Poems of William Blake William Blake a Poison Tree by William Blake I
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William Blake's Songs of Innocence and of Experience: from Innocence to Experience to Wise Innocence Robert W
Eastern Illinois University The Keep Masters Theses Student Theses & Publications 1977 William Blake's Songs of Innocence and of Experience: From Innocence to Experience to Wise Innocence Robert W. Winkleblack Eastern Illinois University This research is a product of the graduate program in English at Eastern Illinois University. Find out more about the program. Recommended Citation Winkleblack, Robert W., "William Blake's Songs of Innocence and of Experience: From Innocence to Experience to Wise Innocence" (1977). Masters Theses. 3328. https://thekeep.eiu.edu/theses/3328 This is brought to you for free and open access by the Student Theses & Publications at The Keep. It has been accepted for inclusion in Masters Theses by an authorized administrator of The Keep. For more information, please contact [email protected]. PAPER CERTIFICATE #2 TO: Graduate Degree Candidates who have written formal theses. SUBJECT: Permission to reproduce theses. The University Library is receiving a number of requests from other institutions asking permission to reproduce dissertations for inclusion in their library holdings. Although no copyright laws are involved, we feel that professional courtesy demands that permission be obtained from the author before we allow theses to be copied. Please sign one of the following statements: Booth Library of Eastern Illinois University has my permission to lend my thesis to a reputable college or university for the purpose of copying it for inclusion in that institution's library or research holdings. �S"Date J /_'117 Author I respectfully request Booth Library of Eastern Illinois University not allow my thesis be reproduced because ��--��- Date Author pdm WILLIAM BLAKE'S SONGS OF INNOCENCE AND OF EXPERIENCE: - FROM INNOCENCE TO EXPERIENCE TO WISE INNOCENCE (TITLE) BY Robert W . -
Protective Pastoral: Innocence and Female Experience in William Blake's Songs and Christina Rossetti's Goblin Market June Sturrock
Colby Quarterly Volume 30 Article 4 Issue 2 June June 1994 Protective Pastoral: Innocence and Female Experience in William Blake's Songs and Christina Rossetti's Goblin Market June Sturrock Follow this and additional works at: http://digitalcommons.colby.edu/cq Recommended Citation Colby Quarterly, Volume 30, no.2, June 1994, p.98-108 This Article is brought to you for free and open access by Digital Commons @ Colby. It has been accepted for inclusion in Colby Quarterly by an authorized administrator of Digital Commons @ Colby. For more information, please contact [email protected]. Sturrock: Protective Pastoral: Innocence and Female Experience in William B Protective Pastoral: Innocence and Female Experience in William Blake's Songs and Christina Rossetti's Goblin Market by JlTNE STURROCK IIyEA, THOUGH I walk through the valley ofthe shadow ofdeath, I shall fear no evil, for thou art with me, thy rod and thy staffthey comfort me." The twenty-third psalm has been offered as comfort to the sick and the grieving for thousands ofyears now, with its image ofGod as the good shepherd and the soul beloved ofGod as the protected sheep. This psalm, and such equally well-known passages as Isaiah's "He shall feed his flock as a shepherd: he shall gather the lambs in his arms" (40. 11), together with the specifically Christian version: "I am the good shepherd" (John 10. 11, 14), have obviously affected the whole pastoral tradition in European literature. Among othereffects the conceptofGod as shepherd has allowed for development of the protective implications of classical pastoral. The pastoral idyll-as opposed to the pastoral elegy suggests a safe, rural world in that corruption, confusion and danger are placed elsewhere-in the city. -
PBS Lesson Series
PBS Lesson Series ELA: Grade 8, Lesson 7, William Blake Part II Lesson Focus: The focus of today’s lesson will be on William Blake’s poetry and argumentative writing. Practice Focus: Students will analyze one of Blake’s poems, “A Poison Tree,” in order to determine its meaning. Students will also analyze an argumentative essay on Blake’s poem in order to study author’s craft in writing arguments. Objective: Students will use “A Poison Tree” and “Analysis of ‘A Poison Tree’” to learn about William Blake’s poem and to learn about author’s craft in writing arguments. Academic Vocabulary: wiles, beheld, stole, veil’d, connotation, figurative, personification, symbolism, cohesion, resentment, unexpressed, nurtures, hyperbole, grievance, transitional phrase, literary device TN Standards: 8.RI.KID.1, 8.RI.KID.3, 8.RI.CS.4, 8.RI.IKI.8, 8.RL.KID.1, 8.RL.KID.2, 8.RL.KID.3, 8.RL.CS.4, 8.RL.CS.5, 8.RL.CS.6 Teacher Materials: Lesson script Chart paper o Will need to write out the TPCASTT template onto chart paper; you only need to include the headings for each section as the commentary will be covered in the script o Will need to write the independent practice questions on chart paper so students can see them and copy them onto their own paper Student Materials: Paper, pencil, and a surface to write on Teacher Do Students Do Opening (1 min) Students gather materials for the Hello! Welcome to Tennessee’s At Home Learning Series for lesson and prepare to engage with literacy! Today’s lesson is for all our 8th graders out there, the lesson’s content. -
Introduction
Introduction The notes which follow are intended for study and revision of a selection of Blake's poems. About the poet William Blake was born on 28 November 1757, and died on 12 August 1827. He spent his life largely in London, save for the years 1800 to 1803, when he lived in a cottage at Felpham, near the seaside town of Bognor, in Sussex. In 1767 he began to attend Henry Pars's drawing school in the Strand. At the age of fifteen, Blake was apprenticed to an engraver, making plates from which pictures for books were printed. He later went to the Royal Academy, and at 22, he was employed as an engraver to a bookseller and publisher. When he was nearly 25, Blake married Catherine Bouchier. They had no children but were happily married for almost 45 years. In 1784, a year after he published his first volume of poems, Blake set up his own engraving business. Many of Blake's best poems are found in two collections: Songs of Innocence (1789) to which was added, in 1794, the Songs of Experience (unlike the earlier work, never published on its own). The complete 1794 collection was called Songs of Innocence and Experience Shewing the Two Contrary States of the Human Soul. Broadly speaking the collections look at human nature and society in optimistic and pessimistic terms, respectively - and Blake thinks that you need both sides to see the whole truth. Blake had very firm ideas about how his poems should appear. Although spelling was not as standardised in print as it is today, Blake was writing some time after the publication of Dr. -
William Blake (1757-1827)
William Blake (1757-1827) Poet, Painter, & Printer A radical thinker (called insane by some) with a strong interest in religion, albeit not orthodox religion. • Published together in 1794. • The Songs of Experience are darker, and often echo the Songs of Innocence in contrast. For example, Songs of Innocence contains “The Lamb” & Songs of Experience includes “The Tyger.” • The work reflects the period’s interest in childhood, nostalgia, and transformation (going from one state of being to another). It also shows some attention to those suffering in the midst of the industrial revolution. THE TYGER Tyger Tyger, burning bright, In the forests of the night; What immortal hand or eye, Could frame thy fearful symmetry? In what distant deeps or skies Burnt the fire of thine eyes? On what wings dare he aspire? What the hand, dare sieze the fire? And what shoulder, & what art, Could twist the sinews of thy heart? And when thy heart began to beat, What dread hand? & what dread feet? What the hammer? what the chain, In what furnace was thy brain? What the anvil? what dread grasp, Dare its deadly terrors clasp! When the stars threw down their spears And water'd heaven with their tears: Did he smile his work to see? Did he who made the Lamb make thee? Tyger,Tyger burning bright, In the forests of the night: What immortal hand or eye, Dare frame thy fearful symmetry? A few thoughts Blake’s Tyger brings to mind: • People view things from their own perspective. • What people say (and how they say it) often says more about themselves than what they mean to say. -
The Politics of Abstraction: Race, Gender, and Slavery in the Poetry of William Blake
University of Tennessee, Knoxville TRACE: Tennessee Research and Creative Exchange Masters Theses Graduate School 8-2006 The Politics of Abstraction: Race, Gender, and Slavery in the Poetry of William Blake Edgar Cuthbert Gentle University of Tennessee, Knoxville Follow this and additional works at: https://trace.tennessee.edu/utk_gradthes Part of the English Language and Literature Commons Recommended Citation Gentle, Edgar Cuthbert, "The Politics of Abstraction: Race, Gender, and Slavery in the Poetry of William Blake. " Master's Thesis, University of Tennessee, 2006. https://trace.tennessee.edu/utk_gradthes/4508 This Thesis is brought to you for free and open access by the Graduate School at TRACE: Tennessee Research and Creative Exchange. It has been accepted for inclusion in Masters Theses by an authorized administrator of TRACE: Tennessee Research and Creative Exchange. For more information, please contact [email protected]. To the Graduate Council: I am submitting herewith a thesis written by Edgar Cuthbert Gentle entitled "The Politics of Abstraction: Race, Gender, and Slavery in the Poetry of William Blake." I have examined the final electronic copy of this thesis for form and content and recommend that it be accepted in partial fulfillment of the equirr ements for the degree of Master of Arts, with a major in English. Nancy Goslee, Major Professor We have read this thesis and recommend its acceptance: ARRAY(0x7f6ff8e21fa0) Accepted for the Council: Carolyn R. Hodges Vice Provost and Dean of the Graduate School (Original signatures are on file with official studentecor r ds.) To the Graduate Council: I amsubmitting herewith a thesis written by EdgarCuthbert Gentle entitled"The Politics of Abstraction: Race,Gender, and Slavery in the Poetryof WilliamBlake." I have examinedthe finalpaper copy of this thesis forform and content and recommend that it be acceptedin partialfulfillm ent of the requirements for the degree of Master of Arts, with a major in English. -
A Comparison Between the Lamb and the Tyger by William Blake Why Is
A comparison between The Lamb and The Tyger by William Blake Why is the Lamb not like the Tyger? The Lamb • Sycophantic tone • Almost patronising • Biblical references; The Beatitudes – ‘He is meek and he is mild’, from ‘Blessed are the meek for they shall inherit the earth’, and ‘Blessed are mild men’ ‐ This could perhaps be Blake’s way of showing how the Lamb is blessed, it is special, to be revered. • Innocence is heavily referred to – obviously with regards to the Title of the Selection of poems. ‘Little Lamb who made thee?’ • Repetition of the ‘L’ sounds representing the bleating of the Lamb. The Tyger • Such a powerful creature. • Religion, though it seems out of place with the main subject of a Tiger. – Referencing the use of the almost archaic term ‘Thy’, a term most commonly found in religious text, therefore can be deemed quasi‐religious. Intertextuality. • The aesthetics of the creature are astonishing, awe‐inspiring. The power of the creature is shown through its physicality. • Choice of a Tiger instead of a Lion. ‘And the lion shall lie down with the lamb’. Decision to be a contrast from the Bible, perhaps accentuating Blake’s lost deference towards the religious text. • Devilish imagery. A comparison The Tyger is the experience – the loss of innocence that the Lamb seems to personify. The choice of the ‘Little Lamb’ can, of course, be in reference to Jesus who was referred to as ‘The Lamb of God’. Again, accentuating the quasi‐religious element in the poetry. The Tyger seems to show that evil is unavoidable – inscrutable – complex. -
Reading the Poem the Poison Tree the Poet William Blake (1757-1827) Is One of England’S Most Celebrated Poets
Reading the Poem The Poison Tree The Poet William Blake (1757-1827) is one of England’s most celebrated poets. He was born the son of a London hosier. He did not go to school, which was not compulsory in those times. However, he was taught by his mother, and from childhood showed extraordinary aptitude. His family belonged to a strict Christian sect, and Blake was brought up to be very devout. In 1772 he was appren- ticed to an engraver, and in 1779, because of his talents, became a student at the Royal Academy, where he studied paint- ing. He married Catherine Boucher in 1782. It was a happy marriage, though they had no chil- dren. After his father’s death, he and his brother opened a print shop. He was beginning to write and illustrate as well, and in 1783, a benefactor paid for his first work, Poetic Sketches. In 1989, he self-published Songs of Innocence, the first of his really ma- jor collections. Songs of Experience followed in 1794. © Ziptales Pty Ltd Reading the Poem The Poison Tree The Poet Blake had a powerful sense of personal morality. He was deeply mystical in his beliefs. He took very seriously the idea of Christian charity (ie loving kindness towards other people), and was appalled by some of the cruelties he saw around him. Among his most famous poems are ‘The Chimney Sweeper’, a devastating por- trait of the wretched lives of the poor, and ‘Jerusalem’, an anguised reflection on the imperfection of life, which contains the now immortal expression ‘dark satanic mills’ (a reference to the facto- ries of the industrial revolution). -
“Did He Who Made the Lamb Make The… Tyger”?)
ARTICLE Blake actually identifies the question’s “thee” and indicates its addressee: it is not a tyger or, worse, a tiger,2 but “Tyger Tyger burning bright, / In the forests of the night.” In other words, he emphasizes his experienced poem’s self-referen- “Did he who made the Lamb tial character and, in effect, suggests the answer (or at least an answer) to its climactic question. Did he who made “The make the… Tyger”? Lamb” also make “Tyger Tyger burning bright”? Of course he did, because there is one and the same maker behind the two works—William Blake, who was perfectly aware of the By Eliza Borkowska provocation his work offered and who made it part of his artistic program aimed at “rouz[ing] the faculties to act.”3 Eliza Borkowska ([email protected]) is assis- Without doubt the self-referential element of “The Tyger” tant professor of English at the University of Social Sci- is Blake’s way to add more fuel to the fires of experience to ences and Humanities in Warsaw. She is the author of let them burn all the brighter. However, this self-referential But He Talked of the Temple of Man’s Body. Blake’s Rev- turn is not an independent act but a part of the program elation Un-Locked (2009), which studies Blake’s idiom as a whole, and it cannot be effectively performed before against rationalist philosophy of language. She is cur- an unprepared audience, on an unprepared stage. Let me rently working on her contribution to The Reception therefore return to it later, at a more mature stage of this of William Blake in Europe, writing her second book reflection, after I explain how I understand the idea of this (The Presence of the Absence: Wordsworth’s Discourses on performance. -
Songs of Innocence Is a Publication of the Pennsylvania State University
This publication of William Blake’s Songs of Innocence is a publication of the Pennsylvania State University. This Portable Document file is furnished free and without any charge of any kind. Any person using this document file, for any purpose, and in any way does so at his or her own risk. Neither the Pennsylvania State University nor Jim Manis, Faculty Editor, nor anyone associated with the Pennsylvania State University assumes any responsibility for the material contained within the document or for the file as an electronic transmission, in any way. William Blake’s Songs of Innocence, the Pennsylvania State University, Jim Manis, Faculty Editor, Hazleton, PA 18201-1291 is a Portable Document File produced as part of an ongoing student publication project to bring classical works of literature, in English, to free and easy access of those wishing to make use of them, and as such is a part of the Pennsylvania State University’s Elec- tronic Classics Series. Cover design: Jim Manis; Cover art: William Blake Copyright © 1998 The Pennsylvania State University Songs of Innocence by William Blake Songs of Innocence was the first of Blake’s illuminated books published in 1789. The poems and artwork were reproduced by copperplate engraving and colored with washes by hand. In 1794 he expanded the book to in- clude Songs of Experience. Frontispiece 3 Songs of Innocence by William Blake Table of Contents 5 …Introduction 17 …A Dream 6 …The Shepherd The images contained 19 …The Little Girl Lost 7 …Infant Joy in this publication are 20 …The Little Girl Found 7 …On Another’s Sorrow copies of William 22 …The Little Boy Lost 8 …The School Boy Blakes originals for 22 …The Little Boy Found 10 …Holy Thursday his first publication. -
The Lamb Ia Child & Thou a Lamb
The Lamb BY WILLIAM BLAKE Litle Lamb who made thee Dost thou know who made thee Gave thee life & bid thee feed. By the strecam & o'er the mead; Gave thee clothing of delight, Softest clothing wooly bright; Gave thee such a tender voice, Making all the vales rejoice! Little Lamb who made thee Dost thou know who made thee Little Lamb I'll tell thee, Little Lamb I'll tell thee! He is called by thy name, For he calls himself a Lamb: He is meck & he is mild, He became a little child: Iachild & thou a lamb. We are called by his name. Little Lamb God bless thee. Little Lamb God bless thee. edited David E. Erdman (Anchor Books, 1988) Source: The Complete Poetry and Prose of William Blake, by The Lamb William Blake The speaker directly addresses a lamb, asking it if it knows who created it, who gave it life and invited it to eat. The lamb is then described in its natural environment, frolicking beside streams and running through fields. Whoever made the lamb also gave it its coat, which is made out of soft white wool. The lamb's gentle noises, according to the speaker, make the surrounding valleys happy. The speaker then asks again: Who made the lamb? In the second stanza, the speaker excitedly offers to tell the lamb the answer. The creator has the same name as the lamb, and indeed calls himself "Lamb." This creator is gentle and kind, and he was once a small child. The speaker, too, is a child, and both the speaker and the lamb share the name of their creator. -
The Ambiguity of “Weeping” in William Blake's Poetry
Central Washington University ScholarWorks@CWU All Master's Theses Master's Theses 1968 The Ambiguity of “Weeping” in William Blake’s Poetry Audrey F. Lytle Central Washington University Follow this and additional works at: https://digitalcommons.cwu.edu/etd Part of the Liberal Studies Commons, and the Scholarship of Teaching and Learning Commons Recommended Citation Lytle, Audrey F., "The Ambiguity of “Weeping” in William Blake’s Poetry" (1968). All Master's Theses. 1026. https://digitalcommons.cwu.edu/etd/1026 This Thesis is brought to you for free and open access by the Master's Theses at ScholarWorks@CWU. It has been accepted for inclusion in All Master's Theses by an authorized administrator of ScholarWorks@CWU. For more information, please contact [email protected]. ~~ THE AMBIGUITY OF "WEEPING" IN WILLIAM BLAKE'S POETRY A Thesis Presented to the Graduate Faculty Central Washington State College In Partial Fulfillment of the Requirements for the Degree Master of Education by Audrey F. Lytle August, 1968 LD S77/3 I <j-Ci( I-. I>::>~ SPECIAL COLL£crtoN 172428 Library Central W ashingtoft State Conege Ellensburg, Washington APPROVED FOR THE GRADUATE FACULTY ________________________________ H. L. Anshutz, COMMITTEE CHAIRMAN _________________________________ Robert Benton _________________________________ John N. Terrey TABLE OF CONTENTS CHAPTER PAGE I. INTRODUCTION 1 Method 1 Review of the Literature 4 II. "WEEPING" IMAGERY IN SELECTED WORKS 10 The Marriage of Heaven and Hell 10 Songs of Innocence 11 --------The Book of Thel 21 Songs of Experience 22 Poems from the Pickering Manuscript 30 Jerusalem . 39 III. CONCLUSION 55 BIBLIOGRAPHY 57 APPENDIX 58 CHAPTER I INTRODUCTION I.