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A Level English Literature H071 H471 Introduction and Guided Reading SONGS of INNOCENCE & EXPERIENCE WILLIAM BLAKE

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A Level English Literature H071 H471 Introduction and Guided Reading SONGS of INNOCENCE & EXPERIENCE WILLIAM BLAKE A LEVEL ENGLISH LITERATURE H071 H471 INTRODUCTION AND GUIDED READING SONGS OF INNOCENCE & EXPERIENCE WILLIAM BLAKE HELPING YOU BRING ENGLISH TO LIFE www.ocr.org.uk/english HELPING YOU BRING ENGLISH TO LIFE www.ocr.org.uk/english William Blake - Songs of Innocence & Experience From September 2012, OCR will be introducing new set texts for unit F663. To support you and your learners through this change, OCR has commissioned senior members of the examining team to write an introduction and guided reading list for each text in Section B. You can choose to use these materials with your learners as you see fit. WILLIAM BLAKE SONGS OF INNOCENCE & EXPERIENCE Biography Blake was the son of a modestly prosperous retail Up to the age of about 50, Blake and his wife hosier (Napoleon was soon to call England ‘a lived fairly comfortably, with a servant and in nation of shopkeepers’), brought up in the Soho several rooms, though in later years their lifestyle district of London, a home for artists, spiritual contracted and poverty showed through. Blake non-conformists and political activists (Blake was was never a solitary genius; on the contrary he all three). Showing an aptitude for drawing, the recruited adherents and admirers throughout his boy was sent first to drawing school, and then life, including, right at the end, a group of young apprenticed to an engraver, James Basire. He painters clustering about Samuel Palmer. Coleridge enrolled in the Royal Academy, but, as usual with and Charles Lamb got to know Blake’s poems before him in later life, found large institutions uncongenial the poet’s death, and Ruskin became a devotee of and was soon executing freelance commissions for his paintings, especially their rendering of light. book illustrations. He is also likely to have quarrelled The real emergence of Blake’s reputation, however, with the President of the Royal Academy, Sir Joshua came with Alexander Gilchrist’s Life in 1863 and Reynolds, whose general statements about art did with the Victorian cult of all things ‘Romantic’ not please him: ‘To Generalise is to be an idiot’ was soon afterwards. The most attractive of the many a typical comment. While Blake’s work as illustrator biographies for A2 students is Peter Ackroyd’s Blake and engraver paid the bills, the self-published (1995), an object lesson in how to return a major designs, and more ambitious personal projects, artist to the contexts that produced him. had to be subsidised. As a freelance, Blake was totally dependent on the whim and character of his patrons. Fortunately most of these seem to have been well-disposed towards him, and tolerant of AO4 Biographical his eccentricities, though the artist’s unworldliness contexts did leave him open to exploitation by the more unscrupulous. 2 Writer, Illustrator, Self-Publisher Blake’s illuminated books were modelled on He could load the design on the plate itself with manuscripts from the Middle Ages, where the different pigments, producing an effect of strong pictures informed the words and the words the shadow and autumnal tints. Or he could wait for pictures, and the links between them were supplied the lightly inked design to dry, and watercolour it by the reader, not managed by the artist. If Blake by hand, producing glowing effects of springtime did everything himself, there was no chance of energy. ‘interpretation’ (‘priestcraft’, Blake often called it) obtruding, for ‘Truth can never be told so as to be No two impressions need, or indeed could, be understood.’ No one censored Blake’s designs, no identical. The ordering of the designs changes from editor toned them down, and no printing-house copy to copy, and the artist further varied his effects misrepresented or misunderstood them. by choosing to ink Innocence in vibrant watercolour washes, preferring more sombre opaque effects for He worked on copper-plates, drawing out his design Experience. Blake’s art had become truly democratic. in stopping-out liquid. To get a positive etching, he needed first to create a negative, so he worked Blake was never tempted to mass-produce his in mirror image, leaving as bare metal the most designs, or to arrange their sale for profit, though important sections of the design and stopping- well-wishers, knowing Blake was touchy about out the rest of the plate, so that when the acid was charity, sometimes gave ten times the original applied to the copper it ate away at the unstopped asking price for his more sought-after special material to release the desired form. editions. Twenty-four copies of Innocence survive, the same number of the composite volume, and just This method, known as relief etching, is opposite four copies of Experience alone. It is possible there to the conventional way of etching a copper plate were never many more. at the time, where the surface of most of the copper plate is preserved and the design itself is Gilchrist confirms that Blake’s early text, Songs of attacked with acid. There is something satisfyingly Innocence, was, with the help of his devoted wife paradoxical about Blake’s inversion of the process, Catherine, the work of a ‘total artist’: well-suited to his delight in the creative power of opposites. As he put it in The Marriage of Heaven The poet and his wife did everything in making and Hell, which includes the proverb ‘opposition the book – writing, designing, printing, engraving is true friendship’, this was ‘printing by the infernal – everything except manufacturing the paper: the method, by corrosives, which in Hell are salutary very ink, or colour rather, they did make. Never and medicinal, melting apparent surfaces away, and before surely was a man so literally the author of his displaying the infinite which was hid.’ own book. Once Blake had completed his etched plate (and A2 essays will benefit greatly if you respond to the he could work much more quickly in the relief visual aspect of Blake’s self-publication. However, method than the conventional system) he could ink they need to refer to the effect of particular designs, it and print it again and again. The design would and not to refer to too many. The prescribed material necessarily be the same each time it was printed, remains Blake’s poetry, not his designs. but he could vary the effect by changing the inking process. He could print in monochrome, or ink the Go to www.blakearchive.org for a comprehensive plate with a different solid colour on every page. collection of Blake’s designs. This includes a facility for comparing variant inkings of the same plate held in different libraries. HELPING YOU BRING ENGLISH TO LIFE www.ocr.org.uk/english William Blake - Songs of Innocence & Experience 3 Continued Correspondence between text and design in ‘The Blossom’ is not very close. Critics usually see ‘The Blossom’ as a study of sexual virility, though the sportive innocent figures in the design don’t suggest this. Nor is it clear how these relate to green leaves, sparrow, robin and blossom, all of which the poem describes. A facsimile hardcopy of Songs of Innocence and Experience is available from Tate publications (2006), and an illustrated Kindle edition from OrangeSky Publications; a complete paper version of Blake’s Illuminated Books is available from Thames and Hudson. AO4 Biographical contexts AO3 Every self-published Blake text different from every other AO2 Appearance of designs and texts HELPING YOU BRING ENGLISH TO LIFE www.ocr.org.uk/english William Blake - Songs of Innocence & Experience 4 HELPING YOU BRING ENGLISH TO LIFE www.ocr.org.uk/english William Blake - Songs of Innocence & Experience Songs of Innocence Though long known as part of a composite volume Sometimes, as in ‘Infant Joy’, where the child-speaker (1794), where it stands as a companion of the later is but two days old, its wisdom is so fresh from the Songs of Experience and enters into debate with it, hand of God it seems creepily pre-human (trailing Songs of Innocence made its appearance indepen- the ‘clouds of glory’, perhaps, that Wordsworth writes dently in 1789, and must to some extent be consid- about in his ‘Immortality Ode’). When Blake saw a ered a freestanding work. It is most confidently clas- group of children at play, he didn’t think of competi- sified as a children’s book, with its title a reminder tiveness, envy or deceit, but was prepared to ad- that throughout his life Blake was fond of singing his mire without qualification. ‘That,’ he told someone, own lyrics, to tunes of his own devising. pointing to a children’s game, ‘is heaven.’ But worldly readers are apt to find ‘heaven’ challenging, like the In the design for the Experience poem ‘London’, a ‘naked new-born babe’ in Macbeth’s visualisation of shaft of light illuminates a child as he leads an old Pity (1795), which, drawn by Blake, would strike the man: ‘I see,’ Blake wrote in the long poem Jerusalem, fear of God into any would-be murderer. apparently a later re-working of this design, ‘London blind and age-bent begging through the streets / Of Even the chimney-sweepers of Innocence seem Babylon, led by a child. His tears run down his beard’ insulated from their appalling working conditions In Innocence, too, Blake is fond of showing how the by a shared religious vision, as iridescent as Charles child may educate, sometimes even shame, adult Kingsley’s re-working of it in The Water Babies (1863): possessors of worldly wisdom. Then down a green plain leaping, laughing they run, The title page depicts an adult woman holding And wash in a river, and shine in the sun.
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