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The similarities between British Romanticism and American Romanticism literature
Analysis and themes of the poem the school boy
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Many writers construct nature imagery by deploying figurative language throughout their work. Natural imagery is a prominent theme in the works of William Blake, particularly in his 1789 poem ‘The Schoolboy’ published in the poetry collection ‘Songs of Innocence’. He uses the theme of restriction and identity within the background of a natural setting to explore the juxtaposing relationship between the restriction of education and the freedom that the natural world can allow. Blake’s own perception of restriction, and love for imagination and creativity, combined with his hatred of formal learning becomes an undertone of the social commentary that is expressed throughout the poem. The impact that vivid imagery can have upon the reader is further …show more content…
In contrast, Lawrence uses domestic imagery in comparison with description of the natural world to highlight the internal conflict of characters such as March.
Throughout ‘The Schoolboy’ there is a clear sense of confliction between the restriction of formal learning and the freedom that nature can allow. It could be argued that the sense of conflict extends into the form of poem. The use of quintain stanzas was unusual for the romantic period (EXPAND UPON), therefore suggesting that Blake was consciously going against the traditional conventions of poetry during this period, thus alluding to the notion of restriction and breaking free. The poetic voice is immediately introduced as the first person pronoun of ‘I’ establishes a relationship with the reader, almost foreshadowing the sympathy that they will experience towards the young boy. As the poem progresses, the use of inverted syntax, for example ‘I drooping sit’, implies a sense of formality and entrapment as the emphasis on the active verb ‘sit’ represents the spiritless figure of the boy. Similarly, the further use of the active verb ‘drooping’ implies a sense of fear and dread, however it also creates the imagery of a flower
In “Useless Boys” the writer, Barry Dempster, creates a strong feeling of disappointment and shame in himself and society as he looks back on his youth to when him and a friend made a promise to each other to “not be like their fathers”. Dempster expresses a sort of disgust for the capitalist society his world seems to be built around, a life where even if you’re doing something you initially enjoyed you end up feeling trapped in it. The poem is a reflective piece, where he thinks back on how he truly believed he would end up happy if he chose a different path than that of his parents. The author uses simple diction and syntax, but it’s evident that each idea has a much deeper meaning, which assisted in setting a reflective/introspective mood.
The fact that they feel they can sit about the knee of their mother, in this stereotypical image of a happy family doesn’t suggest that the children in this poem are oppressed... ... middle of paper ... ... y has a negative view of the childish desire for play which clearly has an effect on the children. The fact that they the are whispering shows that they are afraid of the nurse, and that they cannot express their true thoughts and desires freely, which is why they whisper, and therefore shows that Blake feels that children are oppressed. I feel that the two poems from innocence which are ‘The Echoing Green,’ and ‘The Nurses Song,’ display Blake’s ideological view of country life which I referred to in my introduction, and show his desire for childhood to be enjoyed.
...nity of all living things, including himself. The harsh reaction of organized religion to this idea is illustrated in the second "Little Boy Lost," in which the youth is actually burned for his rebellious thinking. The first set of poems tells of the boy's lack of success in a religious system in that did not seem to really care about the boy, and left him floundering. It then describes his introduction to God in the forest, who brought him back to his mother, the earth, which showed him proper reverence of God through nature, not priestly education. The second poem captures organized religion's harsh reaction to this unorthodox and rebellious thinking, and destroys the boy for trying to reach outside of the accepted normal teachings. Together, the poems show an evolution from Blake's dissatisfaction with organized religion to an outright indictment of its practices.
In Songs of Innocence and Experience (1789 and 1794), William Blake arouses readers' minds and leads them into a path of finding their own answers and conclusions to his poems. He sets up his poems in the first book, Songs of Innocence, with a few questions as if they were asked from a child's perspective since children are considered the closest representation of innocence in life. However, in the second book, Songs of Experience, Blake's continues to write his poems about thought-provoking concepts except the concepts happen to be a little bit more complex and relevant to experience and time than Songs of Innocence.
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 theme of authority is possibly the most important theme and the most popular theme concerning William Blake’s poetry. Blake explores authority in a variety of different ways particularly through religion, education and God. Blake was profoundly concerned with the concept of social justice. He was also profoundly a religious man. His dissenting background led him to view the power structures and legalism that surrounded religious establishments with distrust. He saw these as unwarranted controls over the freedom of the individual and contrary to the nature of a God of liberty. Figures such as the school master in the ‘schoolboy’, the parents in the ‘chimney sweeper’ poems, the guardians of the poor in the ‘Holy Thursday’, Ona’s father in ‘A Little girl lost’ and the priestly representatives of organised religion in many of the poems, are for Blake the embodiment of evil restriction.
The first piece of evidence by Blake that identifies the pressure of society placed upon the children is Blake’s particular use of rhyme scheme. Starting with the last two lines of the first stanza of the poem, Blake immediately jumps in to depict his disparaging opinion of society by enforcing the lack of parental protection present for these chimney-sweeping children. The rhyming lines, “I was very young/ … yet my tongue” (3-4) introduce the idea that this individual (the speaker of the poem) was so young and innocent that he could not only say the word “sweep,” but more importantly, that he also could not stand up for himself even against his own father, and oppose the job that he was forcefully sold in to. This particular example demonstrates how vulnerable these children were to society and how they could be easily abused and oppressed. While the first stanza may seem to directly coincide ...
Nature is often a focal point for many author’s works, whether it is expressed through lyrics, short stories, or poetry. Authors are given a cornucopia of pictures and descriptions of nature’s splendor that they can reproduce through words. It is because of this that more often than not a reader is faced with multiple approaches and descriptions to the way nature is portrayed. Some authors tend to look at nature from a deeper and personal observation as in William Wordsworth’s “I Wandered Lonely as a Cloud”, while other authors tend to focus on a more religious beauty within nature as show in Gerard Manley Hopkins “Pied Beauty”, suggesting to the reader that while to each their own there is always a beauty to be found in nature and nature’s beauty can be uplifting for the human spirit both on a visual and spiritual level.
Blake's portrayal of childhood is far from happy. A small child's mother dies while that child is still very young; this is sad but not all together strange. However the child's father then, very soon after, sells him off to be a chimney sweeper. Blake does not stop here; after a description these children's living conditions few emotions are left except for pity. As Americans living in the twenty first century, this all seams very strange. We see childhood as a time of joy, and innocence; a time to embrace, and to not let slip by too fast. We see childhood as Robert Frost does.
In 1789, English poet William Blake first produced his famous poetry collection Songs of Innocence which “combines two distinct yet intimately related sequences of poems” (“Author’s Work” 1222). Throughout the years, Blake added more poems to his prominent Songs of Innocence until 1794, when he renamed it Songs of Innocence and Experience. The additional poems, called Songs of Experience, often have a direct counterpart in Blake’s original Songs of Innocence, producing pairs such as “The Lamb” and “The Tyger.” In Songs of Innocence and Experience, Blake uses musical devices, structure, and symbolism to develop the theme that experience brings both an awareness of potential evil and a tendency that allows it to become dominant over childhood
...the imagination, whereby ordinary things are presented to the mind in an unusual way" (Wolfson and Manning, 2003, p. 356). Finally, in the course of contrasting his own childhood with the upbringing he imagines for his child, the speaker makes a typically Romantic connection between the natural and the supernatural worlds. This is perhaps the key concern of the poem as it is explored and related to the Romantic belief that nature is the best teacher. On this point Abrams's elemental understanding of Romantic poetry seems insufficient. However, this is perhaps significant in highlighting the difficulties involved in defining Romanticism as a coherent literary movement.
William Blake composed two series of poems: Songs of Experience and Songs of Innocence. The poems are intertwined as to compare the thoughts of children and adults on the same issues. The innocence of children is discussed on topics of religion, love, and justice. The opinions of adults are also experienced on these topics, but are given from a more experienced viewpoint. William Blake comparatively writes two series of poems to address the controversy of God, love, and justice from pure thinkers and from corrupt thinkers.
Through the ingenious works of poetry the role of nature has imprinted the 18th and 19th century with a mark of significance. The common terminology ‘nature’ has been reflected by our greatest poets in different meanings and understanding; Alexander Pope believed in reason and moderation, whereas Blake and Wordsworth embraced passion and imagination.
At its fundamental level, adulthood is simply the end of childhood, and the two stages are, by all accounts, drastically different. In the major works of poetry by William Blake and William Wordsworth, the dynamic between these two phases of life is analyzed and articulated. In both Blake’s Songs of Innocence and of Experience and many of Wordsworth’s works, childhood is portrayed as a superior state of mental capacity and freedom. The two poets echo one another in asserting that the individual’s progression into adulthood diminishes this childhood voice. In essence, both poets demonstrate an adoration for the vision possessed by a child, and an aversion to the mental state of adulthood.
Many poets are inspired by the impressive persona that exists in nature to influence their style of poetry. The awesome power of nature can bring about thought and provoke certain feelings the poet has towards the natural surroundings.