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Analisi in inglese The Tyger

WILLIAM BLAKE

THE TYGER

– SONGS OF EXPERIENCE –


– ANALISI IN INGLESE –
– con VERSIONE IN ITALIANO –



Analisi in inglese


“The Tyger” is a poem written by the English poet William Blake and published in 1794 as part of the “Songs of Experience” collection.

The poem consists of six quatrains and each quatrain contains two rhymed couplets.

Poem’s structure is simple and regular: a string of questions all contribute to the articulation of a single, central idea, the idea of poet’s wonder before the terrible creation act of the tiger.

Poem opens with the speaker asking a magnificent and fearsome tiger what kind of divine being could have created it, then in each subsequent stanza speaker asks further questions, all of which refine the first one.

The tiger initially appears as a strikingly sensuous image. However, as the poem progresses, tiger 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 reveals to be a symbol for an investigation into the creation of evil and evil’s presence in the world.

This investigation has no real response: in the end, all of the questions in the poem remain unanswered, and the poet leaves the reader to awe at the complexity of creation, the magnitude of God’s power, and the inscrutability of divine will.

Therefore, by asking who could have made the tiger, speaker is asking why God have made evil and why made it awesome, and by not answering the questions Blake is presenting  creation – and creation of evil in particular – as enigmatic and unknowable.

Hence, poem’s main theme: humans are incapable of fully understanding the mind of God and the mystery of his handiwork.

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Hence also the distance from The Lamb, usually understood as the companion piece in Songs of Innocence.

The Lamb presents that part of reality that human beings can understand, and that’s why for the childlike voice in the poem it’s easy to say that God made the Lamb, while in The Tyger speaker is at a loss to accept and explain how the same God could made evil too.

Perspective of “experience” in The Tyger  consists precisely in this sophisticated acknowledgment of what is unexplainable in the universe: since evil is presented as the prime example of something that cannot be denied, but cannot be understood, either.

In the matter of style and the figures of speech:

– poem’s language is refined and full of archaisms ( “tyger,” “thine,” “thy”);

– rhythm, based on the use of trochaic tetrameter and of parataxis with few subordinate, is regular and fast, its hammering beat suggestive of the smithy that is the poem’s central image.

– are common alliteration (Tiger, tiger, burning bright at line 1; frame thy fearful symmetry? at line 4) but especially apostrophes and rhetorical questions that speaker addresses to the tiger all along the poem.

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Analisi in inglese con traduzione interlineare


Per comodità di utilizzo dell’analisi di “The Tyger” di William Blake, forniamo qui di seguito una traduzione letterale, periodo per periodo, del testo dell’analisi in inglese.


“The Tyger” is a poem written by the English poet William Blake and published in 1794 as part of the “Songs of Experience” collection.

“The Tyger” è una poesia composta dal poeta inglese William Blake e pubblicata nel 1794 all’interno della raccolta “Songs of Experience”.


The poem consists of six quatrains and each quatrain contains two rhymed couplets.

La poesia si compone di sei quartine, ogni quartina contiene due coppie di versi in rima baciata.


Poem’s structure is simple and regular: a string of questions all contribute to the articulation of a single, central idea, the idea of poet’s wonder before the terrible creation act of the tiger.

La struttura della poesia è semplice e schematica: una sequenza di domande concorre complessivamente all’articolazione di una singola idea centrale, l’idea della meraviglia del poeta di fronte al terribile atto di creazione della tigre.


Poem opens with the speaker asking a magnificent and fearsome tiger what kind of divine being could have created it, then in each subsequent stanza speaker asks further questions, all of which refine the first one.

La poesia si apre con l’io lirico che chiede ad una tigre dall’aspetto maestoso e spaventoso quale Dio abbia potuto crearla, poi, in ciascuna delle strofe successive l’io lirico pone ulteriori domande, che non fanno altro che ripresentare, in forme più circostanziate, l’interrogativo iniziale.


The tiger initially appears as a strikingly sensuous image. However, as the poem progresses, tiger 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 reveals to be a symbol for an investigation into the creation of evil and evil’s presence in the world.

La tigre inizialmente appare come un’immagine di straordinario fascino. Però, mano a mano che la poesia va avanti, la tigre assume una valenza simbolica, ed arriva a incarnare il problema spirituale e morale che la poesia affronta: perfettamente bella e al contempo perfettamente distruttiva, la tigre di Blake si dimostra un simbolo per un’indagine sulla creazione del male e sulla presenza di esso nel creato.

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This investigation has no real response: in the end, all of the questions in the poem remain unanswered, and the poet leaves the reader to awe at the complexity of creation, the magnitude of God’s power, and the inscrutability of divine will.

Questa indagine non ha un vero e proprio esito: alla fine, tutte le domande all’interno della poesia restano prive di risposta, e il poeta lascia il lettore confuso di fronte alla complessità della creazione, alla vastità della potenza di Dio, e all’imperscrutabilità della volontà divina.


Therefore, by asking who could have made the tiger, speaker is asking why God have made evil and why have made it awesome, and by not answering the questions Blake is presenting creation – and creation of evil in particular – as enigmatic and unknowable.

Perciò, chiedendo chi possa aver creato la tigre, l’io lirico in realtà sta chiedendo perché Dio abbia creato il male e perché l’abbia creato bello, e non rispondendo alle domande Blake sta presentando la creazione – e nello specifico la creazione del male – come un fatto enigmatico e inspiegabile.


Hence, poem’s main theme: humans are incapable of fully understanding the mind of God and the mystery of his handiwork.

Di qui, il tema principale della poesia: gli esseri umani non sono in grado di comprendere appieno la mente di Dio e il mistero della sua opera.


Hence also the distance from The Lamb, usually understood as the companion piece in Songs of Innocence.

Di qui anche la distanza da The Lamb, tradizionalmente inteso come brano “associato” nella raccolta Songs of Innocence.


The Lamb presents that part of reality that human beings can understand, and that’s why for the childlike voice in The Lamb it’s easy to say that God made the Lamb, while in The Tyger speaker is at a loss to accept and explain how the same God could made evil too.

The Lamb presenta quella parte di realtà che gli esseri umani possono comprendere, ed è per questo che per la voce di bambino in The Lamb è facile dire che l’agnello è stato creato da Dio, mentre in The Tyger l’io lirico fa fatica ad accettare e spiegare come il medesimo Dio abbia potuto creare anche il male.


Perspective of “experience” in The Tyger  consists precisely in this sophisticated acknowledgment of what is unexplainable in the universe: since evil is presented as the prime example of something that cannot be denied, but cannot be understood, either.

La prospettiva dell’esperienza in questa poesia consiste per l’appunto in questo riconoscimento, di per sé complesso, di ciò che c’è di inspiegabile nell’universo: poiché il male viene presentato come l’esempio lampante di qualcosa che non può essere negato, e che al contempo non può essere compreso.


In the matter of style and the figures of speech:

– poem’s language is refined and full of archaisms ( “tyger,” “thine,” “thy”);

– rhythm, based on the use of trochaic tetrameter and of parataxis with few subordinate, is regular and fast, its hammering beat suggestive of the smithy that is the poem’s central image.

– are common alliteration (Tiger, tiger, burning bright at line 1; frame thy fearful symmetry? at line 4) but especially apostrophes and rhetorical questions that speaker addresses to the tiger all along the poem.

Sul versante della forma e delle figure retoriche:

– il linguaggio della poesia è ricercato e ricco di arcaismi (“tyger,” “thine,” “thy”);

– il ritmo, basato sull’uso del trimetro trocaico e sull’uso della paratassi, con poche subordinate, è regolare e veloce, e la sua cadenza martellante suggerisce l’idea del fabbro, che è una delle immagini centrali della poesia.

– ricorre l’allitterazione (Tiger, tiger, burning bright al verso 1; frame thy fearful symmetry? al verso 4), ma soprattutto ricorrono le apostrofi e le domande retoriche che l’io lirico indirizza alla tigre per tutta la durata della poesia.