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William Blake (1757-1827)
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William Blake (1757-1827)
William Blake’s work is largely influenced by Christianity. And unlike many of his contemporaries he didn’t draw much influence from classical mythology. His unorthodox religious thinking owes a debt to the Swedish philosopher Emmanuel Swedenborg, whose influence is particularly evident in Blake's The Marriage of Heaven and Hell. One of the strongest features in Blake’s philosophy was his belief in imagination as an active creative force. Blake was extremely radical both politically and philosophically. He used to see visions and hear voices. Blake attacked rationalism, authoritarianism, industrialization and organized religion as destructive of creative and spiritual energies.
At the height of his poetry, with the Songs of Innocence and Songs of Experience, Blake demonstrates an incredible gift for imagery. The style of the Songs is simple and direct but the language and the rhythms are painstakingly crafted and the ideas they explore are often deceptively complex. Some of Blake's favorite rhetorical techniques are personification and the reworking of Biblical symbolism and language. Blake frequently employs the familiar meters of ballads, nursery rhymes, and hymns, applying them to his own, often unorthodox conceptions.
He was renown as a genius not only for his literary works but also for his painting.
It’s necessary to consider his graphic art and his writing together as he himself thought of them inseparable. His contemporaries saw him as something of an eccentric. Suspended between the neoclassicism of the 18th century and the early phases of Romanticism, Blake belongs to no single poetic school or age. Only in the 20th century did wide audiences begin to acknowledge his profound originality and genius. In fact most of the attempts to explain Blake’s intentions are contradictory.
| The Lamb Little Lamb who made thee Dost thou know who made thee Gave thee life & bid thee feed. By the stream & 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 meek & he is mild, He became a little child: I a child & thou a lamb, We are called by his name. Little Lamb God bless thee. Little Lamb God bless thee. | 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 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? |
Notes and comments
Blake's Songs of Innocence and Experience (1794) to which the given above poems belong, juxtapose the innocent, pastoral world of childhood against an adult world of corruption and repression. The collection as a whole explores the value and limitations of two different perspectives on the world. Many of the poems fall into pairs, so that the same situation or problem is seen through the lens of innocence first and then experience. Blake does not identify himself wholly with either view; most of the poems are dramatic-that is, in the voice of a speaker other than the poet himself. Blake stands outside innocence and experience, in a distanced position from which he hopes to be able to recognize and correct the fallacies of both.
- “Without contrariety is no progression” (W. Blake)
- “Therefore God becomes as we are, that we may be as He is.” (W. Blake)
- “The wrath of the lion is the wisdom of God”. “The roaring of lions, the howling of wolves, the raging of the stormy sea, and the destructive sword, are portions of eternity, too great for the eye of man” (W. Blake)
- forests of the night: earthy being in terms of Dante (Inferno) and Milton.
- seize the fire: a reference to the myh of Prometheus.
- Stars: angels, fighting in the original war in heaven, when the Devil was cast out.
- Stars: in the creation story in “Job” the stars sing foe joy at creation.
- Stars: in Blake’s later books the stars represent cold reason and objective science.
- twist the sinews: Blake’s story of creation differs from the Genesis account. The familiar world was created only after a cosmic catastrophe. When the life of the spirit was reduced to a sea of atoms, The Creator set a limit below which it could not deteriorate father, and began creating the world of nature. The longer books that Blake wrote describe Los’s creation (in Blake’s mythology Los is the everlasting prophet, the embodiment of the Creative Genius) of animals and people within the world of nature. One particularly powerful passage in Milton describes Los’s family weaving the bodies of each unborn child.
- Blake considered our own world to be a fine and wonderful place, but one, which would ultimately give way to a restored universe.
- In all Blake’s Songs there is a deep awareness that bitterness, separation, negation are hellish things. Law and love rightly understood are not opposites but two different sides of maturity, both spring from an experience of mutuality inside a universe ruled over by God.
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