THE BLACK BOY's in the WILLIAM BLAK a FIN in Partial Fulfil for S-1
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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 . -
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. -
Issues; Special Rate for Individuals, $4 for One Year; Overseas by Air, $8 (U.S
A HANDLIST WORKS BY WILLIAM BLAKE IN THE i DEPARTMENT OF PRINTS & DRAWINGS THE BRITISH MUSEUM S\\ ' /■ . Jc*& TABLE OF CONTENTS WITH PREFACE 223 TABLE OF ABBREVIATIONS 224 SUPPLEMENTARY LIST OF ILLUSTRATIONS 224 PARTI: MISCELLANEOUS (7 \ NOTES BY DRAWINGS AND SKETCHES 225 A PART 2: DESIGNS FOR YOUNG'S G. E. BENTLEY, JR. NIGHT THOUGHTS 229 PART 3: MISCELLANEOUS ENGRAVINGS 234 «■ PART 4: ILLUMINATED BOOKS 244 PART 5: REPRODUCTIONS 251 'rm PART 6: APPENDICES 254 INDEX 257 Copyright W 1972 by Morton D. Paley and Morris Eaves /f V / \ Tx ( BLAKE NEWSLETTER AN ILLUSTRATED QUARTERLY Volume 5, Number 4, Whole Number 20, Spring 1972. Pub• lished quarterly under the sponsorship of the Department of English of the University of New Mexico. Support for bibliographical assistance is provided by the University of California, Berkeley. Morton D. Paley, Executive Editor, University of Cali• fornia, Berkeley; Morris Eaves, Managing Editor, Univer• sity of New Mexico; Michael Phillips, Associate Editor, University of Edinburgh; Jo Ann Kottke, Editorial Assis• tant* University of New Mexico; Foster Foreman, Bibliog• rapher , University of California, Berkeley. Manuscripts are welcome. They should be typed and documented according to the forms recommended in The MLA Style Sheet, 2nd ed., rev. (1970). Send two copies with a stamped, self-addressed envelope either to Morton D. Paley, Executive Editor, Blake Newsletter, Department of English, University of California, Berkeley, California 94720, or to Morris Eaves, Managing Editor, Blake Newsletter, Department of English, University of New Mexico, Albuquerque, New Mexico 87106. Subscriptions are $5 for one year, four issues; special rate for individuals, $4 for one year; overseas by air, $8 (U.S. -
Binary Domination and Bondage: Blake's Representations of Race
Binary Domination and Bondage: Blake’s Representations of Race, Nationalism, and Gender Katherine Calvin Submitted to the Department of English, Vanderbilt University, in partial fulfillment of the requirements for Honors in the Major, April 17, 2013 Table of Contents Introduction…………………………………………………..………………………1 I. Blake’s Theory and Technique…………………….…………………………………..3 II. Revealing (and Contesting) the Racial Binary in Blake’s “The Little Black Boy”.......14 III. Colonization, Revolution, and the Consequences in America, A Prophecy …...……..33 IV. Gender and Rhetoric in Visions of the Daughters of Albion …………………..…..…63 Conclusion…………………………………………………………………………….90 Selected Bibliography……………………………………………………...………….93 Introduction “Thy soft American plains are mine and mine thy north and south/ Stampt with my signet are the swarthy children of the sun.”1 In William Blake’s Visions of the Daughters of Albion, the rapist Bromion decries his victim Oothoon on the basis of three conflated identities: race, colonial status, and gender. With his seed already sown in her womb, he pledges that her “swarthy” offspring will bear not only his genetic signet but also labor in subservience to him, the colonial master. Bromion himself encompasses everything Oothoon is not—he is a white male in the act of colonization while she is a female lashed to the identity of America, which is ethnically and politically subservient. Written in an age of burgeoning political and social radicalism, Visions nonetheless fails to conclude with the triumphant victory of Oothoon, -
And Hesiod's Theogony
MINUTE PARTICULAR Blake’s “Introduction” and Hesiod’s Theogony By Kurt Fosso Kurt Fosso ([email protected]) is an associate profes- sor of English at Lewis & Clark College, where he teach- es courses on British romanticism, literary theory, and classical studies. He is the author of Buried Commu- nities: Wordsworth and the Bonds of Mourning (SUNY Press, 2004) and, recently, “Oedipus Crux: Reasonable Doubt in Oedipus the King” (College Literature, summer 2012). His current research examines romantic-era de- pictions of animals and human animality. Piper sit thee down and write In a book that all may read …. (“Introduction” to Songs of Innocence, E 7)1 1 ORTHROP Frye was, so far as I can find, the first N critic to shine a light on the Greek poet Hesiod’s in- fluence upon William Blake. Specifically, Frye judged the divine characters Tharmas and Enion from The Four Zoas (c. 1796) to be “probably the Thaumas and Eione of Hes- iod’s Theogony.”2 Kathleen Raine, following upon Frye, in turn detected the Theogony’s presence in Blake’s The Book of Urizen (1794),3 and recently Paul Miner has uncovered sig- nificant Hesiodic allusions in The Book of Ahania (1795).4 Songs of Innocence copy B (1789), frontispiece. Lessing J. The Theogony’s influence can similarly be traced in the di- Rosenwald Collection, Library of Congress. Image © the vine struggles described in the continental prophecies William Blake Archive <http://www.blakearchive.org>. America and Europe (1793, 1794). 2 Blake would likely have read Hesiod’s eighth-century ge- nealogy of the gods in Thomas Cooke’s English translation (1728),5 the first, and have found there a useful source not only for the names and attributes of those Greek deities 1. -
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. -
Year 8 Spring Term English School Booklet
Module 2 Year 8: Romantic Poetry Songs of Innocence and Experience, William Blake Name: Teacher: 1 The Industrial Revolution Industrial An industrial system or product is one that He rejected all items made using industrial (adjective) uses machinery, usually on a large scale. methods. Natural Natural things exist or occur in nature and She appreciated the natural world when she left (adjective) are not made or caused by people. the chaos of London. William Blake lived from 28 November 1757 until 12 August 1827. At this time, Britain was undergoing huge change, mainly because of the growth of the British Empire and the start of the Industrial Revolution. The Industrial Revolution was a time when factories began to be built and the country changed forever. The countryside, natural and rural settings were particularly threatened and many people did not believe they were important anymore because they wanted the money and the jobs in the city. The population of Britain grew rapidly during this period, from around 5 million people in 1700 to nearly 9 million by 1801. Many people left the countryside to seek out new job opportunities in nearby towns and cities. Others arrived from further away: from rural areas in Ireland, Scotland and Wales, for example, and from across large areas of continental Europe. As cities expanded, they grew into centres of pollution and poverty. There were good things about the Industrial Revolution, but not for the average person – the rich factory owners and international traders began to make huge sums of money, and the gap between rich and poor began to widen as a result. -
The Meeting of Childhood and Colonialism in William Blake's
The Meeting of Childhood and Colonialism in William Blake’s Songs of Innocence and of Experience Mötet mellan Barndom och Kolonialism i Songs of Innocence and of Experience av William Blake Fredrik Karlsson Faculty of Arts and Social Sciences ENGCL1 15 HP Supervisor: Åke Bergvall Examiner: Johan Wijkmark Date: 2018-02-07 Karlstads Universitet Abstract In Songs of Innocence and of Experience William Blake contrasts childhood and adulthood. This essay relates this to another prominent social issue in the collection, colonialism. This essay aims at answering the question of what happens when the child is black rather than white. By providing an analysis of how children in general are portrayed, followed up with a brief discussion of how Blake deals with colonial issues this essay sets the stage for a final concluding discussion about what happens when the two themes of childhood and colonialism meet. The discussion reveals that Blake is using irony to ridicule the contemporary polarized meanings of the words “black” and “white”. By doing this Blake makes the little black boy in “The Little Black Boy” the perfect symbol for criticising the contemporary issues of child abuse and colonialism in one single piece of poetry. Keywords: William Blake, Black, Childhood, Colonialism, Poetry, Social criticism, White Sammanfattning I Songs of Innocence and of Experience visar William Blake på motsättningarna mellan barndom och de vuxnas värld. Denna uppsats kopplar detta tema till kolonialism, en annan framstående social fråga som behandlas i diktsamlingen. Syftet med denna uppsats är att besvara frågan om vad skillnaden blir när det är ett svart barn istället för ett vitt som framställs i dikterna. -
Macmillan Master Guides
MACMILLAN MASTER GUIDES GENERAL EDITOR: JAMES GIBSON Published JANE AUSTEN Emma Norman Page Sense and Sensibility Judy Simons Pride and Prejudice Raymond Wilson Mansfield Park Richard Wirdnam SAMUEL BECKETT Waiting for Godot Jennifer Birkett WILLIAM BLAKE Songs of Innocence and Songs of Experience Alan Tomlinson ROBERT BOLT A Man for all Seasons Leonard Smith EMILY BRONTE Wuthering Heights Hilda D. Spe2r GEOFFREY CHAUCER The Miller's Tale Michael Alexander The Pardoner's Tale Geoffrey Lester The Prologue to the Canterbury Tales Nigel Thomas and Richard Swan CHARLES DICKENS Bleak House Dennis Butts Great Expectations Dennis Butts Hard Times Norman Page GEORGE ELIOT Middlemarch Graham Handley Silas Marner Graham Handley The Mill on the Floss Helen Wheeler HENRY FIELDING Joseph Andrews Trevor Johnson E. M. FORSTER Howards End Ian Milligan A Passage to India Hilda D. Spear WILLIAM GOLDING The Spire Rosemary Sumner Lord of the Flies Raymond Wilson OLIVER GOLDSMITH She Stoops to Conquer Paul Ranger THOMAS HARDY The Mayor of Casterbridge Ray Evans Tess of the d'Urbervilles James Gibson Far from the Madding Crowd Colin Temblett-Wood JOHN KEATS Selected Poems John Garrett PHILIP LARKIN The Whitsun Weddings and The Less Deceived Andrew Swarbrick D. H. LAWRENCE Sons and Lovers R. P. Draper HARPER LEE To Kill a Mockingbird Jean Armstrong CHRISTOPHER MARLOWE Doctor Faustus David A. Male THE METAPHYSICAL POETS Joan van Emden MACMILLAN MASTER GUIDES THOMAS MIDDLETON and The Changeling Tony Bromham WILLIAM ROWLEY ARTHUR MILLER The Crucible Leonard Smith -
Durham E-Theses
Durham E-Theses Blake's Milton: a critical introduction and a commentary Withers, Stacie F. How to cite: Withers, Stacie F. (1978) Blake's Milton: a critical introduction and a commentary, Durham theses, Durham University. Available at Durham E-Theses Online: http://etheses.dur.ac.uk/10120/ Use policy The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that: • a full bibliographic reference is made to the original source • a link is made to the metadata record in Durham E-Theses • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders. Please consult the full Durham E-Theses policy for further details. Academic Support Oce, Durham University, University Oce, Old Elvet, Durham DH1 3HP e-mail: [email protected] Tel: +44 0191 334 6107 http://etheses.dur.ac.uk %~\ o Blake's Milton» A Critical Introduction And a Commentary by Stacie F. Withers Abstract Ch. 1: Number of copies of Miltont description; where they are found. Ch. 2: Internal evidence for date of composition (1800-4), different from date on title-page. Length of poem discussed briefly, as external references indicate an epic longer than the present work. Ch. 3: Blake and Hayley; Biography of Blake at time of writing Milton, an intensely personal poem. Details of life and character of Hay- ley (Blake's patron); how he affected Blake's state of mind; Hayley's appearance as Satan in the Milton and other Felpham references. -
Download Preview
This edition published 2020 by Living Book Press Copyright © Living Book Press, 2020 ISBN: 978-1-922348-17-3 First published in 1789 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any other form or means – electronic, me- chanical, photocopying, recording or otherwise, without the prior permission of the copyright owner and the publisher or as provided by Australian law. Songs of Innocence and Experience WILLIAM BLAKE CONTENTS INTRODUCTION 3 THE SHEPHERD 5 THE ECHOING GREEN 6 THE LAMB 8 THE LITTLE BLACK BOY 11 THE BLOSSOM 13 THE CHIMNEY-SWEEPER 14 THE LITTLE BOY LOST 16 THE LITTLE BOY FOUND 17 A CRADLE SONG 18 THE DIVINE IMAGE 20 HOLY THURSDAY 22 NIGHT 24 SPRING 28 NURSE’S SONG 30 INFANT JOY 31 A DREAM 32 LAUGHING SONG 35 THE SCHOOLBOY 36 ON ANOTHER’S SORROW 38 THE VOICE OF THE ANCIENT BARD 40 MY PRETTY ROSE TREE 41 THE LILY 42 THE SICK ROSE 44 THE FLY 45 THE TIGER 46 THE ANGEL 49 THE LITTLE GIRL LOST 50 THE LITTLE GIRL FOUND 53 A LITTLE GIRL LOST 56 INTRODUCTION (songs of experience) 58 EARTH’S ANSWER 59 THE CLOD AND THE PEBBLE 61 HOLY THURSDAY 62 THE CHIMNEY-SWEEPER 63 NURSE’S SONG 65 AH, SUNFLOWER 66 THE GARDEN OF LOVE 67 THE LITTLE VAGABOND 68 LONDON 70 THE HUMAN ABSTRACT 71 INFANT SORROW 73 A POISON TREE 74 A LITTLE BOY LOST 75 A DIVINE IMAGE 77 A CRADLE SONG 78 TO TIRZAH 79 SONGS OF INNOCENCE 1 On a cloud I saw a child. -
Literary Criticism: “The Chimney Sweeper” (1794) 1.26B
Name: ____________________________ Date: __________ 10 Honors _____ Literary Criticism: “The Chimney Sweeper” (1794) 1.26b The Poem “The Chimney Sweeper,” a poem of six quatrains, accompanied by William Blake’s illustration, appeared in Songs of Innocence in 1789, the year of the outbreak of the French Revolution, and expresses Blake’s revolutionary fervor. It exposes the appalling conditions of the boys known as climbing boys, whose lot had been brought to public attention but had been only marginally improved by the 1788 Chimney Sweepers’ Act. Blake published a companion poem in Songs of Innocence and of Experience in 1794. The speaker is a young chimney sweeper, presumably six or seven years old, and the style is appropriately simple. Much of the imaginative power of the poem comes from the tension between the child’s naïveté and the subtlety of Blake’s own vision. In the first stanza, the sweeper recounts how he came to this way of life. His mother — always in Blake’s work the warm, nurturing parent — having died, he was sold as an apprentice by his father, the stern figure of authority. His present life revolves around working, calling through the streets for more work, and at the end of the day sleeping in soot, a realistic detail since the boys did indeed make their beds on bags of the soot they had swept from chimneys. The second stanza introduces Tom Dacre, who comes to join the workers and is initiated into his new life by a haircut. As Tom cries when his head is shaved, the speaker comforts him with the thought that if his hair is cut it cannot be spoiled by the soot.