The Songs of Innocence and of
The Songs of Innocence and of Experience
Experience
William Blake
William Blake
CONTENTS
CONTENTS
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A K
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THE POEMS
THE POEMS
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The Chimney Sweeper
The Chimney Sweeper (Innocence)
(Innocence)
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The Chimney Sweeper
The Chimney Sweeper (Experience)
(Experience)
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Nurse’s Song
Nurse’s Song (Innocence)
(Innocence)
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Nurse’s Song
Nurse’s Song (Experience)
(Experience)
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Poems
Poems
The Tyger (36) – The Lamb (37) – A Poison Tree (38)
The Tyger (36) – The Lamb (37) – A Poison Tree (38)
The Human Abstract (39) – London (40)
The Human Abstract (39) – London (40)
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AS LEVEL ENGLISH LITERATURE
AS LEVEL ENGLISH LITERATURE
A
INNOCENCE & EXPERIENCE
INNOCENCE & EXPERIENCE
Shewing two contrary states of the human soul
Shewing two contrary states of the human soul
The Key to Understanding William Blake & his Poetry The Key to Understanding William Blake & his Poetry
William Blake believed that all human beings are born into a state of Innocence. By William Blake believed that all human beings are born into a state of Innocence. By Innocence he means that infants and children share in the divine, that they are in fact Innocence he means that infants and children share in the divine, that they are in fact part of God, and that they see with the eyes of God. For the child, everything around part of God, and that they see with the eyes of God. For the child, everything around them is beautiful and true. This Innocence is not the same as Ignorance, i.e. being too them is beautiful and true. This Innocence is not the same as Ignorance, i.e. being too young to know that the world can be a dark, threatening place. Their Innocence is young to know that the world can be a dark, threatening place. Their Innocence is more like the innocence of Adam and Eve before they ate of the forbidden fruit and more like the innocence of Adam and Eve before they ate of the forbidden fruit and were expelled from the Garden of Eden.
were expelled from the Garden of Eden. As we
As we grow up and leave grow up and leave childchildhood behinhood behind us, d us, ExperExperience teaches us that ience teaches us that the worldthe world not only has beauty and truth, but also has a darker side, and that people can be not only has beauty and truth, but also has a darker side, and that people can be tainte
tainted d with Hate, Envy, Jealousywith Hate, Envy, Jealousy, Fear, , Fear, PoverPoverty, Despair. This for Blake ty, Despair. This for Blake is the is the statestate of Experience.
of Experience.
Blake felt that we all, as adults, must accept that the world of Experience exists, but Blake felt that we all, as adults, must accept that the world of Experience exists, but that we can get back to the Vision of Innocence that we had in our childhood. How that we can get back to the Vision of Innocence that we had in our childhood. How are we to do this?
are we to do this? We
We reregagain in ouour r InInnonocecencnce e by by ththe e ususe e of of ouour r ImImagagininatatioion. n. We We ususe e ouour r CrCreateativivee Imagination to remember what the World of Innocence is like, and that is the world Imagination to remember what the World of Innocence is like, and that is the world we should try to live in. All our actions and behaviour and thoughts should reflect the we should try to live in. All our actions and behaviour and thoughts should reflect the kind of Innocence we want to regain – we should be kind and helpful and gracious kind of Innocence we want to regain – we should be kind and helpful and gracious and lovin
and loving and considg and considerate. erate. And if we are artists we may recreAnd if we are artists we may recreate the Visionate the Visions of s of Innocence in paint, or in words, or in sculpture, or in any of the artistic media we can. Innocence in paint, or in words, or in sculpture, or in any of the artistic media we can. William Blake is not being naïve. His Songs of Experience show how familiar he was William Blake is not being naïve. His Songs of Experience show how familiar he was with the harsh realties of life, but his Songs of Innocence show the kind of world we with the harsh realties of life, but his Songs of Innocence show the kind of world we sh
shouould ld be be ststruruggggliling ng to to bubuilild d if if we we wawant nt to to exexpeperirienence ce ththe e jojoys ys of of InInnonocencencece Regained.
Regained.
This central idea
This central idea – – InnocInnocence, Experience, Experience, and ence, and InnocInnocence Regained – ence Regained – is reflected inis reflected in Blake’s poetry, and it is enlightening to study them in pairs, for example Infant Joy & Blake’s poetry, and it is enlightening to study them in pairs, for example Infant Joy & Infant Sorrow. We should
Infant Sorrow. We should notnot see the poems as mirror opposites, but as the interplaysee the poems as mirror opposites, but as the interplay of light and dark that is woven into the fabric of human life and its affairs.
of light and dark that is woven into the fabric of human life and its affairs. When studying the poems, keep this question before you at all times: When studying the poems, keep this question before you at all times:
To what extent do these poems reflect William Blake’s vision
To what extent do these poems reflect William Blake’s vision
of the worlds of Innocence and Experience?
FORM & LANGUAGE
FORM & LANGUAGE
Clearly we will need some knowledge of the form and language of Blake’s poems, Clearly we will need some knowledge of the form and language of Blake’s poems, an
and d ththis is wiwill ll be be a a mamain in fofocucus s of of ouour r prprepepararatatioion n duduriring ng ththe e weeweeks ks bebefofore re ththee examination.
examination.
Remember, however, that your Study Guide has detailed comments on the form and Remember, however, that your Study Guide has detailed comments on the form and language of all the poems we are required to study. Make this a focus of your study. language of all the poems we are required to study. Make this a focus of your study. However, the following comments apply, more or less, to all of Blake’s poetry and However, the following comments apply, more or less, to all of Blake’s poetry and should be committed to memory though not word for word in this form:
should be committed to memory though not word for word in this form:
In the combined volume there are forty-six poems in all. All of them are short, some In the combined volume there are forty-six poems in all. All of them are short, some very short indeed. All are written in an apparently simple style, and the most usual very short indeed. All are written in an apparently simple style, and the most usual verse form is the rhymed
verse form is the rhymed quatrainquatrain (stanza of four lines). Blake is unique among(stanza of four lines). Blake is unique among major poets in English before the 20
major poets in English before the 20thth century in not using the most convention line,century in not using the most convention line,
the
the pentameterpentameter (five-foot line) that was common to writers from Shakespeare and(five-foot line) that was common to writers from Shakespeare and Milton through to Pope and beyond.
Milton through to Pope and beyond.
The lines Blake uses in the Songs are shorter, typically the
The lines Blake uses in the Songs are shorter, typically the tetrametertetrameter (four-foot(four-foot line), as he found it in the popular forms of his day (hymns and nursery rhymes, and line), as he found it in the popular forms of his day (hymns and nursery rhymes, and also the
also the balladballad, which had a very significant influence on Blake. (The ballad is a, which had a very significant influence on Blake. (The ballad is a traditional poem or song telling a tale in simple, colloquial language.)
traditional poem or song telling a tale in simple, colloquial language.) The verses that
The verses that expexpresress s thethese se ideideas as are are simsimpleple, , musmusicaical l and tendeand tender. r. MetMetres res areare borrowed from ballads, from singing games, and from Mother Goose rhymes; images borrowed from ballads, from singing games, and from Mother Goose rhymes; images
from meadows, pastures and playgrounds. from meadows, pastures and playgrounds.
The decorations are delicate, painted in light colours, and filled with flowers and leafy The decorations are delicate, painted in light colours, and filled with flowers and leafy vines, dancing children, lambs, and tiny
vines, dancing children, lambs, and tiny angels.angels. Five years after the appearance of
Five years after the appearance of Songs of InnocenceSongs of Innocence, Blake completed another small, Blake completed another small series of plates of decorated verses, using the same simple metres, but in an entirely series of plates of decorated verses, using the same simple metres, but in an entirely different mood. These he engraved and bound together with the earlier poems in an different mood. These he engraved and bound together with the earlier poems in an enlarg
enlarged ed volumvolume e entitleentitled,d, Songs of Innocence and Experience: Shewing the TwoSongs of Innocence and Experience: Shewing the Two Contrary States of the Human Soul.
Contrary States of the Human Soul. To Blake, the world of
To Blake, the world of Experience Experience is a world of disillusionment where the child-likeis a world of disillusionment where the child-like soul of
soul of Innocence Innocence meets the harshness of nature and the cruelty of Man, and of Man’smeets the harshness of nature and the cruelty of Man, and of Man’s institutions. Many of these songs are bitter; the decorations are often bleak, dark, institutions. Many of these songs are bitter; the decorations are often bleak, dark, filled with dead trees, wilting flowers, dead or dying figures, graves and tombstones. filled with dead trees, wilting flowers, dead or dying figures, graves and tombstones. One of the most appropriate ways in which to organise the poems is in pairs, pairs One of the most appropriate ways in which to organise the poems is in pairs, pairs ref
reflelecticting ng ththe e dudualality ity at at ththe e heheart art of of BlBlakake’s e’s ththininkikingng, , BlBlakake’e’s s coconcncepeptition on of of Innocence and Experience, always keeping in mind that one needs the other as Night Innocence and Experience, always keeping in mind that one needs the other as Night needs Day, and that one will cast light, even as the other casts shadows.
THE POEMS
THE POEMS
THE ECHOING GREEN THE ECHOING GREEN
Note the shifting perspectives in the poem – Blake, the children, the old folk. The Note the shifting perspectives in the poem – Blake, the children, the old folk. The
Echoing Green is the world of innocence similar
Echoing Green is the world of innocence similar to that in the first to that in the first Nurse’s Song. ThisNurse’s Song. This is
is a a woworlrld d in in rhrhytythm hm wiwith th ththe e seseasasonons. s. NoNote te hohow w ththe e olold d fofolk lk apapprprovove e of of anandd encourage the children at play; there is none of the bitter jealousy of the second encourage the children at play; there is none of the bitter jealousy of the second Nurse’s Song.
Nurse’s Song.
The old folk are nostalgic for the innocent world of their own childhood but they The old folk are nostalgic for the innocent world of their own childhood but they accept rather than
accept rather than resent its loss. Note the pathos in the resent its loss. Note the pathos in the lines “Such such were the joyslines “Such such were the joys When we all, girls and boys, In our youth time were seen On the Ecchoing Green.” When we all, girls and boys, In our youth time were seen On the Ecchoing Green.” The little ones do not
The little ones do not end their sport until the sun sets. They are in end their sport until the sun sets. They are in tune, in harmonytune, in harmony with the rhythms of nature just as much as the skylark and the thrush at play in the with the rhythms of nature just as much as the skylark and the thrush at play in the bushes. We can also hear echoes of ‘The Blossom’ where Blake makes it clear we bushes. We can also hear echoes of ‘The Blossom’ where Blake makes it clear we must have hearts large enough to hold, embrace and encompass ALL of human must have hearts large enough to hold, embrace and encompass ALL of human experience – the sorrows and the joys.
experience – the sorrows and the joys.
Some readers might interpret the final two lines – “And sport no more seen On the Some readers might interpret the final two lines – “And sport no more seen On the Darkening Green” – as the encroachment of the world of experience upon the world Darkening Green” – as the encroachment of the world of experience upon the world of innocence, but it may be taken simply as the village green darkening as the sun of innocence, but it may be taken simply as the village green darkening as the sun sets.
sets.
FORM: The poem is in two stanzas of 10 lines each with a rhyme scheme of rhymed FORM: The poem is in two stanzas of 10 lines each with a rhyme scheme of rhymed couplets. The language is simple and suitable as children’s verse. The rhythm is couplets. The language is simple and suitable as children’s verse. The rhythm is musical with 2 or 3 stresses to each line. The poem is in lyrical mood.
musical with 2 or 3 stresses to each line. The poem is in lyrical mood.
LONDON LONDON
London is one of Blake’s most powerful poems. It is a devastating critique of a city London is one of Blake’s most powerful poems. It is a devastating critique of a city where almost every
where almost every inhabinhabitant is itant is suppsuppressed and exploiteressed and exploited d by those in by those in authoauthority andrity and power.
power.
As Blake, in the person of the narr
As Blake, in the person of the narrator, wanders the streets of London he observes andator, wanders the streets of London he observes and cat
catalalogogueues s ththosose e whwho o hahave ve bebeen en crucrushshed ed by by ththe e grgreeeed d anand d seselflfisishnhnesess s of of ththee Establishment; in their faces he observes the signs and symbols of weakness and woe Establishment; in their faces he observes the signs and symbols of weakness and woe – poverty and destitution, both spiritual and material. Even the River Thames itself – poverty and destitution, both spiritual and material. Even the River Thames itself
has been polluted by the greed and selfishness that surround it. has been polluted by the greed and selfishness that surround it. In
In ththe e crcrieies s of of memen, n, wowomemen n anand d chchilildrdren en he he hehearars s ththe e terterrorors rs of of popovevertrty y anandd exploitation. London is a spiritual wasteland where the young chimney sweepers are exploitation. London is a spiritual wasteland where the young chimney sweepers are fo
forcerced d ininto to slslavaverery, y, sosoldldieiers rs spspilill l ththeieir r blblooood d to to prprototecect t ththe e ricrich, h, wewealalththy y anandd aristocratic, but worst of all young women, almost girls, are driven into prostitution aristocratic, but worst of all young women, almost girls, are driven into prostitution where disease, the harlots’ curse, destroys not only their lives but the lives of their where disease, the harlots’ curse, destroys not only their lives but the lives of their
new born infant
new born infants. s. The carriThe carriage age thathat t shoshould bear uld bear thethem m intinto o the joys of the joys of marmarriagriagee becomes a hearse transporting them to disease and death.
becomes a hearse transporting them to disease and death. To recap
To recap: : The nThe narrator arrator wandewanders thrrs throughough LondonLondon and finds even the streets and theand finds even the streets and the river suffering under political oppression. In everyone he passes, he sees signs of river suffering under political oppression. In everyone he passes, he sees signs of misery and moral weakness. In fact, the narrator doesn't just
misery and moral weakness. In fact, the narrator doesn't just see see the misery of thethe misery of the sweep, the soldier, the prostitute or the baby, he
sweep, the soldier, the prostitute or the baby, he hearshears it in their cries, sighs, cursesit in their cries, sighs, curses and tears. He visualises the cry of the chimney-sweep covering the churches like a and tears. He visualises the cry of the chimney-sweep covering the churches like a pall draped over a coffin, and the last breath of the dying soldier running like blood pall draped over a coffin, and the last breath of the dying soldier running like blood down the walls of the royal palace. In the depths of night the 'Harlot's curse' (venereal down the walls of the royal palace. In the depths of night the 'Harlot's curse' (venereal disease) blinds the new-born baby and turns love itself into a disease-infested shortcut disease) blinds the new-born baby and turns love itself into a disease-infested shortcut to death.
to death.
THE POWER OF THE POEM THE POWER OF THE POEM 'Lon
'London' is one don' is one of Blake's most powerful politicaof Blake's most powerful political l poemspoems. . That power is That power is achievachieved ined in good part through repetition. Notice how 'charter'd' appears twice, 'mark' three times good part through repetition. Notice how 'charter'd' appears twice, 'mark' three times and 'every' a total of seven times. This - coupled with the repeated use of 'and' - gives and 'every' a total of seven times. This - coupled with the repeated use of 'and' - gives an atmosphere of relentless oppression to the poem. 'London' singles out the Church an atmosphere of relentless oppression to the poem. 'London' singles out the Church and the King for their part in this oppression: the Church is a dark force of evil, while and the King for their part in this oppression: the Church is a dark force of evil, while the soldier's blood is a direct indictment of the uncaring King who sent him off to die. the soldier's blood is a direct indictment of the uncaring King who sent him off to die. Though the poem is rich in symbolic meaning, Blake's victims are also real people: Though the poem is rich in symbolic meaning, Blake's victims are also real people: the 'Harlot's curse' is no tame euphemism for syphilis, but the shout of a 'youthful' the 'Harlot's curse' is no tame euphemism for syphilis, but the shout of a 'youthful' p
proroststititutute e agagaiainsnst t ththe e sosocieciety ty whwhich ich ababususes es heher. r. BuBut t whwhat at are are ththee 'mind-forg'd'mind-forg'd manacles'
manacles'? ? ThThey ey mamay y rereprpresesenent t ththe e dedeepeply ly iningrgrainained ed rerespspecect t fofor r trtradadititioion n anandd ins
instittitutiutions ons thathat t stostoppepped d the the peopeople ple of of LonLondon don frofrom m folfollowlowing ing the the exaexamplmple e of of revolutionary Paris and overthrowing their oppressors in Church and State. After all, revolutionary Paris and overthrowing their oppressors in Church and State. After all, 'L
'Lonondodon' n' wawas s pupublblisishehed d in in 17179393, , fofour ur yeyearars s afafter ter ththe e ououtbtbreareak k of of ththe e FrFrenenchch Revolution and the same year as the execution of Louis XVI, the French King.
Revolution and the same year as the execution of Louis XVI, the French King.
London is the city from Hell. Blake uses the word “charter’d” ironically. A charter is London is the city from Hell. Blake uses the word “charter’d” ironically. A charter is a deed guaranteeing certain rights and freedoms; the poor of Blake’s London had a deed guaranteeing certain rights and freedoms; the poor of Blake’s London had none of these.
none of these. The new-born child, traditionally a symboThe new-born child, traditionally a symbol of hope and the promise of l of hope and the promise of a new start, is here the child of an adolescent prostitute, blighted by venereal disease, a new start, is here the child of an adolescent prostitute, blighted by venereal disease, and every marriage, in this city, is associated with Death (the hearse) rather than Life. and every marriage, in this city, is associated with Death (the hearse) rather than Life. Blake provides a bitter and harsh view of the city that is characterised in terms of Blake provides a bitter and harsh view of the city that is characterised in terms of repression, regimentation, disease, hypocrisy and death. London is dominated by the repression, regimentation, disease, hypocrisy and death. London is dominated by the spirit of “Reason”, the “mind-forged manacles” that bind and restrain the natural spirit spirit of “Reason”, the “mind-forged manacles” that bind and restrain the natural spirit (s
(symymbobolilisesed d in in ththe e reregigimementented d ststrereetets s anand d ththe e “c“chahartrter'er'd d ThThamameses”)”), , anand d ththee hypocritical Establishment (“church” and “palace”) does nothing to prevent or speak hypocritical Establishment (“church” and “palace”) does nothing to prevent or speak out against injustice (symbolised in the cries of the young chimney sweepers, with out against injustice (symbolised in the cries of the young chimney sweepers, with reference here to the political agitation from the 1780s onwards to improve their reference here to the political agitation from the 1780s onwards to improve their working conditions of children ).
working conditions of children ).
The poem has 4 stanzas, and each stanza is a rhymed quatrain (stanza of 4 lines). The The poem has 4 stanzas, and each stanza is a rhymed quatrain (stanza of 4 lines). The lines are in tetram
lines are in tetrameter (four streseter (four stressed feet per line). Thsed feet per line). This was a is was a popupopular form of thelar form of the verse of the day and was often used in hymns
how the terrible subject matter plays against the child-like simplicity of the verse how the terrible subject matter plays against the child-like simplicity of the verse form.
form.
Notice also how repetition is the key to the power of this poem. It is like a drum beat Notice also how repetition is the key to the power of this poem. It is like a drum beat or the sound of marching feet – every face, every Man, every Infants cry – marks of or the sound of marching feet – every face, every Man, every Infants cry – marks of weakness, marks of woe. The rhythm is insistent and relentless; this is the City of weakness, marks of woe. The rhythm is insistent and relentless; this is the City of Night from which there is no escape; this is the world of Experience in stone and Night from which there is no escape; this is the world of Experience in stone and
flesh. flesh.
THE LAMB THE LAMB
The narrator of the poem, Blake, addresses the lamb as the simplest, most innocent The narrator of the poem, Blake, addresses the lamb as the simplest, most innocent and most tender of God’s creatures. In the first stanza, Blake paints a scene of and most tender of God’s creatures. In the first stanza, Blake paints a scene of tranqu
tranquil, calm, il, calm, serenserene, rural e, rural beautbeauty y and bliss. This is and bliss. This is the world of the world of InnocInnocence realisedence realised (made real) in the natural world; note the contrast between this world that of London, (made real) in the natural world; note the contrast between this world that of London, city of night.
city of night.
Although the poem is couched in the simplest of forms and language, Blake is asking Although the poem is couched in the simplest of forms and language, Blake is asking a profoundly serious question: “Little Lamb, WHO made thee?” and by extension a profoundly serious question: “Little Lamb, WHO made thee?” and by extension Blake is asking WHO made, created all of us?
Blake is asking WHO made, created all of us?
Blake gives the answer in the second stanza in the form of a childish puzzle. It was Blake gives the answer in the second stanza in the form of a childish puzzle. It was another Lamb who made thee/us, but this Lamb is the Son of God, the Lamb who another Lamb who made thee/us, but this Lamb is the Son of God, the Lamb who taketh away the sins of the world, the Lamb who restores us to our state of Innocence. taketh away the sins of the world, the Lamb who restores us to our state of Innocence. This Lamb is, of course,
This Lamb is, of course, Jesus Christ, son of God and saviour of the Jesus Christ, son of God and saviour of the Mankind.Mankind. There is a curious line in the 2
There is a curious line in the 2ndnd stanza – “I a child & stanza – “I a child & thou a lamb.” We can take it thou a lamb.” We can take it toto mean that the poet William Blake is restored to the state of Innocence as a child, and mean that the poet William Blake is restored to the state of Innocence as a child, and that both the child and the lamb are called to this state of Innocence by Jesus Himself. that both the child and the lamb are called to this state of Innocence by Jesus Himself. The power of the poem lies in the question repeated four times: “Who made thee?” The power of the poem lies in the question repeated four times: “Who made thee?” and Blake invites the reader, you and me, to ask this profound and fundamental and Blake invites the reader, you and me, to ask this profound and fundamental question of ourselves.
question of ourselves.
The poem is in 2 stanzas, with rhymed couplets, with 4 stresses to each line. The The poem is in 2 stanzas, with rhymed couplets, with 4 stresses to each line. The poem has the rhythms of a nursery rhyme that appeals to children. The rhyme scheme poem has the rhythms of a nursery rhyme that appeals to children. The rhyme scheme and the simple lexis (vocabulary) make it easy to memorise, perhaps as children were and the simple lexis (vocabulary) make it easy to memorise, perhaps as children were asked to memorise their catechisms.
asked to memorise their catechisms.
THE TYGER THE TYGER
The Tyger is one of Blake’s mo
The Tyger is one of Blake’s most popular poems, and onst popular poems, and one of his most myse of his most mysterious. terious. If If The Lamb represents Jesus and God’s love for His creation, The Tyger represents The Lamb represents Jesus and God’s love for His creation, The Tyger represents God’s righteous anger, and Blake asks the question: “How can one Creator create God’s righteous anger, and Blake asks the question: “How can one Creator create both creatures?”
both creatures?”
This is a profound question that has puzzled men since the foundation of Christianity. This is a profound question that has puzzled men since the foundation of Christianity. How can a loving, caring, considerate God create a universe that also contains anger, How can a loving, caring, considerate God create a universe that also contains anger,
greed, hate, oppres
greed, hate, oppression. In Blake’s terms, how can sion. In Blake’s terms, how can the God of the God of InnocInnocence also be ence also be thethe God of Experience?
God of Experience? The answe
The answer is hinted at in r is hinted at in the phrasthe phrase “fearful e “fearful symmsymmetry”. Thinetry”. Think of symmetry as ak of symmetry as a mirror image that reveals and contains opposi
mirror image that reveals and contains opposites. Eternittes. Eternity and y and the Human Soul is, the Human Soul is, toto Blake, in a state of balance between two contraries: between gentleness and ferocity, Blake, in a state of balance between two contraries: between gentleness and ferocity, love and wrath, punishment and forgiveness, purity and corruption, Innocence and love and wrath, punishment and forgiveness, purity and corruption, Innocence and Experience.
Experience. Blake’s
Blake’s Tyger Tyger raises these profound questions, but does not finally raises these profound questions, but does not finally answer them.answer them. Blake’s
Blake’s Tyger Tyger may also be the may also be the symbsymbol of ol of artistartistic rather than ic rather than naturnatural creation, a al creation, a work work of Art rather than a product of Nature. The tyger is personified as having been born of Art rather than a product of Nature. The tyger is personified as having been born fro
from m firfire, e, foforgrged ed ratratheher r ththan an grgrowown, n, anand d chcharaaractcterierisesed d in in tetermrms s of of itits s memetaltallilicc coldness. Note how the poem’s imagery creates association of fire, coldness and coldness. Note how the poem’s imagery creates association of fire, coldness and darkness – hammer, chain, furnace, brain, anvil and sinews of the heart. The poem darkness – hammer, chain, furnace, brain, anvil and sinews of the heart. The poem asks the question: who could have dared to make – ‘frame’ – a beast as terrifying as asks the question: who could have dared to make – ‘frame’ – a beast as terrifying as the tyger? It then goes on to liken the making of the tyger to the dangerous process of the tyger? It then goes on to liken the making of the tyger to the dangerous process of fashioning molten metal from the furnace with hammer and anvil.
fashioning molten metal from the furnace with hammer and anvil.
In the fifth verse the poet asks the question: 'Did he smile his work to see? Did he In the fifth verse the poet asks the question: 'Did he smile his work to see? Did he who made the Lamb make thee?' Blake implies that it was God who made both the who made the Lamb make thee?' Blake implies that it was God who made both the gentle lamb and the
gentle lamb and the ferociferocious tiger, but that he ous tiger, but that he may regret having created so fierce amay regret having created so fierce a beast as the latter. The concluding verse of the poem is identical to the opening verse, beast as the latter. The concluding verse of the poem is identical to the opening verse, giving the poem itself 'symmetry', but note that in line 4 'could' has been replaced by giving the poem itself 'symmetry', but note that in line 4 'could' has been replaced by 'dare'.
'dare'. The change from The change from could to dare could to dare is crucial – even if is crucial – even if the Creator the Creator could could make suchmake such a terrifying creature, would he even
a terrifying creature, would he even daredare to make it?to make it? The Songs of Innocence and of Experience
The Songs of Innocence and of Experience were intended by Blake to show 'the twowere intended by Blake to show 'the two contrary
contrary states of the human soul'. 'The Tyger' is the contrary poem to 'The Lamb' instates of the human soul'. 'The Tyger' is the contrary poem to 'The Lamb' in the Songs of Innocence. 'The Lamb' is about a kindly God who 'calls himself a Lamb' the Songs of Innocence. 'The Lamb' is about a kindly God who 'calls himself a Lamb' and is himself meek and mild. The tiger, by contrast, is a terrifying animal 'burning' and is himself meek and mild. The tiger, by contrast, is a terrifying animal 'burning' with fire in its eyes. The poet therefore finds it hard to believe that the same God who with fire in its eyes. The poet therefore finds it hard to believe that the same God who created the gentle lamb would also make the 'dread' tiger.
created the gentle lamb would also make the 'dread' tiger.
Although the natural world contains much that is gentle and innocent (“Songs of Although the natural world contains much that is gentle and innocent (“Songs of Innocence”), those who are experienced with life (“Songs of Experience”) know that Innocence”), those who are experienced with life (“Songs of Experience”) know that there is
there is also much that also much that is terrible and is terrible and frightfrighteningening. (The . (The “fearf“fearful symmetry” might beul symmetry” might be that of the lamb and the tyger, innocence and experience.)
that of the lamb and the tyger, innocence and experience.) FORM & LANGUAGE
FORM & LANGUAGE
‘The Tyger’ is ruled by symmetry: symmetry between stanzas, between lines and ‘The Tyger’ is ruled by symmetry: symmetry between stanzas, between lines and within lines. For this reason, one of the details that leaps out at us immediately is the within lines. For this reason, one of the details that leaps out at us immediately is the lack of symmetry between the first and last stanzas, where a single word
lack of symmetry between the first and last stanzas, where a single word could could inin stanza 1 is changed to
stanza 1 is changed to daredare in stanza 6. in stanza 6. Compare ‘What immortal Compare ‘What immortal hand or eyhand or eyee could could frame thy fearful symmetry?’ with ‘What immortal hand or eye
frame thy fearful symmetry?’ with ‘What immortal hand or eye daredare frame thy fearfulframe thy fearful symmetry?’
The first question asks if there is any power that has the ability to create such a The first question asks if there is any power that has the ability to create such a terrible entity as the tyger; the second suggests that even if there were a power able to terrible entity as the tyger; the second suggests that even if there were a power able to create the tiger, would it have the nerve, the courage to create such an awesome beast. create the tiger, would it have the nerve, the courage to create such an awesome beast. What in the poem has led us from could to dare, from asking if anyone has the ability What in the poem has led us from could to dare, from asking if anyone has the ability to create the tyger to questioning if anyone has the courage to create it? Throughout to create the tyger to questioning if anyone has the courage to create it? Throughout the poem the tyge
the poem the tyger is portrayr is portrayed as a ‘dread beast’; ed as a ‘dread beast’; in Englin English, ‘dreaish, ‘dread’ is one of thed’ is one of the those rare words that can mean its own opposite, both ‘fearsome’ and ‘fearing’. Let’s those rare words that can mean its own opposite, both ‘fearsome’ and ‘fearing’. Let’s make this clear: if I say to you, do not have anything to do with that dread man, I make this clear: if I say to you, do not have anything to do with that dread man, I could be meaning that the man in question is to be feared, or that the man himself is could be meaning that the man in question is to be feared, or that the man himself is fear
fearinging/afr/afraid aid somsomethething ing may may haphappenpen. . IncIncideidentalntally, ly, thithis s haphappenpens s witwith h the the wowordrd ‘fearful’ itself – what two meanings can the phrase ‘fearful children’ have?
‘fearful’ itself – what two meanings can the phrase ‘fearful children’ have?
So the phrase ‘dread beast’ immediately raises the question: what is being feared here So the phrase ‘dread beast’ immediately raises the question: what is being feared here by whom, and why? Or, to put it another way, what does the tiger represent, and thus by whom, and why? Or, to put it another way, what does the tiger represent, and thus
what might it mean to try to ‘frame’ the tyger’s fearful symmetry. what might it mean to try to ‘frame’ the tyger’s fearful symmetry.
Is the narrator questioning God’s ability to create such a creature of fearful symmetry, Is the narrator questioning God’s ability to create such a creature of fearful symmetry, or is he questioning the ability of the artist to frame/create such fearful symmetry? or is he questioning the ability of the artist to frame/create such fearful symmetry? Note the ambiguity of the word ‘frame’ itself; it holds both the meaning to create Note the ambiguity of the word ‘frame’ itself; it holds both the meaning to create something, and the meaning to place it/frame it like a picture within an artistic something, and the meaning to place it/frame it like a picture within an artistic context.
context.
What is it about the tyger that is untameable? Perhaps it is the untameable materials of What is it about the tyger that is untameable? Perhaps it is the untameable materials of th
the e imimagagininatatioion n wiwith th whwhicich h ththe e arartitist st mumust st woworkrk. . ReRememembmber er ththat at ththe e tytygeger r represents/symbolizes energy and power, and also perfect form, in the sense of being represents/symbolizes energy and power, and also perfect form, in the sense of being perfectly formed. A crucial aspect of perfect form is symmetry, the beauty of the perfectly formed. A crucial aspect of perfect form is symmetry, the beauty of the
machine, a beauty that may be beyond all framing, control and capture. machine, a beauty that may be beyond all framing, control and capture.
In the repetition of the word dread, we may also detect the menacing sound of the In the repetition of the word dread, we may also detect the menacing sound of the tyger padding through the jungle towards us. These sounds may echo the world of tyger padding through the jungle towards us. These sounds may echo the world of Exper
Experience closing in, but ience closing in, but they may also they may also echo the sounds within our own echo the sounds within our own hearts andhearts and sou
souls, ls, our our deedeepespest t desdesireires, s, our our irrirreprepressessiblible e natnatureures, s, the the savsavage age beabeast st witwithin hin thethe civilized soul.
civilized soul.
This brings us to what many critics have considered to be the crux of the poem in the This brings us to what many critics have considered to be the crux of the poem in the fifth stanza. When the stars ‘threw down their spears / And water’s heaven with their fifth stanza. When the stars ‘threw down their spears / And water’s heaven with their tears’, in what mood are they doing that? Are they throwing down their spears in the tears’, in what mood are they doing that? Are they throwing down their spears in the sense of
sense of attempattempting to ting to ambusambush their h their mighmighty earth-bounty earth-bound d oppoopponent, the nent, the tygertyger? ? Or areOr are they throwing down their spears in the sense of ‘throwing in the towel’, surrendering, they throwing down their spears in the sense of ‘throwing in the towel’, surrendering, giving in, giving up? And who are they – angelic powers? And
giving in, giving up? And who are they – angelic powers? And who is really in chargewho is really in charge here, the ‘stars’ or the tyger?
here, the ‘stars’ or the tyger? And final
And finally, just what is the tygly, just what is the tyger? er? As human beAs human beings, we are alwayings, we are always trying to finds trying to find reasonable, rationale, scientific explanations for everything round us. Perhaps Blake is reasonable, rationale, scientific explanations for everything round us. Perhaps Blake is saying that the tyger represents those things thaT can never be reduced, explained and saying that the tyger represents those things thaT can never be reduced, explained and captured by scientific explanations. Some things are beyond mind and matter; they captured by scientific explanations. Some things are beyond mind and matter; they belon
belong g to the to the spirispiritual world from tual world from where we where we oursourselves originaelves originally come lly come and to and to wherewhere we will eventually return. Born of star dust, we return to star dust.
THE BLOSSOM THE BLOSSOM
In this poem, Blake is saying that human beings must have room in their hearts for In this poem, Blake is saying that human beings must have room in their hearts for every human feeling, from joy to sorrow, from delight to despair. Blake’s bosom, his every human feeling, from joy to sorrow, from delight to despair. Blake’s bosom, his heart, has room enough for both the merry sparrow and its joy, and the sobbing robin heart, has room enough for both the merry sparrow and its joy, and the sobbing robin and its sorrow. Just as both find a home amongst the Blossom, they find a place in his and its sorrow. Just as both find a home amongst the Blossom, they find a place in his heart.
heart.
And this is possible because the eyes of innocence allow us to see that all aspects of And this is possible because the eyes of innocence allow us to see that all aspects of creation are aspects of the divine; as Blake famously said and believed: “
creation are aspects of the divine; as Blake famously said and believed: “ Everything Everything isis holy.”
holy.”
Note that sight is the dominant sense in the first stanza –
Note that sight is the dominant sense in the first stanza – sees sees you swift as arrow – andyou swift as arrow – and hearing is the dominant sense in the second stanza –
hearing is the dominant sense in the second stanza – hearshears you sobbing sobbing. Thisyou sobbing sobbing. This sugge
suggests that we sts that we must us ALL of must us ALL of our senses if we our senses if we are to are to perceivperceive e the wholenethe wholeness andss and the holiness of the world of innocence.
the holiness of the world of innocence.
The two stanzas repeat each other in terms of structure, which makes us all the more The two stanzas repeat each other in terms of structure, which makes us all the more able to focus clearly on the difference between the two. In the first, the sparrow is able to focus clearly on the difference between the two. In the first, the sparrow is ‘merry’ (chirpily cheerful); in the second, the robin may be ‘pretty’, but nonetheless is ‘merry’ (chirpily cheerful); in the second, the robin may be ‘pretty’, but nonetheless is ‘sobbing sobbing’. We may take this to mean that Nature has room within it for all ‘sobbing sobbing’. We may take this to mean that Nature has room within it for all manner of feelings and emotions, all of which need to be valued as highly as each manner of feelings and emotions, all of which need to be valued as highly as each other, and all of which deserve to find a place ‘near my Bosom’, in other words, in the other, and all of which deserve to find a place ‘near my Bosom’, in other words, in the human heart.
human heart.
Many critics have pointed out the symbolic sexual connotations at play in this lyric, Many critics have pointed out the symbolic sexual connotations at play in this lyric, with its vision of the
with its vision of the young Blossom anticipating the Sparrow's and Robin's embraces.young Blossom anticipating the Sparrow's and Robin's embraces. These associations may be there, but the poem can also be seen as an evocation of These associations may be there, but the poem can also be seen as an evocation of innocent love, merriment, and growth within the natural order.
innocent love, merriment, and growth within the natural order.
THE SICK ROSE THE SICK ROSE The decoration for
The decoration for The Sick RoseThe Sick Rose mocks that of mocks that of The BlossomThe Blossom. . The The Rose Rose is lovis love, ande, and the invisible worm represents conventional morality and the possessive jealousy that the invisible worm represents conventional morality and the possessive jealousy that encourages it. The speaker wonders at the secret destruction of the rose by ‘the encourages it. The speaker wonders at the secret destruction of the rose by ‘the invisible worm’.
invisible worm’.
The sick rose might be seen
The sick rose might be seen as the contrary of the as the contrary of the ‘blos‘blossom’. Far from presentsom’. Far from presenting aning an image of freshness and beauty, it re
image of freshness and beauty, it reminds us of sickness, death and decay. Remember,minds us of sickness, death and decay. Remember, how horrid an overblown rose can look as it begins to rot. The ‘worm’ (which might how horrid an overblown rose can look as it begins to rot. The ‘worm’ (which might also be a serpent or a penis) is destroying the rose from within, as jealousy and fear, in also be a serpent or a penis) is destroying the rose from within, as jealousy and fear, in the world of experience, perpetually destroy our hopes for a better life. Remember, the world of experience, perpetually destroy our hopes for a better life. Remember, too, how the innocent happiness of Othello and Desdemona was destroyed by the too, how the innocent happiness of Othello and Desdemona was destroyed by the green-eyed monster of jealousy.
green-eyed monster of jealousy.
The worm certainly seems, nonetheless, to represent a kind of love; but this is the The worm certainly seems, nonetheless, to represent a kind of love; but this is the ‘dark secret love’ intimately linked to jealousy and possessiveness, the kind of love ‘dark secret love’ intimately linked to jealousy and possessiveness, the kind of love that seeks to bind, not free, the beloved, and the love which in the end destroys itself. that seeks to bind, not free, the beloved, and the love which in the end destroys itself. There is a kind of
sharing of mutual respect which but a power struggle that can only become a fight to sharing of mutual respect which but a power struggle that can only become a fight to the death.
the death.
Why is the worm ‘invisible’? Why does he fly through a ‘howling storm’? Perhaps Why is the worm ‘invisible’? Why does he fly through a ‘howling storm’? Perhaps the invisibility is to do with the
the invisibility is to do with the secrecy of this (sexual) liaison, and the secrecy of this (sexual) liaison, and the storm signifiesstorm signifies a kind of passion; but this passion is in the end destructive and self-destructive, the a kind of passion; but this passion is in the end destructive and self-destructive, the very opposite of the kind of ‘free love’ that Blake regards as the greatest of all human very opposite of the kind of ‘free love’ that Blake regards as the greatest of all human gifts. Remem
gifts. Remember, for ber, for Blake human love is an Blake human love is an expreexpression of the love ssion of the love God has for God has for HisHis Creation.
Creation.
The miracle of
The miracle of The Sick RoseThe Sick Rose is that Blake has distilled all of this into thirty-four is that Blake has distilled all of this into thirty-four simple words.
simple words.
THE CHIMNEY SWEEPER
THE CHIMNEY SWEEPER (Innocence)(Innocence) In
In The The ChiChimnemney y SweSweepeper er , , BlBlakake e cacalllled ed atattetentntioion n to to onone e of of ththe e blblinind-d-spspotots s of of “enlightened” English society. Chimneys had to be swept, and often their flues were “enlightened” English society. Chimneys had to be swept, and often their flues were narrow. Children, as young as four, were hired or sold to contractors who used them narrow. Children, as young as four, were hired or sold to contractors who used them to brush soot from caked flues and carry it away in bags. In 1788 Parliament passed a to brush soot from caked flues and carry it away in bags. In 1788 Parliament passed a law to prohibit the use of children under the age of eight as chimney-sweepers, to law to prohibit the use of children under the age of eight as chimney-sweepers, to force their masters to allow them to wash once a week, and to prevent their being sent force their masters to allow them to wash once a week, and to prevent their being sent up into burning chimne
up into burning chimneys where they ys where they might be, and too might be, and too often were, burned to death.often were, burned to death. These laws were largely ignored and rarely enforced.
These laws were largely ignored and rarely enforced. This is one of the most disturbing of all the
This is one of the most disturbing of all the Songs of InnocenceSongs of Innocence because it is difficultbecause it is difficult to see what Blake is getting at. Do we take the Angel at face-value? If we do, the to see what Blake is getting at. Do we take the Angel at face-value? If we do, the poem may seem hopelessly naïve because the reality for the child sweeps has not poem may seem hopelessly naïve because the reality for the child sweeps has not changed one bit because of the Angel’s intervention; the boys still have to get up next changed one bit because of the Angel’s intervention; the boys still have to get up next morning and go touting for b
morning and go touting for business. usiness. Is Blake using irony, and Is Blake using irony, and suggesting that evensuggesting that even the intervention of angelic forces will not help these little lads? Is it right that Tom the intervention of angelic forces will not help these little lads? Is it right that Tom Dacre should go happily back to work, or has he been deluded by an entirely false Dacre should go happily back to work, or has he been deluded by an entirely false sen
sense of ‘dutyse of ‘duty’ – ’ – mismisledled, , thathat is, by t is, by his own ‘inhis own ‘innocnocencence’. e’. And to whom is theAnd to whom is the advice/admonition/ warning “So if all do their duty, they need not fear harm” actually advice/admonition/ warning “So if all do their duty, they need not fear harm” actually directed? Is Blake seriously suggesting that if the boys do their duty, everything will directed? Is Blake seriously suggesting that if the boys do their duty, everything will turn out fine? Or does the ‘all’ include all those people – society, state, church, king, turn out fine? Or does the ‘all’ include all those people – society, state, church, king, parliament
parliament - who have betrayed - who have betrayed the child sweeps by the child sweeps by ignoring their plighignoring their plight?t?
The child tells how his father sold him to a master sweep when he was so young that The child tells how his father sold him to a master sweep when he was so young that he could not even pronounce the words 'sweep, sweep' (the traditional street cry he could not even pronounce the words 'sweep, sweep' (the traditional street cry chimney sweeps called out to advertise their presence). The boy comforts Tom Dacre, chimney sweeps called out to advertise their presence). The boy comforts Tom Dacre, another child-sweep whose blond hair has just been shaved off. Tom goes to sleep and another child-sweep whose blond hair has just been shaved off. Tom goes to sleep and dreams that an angel sets free all the sweeps so they can run, play and swim freely in dreams that an angel sets free all the sweeps so they can run, play and swim freely in the innocence of youth. The angel tells Tom that if he is a 'good boy' God will love the innocence of youth. The angel tells Tom that if he is a 'good boy' God will love him and he will never 'want joy' (lack happiness). Tom awakes, warm and cheerful, him and he will never 'want joy' (lack happiness). Tom awakes, warm and cheerful, and the poem ends with the moral: 'So if all do their duty, they need not fear harm'. and the poem ends with the moral: 'So if all do their duty, they need not fear harm'.
This child-monologue uses the child's innocent perspective to present what could be a This child-monologue uses the child's innocent perspective to present what could be a biting and savage indictment of social and psychic repression: the child's consoling biting and savage indictment of social and psychic repression: the child's consoling
vis
vision ion of of the the paspastortoral al afteafter-lir-life fe may be may be a a glogloriorious us and and 'in'innocnocentent' ' celcelebrebratiation on of of Heaven, or it may equally well show the extent to which the child-speaker has been Heaven, or it may equally well show the extent to which the child-speaker has been conditioned into acceptance of his slavery in this life.
conditioned into acceptance of his slavery in this life.
The moral at the end of the poem is the statement of the young sweep who narrates The moral at the end of the poem is the statement of the young sweep who narrates the poem. Obviously it is nonsense: the climbing boys all 'do their duty' but still come the poem. Obviously it is nonsense: the climbing boys all 'do their duty' but still come to great harm. Yet is the sweep merely repeating the moral code which he has been to great harm. Yet is the sweep merely repeating the moral code which he has been taugh
taught by society? t by society? One thing is certaOne thing is certainly true: the childinly true: the child/narrat/narrator of the poem is notor of the poem is not innocent; he is at some level aware of the deception that forms the heart of the poem – innocent; he is at some level aware of the deception that forms the heart of the poem – “So if all do their duty, they need not fear harm.
“So if all do their duty, they need not fear harm.” ” The poem is ABOUT inThe poem is ABOUT innocennocence,ce, but it is not narrated from an innocent standpoint. The child/narrator is neither a fool but it is not narrated from an innocent standpoint. The child/narrator is neither a fool nor an innocent in terms of knowledge; perhaps he unites with Blake in protesting nor an innocent in terms of knowledge; perhaps he unites with Blake in protesting against the exploitation of the little chimney sweeps through the sheer blatant naivety against the exploitation of the little chimney sweeps through the sheer blatant naivety of the cruel temptation that rounds off the poem – suffer in cheerful silence and all of the cruel temptation that rounds off the poem – suffer in cheerful silence and all will be well.
will be well.
The poem thus holds a mirror up to its readers: it is you who deceive children with The poem thus holds a mirror up to its readers: it is you who deceive children with this false morality, just as it is 'your chimneys' (verse 1, line 4) that are responsible for this false morality, just as it is 'your chimneys' (verse 1, line 4) that are responsible for having boy sweeps in the first place.
having boy sweeps in the first place.
THE CHIMNEY SWEEPER
THE CHIMNEY SWEEPER (Experience)(Experience)
This poem savagely exposes the hypocrisy of conventional religion; the father and This poem savagely exposes the hypocrisy of conventional religion; the father and mothe
mother r are gone up are gone up to church to pray to church to pray while their child is abandoned to the elements.while their child is abandoned to the elements. The narrator asks the chimney sweep where his parents are; the child tries to explain The narrator asks the chimney sweep where his parents are; the child tries to explain why they have abandoned him to misery. The poem is also savage about how we why they have abandoned him to misery. The poem is also savage about how we misunderstand children’s emotions: because the young sweep might appear happy, in misunderstand children’s emotions: because the young sweep might appear happy, in the sense that he is making the best of a dreadful situation, his serving and the sense that he is making the best of a dreadful situation, his serving and self-deluding parents choose to believe that they have done him ‘no injury’.
deluding parents choose to believe that they have done him ‘no injury’. Th
The e foforcrce e of of ththe e scscenene e is is heheigighthtenened ed by by bebeining g plplacaced ed in in wiwintnter, er, amamid id ‘s‘snonow’w’,, reflecting and emphasizing the cold-heartedness of the everyday world of Experience. reflecting and emphasizing the cold-heartedness of the everyday world of Experience. In his second
In his second The Chimney Sweeper The Chimney Sweeper Blake condemns the hypocrisy of the pious,Blake condemns the hypocrisy of the pious, especially of the clergy who opposed the legislation to correct the abuses against these especially of the clergy who opposed the legislation to correct the abuses against these young waifs. The line “And because I am happy & dance
young waifs. The line “And because I am happy & dance & sing” may refer ironically& sing” may refer ironically to a May day custom; sweeps and milkmaids were given the day off and permitted to to a May day custom; sweeps and milkmaids were given the day off and permitted to sing, dance, and do stunts in the streets for pennies.
sing, dance, and do stunts in the streets for pennies.
A very much darker and more savage vision here than in the counterpart poem in the A very much darker and more savage vision here than in the counterpart poem in the Songs of
Songs of Innocence Innocence. The references to a church which is complicit in the repression of . The references to a church which is complicit in the repression of the child, together with the treatment of the negligent parents, make this one of the the child, together with the treatment of the negligent parents, make this one of the most bitter poems in the sequence, with its emphasis on a whole system (God, Priest most bitter poems in the sequence, with its emphasis on a whole system (God, Priest and King) which represses the child, even
and King) which represses the child, even forcinforcing him g him to conceal his to conceal his unhapunhappinespiness (as (a reference to being “clothed”), psychologically as well as physically).
A CRADLE SONG A CRADLE SONG
The narrator watches his baby sleeping, and is r
The narrator watches his baby sleeping, and is reminded of God who became a humaneminded of God who became a human ch
chilild d in in ththe e pepersrson on of of JeJesusus s anand d wewept pt fofor r mamanknkinind. d. ThThe e popoem em mamay y bebest st bebe characterised as a
characterised as a RHAPSODY on sleep and innocence, (a rhapsody is the RHAPSODY on sleep and innocence, (a rhapsody is the outpouringoutpouring of emotion, sometimes without much regard for the formal constraints of verse). In of emotion, sometimes without much regard for the formal constraints of verse). In his encounter with the states of sleeping and of innocence, the narrator receives a his encounter with the states of sleeping and of innocence, the narrator receives a strong reminder of the divine; which, as we see throughout the Songs, can be seen for strong reminder of the divine; which, as we see throughout the Songs, can be seen for Blake only in the human form.
Blake only in the human form.
The subject matter of this poem may seem very simple, but the form is in one sense The subject matter of this poem may seem very simple, but the form is in one sense quite complex. Although rhyme and rhythm are easy to make out, there is a curiously quite complex. Although rhyme and rhythm are easy to make out, there is a curiously ‘entwined’ way in which crucial words –
‘entwined’ way in which crucial words – sweet, sleep, beguiles sweet, sleep, beguiles – weave their way– weave their way through the poem. This creates an effect we may fairly describe as ‘hypnotic’; the through the poem. This creates an effect we may fairly describe as ‘hypnotic’; the conne
connection ction betweebetween n hypnhypnotism otism and and somnsomnambuambulism lism (sleep(sleep-walki-walking) ng) suggsuggests ests thatthat Blake may be trying to create a poem which in some sense not only describes but also Blake may be trying to create a poem which in some sense not only describes but also replicates the condition of sleep – and thus of dreaming.
replicates the condition of sleep – and thus of dreaming.
The poem shifts gradually from present tense to the past – why is this? Think also The poem shifts gradually from present tense to the past – why is this? Think also about the word ‘beguiles’, which has a range of meanings (for example, to persuade about the word ‘beguiles’, which has a range of meanings (for example, to persuade through deception), not all of them wholesome. Blake clearly suggests that sleep puts through deception), not all of them wholesome. Blake clearly suggests that sleep puts a kind of spell upon us. Does this poem encourage us to suppose that this state
a kind of spell upon us. Does this poem encourage us to suppose that this state of blissof bliss can continue for ever? Is it intrinsic to the state of Innocence that there will be future can continue for ever? Is it intrinsic to the state of Innocence that there will be future ch
chanange ge as as ininevevititabable le wawakiking ng fofollllowows s slsleepeep? ? WhWhy, y, to to puput t it it ananototheher r waway, y, dodoeses ‘weeping’ gradually encroach on the poem, as
‘weeping’ gradually encroach on the poem, as it does in others of Blake’s poems? Areit does in others of Blake’s poems? Are these early warnings of the Experience to come?
these early warnings of the Experience to come?
Do you think the infant in this cradle has more in common with infant joy or infant Do you think the infant in this cradle has more in common with infant joy or infant sorrow?
sorrow?
The form and language of the poem are pure Blake. The verse form is the rhymed The form and language of the poem are pure Blake. The verse form is the rhymed quatrain
quatrain (stanza of four lines) with the rhyme scheme a-a-b-b and four stressed beats(stanza of four lines) with the rhyme scheme a-a-b-b and four stressed beats to each line - the
to each line - the tetrametertetrameter. This was a popular form for hymns, songs, nursery. This was a popular form for hymns, songs, nursery rhymes, lullabies and the ballads, and helps give the cradle song its lyrical qualities. rhymes, lullabies and the ballads, and helps give the cradle song its lyrical qualities.
THE CLOD & THE PEBBLE THE CLOD & THE PEBBLE
A clod of clay and a pebble discuss the selfless and the selfish versions of love. This A clod of clay and a pebble discuss the selfless and the selfish versions of love. This beautifully structured poem opposes two views of love: the first, as enunciated by the beautifully structured poem opposes two views of love: the first, as enunciated by the clod of clay, regards love as a force whereby one gives oneself to and on behalf of the clod of clay, regards love as a force whereby one gives oneself to and on behalf of the other person; the second, in the voice of the pebble, speaks of a selfish, jealous love other person; the second, in the voice of the pebble, speaks of a selfish, jealous love which is only really an excuse to glorify the self. By putting them in this order, Blake which is only really an excuse to glorify the self. By putting them in this order, Blake clearly shows which is dominant in the world of Experience – the voice of selfishness. clearly shows which is dominant in the world of Experience – the voice of selfishness. Let’s paraphrase the poem to see clearly the points of view expressed by the clod and Let’s paraphrase the poem to see clearly the points of view expressed by the clod and by the pebble.
The clod
The clod argues that true love doesn’t seek to please only itself, nor does it care aboutargues that true love doesn’t seek to please only itself, nor does it care about only itself; it tries to give to these things, pleasure and care, to its beloved and can only itself; it tries to give to these things, pleasure and care, to its beloved and can even turn the despair of Hell into the delights of Heaven.
even turn the despair of Hell into the delights of Heaven. The pebble
The pebble argues the exact opposite by saying that love seeks only its own pleasure,argues the exact opposite by saying that love seeks only its own pleasure, tries to bend the beloved to its will, and finds joy in the comfort of the beloved, and tries to bend the beloved to its will, and finds joy in the comfort of the beloved, and spites Heaven by turning love into Hell.
spites Heaven by turning love into Hell.
Why does Blake pout these words into the mouths of two such unlikely protagonists Why does Blake pout these words into the mouths of two such unlikely protagonists as a clod of clay and a pebble? Critics have given various different answers, but the as a clod of clay and a pebble? Critics have given various different answers, but the most likely is that the clod of clay is soft and malleable; it takes the imprint of the most likely is that the clod of clay is soft and malleable; it takes the imprint of the ‘cattles feet’. In contrast, the pebble is hard, unyielding, resistant, unchanging, and is ‘cattles feet’. In contrast, the pebble is hard, unyielding, resistant, unchanging, and is thus a fitting emblem for the soul which cannot change or adapt, and which cannot thus a fitting emblem for the soul which cannot change or adapt, and which cannot fully take on the reality of other people, other minds, other hearts. The pebble can fully take on the reality of other people, other minds, other hearts. The pebble can only and always be itself; the clay can become the other, as God Himself shaped Man only and always be itself; the clay can become the other, as God Himself shaped Man from a clod of clay.
from a clod of clay. To
To BlBlakake e ththe e clclod od of of clclay ay sysymbmbololizizes es ununseselfilfish sh lolove ve bebecacaususe e it it is is capcapabable le pf pf nourishing within it the seed of life. The pebble is a small rock – dead matter – and nourishing within it the seed of life. The pebble is a small rock – dead matter – and further more it is
further more it is washed inwashed in water, which, for water, which, for Blake, symbolBlake, symbolizes materialism, greedizes materialism, greed and selfishness.
and selfishness.
This poem provides two contrasting attitudes, one of selfless Love for others, and the This poem provides two contrasting attitudes, one of selfless Love for others, and the second, of Love as self-absorption and possessiveness. Blake’s choice of clod and second, of Love as self-absorption and possessiveness. Blake’s choice of clod and pebb
pebble le as mouthpieas mouthpieces ces for opposinfor opposing g conceconceptionptions s of love of love is carefully calculated. Theis carefully calculated. The clod is soft, shapeless, malleable, passive, downtrodden. The pebble is hard, shapely, clod is soft, shapeless, malleable, passive, downtrodden. The pebble is hard, shapely, impermeable. As soon as these associations are placed within a context of sexual love, impermeable. As soon as these associations are placed within a context of sexual love, the clod is the selfless female, the pebble the selfish male. They are
the clod is the selfless female, the pebble the selfish male. They are contrariescontraries, but in, but in the fallen world of Experience, contraries can only remain irreconcilable opposites, the fallen world of Experience, contraries can only remain irreconcilable opposites, locked into a relationship where one does all the giving and the other all the taking. locked into a relationship where one does all the giving and the other all the taking. A shallow or too hasty reading of this poem might well lead us to suppose that we are A shallow or too hasty reading of this poem might well lead us to suppose that we are intended simply to approve the clod’s innocent and Christian definition of love and intended simply to approve the clod’s innocent and Christian definition of love and reject the pebble’s cynicism and wicked selfishness, but as we have seen, this is never reject the pebble’s cynicism and wicked selfishness, but as we have seen, this is never wh
what at BlBlakake e inintetendnds. s. BlBlakake e alalwaways ys recrecogogninisesed d ththe e ininterterplplay ay of of InInnonocecencnce e anandd Ex
Expeperirienence; ce; he he knknew ew ththat at ththe e woworlrld d wawas s a a didiffifficucultlt, , chchalallenlengiging ng plplaceace, , anand d hehe recognised the pebble’s right to view Love from
recognised the pebble’s right to view Love from this perverted perspective. For Blake,this perverted perspective. For Blake, the true evil was to say that there was only one perspective on human affairs.
the true evil was to say that there was only one perspective on human affairs. From an early age Blake
From an early age Blake had his own highly developed sense of evil. The greatest evilhad his own highly developed sense of evil. The greatest evil seemed to him to be to deprive another of freedom. He could see around him plenty of seemed to him to be to deprive another of freedom. He could see around him plenty of examples of the exploitation of children and the poor. But more insidious were the examples of the exploitation of children and the poor. But more insidious were the ‘mind-forg’d manacles’ with which men sought, often in the name of Christian love ‘mind-forg’d manacles’ with which men sought, often in the name of Christian love or parental care, to bind children with rules and duties and creeds to save them from or parental care, to bind children with rules and duties and creeds to save them from their own bodies and desires, which they were taught to see as sinful. Joy in almost their own bodies and desires, which they were taught to see as sinful. Joy in almost any form was suspect. The child was thus deprived of the freedom to be itself, the any form was suspect. The child was thus deprived of the freedom to be itself, the freedom to be fully male or female, and the freedom to be fully human.
freedom to be fully male or female, and the freedom to be fully human.
THE DIVINE IMAGE THE DIVINE IMAGE
