英美文學(xué)詩(shī)歌賞析

PAGEPAGE49TOC\o"1-1"\h\z\u1、LoveliestofTrees 23、TheChimney-Sweeper，1789 74、OnStella'sBirthdayMarch13,1727byJonathanSwift 105、Mylastduchess 136、Thelovesongofj.Alfredprufrock 177、Heat 248、TheRedWheelbarrow 249．、"IWanderedLonelyasaCloud" 2810、“Itisabeauteousevening,calmandfree” 3411、Alittlelearningisadangerousthing 3912、"Ah,AreYouDiggingonMyGrave," 3913、WilliamBlake-London 4214、DisillusionmentofTenO'Clock 5015、FireandIce 5316、Theeagle 6018、ShallICompareTheetoasummer’sDay 6319、ThePoem,"ARed,RedRose" 6820、ItDroppedSoLowinMyRegard 7021、ToHisCoyMistress, 7223、DeathBeNotProudbyJohnDonne 7624、AnecdoteoftheJar 7925、“IheardaFlybuzz—whenIdied—...” 8326、ANoiselessPatientSpider 8727、TheSickRose 9028、"TheRoadNotTaken" 9729、theBostonEveningTranscript 10130、uphill 10231、TheSecondComing(poem) 10432.FullFathomFiveThyFatherLies 11033、blow,blow,thouwinterwind 11134、To-- 11335、splendorfallsoncastlewalls 11336、God'sGrandeur 11537、Song 12038、Virtue" 12439、theoak 12740、WhenIwasOne-and-Twenty 12741、oh,whoisthatyoungsinner 13042、StoppingbyWoodsonaSnowyEvening 13043、thevoice 13544、tobeornottobe 13545、onwhatfoundationstands 13746、tothevirgins,tomakemuchoftime 13747、sonnet75 13949、withmusicstrongicome 14450、MeUpatDoes 14651、ThePassionateShepherdtoHisLove 14721.StoppingbyWoodsonaSnowyEvening 14952.intimeofthebreakingofnations. 15553、"NothingGoldCanStay 15655.weallbeholdwithenviouseyes 16456、ElegyWritteninaCountryChurchyard 1641、LoveliestofTreesTone:Houseman’sattitudetothecherryflowersisclearlyoneofadmirationandappreciation.Apartfromusingtheword“l(fā)oveliest”,hehaschosenhappydetailslike“bloomalongthebough”and“wearingwhiteforEastertide”.TypeofWork:"LoveliestofTrees"isalyricpoemfocusingonappreciatingthebeautyofnatureyear-round.Themes:.Youwillnotliveforever.Therefore,makethemostoftheopportunitiesofthemoment.Forexample,ifitiswinter,donotsitindoorstoawaitthespringtimebloomingoftheloveliestoftrees,thecherry.Instead,seizetheopportunitytoviewthetreesnow,whenthetreesblossomwithsnow..TheRomanpoetHoracewrote,"Carpediem,quamminimumcredulapostero."Looselytranslated,thissentencesays,"Seizethedayratherthanplacingyourtrustinthefuture."Overthecenturies,thewordscarpediem,orseizetheday,gainedwidespreadcurrencyamongpoetsandotherwritersasatermforurgingreaderstomakethemostofpresentopportunities.

WarmUptoWinter:.Implicitinthepoem'smeaningisthatspringanditswarm-weathercousin,summer,holdnomonopolyonbeauty.Inthefall,fieldsandforestsblazonwithcolor--theredoftheapple,theorangeofthepumpkin,andtherussetorgoldoftheleaf.Inthewinter,thelandscapeisaworkofart,withpendenticicles,frostedmeadows,ordriftingsnow.

SeetheBeautyinPeople:Onemayinterpretthecherrytreeasametaphorforchildren.Intheirinnocenceandpurity,theyarelikethewhitecherryblossoms,andarealwaysdelightfultoobserveandbearound.Inthisinterpretation,summerrepresentsyoungadulthood;autumn,middleage;andwinter;oldageanddeath.Eachagehasitsbeauty--evenoldage,whenthesoulshinesthroughtheeyeswiththewisdomofaccumulatedexperience.

Meter:Themeterinthepoemvaries,butmostofthelinesareiniambictetrameter.Inthisformat,eachlinehasfourpairsofsyllables,thefirstsyllableofeachpairunstressedandthesecondstressed,asinlines2and3Severaltetrameterlinesinthepoemplacestressonthefirstsyllableandthusareintrochaictetrameter.Line4isanexample.Youprobablynoticedthatthefourthfoothasonlyonesyllable.Theliterarytermusedtoidentifysuchafootiscatalexis,andthefootiscalledacatalecticfoot.Anotherexampleoftrochaictetrameterwithacatalecticfootisline6:EndRhyme:Ineachstanzathefirstlinerhymeswiththesecond,andthethirdlinerhymeswiththefourth.Twosuccessiverhyminglinesmakeupwhatiscalledacouplet.

Summary:OnaridethroughthewoodsafterEasterSunday,thespeakerobservesacherrytreewithitswhiteblossoms.Notingthatheistwentyyearsold,heestimatesthataboutfiftyyearsofhisliferemain.Ahalf-centuryisnotreallyalongtime,hesays.Consequently,hewillmakethemostoftherestofhislife,hesays,byobservingthecherrytreeinwinter--whensnowclingstoitsboughs--aswellasspring.

FiguresofSpeech:Followingareexamplesoffiguresofspeechinthepoem.Alliteration:Line2:bloomalongthebough

Lines3-4:..woodlandride/Wearingwhite

Lines5-6:..yearsandten,/twentywillnot

Line7:takefromseventy

Line8:onlyleavesmefifty

Line9:tolookatthingsinbloom

Line10:FiftySpringsislittleroom

Line11:woodlandsIwillgo

Line12:seethecherryhungwithsnowSynecdoche:Line6:FiftySpringsislittleroom

Springsrepresentsyears.Metaphor/Personification:Lines1,2,4:Thecherry...is...wearingwhiteforEastertide.ComparisonofthetreetoapersonwhohaschosentowearwhitefortheEasterseasonAtfirstblush,itlookslikethepoem'surgingustoreallyenjoythecherryblossomsduringtheshorttimethey'reinbloom.

Afterall,thepoem'snarratorsays,ifhelivesseventyyearsandhe'stwentynow,heonlyhasfiftymorespringtimestoenjoycherrytreesinbloom.

Andso,heseemstobesayingthathe'sgoingtogooutandenjoythecherrytreeswiththeirbeautifulwhiteblossomsthatlookjustlikesnow.

Carpediem-seizetheday-thepoemseemstotellus.

Butonecanalsoreadthepoemanotherway.

Ifyoureadthelaststanzaliterally,thepoembecomesabitofadviceabouthowtogetmorejoyoutoflife-andthatistonotonlyenjoycherrytreesintheseventyspringtimesthatwemaybeallottedinourlife-time,butalsotoenjoytheminwinter,whenthetreesare"hungwithsnow."

Thatwoulddramaticallyincreasethenumberofsuchspecialmomentsonegetsinalifetime.

Maybethen,thispoemisn'tsomuchamelancholymeditationonthebrevityofourlivesasitisapieceofadviceabouthowtogetthemostoutoflife.

Youdothatbybeingawareofandenjoyingthingsallthetime,includingwhenthey'renotattheirverybest-likeVermontinmudseasonorstickseason,liketheordinarydaysandordinarythingsofourlives.

Enjoyintenselythefinitenumberofgorgeousspringtimeswe'llsee,butenjoyothertimesoftheyear.Housman’s“Loveliestoftrees,thecherrynow”consistsofthreefour-linestanzaswiththerimeschemeAABBCCDDEEFF.Althoughthepoem’sthemecanbeunderstoodascarpediem,meaningthatthespeakerisurginghimselftogetoutandenjoythebeautyofthecherryblossomswhilehecan,thepoemactuallygoesbeyondthelimitationofthephilosophyofmerely“seizingtheday.”Nomatterhowtightlyonegraspsor“seizes”theday,thatdaywillstillvanish,becauseonecannotaddonehourtoaday’slengthoftime.Butthisspeakerrevealsawaythathecanactuallydoublehisenjoymentofbeauty.ThepoetA.E.Housemanisexpressinghisfeelingswhiledescribingthebeautyofacherrytreeintheseasonofrebirth,thespringseason.Whilereadingthepoem,Ifeelthatthepoetistakingmeonabeautifuljourneythroughanareawhichislinedonbothsidesbyblossomingcherrytrees.Thepoetfeelsthatifhehasonly50moreyearsleft{threescore(3*20)yearsandten=70years-20willnotcomeagain},hewouldnotliketowasteitbythinkingnegativethoughtsbutwouldliketoenjoyitlikeacelebrationoflife.Thecherrytreebecomesasymbolofhope,renewal,Iinnerbeautyandinspirationforthepoet.Onemayinterpretthecherrytreeasametaphorforchildren.Intheirinnocenceandpurity,theyarelikethewhitecherryblossoms,andarealwaysdelightfultoobserveandbearound.Inthisinterpretation,summerrepresentsyoungadulthood;autumn,middleage;andwinter;oldageanddeath.Eachagehasitsbeauty--evenoldage,whenthesoulshinesthroughtheeyeswiththewisdomofaccumulatedexperience.

FirstStanza:Inthefirststanza,thespeakerdescribesabeautifulscenethatheisobviouslyenjoyingashespeaks.Heisridingthroughawoodedareaandobservesthatthebeautyoftheblossomsonthecherrytreesmakesthemthe“Loveliestoftrees.”Thetimeoftheyearisspring;thespeakersaysdescribingtheblossomsthattheyare“WearingwhiteforEastertide.”SecondStanza:Inthesecondstanza,thespeakerrevealsthatheistwentyyearsoldashecalculates,accordingtothebiblicalclaimthatalifespanis“threescoreyearsandten,”thathehasonlyfiftymoreyearstoenjoysuchbeautyinspring.Thespeaker’semphasisthroughoutthepoemisontheintensityofthebeautyandbrevityofthetimehewillhavetoenjoythatbeauty.ThirdStanza:Inthethirdstanza,thespeakerclaimsthatbecausefiftymoreopportunitiestoenjoytheselovelytreeswiththeirlusciousblossomsisnotenough,hewillgoobservethesametreesalsoinwinter,whentheyare“hungwithsnow.”Thatwaythespeakerdoubleshisopportunitiestoenjoythecherrytrees“wearingwhite.”MorethanCarpeDiem:Whileastrictcarpediemreadingisnotimpossible,itseemsunlikelyfortwomainreasons:First,thespeakerisalreadyoutenjoyingthebloomssoheisalreadyseizingtheday.Itmakeslittlesensetoimploresomeonetoseizetheday,whilethepersonis,infact,alreadyintheprocessofseizingit.Second,thespeakerhasmadeitclearthathethinksexperiencingthisbeautyonlyfiftymoretimesisnotenough,“Andsincetolookatthingsinbloom,/Fiftyspringsarelittleroom.”Iffiftyspringsarenotenough,simplysuggestingtohimselfthatshouldgetlookingwouldnotchangethatfactintheleast,especiallysinceheisintheprocessoflookingalready.SnowisLiteralnotMetaphorical:Thecarpediemreadingresultsfrominterpreting“snow”inthelastlinetobeametaphorforthecherryblossoms.Andwhilethatinterpretationisnotimpossible,thepoem’sachievementisgreaterif“snow”istakenliterally.Thus,thespeakersolvesaproblem:insteadofjusthavingfiftymoretimestolookatthecherrywearingwhite,hedoubleshisopportunities

Manypeoplemisconceivetheconceptofthispoem,thisisnotverymuchabouttreesbutmoreofdeath,life,andtime.Breakthepoemdownbystanza,"Loveliestoftrees,thecherryisnow".Treesrepresentusandhumansandweareatourfullestoflife."Ishungwithbloomalongthebough",wearehungwithbeautyandjoyonourbranchesoflife."Andstandsaboutthewoodlandride".Everyoneinthewoodlandsisattheirpotential."WearingwhiteforEastertide."WearinginnocenceandpurityfortheEastertide,rebirth.(pleaseusediscretiontoEastertide)."Nowofmythreescoreyearsandten".Ascoreistwentyyearsandhislifeisslippingaway."Twentywillnotcomeagain".Hisyouth,hecannotregainnorhisinnocence."AndtakefromseventyspringsascoreItonlyleavesmefiftymore."Hislifeisshorteningby20lesssohehas50morespringsleft."Andsincetolookatthingsinbloom".Admiringtheotherswhohavetheychildhoodahead."Fiftyspringsarelittleroom".50yearsseemshortincomparison."AboutthewoodlandsIwillgo".AboutthepeopleIwilltravel."Toseethecherryhungwithsnow".Toseedeathhungwithsnow(white,purity,innocence).Context:-

Thepoemisanamazingblendofpainandpleasure,excitementandregret,freshnessofnatureandbriefspanofhumanlife.Italsotellsusaboutthedeeploveofthepoetforthesnowcappedcherrytree.Thepoethasbeenanimatinghisvisionbythislovelysightforthelastfiftyyears.Butthisflameofpassionforthecherryseemsincreasingwitheverypassingyear.

Explanation:Inthesebeautifullinesthepoethasunveiledhisintenseloveforcherrytree,whichisanambassadorofnature.Itblossomsinspringwhichrevealsitsbeautyinoriginalform.Ittrulycaptivates,bewitchesandalluresthepoettotheextentthatitbecomesasourceofeverlastingjoyforhim.ToquoteJohnKeats.

Thecherrytreeisstandingaboutthe“Woodlandride”alongtheridingtractinthewoods.Itisadornedinwhitedress,asifitwereinpreparationforthecelebrationofEaster.Theseversesshowthatpassionpresentsordinarythingsinanextra-ordinaryway.

StanzaII:Intheselinesthepoetopenlyconfessesthatheisseventyyearsold.Butatthesametimehefeelsthathisloveforcherrysproutedinhisheartwhenhewasonlytwentyyearsold.Thepoetclaimstohaveenjoyedthebeautyofcherryblossominfiftysprings.Butithasnotexhaustedhispassionratherhelamentsoverthelossofthosetwentyyearswhichhehasspentwithoutenjoyingthebeautyofthistree.Theline“twentywillnotcomeagain”trulyreflectstheremorsefulfeelingsofthepoet.Itgivesdoubleshadetothepoemi.e.‘pleasureandpathos.Buttheintensityofpoet’sloveeclipsesallotherthemes.

StanzaIII:Althoughthepoethasenjoyedthebeautyofthespring,coloredandflavoredbythegloryofcherryforfiftylongyears,yethefeelsthateventhisperiodisnotsufficienttodojusticewithnature.Thepoetbelievesthatlifeistooshorttorelishit.Thatiswhythepoetresolvestokeepontreadingthepastureswhichleadtotheabodeofcherry.Hestillwantstogotothewoodlandtoseetheexoticbeautyofthecherrytreewhosefloweryboughsarehangingdownwithsnow.3、TheChimney-Sweeper，1789InSongsofInnocence,theboy

in“TheChimneySweeper”seeshissituationthroughtheeyesofinnocenceanddoesnotunderstandthesocialinjustice.Thepoem“TheChimneySweeper,”inbothSongsofInnocenceandSongsofExperience,proteststhelivingconditions,workingconditions,andtheoveralltreatmentofyoungchimneysweepsinthecitiesofEngland.MartinNurmidiscussestheplightofthechimneysweepextensivelyinhisessay“FactandSymbolin‘TheChimneySweeper.’”In1788,therewasanattempttopassanacttoimprovethetreatmentandworkingconditionsoftheseyoungchildren.Thiswouldhavemademanypeople,includingBlake,awareofthelivesthatthesechimneysweepswouldlive.Forinstance,theysleptincellarsonbagsofthesootthattheyhadswept(Nurmi17),andtheywerepoorlyfedandclothed.Theywouldsweepthechimneysnakedsotheirmasterswouldnothavetoreplaceclothingthatwouldhavebeenruinedinthechimneys,andtheywererarelybathed.Thosewhowerenotkilledbyfiresinchimneysusuallydiedearlyanywayofeitherrespiratoryproblemsorcancerofthescrotum.Sweepingchimneysalsoleftchildrenwithanklesandspinesdeformedandtwistedkneecapsfromclimbingupchimneysthatwereaboutnineinchesindiameter(Nurmi16).Manypeopleviewedthemassubhumancreaturesandnotapartofhumansociety.Insixquatrains,BlakepresentsaspeakerwhodramatizesthepatheticplightofchildrenforcedtolaborinsqualidconditionsinLondonduringthe18thcentury.EachquatraininWilliamBlake’s“TheChimneySweeper”fromSongofInnocenceconsistsoftworimingcouplets,someperfectrimes,othersslantornearrime.Blakeisofferingsocialcommentaryinthispoem,asheoftendoes.FirstQuatrain:“WhenmymotherdiedIwasveryyoung”Thenarratorofthelittledramaisanunnamedboy,andthereaderknowsonlythatwhenthisnarratorwas“veryyoung,”his“motherdied,”andhis“fathersold[him]”beforehecouldeventalk.Butthepoorlittleboy“could,”although“scarcelycry'Weep!weep!weep!weep!'/SoyourchimneysIsweep,andinsootIsleep.”SecondQuatrain:“There'slittleTomDacre,whocriedwhenhishead”Thespeakerthenabandonshisownstoryandsituationandturnstoanotherboy’sstory,“l(fā)ittleTomDacre.”HereportsthatlittleTomDacrecriedwhenhishead“wasshaved.”Thelittleboyhadcurlsthatlookedlike“alamb’sback.”ThespeakercomfortslittleTom,however,tellinghimoftheefficacyofhavingashavedheadinsteadofallthosewhitecurls.Becausethepairwillbeworkinginchimneyssweepingouttheblacksoot,theyneedtohaveshavedheadssothatthesootwillnotbecomelodgedinthehair.Itis,ofcourse,mucheasiertowashsootoffabaldheadthanoutofatangleofwoolyhair.Thenarrator’scommonsensereasoningissupposedlymeanttomakelittleTomfeelbetter.ThirdQuatrain:“Andsohewasquiet,andthatverynight”Thenarrator’slogicseemstohelplittleTom;atleast,hestopscrying.AndlittleTomhasabeautifuldreamthatnight.Hesees“thousandsofsweepers,”includingfourboyswhomheknowsbyname,“Dick,Joe,Ned,andJack.”Butsadly,theyareall“l(fā)ockedupincoffinsofblack.”Blake’snotsosubtlesymbolismisworkingagain.Ofcourse,theblackcoffinsrepresentthechimneysofsootinwhichtheboysmustspendtheirpreciouschildhooddays.FourthQuatrain:“Andbycameanangel,whohadabrightkey”Thedreamtakesatwist,though,thatisasremarkablyunsurprisingasthesymbolofthechimney-soot-black-coffin.Whoshouldcomealongbut“anangel”witha“brightkey.”Thebright-keyedangelopensupthecoffinsand“set[s]themallfree.”AsthereaderhasseenwithBlake’s“TheGardenofLove,”Blake’senthusiasmleadshimtomakesillyartisticchoices:Coffinsdonotrequirekeys,nordochimneys.Aftertheirreleasefromthecoffin,theboysrun“downagreenplain,leaping,laughing,theyrun/Andwashinariver,andshineinthesun.”Thedreamhastakenalovelyturn.Fifthquatrain:“Thennakedandwhite,alltheirbagsleftbehind”Andthedreamcontinues,growingmoresurrealasitgoes:afterenjoyingtheearthlypleasuresofrompinginthesun,andrunningthroughanopenmeadow,andswimminginalushriver,theyfindthemselves“ris[ing]uponclouds,”wherethey“sportinthewind.”AndtheangeladmonisheslittleTomthatifhebehavesproperly,hewill“haveGodforhisfather”andalwaysbehappy.SixthQuatrain:“AndsoTomawoke,andweroseinthedark”ButlittleTomwakesupfromhisdream,andheandtheotherchimneysweepboysgetup“inthedark,”getdressed,grabtheirchimneysweepequipment,andgotowork.Despitethecoldmorning,LittleTomis“happyandwarm”becauseofhisdream.Butthespeaker,whoisalsojustaboylikeTom,hasamoresinisterviewofthings;thushesarcasticallyremarks,“So,ifalldotheirduty,theyneednotfearharm.”Theangel’sappearanceinthedreamliberatedlittleTom,buthismoreexperiencedcoworkerremainscynicalabouttheangel’sfunction,echoingBlake’sowncynicalviewofanythingreligious.4、OnStella'sBirthdayMarch13,1727byJonathanSwiftInthispoemSwifttalksaboutStella’sbirthdayparty.Maybehehadacrushonherwhentheywereteenagers.HesaysthattodayStellais34yrsold,butyetsheisnottroubled.Sheishappylikebefore.Hesaysnowherageisdoubledandsoishersize.Hesawherlastwhenshewas16yrsold,abeautifulvirginonthegreenearth.Hewondersthatherbeautyisstillnotfadedandisstillthesame;thisisbecausethebeautyisinhermind.Sheisbeautifulfromwithin.Hesaysthatatnoagewillanyotherwomenhavesuchbeautifulbreasts(2ndstanza-line3‘pairs’)andthebeautifulbodysograceful,wiseandfair.Swiftisgettingcarriedawaywithherbeauty,theshineinhereyes,herintelligence,herbodyandherexperienceovertheyears.Hewantstoproposetoherbeforeitgetstoolatebutdoesn’tknowhowtoashisfateistoogentle.Heisafraidthatifthisbeautifulbodyhasabeloved,itwouldbreakhisworshipapart.InSongsofInnocence,theboy

in“TheChimneySweeper”seeshissituationthroughtheeyesofinnocenceanddoesnotunderstandthesocialinjustice.Thepoem“TheChimneySweeper,”inbothSongsofInnocenceandSongsofExperience,proteststhelivingconditions,workingconditions,andtheoveralltreatmentofyoungchimneysweepsinthecitiesofEngland.MartinNurmidiscussestheplightofthechimneysweepextensivelyinhisessay“FactandSymbolin‘TheChimneySweeper.’”In1788,therewasanattempttopassanacttoimprovethetreatmentandworkingconditionsoftheseyoungchildren.Thiswouldhavemademanypeople,includingBlake,awareofthelivesthatthesechimneysweepswouldlive.Forinstance,theysleptincellarsonbagsofthesootthattheyhadswept(Nurmi17),andtheywerepoorlyfedandclothed.Theywouldsweepthechimneysnakedsotheirmasterswouldnothavetoreplaceclothingthatwouldhavebeenruinedinthechimneys,andtheywererarelybathed.Thosewhowerenotkilledbyfiresinchimneysusuallydiedearlyanywayofeitherrespiratoryproblemsorcancerofthescrotum.Sweepingchimneysalsoleftchildrenwithanklesandspinesdeformedandtwistedkneecapsfromclimbingupchimneysthatwereaboutnineinchesindiameter(Nurmi16).Manypeopleviewedthemassubhumancreaturesandnotapartofhumansociety.Insixquatrains,BlakepresentsaspeakerwhodramatizesthepatheticplightofchildrenforcedtolaborinsqualidconditionsinLondonduringthe18thcentury.EachquatraininWilliamBlake’s“TheChimneySweeper”fromSongofInnocenceconsistsoftworimingcouplets,someperfectrimes,othersslantornearrime.Blakeisofferingsocialcommentaryinthispoem,asheoftendoes.FirstQuatrain:“WhenmymotherdiedIwasveryyoung”Thenarratorofthelittledramaisanunnamedboy,andthereaderknowsonlythatwhenthisnarratorwas“veryyoung,”his“motherdied,”andhis“fathersold[him]”beforehecouldeventalk.Butthepoorlittleboy“could,”although“scarcelycry'Weep!weep!weep!weep!'/SoyourchimneysIsweep,andinsootIsleep.”SecondQuatrain:“There'slittleTomDacre,whocriedwhenhishead”Thespeakerthenabandonshisownstoryandsituationandturnstoanotherboy’sstory,“l(fā)ittleTomDacre.”HereportsthatlittleTomDacrecriedwhenhishead“wasshaved.”Thelittleboyhadcurlsthatlookedlike“alamb’sback.”ThespeakercomfortslittleTom,however,tellinghimoftheefficacyofhavingashavedheadinsteadofallthosewhitecurls.Becausethepairwillbeworkinginchimneyssweepingouttheblacksoot,theyneedtohaveshavedheadssothatthesootwillnotbecomelodgedinthehair.Itis,ofcourse,mucheasiertowashsootoffabaldheadthanoutofatangleofwoolyhair.Thenarrator’scommonsensereasoningissupposedlymeanttomakelittleTomfeelbetter.ThirdQuatrain:“Andsohewasquiet,andthatverynight”Thenarrator’slogicseemstohelplittleTom;atleast,hestopscrying.AndlittleTomhasabeautifuldreamthatnight.Hesees“thousandsofsweepers,”includingfourboyswhomheknowsbyname,“Dick,Joe,Ned,andJack.”Butsadly,theyareall“l(fā)ockedupincoffinsofblack.”Blake’snotsosubtlesymbolismisworkingagain.Ofcourse,theblackcoffinsrepresentthechimneysofsootinwhichtheboysmustspendtheirpreciouschildhooddays.FourthQuatrain:“Andbycameanangel,whohadabrightkey”Thedreamtakesatwist,though,thatisasremarkablyunsurprisingasthesymbolofthechimney-soot-black-coffin.Whoshouldcomealongbut“anangel”witha