself a Lamb:
He is meek and he is mild,
He became a little child:
The lamb is symbolic of Christ, the Son of God. It is natural to assume, therefore, that Blake’s awesome and “fearful” tiger might also be God’s creation. In many ways the tiger resembles Christ’s opposite, Lucifer:

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?
The angel Lucifer, like Prometheus who gave divine knowledge of fire to humanity, committed the ultimate insurrection against God, resulting in his fall from divine grace. Evidence of Lucifer also appears in the lines “When the stars threw down their spears, / And water’ d heaven with their tears.” One of the more difficult portions of the poem, it may be interpreted as referring to the battle between Lucifer and the angels, or “stars,” of heaven, who wept after losing their battle to him and all that that loss implied.

Many scholars of Blake have found a profound connection between “The Tyger” and another publication, his The Four Zoas, which was published in 1795. In this mythical work, the repressive god Urizen falls from divinity to create the material world, an unimaginative universe marked by proportion or “symmetry.” The tiger, then, is a product or natural extension of Urizen. Still other reviewers of “The Tyger” have suggested that mankind is responsible for the beast. The forests of the poem have often been compared to the dark, industrial cities of Paris and London; and the fact that the tiger was created through heat and force suggests that he was produced in a blacksmith’s shop rather than through divine imagination. Moreover, the line “On what wings dare he aspire?” — which is reminiscent of Icarus, who perished after flying too close to the sun with wings made of wax — suggests that an excessively proud, rebellious, and creative mortal produced the tiger through unnatural means.

While the lamb’s creator is revealed, the tiger’s engineer remains undefined at the poem’s conclusion. However, given the link to Blake’s “The Lamb,” especially in the cryptic verse “Did he who made the Lamb make thee?” it is highly likely that Blake is in fact referring to God. At the very least, the fact that the question is asked at all confirms the existence of a single, powerful, and awe inspiring creator, one who dares to produce both the tiger and the lamb.

Good and Evil

Blake philosophically rejected socially accepted views of morality. His predilection toward exuberance and the imagination is intelligible in all of his works, especially in The Marriage of Heaven and Hell where he exposes the evils inherent in orthodox conceptions of virtue and the virtues inherent in orthodox conceptions of evil: “The tygers of wrath are wiser than the horses of instruction.” Blake’s distinctive moral position is likewise evident in “The Tyger,” which is perhaps best understood when compared to his “The Lamb”:

Little Lamb, who made thee?
Dost thou know who made thee?
Gave thee life and bid thee feed,
By the stream and o’ er the mead;
Gave thee clothing of delight,
Softest clothing wooly bright;
Gave thee such a tender voice,
Making all the vales rejoice!
Little Lamb, who made thee?
Dost thou know who made thee?
The meekness of Blake’s lamb makes his “fearful” and “deadly” tiger appear all the more horrific, but to conclude that one is decidedly good and the other evil would be incorrect. The innocent portrayal of childhood in “The Lamb,” though attractive, lacks imagination. The tiger, conversely, is repeatedly associated with fire or brightness, providing a sharp contrast against the dark forests from which it emerges — “Tyger! Tyger! burning bright / In the forests of the night.” While such brightness might symbolize violence, it can also imply insight, energy, and vitality. The tiger’s domain is one of unrestrained self-assertion. Far from evil, Blake’s poem celebrates the tiger and the sublime excessiveness he represents. “Jesus was all virtue,” wrote Blake “and acted from impulse, not from rules.”

[M.o_o.N]

Style

“The Tyger” contains six four-line stanzas, and uses pairs of rhyming couplets to create a sense of rhythm and continuity. The notable exception occurs in lines 3 and 4 and 23 and 24, where “eye” is imperfectly paired, ironically enough, with “symmetry.”

The majority of lines in this lyric contain exactly seven syllables, alternating between stressed and unstressed syllables:

Tyger! / Tyger! / burning / bright...

This pattern has sometimes been identified as trochaic tetrameter — four(“tetra”) sets of trochees, or pairs of stressed and unstressed syllables — even though the final trochee lacks the unstressed syllable. There are several exceptions to this rhythm, most notably lines 4, 20, and 24, which are eight-syllable lines of iambic tetrameter, or four pairs of syllables that follow the pattern unstress/stress, called an iamb. This addition of an unstressed syllable at the beginning of each of these lines gives them extra emphasis.

[M.o_o.N]

Poem Summary

http://www.answers.com/topic/the-tyger-poem-3


William Blake 1794

http://www.answers.com/topic/the-tyger-poem#Notes_on_Poetry

Author Biography

http://www.answers.com/topic/the-tyger-poem-1

[M.o_o.N]

“The Tyger” 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 seize the fire?

And what shoulder, & what art,
Could twist the sinews of thy heart?
And when thy heart began to beat,
What dread hand? & 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 water’d heaven with their tears:
Did he smile his work to see?
Did he who made the Lamb make thee?

Tyger Tyger burning bright,
In the forests of the night:
What immortal hand or eye,
Dare frame thy fearful symmetry?

Summary
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 subsequent 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 presence, 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 see?” Could this possibly be the same being who made the lamb?

Form
The poem is comprised of six quatrains in rhymed couplets. The meter is regular and rhythmic, its hammering beat suggestive of the smithy 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 of a single, central idea.

Commentary
The opening question enacts what will be the single dramatic gesture of the poem, and each subsequent 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 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.

The smithy represents 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. 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 addresses 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 repeated use 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.

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.

[فـيصـل]

جائزة نوبل لخدمة الاعضاء على وشك التقليد لشخكم الكريم

ربي يوفقك

[M.o_o.N]

الله يسعدك أخوي :)



عقبال النوبل حقك و التورتة بعد ^^

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Renoa

ربي يسعدك دنيآ وآخره ويفرجهآ عليكي
ويديكي لحد مآيرضيكي يآعسـل
عن جد يسلمـو