In Jerusalem, Blake famously asserted that 'I will not reason and compare: my business is to create'. This quote highlights the fact that Blake himself was participating in an inventive process. Northrop Frye commented that 'man in his creative acts and perceptions is God, and God is man? ' man's creativity is, for Blake, the manifestation of the divine. The Songs of Innocence and Experience deal with life and the move, in particular, from youth to age. Creation is an extremely important aspect of life [being its beginning], whether the subject is creating or being created. As religion plays an enormous part in all of Blake's poetry, we can expect creation to have some biblical resonance as well.
Songs of Innocence and Songs of Experience portray creation ? as they portray most themes ? in entirely different ways. The innocent child in The Lamb automatically answers his own question when he asks ?who made thee?? It was, of course, God. But the child?s simple reply conceals more ominous symbolism. By linking himself to the lamb and Christ, we are reminded uncomfortably of Christ?s great sacrifice and the slaughter of animals in honour of pagan gods. The simplistic, idealistic version of creation in Innocence veils the darker face of a sub-textually present knowledge involving ritual or religious sacrifice, perhaps the inevitable surrender of innocence in favour of experience.
Creation in Experience is much more complex. In contrast to image of the lamb, the tiger is a predator, no longer ?meek? and ?mild? but ?fearful? and ?deadly?. The poem progresses with a series of questions, constantly gathering pace and frequency. The poem reaches a climax at the question ?Did He who made the lamb make thee?? The narrator cannot reco...
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...hat it leads to more questions. Blake was almost certainly making a point about the nature in reality of experience, after we have created and have truly been created as adults, we begin to reach a higher understanding of what it means to exist, including the knowledge of death and contingency. This may make us bitter, but it also enables us to become wise, perhaps even reach a higher kind of innocence, a second childhood, in acceptance of the inevitability of age. So while the mother in Cradle Song sings sorrowfully ?Sleep, sleep, happy sleep,/ While o?er thee thy mother weep? in recognition that her child will one day reach experience, she is also able to see the ?Heavenly face?, which ?Smiles on thee, on me, on all?, regardless of age and experience. For, it seems to suggest, we are all His children, and He bears the same love for His creations as we do for ours.
The idea of the innocence having been created or forced to exist is lost as the poem focuses on the children and how innocent they are. This stands out particularly in the second stanza which uses end rhyme and repetition to underline just how many children seemed to be going into the church. It is also in that same stanza that the children are referred to as lambs, which is a common symbol for innocence. It is not simply the multitudes of children, but the multitudes of the innocent that have been gathered. ...
William Blake focused on biblical images in the majority of his poetry and prose. Much of his well-known work comes from the two compilations Songs of Innocence and Songs of Experience. The poems in these compilations reflect Blake's metamorphosis in thought as he grew from innocent to experienced. An example of this metamorphosis is the two poems The Divine Image and A Divine Image. The former preceded the latter by one year.
Abstract: William Blake's Songs of Innocence contains a group of poetic works that the artist conceptualized as entering into a dialogue with each other and with the works in his companion work, Songs of Experience. He also saw each of the poems in Innocence as operating as part of an artistic whole creation that was encompassed by the poems and images on the plates he used to print these works. While Blake exercised a fanatical degree of control over his publications during his lifetime, after his death his poems became popular and were encountered without the contextual material that he intended to accompany them.
In Blake’s poem “The Lamb” from Songs of Innocence, Blake proves that in order to keep innocence alive, a child must not question. It is in a child’s nature to trust all that has been told. Therefore the lamb represents childhood as well as innocence. The lamb is personified as being a gentle creature without sin, and the poem itself is characterized by pleasant light imagery. This imagery is an indicator that innocence is a desired state of being. In the first stanza of the poem, the narrator asks questions regarding
In Songs of Innocence and Experience (1789 and 1794), William Blake arouses readers' minds and leads them into a path of finding their own answers and conclusions to his poems. He sets up his poems in the first book, Songs of Innocence, with a few questions as if they were asked from a child's perspective since children are considered the closest representation of innocence in life. However, in the second book, Songs of Experience, Blake's continues to write his poems about thought-provoking concepts except the concepts happen to be a little bit more complex and relevant to experience and time than Songs of Innocence.
His spiritual beliefs reached outside the boundaries of religious elites loyal to the monarchy. “He was inspired by dissident religious ideas rooted in the thinking of the most radical opponents of the monarchy during the English Civil War” (E. P. Thompson). Concern with war and the blighting effects of the industrial revolution were displayed in much of his work. One of Blake’s most famous works is The Songs of Innocence and The Songs of Experience. In this collection, Blake illuminates the naive hopes and fears that inform the lives of children and follow them into adulthood.... ...
However, keep in mind that this poem was published in 1794. A renowned movement in history had just taken place a few years before this poem was published. That movement was The First Great Awakening. Christine Heyrman of The Univeristy of Delaware describes the First Great Awakening as “a revitalization of religious piety that swept through the American colonies between the 1730s and the 1770s.” (Heyrnman 1). This means that just before Blake published his poem, a revamping of Christian culture was being taken place in The United States. This is essential information to keep in mind because Blake, less than thirty years later, questions Christianity in its entirety through a poem called “The
two entirely different worlds, but it is my belief that it is not the Lamb
During the British Romantic period, some writers used material from the Bible or imitated the Bible in style of writing or content. William Blake, a Romantic writer, engraver, and painter, believed that “the Bible was the greatest work of poetry ever written” (Barker 2004). The Bible influenced him throughout this life, specifically influencing both his writing and his art. There are many references to Biblical themes within his writing, and there are also many references to specific passages of Scripture (Barker 2004).
Blake also uses sound to deliver the meaning to the poem. The poem starts off with "My mother groaned! my father wept." You can hear the sounds that the parents make when their child has entered this world. Instead of joyful sounds like cheer or cries of joy, Blake chooses words that give a meaning that it is not such a good thing that this baby was brought into this world. The mother may groan because of the pain of delivery, but she also groans because she knows about horrible things in this world that the child will have to go through. The father also weeps for the same reason, he knows that the child is no longer in the safety of the womb, but now is in the world to face many trials and tribulations.
There are often two sides to everything: chocolate and vanilla, water and fire, woman and man, innocence and experience. The presence of two opposing items allows for harmony and balance in the world. Without water, fire cannot be put out and without woman there can be no man. William Blake’s poetry collection Songs of Innocence and of Experience draws parallels between poems of “innocence” and poems of “experience”. His poem The Lamb is mirrored by his poem The Tyger. Although Blake’s poem The Tyger revolved around the idea of a ferocious mammal, its illustration of a sheepish tiger complicates and alters Blake’s message in the poem by suggesting that good and evil simultaneously exist.
In William Blake’s poem “The Lamb” the speaker begins with the ultimate question, “Little Lamb, who made thee?/ Dost though know who made thee?/” (Blake lines 1-2). The speaker then continues to elaborate on the question in a playful, innocent, singsong manner describing the kindness and thoughtfulness that the creator put in to producing this ever so gentle lamb. The tone of this poem is soft and lulling, the tender, calm rhyme scheme puts the reader in a soothing, dreamlike state. “The words and images presented - stream, mead, delight, softest, tender and rejoice - are positive and pastoral. One can picture a lamb frolicking in the green grass…” (Smith).
giving the tiger an even more awe-inspiring quality. The stanza finishes with "Did he who made the lamb make thee?" Which gives the idea of disbelief at the prospect of a creator making a harmless pleasant creature such as the lamb and a dangerous mighty and awful creature like the tiger. b) Explore the ways Blake uses imagery and repetition in this poem. The most obvious repetition in this poem is the "Tiger"!
The `Songs of Experience' `Introduction' appears to be a lamentation concerning the demise of innocence, the gradual loss of nature through the corollary of experience. The persona cries `calling the lapsed soul', calling the `Earth, o Earth' to `return' from `the slumberous mass'. The Earth replies in `the Earth's answer' with the remark `break this heavy chain that does freeze my bones around' suggesting the coercive forces of industry and the artificial forces of man over the Earth, over nature. The `little girl' and `little boy' grow to be `lost' in this new world governed by industry, in this new world of mechanised Christendom, in this new world absolving itself of altruistic action and concern for the individual. The `lost' boy and girl make their way back to their instinctive origin and find solace in nature. The harmony of nature and its association with man is represented well in the first stanza of `Song [2]' of `the poetical sketches':
Although both Blake and Wordsworth show childhood as a state of greater innocence and spiritual vision, their view of its relationship with adulthood differs - Blake believes that childhood is crushed by adulthood, whereas Wordsworth sees childhood living on within the adult. In the William Blake’s Songs of Innocence and of Experience, the vision of children and adults is placed in opposition to one another. Blake portrays childhood as a time of optimism and positivity, of heightened connection with the natural world, and where joy is the overpowering emotion. This joyful nature is shown in Infant Joy, where the speaker, a newborn baby, states “’I am happy, Joy is my name.’” (Line 4-5).