WILLIAM BLAKE. Page 2. DjVu Editions E-books. © , Global Language Resources, Inc. Page 3. Blake: Songs of Innocence & Experience. THE WORKS OF WILLIAM BLAKE. Get any book for free on: medical-site.info 3. Nor echoes sweet, nor waters clear as heaven,. Nor laurel wreaths against the. First published in under title: Poetry and prose of William Blake. This edition of William Blake seeks to supply a sounder and more uncluttered text for.
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lifetime, Blake is now considered a seminal figure in the history of both the William Blake and his works have been extensively discussed and criticised over. THE PROPHETIC BOOKS OF WILLIAM BLAKE. MILTON. Edited by E. R. D. MACLAGAN and A. G. B. RUSSELL. LONDON. A. H. BULLEN. 47, GREAT. References to the illustntions of the Book of Job follow Blake's numbenng of the plates. . William Blake () was both a prolific poet and painter.
The Poison Tree I was angry with my friend: I told my wrath, my wrath did end. I was angry with my foe: I told it not, my wrath did grow. And I watered it in fears, Night and morning with my tears; And I sunned it with smiles, And with soft deceitful wiles. And it grew both day and night, Till it bore an apple bright. And my foe beheld it shine.
And he knew that it was mine, And into my garden stole When the night had veiled the pole; In the morning glad I see My foe outstretched beneath the tree.
It is clearly recognized that the tone or mood which is shown in this poem is about the anger. Blake uses wrath to express an extremely anger. So it is used to strengthen the word angry in the first line. Apple appears in many religious traditions, often as a mystical or forbidden fruit.
Blake is a poet who was always interested in mystical thing. It can be the strong reason why he used apple in his poem. Besides apple was also popular in Christian tradition holds that Adam and Eve ate an apple from the forbidden tree in the Garden of Eden.
As we can see, the two first lines have the same sound in the end of each so the two last lines do.
So the rhyme of the poem is AABB. Each stanza consists of four lines.
It can be analyzed by examining the verbs. In the first stanza there are was, told, did as verbs, those verbs are the past forms of am, tell and does. The past tense is also used in the second stanza. Watered and sunned are the past forms of sun and water. Grew, bore, beheld, and knew are the past forms of grow, bear, behold, and know. So the four lines of the third stanza are the past tense forms. Blake combines some tenses in the last stanza.
And into my garden stole when the night had veiled the pole can be recognized as a complex sentence. Whereas the third line in the morning glad I see is the present tense and outstretched is the past form of verb in the last line. Christian tradition in the past believed that apple is a mystical or forbidden fruit.
In this poem Blake suggests that the tree which grows in anger bears an apple.
The poem suggests that acting on anger reduces the need for vengeance, which may be connected to the British view of anger held following the start of the French Revolution. The revolutionary forces were commonly connected to the expression of anger with opposing sides arguing that the anger was either a motivating rationale or simply blinded an individual to reason.
Blake, like Coleridge, believed that anger needed to be expressed, but both were wary of the type of emotion that, rather than guide, was able to seize control. Blake felt that there was a strong connection between the American and French Revolutions and that these revolutions had a universal and historical impact. Although Blake was not part of any radical political organizations in England at the time of the French Revolution, his works suggest a connection to revolutionary thought and the poem serves as his involvement in the debate over the merits of the French Revolution.
It describes the narrator's repressed feelings of anger towards an individual emotion which eventually lead to murder. Summary "The Poison Tree" consists of four sets of rhyming couplets.
The obvious moral of this poem is that hidden wrath becomes more dangerous behind the deceit that hides it from its object. French Revolution that resulted industrial revolution. And it was maybe because of this that Blake went to live in the countryside, far from all the industrial changes and crowded cities. He was aware of the power of this industrial revolution, but he did not let it change his way of life.
Ah Sunflower Ah Sunflower, weary of time, Who countest the steps of the sun; Seeking after that sweet golden clime Where the traveller's journey is done; Where the Youth pined away with desire, And the pale virgin shrouded in snow, Arise from their graves, and aspire Where my Sunflower wishes to go! The first line and the third line of each stanza have the same sound in the end, and the second and the last lines of each stanza also have the same sound in the end.
So the rhyme of this poem is ABAB.
Like the other poems of William Blake this poem also a closed-structure poem. The sunflower symbolizes a man who is also a traveler. Thus, the sunflower seeks the world of liberty, the golden world where every youth and virgin wish to go.
Even the death cannot stop them, they would continue to seek for the Golden world as haunted spirits! All three- The sunflower, the young man and the virgin are seekers of the golden land. Conclusion Analyzing intrinsic elements can be done to help us as the reader understand the meaning of the poem.
Moreover it can bring us to comprehend the messages of the poem. Blake writes that the soul contains two different states, and many readers will jump to the conclusion that therefore, they exclude each other: good or bad, pure or impure, innocent or corrupted. If I live, Or if i die. Behrendt 53 And that is a way in which Blake plays with the reader in the sense of an innocence that has been lost in this terrenal world but that remains in the plane of ideas, where poetry belongs.
But why are we able to see or know about the existence of innocence in a reality where none of it remains? They are contrasting, but not opposed. Yet, innocence comes from a metaphysical world and experience from the physical. We must remember the Romantic conception of childhood as a state of innocence because it was closer to the pre-material existence, for some, that meant an existence closer to God and paradise or just an existence where the soul was still free from the harshness of the material world of men, a concept Blake was aware of.
For others, children were regarded as innocent because they were just less socialized, thence, lacking of the experience older people had. If this conception has anything to do with the romantics and with Blake, its a prove that some notions he presented in Songs of Innocence and Experience trascended the collective consciousness inside and outside of England. Songs of Experience aimed for a grimmer tone where we find themes like the daily coexistence of death and life, and how close and natural they are for each other to point it can be quite disturbing Sick Rose , or the cynicism of just living for the day because that is what gives meaning to a meaningless and minuscule existence The Fly.
If symmetry is the excellence of proportion and the correspondence of size, Blake is implying this dualism that is perfectly portrayed in the image of the tiger. A creature that is regarded for killing other animals in order to survive, but does that make the tiger wrong or evil? If it is only his nature, what does it says about human nature? Finally Blake asks: 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? Does thou know who made thee? He is meek, and He is mild, He became a little child. So through his words, what Blake tells is that innocence is something lost but always searched for, for in our souls there is a sense that there was something purer and better before us. Regardless of the particular poem the reader may confront, it does not take long to spot the juxtaposition of these two states of the Human Soul.
Similarly, whe a al si g Hol Thu sda , it a ot e o itted that Blake pu posefull i luded two poems under the same name in both Songs. Not only did he want to show the oppositio et ee the I o e t a d the E pe ie ed pe eptio of this Catholi day par excellence but he also made it quite evident that he was indeed portraying such contrast.
The e fi st sta za of Hol Thu sda Songs of Experience already shows a highly critical and reproachful persona: Is this a holy thing to see In a rich and fruitful land, — Babes reduced to misery, Fed with cold and usurous hand? Innocence s17 Holy Thursday was also structured in four stanzas but they featured longer lines, which made reading easier and smoother.
Its Experience s18 counterpart, on the contrary, was written in shorter but, at the same time, stronger, tougher lines. These striking lines are not so heavily charged with imagery as they are with criticism and pain. The clear opposition et ee a i h and f uitful la d a d Ba es edu d to ise sho s ho the Chu h e ai ed alie to people s suffe i gs even during important celebrations such as Holy Thursday.
Another very interesting element to analyse is that hands, which had ee i o e t a d lea o es efo e in Innocence , a e o old a d usu ous. Experience has transformed those innocent children into distant and money-driven entities. The second stanza, in turn, offers more useful elements to continue the analysis. Is that trembling cry a song? Can it be a song of joy? And so many children poor? It is a land of poverty!
This stanza is quite impressive due to its three rhetorical questions. Here Blake does not really want the reader to answer these questions but wants them to be moved by them.
What used to be happiness and joy in Innocence has o e o ea te li g. Blake wants the reader to detect the terrible opposition between joyful singing and poverty.
Likewise, the third stanza also portrays the harshness of Experience. And their son does never shine, And their fields are bleak and bare, And their ways are filled with thorns: It is eternal winter there.
These lines are so well achieved that they can be quite heavy to digest. The fact that the first three lines start with the same two words generates intense feelings of repetitiveness and, consequently, resignation.
This stanza shows a world full of difficulties and complexities that are hard to overcome. For these poor children there is no sun no hope, may the reader assume , fields are lifeless and filled with traps.
Winter and oblivion, with their coldness and indifference, will haunt poor children forever. The fourth and last stanza is, quite interestingly, the only one in this poem featuring two rhyming couplets. Fo he e e the su does shi e, A d he e e the ai does fall, Babes should never hunger there, Nor poverty the mind appall. Since it is widely known that rhyming words and phrases are more easily remembered, it might safely be said that Blake decided for this final stanza to include two rhyming couplets to make them more memorable.
In these lines, the poet wants his audience to try to comprehend the contradictory nature of their world: No matter how loud their songs of joy might be, they will never be strong enough to silence poverty.
After having taken a close look at the first complementary duet, let us now direct our attention to the second selection of poems. I The Di i e I age, Blake illust ates a view of humanity as a fair representation of goodness and divine qualities. Human beings are God s ep ese tati es o Ea th a d the poet resorts to four elements to describe this relation. In the very first stanza, Blake introduces the reader to these four qualities: In these lines, the audience learns that these four virtues are essential components of hat Ch istia s all faith.
When believers pray, whether in distress or joy, it is to these elements that their prayers are directed. Me , Pit , Pea e, a d Lo e become key players in Religion as Blake describes it and, more importantly, it would appear that the a o l e a ui ed th ough the i te e tio of so ethi g di i e, i.
According to the poet, goodness and kindness are present in men but only because they are a divine gift: God, therefore, becomes the source of these divine qualities and it is because hu a it is uilt in His own image and likeness 19 that men have been blessed with them. It is imperative to highlight, furthermore, that he Blake efe s to Ma in this stanza, he does so by means of equalling him to a child.
This may have two important readings: The third stanza will further emphasise the idea of human divinity. If we were to judge which virtue was considered to be of higher importance to Blake, it might safely be said that it was Love. Mercy, Pity and Peace are all represented by i di idual ele e ts he eas Lo e ea s the hu a fo di i e. The fact that Love is not one element but a whole entity can be said to support this view.
Humanity itself is Love and it shall then be what all human beings must aspire to achieve. Mercy, Pity and Peace become the means both to attain and sustain Love.
In the last two stanzas, Blake extends this divine value to all mankind, regardless of their race or creed. Love, Mercy, Pity, Peace. And all must love the human form, In heathen, turk, or jew. Whenever there may arise a need for support or comfort, all human beings must pray to be blessed with these four qualities.
In this poem, Blake invites the reader to conceive of these virtues as the means to find God on Earth. It is th ough hild e s innocent and non-judgemental eyes that humanity should approach the di i e. Equality, in addition, plays a key role in these two stanzas, particularly in the last one.
It is uite i te esti g that oth tu k a d je a e ot apitalised a d, if it a e assumed that Blake did so purposefully, it may then be said that his intention was to reject religious barriers and segregations. Different religions cease to be independent, separate bodies to become non-delimiting, complementary entities.
This heavily hopeful poem, consequently, fosters the innocent approach to the world in that God is, once more, described in a fatherly manner. Humanity is a child who, guided by God, celebrates their communion through the four divine values: Mercy, Pity, Peace and Love.
As jo ful a d p o isi g The Di i e I age ight e, it takes almost no time for any experienced reader to recognise the limitations of such an innocent representation of humanity. However, no sooner does the eade fa e the e fi st li es of The Hu a A st a t than their atte tio is d a to the tough ess of Blake s o ds.
Pity would be no more If we did not make somebody poor, And Mercy no more could be If all were as happy as we. The persona in these lines clearly wishes to highlight how unnecessary Pity and Mercy two of the four divine virtues would be if we lived in a world free from injustices.
It becomes possible, therefore, to infer that Blake is not only disregarding these two virtues he so joyfully praised in Innocence but he is stating, though not openly, that the Church and its discourse would be of no use if poverty were eradicated and all human beings were happy.