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William Blake as a social critic
William Blake as a social critic
William Blake as a social critic
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Julia McDonald
ENGL 102H/Ellzey
Poetry Interpretation
“The Garden of Love”
“The Garden of Love” is, quite obviously, a poem about life and the pursuit of happiness. It is also about the effects that negativity can have on love. Blake uses religion to convey the idea that negativity “…pervades and corrupts all life”(51 n.9), further supporting it with his use of rhyme scheme and imagery. In searching for love people often times emerge scarred and hostile from their fruitless efforts. Some continue to have faith in the idea of love and its possibilities, others do not. These folk sometimes seek refuge from their pain in a variety of houses. It is just as often that these refugees project their negative attitudes onto others that search for love and happiness. People who fear love can prevent others from finding it, because they change the positive surroundings to suit their negative world.
The conflict between organized religion and the individual is the constant idea throughout the poem. Blake, himself, despised the Church, as an institution rather than an idea, and used religious symbols to show how structured religion can destroy the lover and creator within. A chapel has been built, perverting a once pure and loving environment. In inspecting the chapel, the persona feels only negativity from a religious house, as the gates are shut “And Thou shalt not writ over the door”(6). Not only has man and machine invaded this place once full of life, but they have also brought with them negative comm...
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...laws and motions that love does not. In “The Garden of Love,” the church expects the natural act and emotion of love to follow these motions, which is entirely unnatural, just as it is unnatural to be celibate and deny emotion for another human being. “The result is no less cruel-the banishment of daylight love for nighttime deceit, the repression and perversion of the young into the gray and palsied sufferings of the old”(Hagstrum 531). The negative and confining nature of the Church and celibacy prevent the young, positive nature of love from existing and exploring.
“The Garden of Love” is a true testament to how easily negative energy and negative surroundings can wound and infect a positive environment. Negativity spreads like a disease, disrupting the easy and natural optimistic heart. Blake conveys this point with the convenient use of a confining institution such as the Church, which he further supports with a fine use of imagery and an effective incomplete rhyme scheme and voice. He quite easily showed that the negativity others accept through their life experiences end up robbing others of their innocence, as they choose not to process their emotions, but dwell in them.
The speaker begins the poem an ethereal tone masking the violent nature of her subject matter. The poem is set in the Elysian Fields, a paradise where the souls of the heroic and virtuous were sent (cite). Through her use of the words “dreamed”, “sweet women”, “blossoms” and
On the other hand, the garden itself within The Secret Garden can be classified as a cultivated natural therapeutic landscape. What makes the garden truly remarkable as a therapeutic is its role in Mary’s coming of age, considering that prior to Mary’s exposure to the garden she was raised without an appropriate adult role models but nonetheless reached emotional maturity. In addition, the garden is considered a true therapeutic landscape due to its role in healing not only Mary, but also Colin and Archibald
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.
Natoli, Joseph. "William Blake." Critical Survey Of Poetry, Second Revised Edition (2002): 1-12. Literary Reference Center. Web. 17 Jan. 2014.
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'.
...tes the idea of social oppression because of the different connotative meanings the word "blackning" implies. Most powerful is the argument that the Church blackens and defames the idea of faith and goodness to promote the continuation of child labor, poverty, and suffering. Walter Minot brings to light the numerous interpretations of the phrase "Marriage hearse" and how they contribute to the idea of an unraveling society. Each denotation of hearse helped create the picture of an unraveling society where promiscuity and sexually transmitted diseases brought about the end of marriage, a very powerful form of faith and rebirth. In conclusion, the metaphors employed by Blake create and reinforce the image of a city that was not full of life and happiness but a city stricken by social oppression, psychological and physical imprisonment, and an unraveling moral society.
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.
Blake's poems of innocence and experience are a reflection of Heaven and Hell. The innocence in Blake's earlier poems represents the people who will get into Heaven. They do not feel the emotions of anger and jealousy Satan wants humans to feel to lure them to Hell. The poems of experience reflect those feelings. This is illustrated by comparing and contrasting A Divine Image to a portion of The Divine Image.
His spiritual beliefs reached outside the boundaries of religious elites loyal to the monarchy. “He was inspired by dissident religious ideas rooted in the thinking of the most radical opponents of the monarchy during the English Civil War” (E. P. Thompson). Concern with war and the blighting effects of the industrial revolution were displayed in much of his work. One of Blake’s most famous works is The Songs of Innocence and The Songs of Experience. In this collection, Blake illuminates the naive hopes and fears that inform the lives of children and follow them into adulthood.... ...
The purpose of the sorrowful imagery in "The Garden of Love" was to create a negative mood and the purpose of the love-filled diction was to create a positive mood, but to take it one step further one must ask what the purpose of establishing these contrasting moods in each poem? "The Garden of Love" contains depressing images and has a gloomy mood to portray hell as the epitome of depression and negativity whereas "The Shepherd" contrasts this setting by using friendly diction to create a joyful mood to portray heaven as the quintessence of joy and peace.
In the Garden of Love Blake talks about how the green, the place of childhood play has been corrupted by a repressive religious morality. Blake describes the Garden as being ‘filled with graves and tombstones’, this confirms his criticism of restrictive conventional morality. Contrary to the view that pleasure leads to corruption, Blake believed that it was the suppression of desire, not the enactment of it that produced negative effects. Blake hated organised religion, and the Garden of Love explores some of the restrictions he saw and det...
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.
...is overall truth and spent his life trying to dispel the conventional wisdom of the Church during that time. In any case, there are many different ways that William Blake's work can be interpreted, and on many different levels. The only one that truly matters is the one that touches the reader. It is what Mr. Blake would have wanted.
withholding the anger from the “foe”. Blake uses the simplicity of the poem to surprise his
Love is not a god as the fine philosophers of Greece once suggested. Love is something far more powerful and universal, for not all people believe in gods, yet people cannot refuse the existence of love. Instead, love is a condition of the human body that cannot be denied. True love is obstinate; in the way that music pours into the ears of an audience, love pouring into the heart of a man cannot be stopped, denied, or set off course. Love is a natural instinct. You cannot artificially make love where there is none or where it does not belong. Yet, the condition of being in love grows independent of all rationale. It grows places where an observer may not understand its existence. Attempting to fight love in such a situation leaves even powerful and noble families, such as the Capulets and Montagues, suddenly powerless. When love takes control of two souls, it takes the lovers on a journey. The journey is the growth of love throughout its many progressive stages. In this way, the growth of love between two people is analogous to the growth and development of a painted masterpiece. A work of art and a bond of love both have distinct stages and characteristics. A painting initially begins with a vision in the mind of the artist. This vision is a perfect vision that the artist will strive to replicate on her canvas. Similarly, love often begins on a visual level based on the physical attractions between two people. The vision of the painter is soon transformed into quick, loose sketches. The pencil freely marks the page; the artist has no control over where it goes, he merely paints. Similarly, lovers have no control over their new feeling of love that has taken over their bodies and rendered them helpless. After an artist has loos...