Blake Poetry Essay Research Paper Verily I

9 September 2017

Blake Poetry Essay, Research Paper

Verily I say unto you, Whoseover shall non have the land of God as a

small child shall in no wise enter in this. [ S Luke, 18 ( 17 ) ] The words are

those of Jesus, who was neither unaware of world, nor indifferent to

agony. The childlike artlessness referred to above is a province of pureness and

non of ignorance. Such is the vision of Blake in his childly Songs of

Artlessness. It would be foolish to say that the writer of ^ & # 1057 ; Holy

Thursday^ & # 1058 ; and ^ & # 1057 ; The Chimney Sweeper^ & # 1058 ; in Songs of Innocence

was insensible to the modern-day societal conditions of orphans or immature expanses,

and that therefore the verse form of the same names in Songs of Experience are

somehow apologies or abjurations of an earlier mistake. For the linguistic communication

and manner of Songs of Innocence are so systematically na & # 1087 ; ve compared to

Songs of Experience, that it is clear that the earlier verse forms are a deliberate

effort to capture the province of grace described in the Biblical citation above

– a jubilation of the victory of artlessness in a universe of experience.

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Often the

words of the verse form are spoken by a kid. It would be impossible to conceive of a

modern kid utilizing linguistic communication such as: Gave thee such a stamp voice, Making all

the valleies rejoice. and it is most improbable that kids spoke therefore even in

Blake^ & # 1058 ; s twenty-four hours. Yet this is the linguistic communication of children^ & # 1058 ; s anthem. I was

personally acquainted with all the words in ^ & # 1057 ; The Lamb^ & # 1058 ; , through

Sunday School anthem, long before making school age. By utilizing the vocabulary of

the hymnbooks, Blake emphasises for us the connexion of which the kid is

instinctively cognizant: I, a kid, and thou a lamb, We are called by his name. The

sentence structure and tone, nevertheless, have the reliable simpleness of children^ & # 1058 ; s

address. The first poetry is a series of inquiries addressed to the lamb. The

2nd stanza begins with the child^ & # 1058 ; s victory at being able to reply

those inquiries: Small Lamb, I^ & # 1058 ; ll state thee. Typically the inquiries are

asked strictly for the satisfaction it gives the kid in replying. There is a

great trade of repeat in all the vocals: in ^ & # 1057 ; The Lamb^ & # 1058 ; this

takes the signifier of a chorus repeated at the beginning and the terminal of each

stanza, one time more evocative of children^ & # 1058 ; s anthem. In contrast, ^ & # 1057 ; The

Tyger^ & # 1058 ; has an incantatory beat, far more like a heathen chant than a

infantile anthem. And the vocabulary is no longer within the apprehension of a

kid: What immortal manus or oculus Could frame thy fearful symmetricalness? This vocal

besides asks inquiries. But

in the universe of experience, unlike the universe of

artlessness, there are no longer any reassuring replies. The universe of Innocence is

a universe of confident replies ; in Experience the replies remain. Indeed, the

inquiries themselves become more baleful. The somewhat incredulous inquiry

above alters subtly during the advancement of the verse form until the word ^ & # 1057 ; Could^ & # 1058 ;

is eventually replaced by the far more baleful ^ & # 1057 ; Dare^ & # 1058 ; . There is no

such patterned advance in Songs of Innocence. Each vocal captures the ^ & # 1057 ; minute in

each twenty-four hours that Satan can non find^ & # 1058 ; [ Milton, II, Pl.35, 1.42 ] . Blake^ & # 1058 ; s

artlessness does non develop: it exists. If we compare Songs of Artlessness with

Songs of Experience we see that this form is invariably repeated. The minute

that the construct of Experience is introduced the simpleness of the linguistic communication

disappears. As avowal gives manner to doubt, the unquestioning religion of

artlessness becomes the rational statement of experience. In ^ & # 1057 ; Infant

Joy^ & # 1058 ; the babe is free even of the bonds of a name. In ^ & # 1057 ; Cradle

Song^ & # 1058 ; it is the female parent who speaks, non with the simpleness of ^ & # 1057 ; Infant

Joy^ & # 1058 ; yet with a naivete emphasised by the repeat of cardinal alliterative

words & # 8211 ; sweet/sleep/smile & # 8211 ; with their intensions of joy. In Songs of

Artlessness groans are ^ & # 1057 ; sweet^ & # 1058 ; and ^ & # 1057 ; dovelike^ & # 1058 ; [ Cradle

vocal ] whereas in Songs of Experience the babes cry in ^ & # 1057 ; fear^ & # 1058 ;

[ London } . In Songs of Innocence the narrative is every bit simple as the direct address.

The verbs are straightforward and unambiguous ; God ^ & # 1057 ; appeared^ & # 1058 ; , He

^ & # 1057 ; kissed^ & # 1058 ; the kid, ^ & # 1057 ; led^ & # 1058 ; him to his female parent. And

although the bleaker side of life is portrayed & # 8211 ; poorness and favoritism for

illustration & # 8211 ; the overall vision is positive. 1. Blake believed that without

reverses there could be no patterned advance. In Songs of Experience we see Blake ^ & # 1057 ; walking

naked^ & # 1058 ; , to utilize Yeats^ & # 1058 ; phrase, as he shouts angrily against societal

immoralities and spiritual handcuffs and lip service. Songs of Innocence are far more

carefully controlled, for all their evident innocence. In Songs of Innocence

Blake^ & # 1058 ; s voice ne’er hesitations: the linguistic communication is systematically na & # 1087 ; ve,

and when images of a less childly nature do intrude they are ever absorbed

into the security that is artlessness. Innocence is a province of religion that must

preclude uncertainty. Blake^ & # 1058 ; s linguistic communication is na & # 1087 ; ve and unambiguous. It is

intentionally adopted to accommodate the topic and discarded later in the prophetic

books. He may hold considered experience as a necessary portion of life, but Blake

remained, supremely, a poet of Innocence.

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