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Essay on innocence and experience
Innocence and Experience
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The window was cold to the touch. The glass shimmered as the specks of sunlight danced, and Blake stood, peering out. As God put his head to the window, at once, he felt light shining through his soul. Six years old. Age ceased to define him and time ceased to exist. Silence seeped into every crevice of the room, and slowly, as the awe of the vision engulfed him, he felt the gates slowly open. His thoughts grew fluid, unrestrained, and almost chaotic. An untouched imagination had been liberated, and soon, the world around him transformed into one of magnificence and wonder. His childish naivety cloaked the flaws and turbulence of London, and the imagination became, to Blake, the body of God. The darkness lingering in the corners of London slowly became light. Years passed by, slowly fading into wisps of the past, and the blanket of innocence deteriorated as reality blurred the clarity of childhood.
1793, London
With each step, he yearned for the concrete world to dissolve. Every man who passed wore a mask of disdain, mirroring Blake’s own, while resentful eyes trailed along the cobbled pathways, searching for answers to the unanswerable. The alleyways of London, once brimming with character, forlornly watched the people who no longer had any desire to stand still. Instead, the ceaselessness of noise mirrored the ceaselessness of life and, as Blake stood, the seed which once had flourished within his being seemed to wither away, while his sprit wrestled and writhed, yearning for liberation from the concrete cell of London. The Thames flowed beneath him, almost mocking the finite world through its infinite liberation. A young boy stood nearby, gazing towards him with an eerie blankness in his eyes, and yet the two eyes, black as i...
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... so polluted with insignificance, have found new understanding. It is a glorious feeling indeed. I will endeavour to channel my creative energies into a new poem, and it will be called ‘London’. I will use my voice to speak the truth and perhaps the repressed people with their marks of weakness, marks of woe, will hear me. I look forward to reading your new works, my dear friend, and do write back with your thoughts. I shall be returning to London shortly and hope to see you then.
Your friend,
Blake
August 12, 1827, London
The memories began to evaporate, fading faster than they had arrived. The countryside of Felpham blended with the cobblestoned alleyways of London. There was silence. He let himself fall into the arms of an eternal slumber, for he knew that his voice had been heard and he had found what he was searching for. Perhaps now he was to see God again.
The theme of the suffering innocent person, dying and being diseased, throws a dark light onto the London seen through the eyes of William Blake. He shows us his experiences, fears and hopes with passionate images and metaphors creating a sensibility against oppression hypocrisy. His words come alive and ask for changes in society, government and church. But they remind us also that the continued renewal of society begins with new ideas, imagination and new works in every area of human experience.
...ing escapes the scrutiny of this reflective artist. “London” was a vehicle for Blake to give warning to his readers as to what the industrialization of his home city was creating. According to the humanistic viewpoint of psychosocial theory of personality disorders, when a person becomes so disenchanted with the world around them, they will regress into a world of their own and disconnect with society. This is what has happened to the wanderer of London. He has lost touch with his world. He came to believe that he is of little importance and of little consequence. He has removed himself from London, not physically, but emotionally and mentally. Blake’s mistrust of the social reform of the time gave him the insight to recognize that this will happen when the world becomes too overwhelming for some. He gave a glimpse of what the poison of “progress” would create in the minds of those who were incapable of conformity to the quickly changing world. He is presenting to his audience what the new London is creating and warns that the city is self destructing.
To better understand this poem some history about London during the time the poem was written is helpful. London was the “. . . undisputed cultural, economic, religious, educational, and political center” of England in the seventeen and eighteen hundreds. It was a city of “warehouses, docks, factories, prisons, palaces and slums, of beggars, laborers, shopkeepers, and bankers” (History). The industrial revolution was in full swing and the streets were filthy, the water and air were polluted, and there were rats everywhere. The famous “London fogs” were created from the burning of coal. The average Londoner lived until age 29, and as many as 1 in 8 drank themselves to death. While there were wealthy merchant and professional classes, the members of the poor grew and were crowded into filthy slums of the city (History). Keeping this history in mind lets take a look at the poem.
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'.
In "London", William Blake brings to light a city overrun by poverty and hardship. Blake discards the common, glorifying view of London and replaces it with his idea of truth. London is nothing more but a city strapped by harsh economic times where Royalty and other venues of power have allowed morality and goodness to deteriorate so that suffering and poverty are all that exist. It is with the use of three distinct metaphors; "mind-forg'd manacles", "blackning Church", and "Marriage hearse", that Blake conveys the idea of a city that suffers from physical and psychological imprisonment, social oppression, and an unraveling moral society.
The time period this work takes place in is a very gloomy and frightening time. He wakes up in a dark place by himself and in fear, which makes things worse. A common theme we can relate this dark place to is when we fall off of the path of God. Since God represents all things good, the dark is the exact opposite. Since everything is not so clear in the wood he his describing, the path back to God is even more difficult to attain.
Keynes, Sir Geoffrey. Introduction to William Blake's Songs of Innocence and of Experience. Shewing the Two Contrary States of the Human Soul. Ed. Geoffrey Keynes. Oxford: Oxford University Press, 1967.
January, 1607: It has to be at least 11:30pm this night of January 9th, and I remain awake. Ever since I discovered my skin caked with red speckles two mornings ago, I realized the awful truth. I have scabies. I sit up in my cold, damp bunk and my mind jumps to my legs, which are pringling immensely.
William Blake was born and raised in London from 1757 to 1827. Throughout his early years, Blake experienced many strange and unusual visions, claiming to have seen “angels and ghostly monks” (Moore). For those reasons, William Blake decided to write about mystical beings and Gods. Two examples of the poet expressing his point of view are seen in “The Tyger” and “The Lamb.” Both poems demonstrate how the world is and to sharpen one’s perception. People perceive the world in their own outlook, often times judging things before they even know the deeper meaning of its inner personification. Blake’s wondrous questions actually make an acceptable point because he questions whether God created the tiger with the same intentions as he did with the lamb.
The speaker in William Blake’s “London” experiences firsthand the painful hardships that plague the city of London and conveys this message to readers through the use of symbols, diction, and syntax. He creates a gloomy mood throughout the poem and uses rich language that effectively shows the suffering of all aspects of the city, from the people to the buildings to the monarchy. This poem dismisses any ideas of grandeur that readers may have previously imagined for London and certainly turns the city into a destination that no reader would ever wish to
Stanza two introduces the listener to such imagery by saying ‘In every cry of every Man,/ In every Infants cry of fear,/ In every voice: in every ban,/ The mind-forg’d manacles I hear’. The use of anaphora in the first three lines builds emphasis towards the gripping metaphor of the last line. In his analysis of ‘London’, Morris Eaves suggests that ‘the mind-forg’d manacles’ are ‘[…] invisible in the social and institutional forces of their forging; it is their consequences, a city where “every Man” […] cries in pain before sighing into death, that is the devastating recognition’.
“Pretty please, Chris? We just need to find out where she is?” said Karen. She didn’t like to beg, but she wanted to put her mother’s mind at rest too, and that took priority.
...ions of his speaker creates and underlying tension in the poem as it appears that he can not decide whether he is chastising the rich member of society for allowing the lives of the lower class to remain in such desolate or if he is sympathizing with the lower class against the elite of London. The two moods of sympathizing and chastising are created through Blake’s use of structure and figurative language; he constructs his speakers words in such a way that there is a clear division made between the elite and the suffering lower class. Blake’s poem is unique on the grounds that it contrasts the typical idea of retelling history. With any historical situation there is always two sides to the story and it is up to the person reproducing it which side will be told; Blake’s London address both point of views and lets the audience decide which side they will agree with.
The poems ‘lines composed on Westminster Bridge’ and ‘London’ are created by William Wordsworth and William Blake respectively. Wordsworth’s work originated in the eighteenth century and he himself lived in the countryside, and rarely visited large cities such as London. This is reflected in his poem, making it personal to his experience in London, however William Blake on the other hand had a vast knowledge of London and was actually a London poet, which allowed him to express his views of London from a Londoner’s point of view. I therefore will be examining comparisons in both poems, as well as their contrasting views of London and the poetic devices used to express their opinions. Wordsworth believed in pantheism, the religion of nature, meaning he believed that nature depicted religion as well as the atmosphere of a particular place.
For once he listened to me and went off to get it. People were gathering around again. Watching everything unfold. I was next to the boy, crouched down on the ground to reach eye level with him. His eyes were a dark shade of red. The need to feed was killing him, literally. His eyes were full of shear terror. He hadn't the slightest clue what was going on.