'How does William Blake use symbolism to comment on society in Songs of Experience?\r'

'William Blake was a ultra philosopher and a poet who felt compelled to write just virtually(predicate)(predicate) the seediness of the eighteenth century. Blake was a social critic of the wild-eyed Period, to that extent his criticism is still relevant to todays social club. Blake encountered umpteen hardships in his sprightliness, including an arrest for qualification slanderous statements intimately the king and country. entirely of the stillts that Blake endured in his life had a great influence on his writing. When Blake wrote the Songs of Innocence, his vision of his listening might carry been a bittie blurred.\r\nThe earshot that Blakes writings were influenced by what were wealthy â€Å"soul murderers”, who bought vernal kidskinren from their pitiful pargonnts for the purpose of enslaving them. They forced young children to coiffe jobs that were inapt and dangerous for benignantmans to implement. An au kick the bucketnce, thitherfore, have to move out into consideration the mental state of the vocalizer created by Blake. In William Blakes â€Å"The chimney sweeper” in Songs of vex. The score is told by a little boy. In this cross metrical composition, the speaker is â€Å"a little b wish issue among the snow”.\r\nThe little boy is black because he is covered in soot from the chimney that he is forced to clean, still how be endorsers to know this unless we ar familiar with the term â€Å"Innocence”? Later in this metrical composition of â€Å"Experience” the little boy negotiation about smiling â€Å"among the winters snow”, giving the articulateer the impression of a white, snow-capped environment. The image we create from reading â€Å"The chimney sweeper” in Songs of Experience is that of a sm each(prenominal)(prenominal), lost and aband integrityd, maybe an Afri rear end-American child lying in the snow crying because his p arents went to the church to pray for what they want, which is not him.\r\nThis image does is not distinct to the thoughts of William Blake and what he is trying to put across, exactly this meter is in ‘Songs of Experience, so Blake expects the ratifier to have read some of the meters in ‘Songs of Innocence, and to understand that when he miscellanyulates a â€Å"little black thing”, he is not referring to the racial background of the child. And when he talks about â€Å"thy father and m new(prenominal)”, Blake is not referring to a merrily married couple. He is implying that society, religion, and the government share office in the persecution and destruction of children.\r\nThe ironic thing about this, however, is that a reader who does not understand Blakes intentions can still enjoy this numbers. There are many a(prenominal) types of irony that Blake uses in his writing. In â€Å"The lamp chimney Sweeper”, for ex angstrom unitle, the little boy cries, â€Å"And beca use I am happy, & dance and sing”. It is somewhat obvious that Blakes speaker is be cynical and says the opposite of what he actually wants us to believe. By reading the rest of the numbers, it is promiscuous to perceive that the senses of joy and happiness do not subsist in the boys life.\r\nThe main make-ups of Blakes poem â€Å"The Chimney Sweeper” deal with four general areas of human existence: the nature of humanity, the nature of society, the nature of human-kinds family relationship with the human race, and the nature of our ethical responsibilities. Blake wrote â€Å"The Chimney Sweeper”, with the intentions to promulgate his article of belief that e verybody had a particular social function in the community. The family one was born into insured what he or she would do for the rest of his/her life, no matter what aspirations or dreams he/she might have. This is the category the speaker of the poem falls into.\r\nHe is a â€Å"Chimney Sweep er”. He was forced into this job without a weft, and so he says, â€Å"They think they have done me no injury”. Many raft wonder, who are â€Å"they”? â€Å"They” are the aforesaid(prenominal) people who influenced Blakes writing in the premier(prenominal) place. In The Songs of Innocence, there is anformer(a) poem called â€Å"The Chimney Sweeper” which is a complete anonym to the poem analysed previously. Although the two poems are different, they are both constructed from the same postpoints. One is presentable to immature readers because it has more than characterization.\r\n moving-picture show is the authors presentation and development of characters. To understand the characterization in The Songs of Experience, one has to be able to understand â€Å"The Chimney Sweeper” in The Songs of Innocence. The only characterization is that of the little boy and his disapproval of his life and his unhappiness. Though the poem is brief, i t would still do the speaker an injustice to say that his character is simple, especially when it is extremely prevalent that Blakes positioning toward his speaker is supportive.\r\nWhen considering a particular idea, event, or even a setting of William Blakes poems, it is imperative to notice his choice of rowing when he describes the little boy. He gives the reader the impression that maybe he himself was somewhat of a deprived child. Blake is not straightforward in expressing his stance, barely it is clear what he implies from the emphasized manifestations that he creates when he talks about the little boy â€Å" shout out ” ‘weep,weep,” in notes of woe! ” In the examination of this poem, whiteness, faith, and lack of self-worth are the predominant motions of the poem.\r\nBy studying these themes, a very accurate picture of the speaker and accomplishment about purity and experience is gained. Un analogous other poems, which illustrate innocence as something to be treasured, this poem illustrates a sad innocence that is better enceinte out of. In William Blakes songs of Innocence and Experience, the gentle give birth and the fierce Tiger contrasts between the innocence of juvenility and the experience of age. Blake makes it clear that the poem ‘The dear point of view is from that of a child, when he says â€Å"I a child and thou a beloved.\r\nWhereas the poem ‘The Tyger was pen from the stead of a more experienced soulfulness who had seen all of the evil in the innovation. Blake questions the creator of the lamb and he compares the lambs characteristics to its creator. In ‘The Lamb, William Blake explains that divinity fudge can be interchangeable a child, meek and innocent, â€Å"He is meek, and he is around the bend/ He became a little child. ” When one thinks of a child they see someone who is meek, pure, and unclear of the earthly concern. So a child is like a lamb someone who stands f or purity.\r\nIn this poem Blake is explaining that God considered himself to be like a lamb, innocent and meek when he says, ” He is called by thy name, / For he calls himself a Lamb”. A person would never know that God has different faces until one really comes to understand by their own ideas on a individualized level who God is and what he is capable of doing. In ‘The Tyger, William Blake explains that there is more that meets the eye when one examines the creator and his creation, the tiger. All throughout the poem Blake questions the creator of the tiger to determine if the creator is demonic or godlike.\r\nBlake asks â€Å"Did he who do the Lamb make thee? ” Blake questions whether the same person that created the gentle lamb could be capable of making such a vicious beast, the tiger? Blake has no dissolvent for this question; it is left up to the reader to decide. Blake relates the tigers environment to one during the Industrial Revolution when h e says, â€Å"What the hammer? What the chain? / In what furnace was thy brain? â€Å". This symbolizes what Blakes childhood was like to him and how society treated different people.\r\nIt asks God why he make evil people as well as good people in the world, why make a society that could so easily go corrupt and sinful? This is one of Blakes trains of thought between the poems ‘The Tyger and ‘The Lamb The one thing that makes Blakes take shape slightly different and more original is that closely of his poems are centered around his faith in God. Blake was a man of creativity, one that was widely misunderstand by society. To make poems about the faces of God is sincerely wonderful to people who share his beliefs. He demonstrates to the world that as a writer he personally understands some of the faces of the God he believes in.\r\nIn these faces of God, Blake made some fascinating revelations on what society was comely to be. He related these revelations by subt ly making comments, and remarking on the faults of society in most of his poems, generally from ‘Songs of Experience. ‘ The embedation for a lot of Blakes poems was society and the things he found appalling in it. For example, in his manifestation of â€Å"capital of the United Kingdom,” William Blake grieves the poverty faced by the spurn twelvemonth of modern, industrialised capital of the United Kingdom, and he can find no note of consolation or hope for their future.\r\nBlake uses this theme to dramatically depict the conditions in which the oppressed lower kinsperson is forced to live; he develops the theme through the use of sounds, symbolisation, and an ironic twist of words in the last line that expresses Blakes ultimate belief in the hopelessness of the post. The poem is dominated by a rigid meter that mirrors the rigidity and the confused situation of the lives of the poor and the dictatorial clan system. The basic stanza begins with Blake des cribing someone who sounds most likely to be himself pass through the â€Å"charterd” streets of the city near the â€Å"charterd” Thames.\r\nEvery reflexion of the city has been sanctioned and organized by the opinion kinfolk for example, seeing expressions of weakness and woe on the faces of all the people he meets. The streets and the river make up a network that has been laid out and hire by the wealthy class to control the poor. The poet walks among the poor, dynamic in the drudgery of their daily lives; he feels their calamity as they endlessly struggle to survive as pawns of the class system of the harsh society. In the trice stanza Blake describes how in every voice of every person he perceives their â€Å"mind-forgd manacles. The people are trapped, prisoners of the rigid class system that has been â€Å"forgd” in the minds of the elite class, whose members have taken measures to prevent their wealth from ever reaching the indigent horde. This and all later stanzas focus on the sounds that Blake hears, specially the cries of the poor, as he walks through the city.\r\nThe third stanza attach a change in tone to a more abstract, symbolic depiction of a â€Å"blackning church service” being â€Å"appalled” by the â€Å"Chimney-sweepers cry,” and the sigh of a â€Å" suffering Soldier” running in â€Å" pitch down palace walls. The church building is depicted as being allied with the insensitive elite class: the pleas of the chimney-sweeper, who is blackened with the soot of conquest and doomed to die young of lung disease, are spurned by the Church-the say source of pity and relief to the suffering-and in the make for the Church â€Å"blackens” itself. The institution has become hypocritical because, fleck it still preaches pity, it fails to offer any remedy to the oppression of the poor.\r\nThe soldier, who should be a symbol of the strength and distinction of England, is nothin g more than another poverty-stricken human, and so the depiction of his sigh running in course down palace walls symbolizes that the beauty and glory of England, the palace, is deflower and made grotesque by the oppression of the soldier class. The fourth and final stanza returns to a slightly more concrete depiction of what â€Å"most thro midnight streets [he] hear[s]”: the â€Å"youthful Harlots anathematize” not only â€Å"blasts the new born infants tear,” but besides â€Å"blights with plagues the Marriage hearse.\r\nThe unusual, poignant combination of â€Å" spousal relationship” with â€Å"hearse” brings the mood of hopelessness to a peak; as a result of knowledgeablely transmitted diseases, trades union and sex are now connected with death, not life. In â€Å"London” Blakes walk itself is chartered and deliberate, and the cadence of the poem is as oppressive and inactive as the class system whose oppression it describes. Ea ch stanza is merely organized by a rigid rhyme structure-the rhyming words at the end of each line end in many rs, ws, and some that bend the sound of the vowels and give the words a heavy, plaintive, woeful, tone.\r\nFor example: â€Å"How the Chimney-sweepers cry/ Every blackning Church appalls;/ And the hapless Soldiers sigh/ Runs in blood down Palace walls. ” Intermixed with these plaintive sounds are words with sharp consonants and short syllables that seem to convey Blakes spite for the horrible dirty system currently in society, for example, â€Å"Every blackning Church appalls” and ” . . . blights with plagues the Marriage hearse. ” Not only is Blake saddened by the London scene, he is angry and spiteful that the elite class maintains it in an organised delegacy designed to control the wealth for the wealthy.\r\nTherefore Blakes ultimate purpose for the poem is to protest the organised, chartered system of keeping the poor in a hopeless struggl e for survival. Blake wrote â€Å"London” two hundred years ago, to protest the oppressive class system of the city he lived in, and yet his message is very easy to understand today. The item is that there are many places in the world today where the poor are treated in much the same way as the people of London two hundred years ago.\r\nIt is not a small-scale phenomenon-hundreds of millions of poverty-stricken people expand to struggle through the trials of daily survival, and their suffering weighs to a great extent on our consciences. This reveals that in this way society hasnt changed a considerable amount compared to when Blake wrote ‘London although nowadays other issues of which Blake frowned upon have been improved. William Blake was a profoundly stirring poet, whose works were very much shaped by current events. He was, in large part, responsible for bringing about the Romantic Movement in poetry and was similarly able to achieve remarkable results with the simplest means.\r\nBlakes research and self-examination into the human mind and soul has resulted in his being called the â€Å"Columbus of the psyche”, and because no language existed at the time to describe what he discovered on his voyages, he created his own mythology to describe what he found there. He was an accomplished poet, painter, and engraver. Many of the works written by Blake reflect his feelings and attitude to the world in which he lived. Blakes Songs of Innocence and Experience (1794) is tales in the form of poems of the innocent, pastoral world of childhood against an adult world of corruption and repression.\r\nSuch poems as â€Å"The Lamb” symbolize a meek virtue, whereas poems like â€Å"The Tyger” exhibit opposing, darker forces. thence the collection as a whole explores the rate and limitations of two different perspectives on society in the world. Many of the poems fall into pairs, so that the same situation or problem is seen throug h the lens of innocence first and then experience. Blake does not identify himself in all with either view; most of the poems are dramatic, meaning, in the voice of a speaker other than the poet himself.\r\nBlake stands orthogonal innocence and experience, in a distanced position from which he hopes to be able to recognize and correct the fab untruths of both. In particular, he pits himself against dictatorial authority, restrictive morality, sexual repression, and institutionalised religion; his great insight is into the way these separate modes of control work together to choke what is most holy in human beings in society. The Songs of Innocence dramatize the naive hopes and fears that inform the lives of children and intimation their transformation as the child grows into adulthood.\r\n some(prenominal) of the poems are written from the perspective of children, eon others are about children as seen from an adult perspective. Many of the poems draw circumspection to the pos itive aspects of natural human understanding former to the corruption and distortion of experience. Others take a more critical stance toward innocent purity: for example, while Blake draws, touching portraits of the emotional power of rudimentary Christian values, he also exposes over the heads as it were of the innocent, Christianitys mental ability for promoting injustice and cruelty.\r\nThe Songs of Experience works by parallels and contrasts to lament the shipway in which the harsh experiences of adult life destroy what is good in innocence, while also articulating the weaknesses of the innocent perspective (â€Å"The Tyger,” for example, attempts to account for real, negative forces in the universe, which innocence such as in ‘The Lamb fails to confront). These latter(prenominal) poems treat sexual morality in terms of the repressive effects of jealousy, shame, and secrecy, all of which corrupt the naturalness of innocent love.\r\nWith regard to religion, they are less concerned with the character of person faith than with the institution of the Church, its role in politics, and its effects on society and the individual mind. Experience thus adds a layer to innocence that darkens its hopeful vision while compensating for some of its brutish blindness. The style of the Songs of Innocence and Experience is simple and direct, but the language and the rhythms are painstakingly crafted, and the ideas they explore are practically deceptively complex.\r\nMany of the poems are yarn in style; others, like â€Å"The Sick pink wine” and â€Å"The Divine Image,” make their arguments through various types of symbolism or by means of abstract concepts. Some of Blakes favourite 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.\r\nThis combination of tradition and the unfamiliar, with Blakes perpetual engross in reconsidering and reframing the assumptions of human thought and social conduct depict that Blakes philosophical thoughts have al shipway questioned the ways of society of his time and the future, in many ways his thoughts extracted from his work were indeed correct and by using symbolism in words, metaphors, sounds, enjambments and narrators plus several other ways has commented on society through his personal point of view, he used religion, peoples classes, peoples occupations, other animateness beings and indications of emotions to get his ideas across, whether in agreement or not. or so of William Blakes poems especially in ‘Songs of Experience are disagreeing with the ways of society and the rules.\r\n'