William Blake: Emotion/Imagination vs. Clinical Rationality

The `Songs of Experience' `Introduction' appears to be a lamentation concerning the demise of innocence, the gradual loss of nature through the corollary of experience. The persona cries `calling the lapsed soul', calling the `Earth, o Earth' to `return' from `the slumberous mass'. The Earth replies in `the Earth's answer' with the remark `break this heavy chain that does freeze my bones around' suggesting the coercive forces of industry and the artificial forces of man over the Earth, over nature. The `little girl' and `little boy' grow to be `lost' in this new world governed by industry, in this new world of mechanised Christendom, in this new world absolving itself of altruistic action and concern for the individual. The `lost' boy and girl make their way back to their instinctive origin and find solace in nature. The harmony of nature and its association with man is represented well in the first stanza of `Song [2]' of `the poetical sketches':

`love and harmony combine,

and around our souls intertwine,

whole they branches mix with mine,

and our roots together join.'

The imagery of nature and humanity intermingling presents Blake's opinion on the inborn, innate harmony between nature and man. The persona of the poem goes on to express the `gentle streams beneath our feet' where `innocence and virtue meet'. This is where innocence dwells: synchronization with nature, not synchronization with industry where `babes are reduced to misery, fed with a cold usurous hand' as in the experienced version of `Holy Thursday'. The concept of the need for the individual's faithfulness to the laws of nature and what is natural is further reiterated in `the marriage of heaven and hell' in plate 10 where Blake states `where man is not, nature is barren'. The most elevated form of nature is human nature and when man resists and consciously negates nature, `nature' becomes `barren'. Blake goes on to say `sooner murder an infant in its cradle than nurse unacted desires'. This harks back to `the Songs of Innocence' `A Cradle Song' where the `infants smiles are his own smiles'. The infant is free to act out its desires as it pleases. It is unbound, untainted. Blake's concern is for the pallid and repressed, subjugated future that awaits the children who must `nurse unacted desires' and emotions in this new world of industrialisation. Despairingly, this is restated again in `the mind-forg'd manacles' of `London'. The imagery of the lambs of the `Songs of Innocence' `Introduction' is developed in `the Chimney Sweeper' into the image of `Little Tom Dacre, who cried when his head, that curl'd like a lamb's back, was shav'd'.