Blake, Selected Poems

Total Page:16

File Type:pdf, Size:1020Kb

Blake, Selected Poems Georgia Southern University guidelines direct Wesley and his brother John are associated with students to spend at least twice as much time doing the Holy Club at Oxford University, which grew into homework for a class as they spend in the class the Methodist Church. itself. In other words: if your class session is 100 Question 4 minutes long, you should devote three hours and ("The Lamb") ten minutes to homework. The second stanza or verse of "The Lamb" has ten Professors report that one of the biggest problems lines. Complete the following chart: in World Literature 2 courses is students' failure to line 1 = 6 syllables read the mandated texts. These "Write Now" line 2 = 6 syllables exercises are a smart way to deal with the challenge. line 3 = ___ syllables As you're completing this assignment, bear in mind line 4 = ___ syllables that our lectures and examinations take the line 5 = ___ syllables exercises as their starting point. line 6 = ___ syllables At the top of the page, write your first and line 7 = ___ syllables last names; your Eagle ID number; and the line 8 = ___ syllables phrase line 9 = ___ syllables Blake, Selected Poems line 10 = ___ syllables This exercise may seem trivial, but you'll learn that Failure to follow the following directions may result tiny details are essential when it comes to in a grade of zero for the exercise. • Use single understanding Blake. spacing. • Number each answer according to the Question 5 system below (Question 1, Question 2, etc.). • Use 1" ("The Tyger") margins top, bottom, right, and left. • Use either In "The Tyger" (page 2), the first line of the opening Cambria or Times New Roman size 11 font. • If you stanza and the first line of the final stanza are use more than one sheet of paper, staple all your identical, except for one punctuation mark. Identify sheets together. • There's no need to include the this small difference, and suggest two possible questions, but you can if you wish. • I can't deal reasons for it. Present one full sentence per reason. with your printer problems; get the homework Question 6 printed and ready to hand in before the 8:00 AM ("The Tyger") deadline. • NO hand‐written homeworks. • Answer Identify and make a substantive, explanatory using properly formed, complete sentences. comment about the single difference in diction (i.e. vocabulary) between the first and last verses of Question 1 "The Tyger." ("The Lamb") Question 7 While Blake's diction is generally simple, some ("The Tyger") poems feature words less commonly used nowadays To answer this question, you MUST consult the than in the past. The speaker of "The Lamb" (page Oxford English Dictionary, which is available 1) offers the terms "mead" and "vales." Using a through Galileo on the Henderson Library website. reliable dictionary (such as the Oxford English Here's a how-to: (a) go to Galileo; (b) click Dictionary or Webster's), offer for each of those Databases A-Z; (c) click O; (d) click Oxford English words definitions that fit with how they're used in Dictionary (at Oxford University Press); (e) type in the poem. Make sure to cite your sources. word tyger or tiger (both bring you to the entry Question 2 tiger). Citing two of the dictionary's usage examples ("The Lamb") of the word tyger spelt with a "y," suggest in a Paying attention to word choices, imagery, and/or couple of complete sentences a reason or reasons other aspects of "The Lamb," identify three matters why Blake may have chosen the form tyger instead to substantiate the assertion that the Bible and of the more common version: tiger. religion inspired Blake. Question 8 Question 3 ("The Tyger") ("The Lamb") The version of the poem included in the image Use the web to find the lyrics of Charles Wesley's (created by Blake using his relief-etching system) hymn, "Gentle Jesus Meek and Mild," written in renders line 9 with an ampersand, as follows: "And 1742, fifteen years before Blake's birth. Pretend you what shoulder, & what art." Similarly, line 12 also have to make a case that—on at least two occasions deploys an ampersand: "What dread hand? & what in "The Lamb"—Blake plagiarized: that he used, dread feet?" Taking either line 9 or line 12, suggest without acknowledgement, material and/or ideas in a complete, detailed sentence (or two) how the from Wesley's hymn. Your evidence can't all come ampersand affects interpretation. In other words, from just a single line in "The Lamb." FYI: Charles what effects does the ampersand achieve in contrast locution "little black thing," with what other socially to what use of the word and would achieve? exploited population might the speaker wish to Question 9 identify the chimney sweeper of the title? ("The Chimney Sweeper" Question 14 Songs of Innocence Version) ("Holy Thursday" Blake's printed version of "The Chimney Sweeper" Songs of Innocence Version) (page 3) has a very crowded appearance. Examine In lecture, we'll discuss further the single difficult the content of the poem, and suggest why such a word in "Holy Thursday" (page 5): "usurous," a rare jam-packed look or aesthetic is appropriate. When spelling of the term usurious. To answer this answering, be sure to offer and discuss two question, you'll need to do (and cite) a little quotations from the poem. research. An alternative but common name for the Question 10 Christian festival of Holy Thursday is Maundy ("The Chimney Sweeper" Thursday, which likely gets its name from the first Songs of Innocence Version) word (mandatum = Latin for commandment) in The speaker centers the poem on "little Tom the following statement by Jesus: "Mandatum Darce," whose family name means ten. The noun novum do vobis ut diligatis invicem sicut dilexi vos" darce is an alternative spelling of the noun dicker. ("A new commandment I give…"; St. John's Gospel, Look up the first definition of dicker (i.e. the Chapter 13, Verse 34). First task: look up the version marked dicker n1) in the Oxford English complete Bible verse and suggest how it relates to Dictionary. Use evidence from the full-entry some of the content in "Holy Thursday." Second (versus the outline) definition of dicker to make a task: having found a credible discussion of case about why Blake chooses to give Tom the last traditions associated with Holy or Maundy name Darce. Thursday, discuss how one of those practices or Question 11 observances either does or doesn't fit with what the ("The Chimney Sweeper" poem expresses. Songs of Innocence Version) Question 15 The governing pattern in "The Chimney Sweep" has ("Holy Thursday" every second line rhyme with the line preceding it. Songs of Innocence Version) Thus, for example, sight in line 10 rhymes with Blake could have written "reduc'd to misery" (line night in line 9. Find a variation in the pattern. 3) as "Reduced to misery." Paying attention to the Having identified it on your answer sheet, suggest messages and concerns within "Holy Thursday," in a detailed sentence why the failure to rhyme in suggest one reason for his use of the contracted that instance seems appropriate—why it reinforces form. a message or messages the poem seeks to convey. Question 16 Question 12 ("Holy Thursday" ("The Chimney Sweeper" Songs of Innocence and of Experience Version) Songs of Innocence Version) This "Holy Thursday" lyric (page 6) offers the plural Obviously, this lyric deals with child labor. In the noun "beadles" (line 3). Using a reliable dictionary end, what point does the speaker intend to make— (such as the Oxford English Dictionary or that forcing boys up chimneys is wrong; that the Webster's), offer a definition of beadle that fits with practice can't be avoided in late-eighteenth-century its use in the poem. Make sure to cite your source. England; that the practice fits with what God To what building does the phrase "the high dome of intends? Justify your answer by quoting from the Paul's" (line 4) refer? Why might we say that the text. A minimum of two complete sentences are phrase "harmonious thunderings" (line 10) is an required here. oxymoron? Question 13 Question 17 ("The Chimney Sweeper" ("The Sick Rose") Songs of Innocence and of Experience Version) Analyzing two quotations from "The Sick Rose" In Blake's second poem called "The Chimney (page 7), make a case that it's an argument about Sweeper," all the words are simple. Most of the what, for several centuries, was called the great pox phrases are, too. However, the final formulation (i.e. not smallpox). You'll have to conduct some "make up a heaven of our misery" isn't all that easy basic research, so don't forget to cite your source or to interpret. What, in your opinion, does the sources. speaker aim to get across by this verb phrase? Note Question 18 that while the early "Chimney Sweeper" offers ("The Little Black Boy") names, such as Tom Darce, this poem identifies its When we read Frederick Douglass a few classes subject only as "[a] little black thing." By using the from now, we'll quickly discover that denying education to blacks was a key white strategy during Question 23 the Slave Age. In "The Little Black Boy" (page 8), ("And Did Those Feet?") the speaker's mother "taught me underneath a tree" "And Did Those Feet?" is far better known by the (line 5). Where, according to the mother, does God title "Jerusalem." Set to music composed by Hubert reside? What do you think Blake wants us to Parry in 1916 (i.e.
Recommended publications
  • 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 .
    [Show full text]
  • Inseparable Interplay Between Poetry and Picture in Blake's Multimedia Art
    PETER HEATH All Text and No Image Makes Blake a Dull Artist: Inseparable Interplay Between Poetry and Picture in Blake's Multimedia Art W.J.T. Mitchell opens his book Blake's Composite Art by saying that “it has become superfluous to argue that Blake's poems need to be read with their accompanying illustrations” (3); in his mind, the fact that Blake's work consists of both text and image is obvious, and he sets out to define when and how the two media function independently of one another. However, an appraisal of prominent anthologies like The Norton Anthology of English Literature and Duncan Wu's Romanticism shows that Mitchell's sentiment is not universal, as these collections display Blake's Songs of Innocence and Experience as primarily poetic texts, and include the illuminated plates for very few of the works.1 These seldom-presented pictorial accompaniments suggests that the visual aspect is secondary; 1 The Longman Anthology of British Literature features more of Blake's illuminations than the Norton and Romanticism, including art for ten of Blake's Songs. It does not include all of the “accompanying illustrations,” however, suggesting that the Longman editors still do not see the images as essential. at the EDGE http://journals.library.mun.ca/ate Volume 1 (2010) 93 clearly anthology editors, who are at least partially responsible for constructing canons for educational institutions, do not agree with Mitchell’s notion that we obviously must (and do) read Blake’s poems and illuminations together. Mitchell rationalizes the segregated study of Blake by suggesting that his “composite art is, to some extent, not an indissoluble unity, but an interaction between two vigorously independent modes of expression” (3), a statement that in fact undoes itself.
    [Show full text]
  • 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.
    [Show full text]
  • The Complexity of Human Nature in William Blake's "Songs of Innocence" and "Songs of Experience"
    The Complexity of Human Nature in William Blake's "Songs of Innocence" and "Songs of Experience" Lulić, Dina Undergraduate thesis / Završni rad 2017 Degree Grantor / Ustanova koja je dodijelila akademski / stručni stupanj: Josip Juraj Strossmayer University of Osijek, Faculty of Humanities and Social Sciences / Sveučilište Josipa Jurja Strossmayera u Osijeku, Filozofski fakultet Permanent link / Trajna poveznica: https://urn.nsk.hr/urn:nbn:hr:142:254164 Rights / Prava: In copyright Download date / Datum preuzimanja: 2021-10-04 Repository / Repozitorij: FFOS-repository - Repository of the Faculty of Humanities and Social Sciences Osijek Sveučilište J.J. Strossmayera u Osijeku Filozofski fakultet Osijek Studij: Dvopredmetni sveučilišni preddiplomski studij engleskoga jezika i književnosti i hrvatskoga jezika i književnosti Dina Lulić Dvojnost ljudske prirode u "Pjesmama nevinosti" i "Pjesmama iskustva" Williama Blakea Završni rad Doc.dr.sc. Ljubica Matek Osijek, 2017. Sveučilište J.J. Strossmayera u Osijeku Filozofski fakultet Osijek Odsjek za engleski jezik i književnost Studij: Dvopredmetni sveučilišni preddiplomski studij engleskoga jezika i književnost i hrvatskoga jezika i knjuževnosti Dina Lulić Dvojnost ljudske prirode u “Pjesmama nevinosti” i “Pjesmama iskustva” Williama Blakea Završni rad Znanstveno područje: humanističke znanosti Znanstveno polje: filologija Znanstvena grana: anglistika Doc.dr.sc. Ljubica Matek Osijek, 2017. J.J. Strossmayer University of Osijek Faculty of Humanities and Social Sciences Study Programme: Double
    [Show full text]
  • 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).
    [Show full text]
  • II BA ENGLISH BRITISH LITERATURE – BEN31 UNIT I – Poetry 'The Tyger' William Blake (1757-1827) Tyger,Tyger, Burning Brig
    II BA ENGLISH BRITISH LITERATURE – BEN31 UNIT I – Poetry ‘The Tyger’ William Blake (1757-1827) 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 seize 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? William Blake (1757 – 1827) is poet, painter and print maker. Though he was largely unrecognized during his life time, today he is chiefly remembered as a pre- romantic poet. Beginning in the 1740s pre-romanticism marked a shift from the Neo- classical “grandeur, austerity, nobility, idealization, and elevated sentiments towards simpler, more sincere, and more natural forms of expression.” The poem “Tyger” stands as the most appropriate example of pre-romantic poetry. The poem is written in six short stanzas of four lines each. Of these, the sixth stanza is a repetition of the first stanza. It follows an end rhyme pattern of aabb, ccdd..
    [Show full text]
  • “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.
    [Show full text]
  • The Tyger by William Blake
    The Tyger by William Blake 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 seize the fire? And what shoulder, and what art, Could twist the sinews of thy heart? SINEWS And when thy heart began to beat, What dread hand? and what dread feet? Tendons, or taut, strong cords of What the hammer? what the chain? connective tissue In what furnace was thy brain? What the anvil? what dread grasp Dare its deadly terrors grasp? When the stars threw down their spears, And watered heaven with their tears, Did he smile his work to see? Did he who made the lamb make thee? Tyger! Tyger! burning bright In the forests of the night, What immortal hand or eye, Dare frame thy fearful symmetry? Name: _________________________ Teacher: _______________________ “The Tyger” Interpretation Write your answers in COMPLETE SENTENCES in the spaces below. 1. Describe the message of the poem. 2. What kind of animal does William Blake consider the tiger? 3. List the traits of the tiger as described by William Blake. 4. What is the focus of each stanza? (What is the main idea of each stanza?) 5. How does the poet feel about the tiger? How do you know? 6. Write a list of the traits and habits of an animal of your choice. Be sure to use words and phrases in such a way that your poem communicates how you feel about this animal.
    [Show full text]
  • The Chimney Sweeper (Songs of Experience)
    Get hundreds more LitCharts at www.litcharts.com The Chimney Sweeper (Songs of Experience) sleep. Whereas the chimney sweeps in the Songs of Innocence POEM TEXT poem of the same title hold on to their religious beliefs as a way of coping with their dire situation, the sweep of this poem 1 A little black thing among the snow, knows full well that organized religion is a form of oppression, not . Put simply, the speaker of “The Chimney 2 Crying "weep! weep!" in notes of woe! salvation Sweeper” has seen through the lies of the Church and isn’t 3 "Where are thy father and mother? say?" afraid to say so. He exposes these hypocrisies and 4 "They are both gone up to the church to pray. deceptions—outlining how they have affected his life, and society more widely. 5 "Because I was happy upon the heath, The young chimney sweep is first described as a “little back 6 And smil'd among the winter's snow, thing” who is weeping “among the snow.” When asked where his 7 They clothed me in the clothes of death, parents are, the child responds that they’ve “gone up to the 8 And taught me to sing the notes of woe. church to pray,” suggesting that the Church—a metonym for organized religion—has literally led them astray. His mother 9 "And because I am happy and dance and sing, and father are too occupied with satisfying their religious 10 They think they have done me no injury, authorities to give the young chimney sweep a childhood full of 11 And are gone to praise God and his Priest and King, joy and freedom.
    [Show full text]
  • 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.
    [Show full text]
  • Dvojnost Ljudske Prirode U "Pjesmama Nevinosti" I "Pjesmama Iskustva" Williama Blakea
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Repository of Josip Juraj Strossmayer University of Osijek Sveučilište J.J. Strossmayera u Osijeku Filozofski fakultet Osijek Studij: Dvopredmetni sveučilišni preddiplomski studij engleskoga jezika i književnosti i hrvatskoga jezika i književnosti Dina Lulić Dvojnost ljudske prirode u "Pjesmama nevinosti" i "Pjesmama iskustva" Williama Blakea Završni rad Doc.dr.sc. Ljubica Matek Osijek, 2017. Sveučilište J.J. Strossmayera u Osijeku Filozofski fakultet Osijek Odsjek za engleski jezik i književnost Studij: Dvopredmetni sveučilišni preddiplomski studij engleskoga jezika i književnost i hrvatskoga jezika i knjuževnosti Dina Lulić Dvojnost ljudske prirode u “Pjesmama nevinosti” i “Pjesmama iskustva” Williama Blakea Završni rad Znanstveno područje: humanističke znanosti Znanstveno polje: filologija Znanstvena grana: anglistika Doc.dr.sc. Ljubica Matek Osijek, 2017. J.J. Strossmayer University of Osijek Faculty of Humanities and Social Sciences Study Programme: Double Major BA Study Programme in English Language and Literature and Croatian Language and Literature Dina Lulić The Complexity of Human Nature in William Blake's Songs of Innocence and Songs of Experience Bachelor's Thesis Ljubica Matek, Ph.D., Assistant Professor Osijek, 2017 J.J. Strossmayer University of Osijek Faculty of Humanities and Social Sciences Department of English Study Programme: Double Major BA Study Programme in English Language and Literature and Croatian Language and Literature Dina Lulić The Complexity of Human Nature in William Blake’s Songs of Innocence and Songs of Experience Bachelor's Thesis Scientific area: humanities Scientific field: philology Scientific branch: English studies Ljubica Matek, Ph.D., Assistant Professor Osijek, 2017 Abstract The paper gives a general introduction to the Romantic period and biographical information on William Blake’s life.
    [Show full text]
  • THE ART and ARGUMENT of "THE TYGER" Author(S): John E
    THE ART AND ARGUMENT OF "THE TYGER" Author(s): John E. Grant Source: Texas Studies in Literature and Language, Vol. 2, No. 1 (Spring 1960), pp. 38-60 Published by: University of Texas Press Stable URL: http://www.jstor.org/stable/40753660 Accessed: 29-08-2016 20:11 UTC JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at http://about.jstor.org/terms University of Texas Press is collaborating with JSTOR to digitize, preserve and extend access to Texas Studies in Literature and Language This content downloaded from 132.236.27.217 on Mon, 29 Aug 2016 20:11:29 UTC All use subject to http://about.jstor.org/terms THE ART AND ARGUMENT OF "THE TYGER" By John E. Grant I. The Poem Blake's "The Tyger" is both the most famous of his poems and one of the most enigmatic. It is remarkable, considering its popularity, that there is no single study of the poem which is not marred by inaccuracy or inattention to crucial details. Partly as a result, the two most recent popular interpretations of "The Tyger" are very uneven in quality.1 Another reason that the meaning of the poem has been only partially revealed is that the textual basis for interpretation is insecure.
    [Show full text]