BlakeS Poetry Essay Research Paper Blake PoetryVerily

10 October 2017

Blake`S Poetry Essay, Research Paper

Blake PoetryVerily I say unto you, Whoseover shall non have the land of God asa 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, norindifferent to enduring. The childlike artlessness referred to above isa province of pureness and non of ignorance. Such is the vision of Blake inhis childlike Songs of Innocence. It would be foolish to say thatthe writer of ^ ? Holy Thursday^ ? and ^ ? The Chimney Sweeper^ ? in Songs ofInnocence was insensible to the modern-day societal conditions oforphans or immature expanses, and that therefore the verse form of the same namesin Songs of Experience are somehow apologies or abjurations of anearlier mistake. For the linguistic communication and manner of Songs ofInnocence are so systematically na? ve compared to Songs of Experience, that it is clear that the earlier verse forms are a calculated effort tocapture the province of grace described in the Biblical citation above & # 8211 ; acelebration of the victory of artlessness in a universe of experience.Often the words of the verse form are spoken by a kid. It would beimpossible 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^ ? s twenty-four hours. Yet this is the linguistic communication of children^ ? s anthem. I was personallyacquainted with all the words in ^ ? The Lamb^ ? , through Sunday Schoolhymns, long before making school age. By utilizing the vocabulary of thehymnals, Blake emphasises for us the connexion of which the kid isinstinctively cognizant: I, a kid, and thou a lamb, We are called by his name.The sentence structure and tone, nevertheless, have the reliable simpleness ofchildren^ ? s address. The first poetry is a series of inquiries addressedto the lamb. The 2nd stanza begins with the child^ ? s victory at beingable to reply those inquiries: Small Lamb, I^ ? ll Tell thee.Typically the inquiries are asked strictly for the satisfaction it givesthe kid in replying. There is a great trade of repeat in all thesongs: in ^ ? The Lamb^ ? this takes the signifier of a chorus repeated at thebeginning and the terminal of each stanza, one time more evocative ofchildren^ ? s anthem. In contrast, ^ ? The Tyger^ ? has an incantatory beat, far more like a heathen chant than a infantile anthem. And the vocabulary isno longer within the apprehension of a kid: What immortal manus or oculus Could frame thy fearful symmetricalness? This vocal besides asks

questions. But in the world of experience, unlikethe world of innocence, there are no longer any reassuring answers. Theworld of Innocence is a world of confident answers; in Experience theanswers remain. Indeed, the questions themselves become morethreatening. The slightly incredulous question above alters subtlyduring the progress of the poem until the word ^?Could^? is finallyreplaced by the far more menacing ^?Dare^?. There is no such progressionin Songs of Innocence. Each song captures the ^?moment in each day thatSatan cannot find^? [Milton, II, Pl.35, 1.42]. Blake^?s innocence doesnot develop: it exists.If we compare Songs of Innocence with Songs of Experience we see thatthis pattern is constantly repeated. The moment that the concept ofExperience is introduced the simplicity of the language disappears. Asaffirmation gives way to doubt, the unquestioning faith of innocencebecomes the intellectual argument of experience. In ^?Infant Joy^? thebaby is free even of the bonds of a name. In ^?Cradle Song^? it is themother who speaks, not with the simplicity of ^?Infant Joy^? yet with anaivete emphasised by the repetition of key alliterative words -sweet/sleep/smile – with their connotations of joy. In Songs ofInnocence moans are ^?sweet^? and ^?dovelike^? [Cradle song] whereas inSongs of Experience the babies cry in ^?fear^? [London}.In Songs of Innocence the narrative is as simple as the direct speech. The verbs are straightforward and unambiguous; God ^?appeared^? , He^?kissed^? the child, ^?led^? him to his mother. And although the bleakerside of life is portrayed – poverty and discrimination for example – theoverall vision is positive. 1. Blake believed that without contraries there could be noprogression. In Songs of Experience we see Blake ^?walking naked^?, touse Yeats^? phrase, as he shouts angrily against social evils andreligious manacles and hypocrisy. Songs of Innocence are far morecarefully controlled, for all their apparent artlessness. In Songs ofInnocence Blake^?s voice never falters: the language is consistentlyna?ve, and when images of a less childlike nature do intrude they arealways absorbed into the security that is innocence. Innocence is astate of faith that must preclude doubt. Blake^?s language is na?ve andunambiguous. It is deliberately adopted to suit the subject anddiscarded later in the prophetic books. He may have consideredexperience as a necessary part of life, but Blake remained, supremely, apoet of Innocence.

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