3 William Blake

Dr. Chandra Mouli

William Blake [1757-1827]

2.0. Let us learn about William Blake, his poems and sig

William Blake’s works find a place beside Picasso’s in Tater Art Gallery in London. This just reflects his multifaceted genius. His poems and their illustrations carry a stamp of his unique style which was ornamental and grand. His artistic engravings on copper plates extended an abiding appeal to the person and his creativity.

Blake’s lyrical poems are remarkable for condensed expression carrying rich visual and spiritual symbols. The Songs of Innocence published in 1789 encapsulates his genius for writing, engraving, drawing and painting. His poverty impelled Blake to devise a unique and splendid method to print his poems. As is believed a number of copper plates carrying the illustrations and poems of Blake might have been disposed off as material of no consequence.

Songs of Experience appeared in 1794.These two volumes of poems reveal William Blake’s convictions, evolution as a poet and awareness of man and his predicament in the universe.

2.1.0. Songs of Innocence

There is a symbolic design on the title page of ‘Songs of Innocence’ in addition to year of publication 1789. A significant title with decorative words with leaves and small branches of a nificance of his contribution as a poet.

plant encircling them makes it very impressive. There is also an apple plant with two children leaning on the lap of their mother and reading a book. The children’s innocence and carefree nature reflect the theme of the poems. A sense of wonder makes childhood beautiful and it is carried in the poems too. In the poetry of Blake, Jesus is the divine who was once an infant like all human infants. Nature, love and joy are splendidly harmonized.

In most of the poems in the book identity of God and child is perceptible. Here God is viewed as child Jesus. Blake’s nature is different from that of other romantic poets. He was essentially a Londoner. For the poet, Jesus was a lamb metaphorically. There are certain recurrent images in his poems like the hill side, grazing lambs and extending meadows. Though there is a shepherd there are no cattle except sheep. The tears in the poems are tears of joy blended with innocence. Meekness of the lamb and the child assumes significance in this set of poems. According to Blake the spirit of God invariably saves the children in distress as they are devoid of evil in thought or action. The poet who heard voices and saw visions was intuitive mostly, while crafting these poems. It may be of interest to know, Blake had no children.

Introduction

2.1.1.1. In this poem William Blake declares what impelled him to write songs of Innocence. The poem gives evidence of sustained simplicity, though there are a very few complex sentences. It is free from ornamental figures of speech, except for a few alliterations. It is a known fact that alliterations delight children. The poem’s appeal lies in its simplicity of expression and felicity in reading.

The word joy is used as a verb, not so common today. The use of stain in the sense of colouring a thing may also be noted. ‘That’ in the last line is omitted deliberately. This is necessitated by the rhythm. One may also appreciate the second and the fourth line rhyming with each other in the four-line stanzas.

Simplicity goes well with joy, childhood, lamb, nature, gentleness and the angels. Even the poet’s musical pipe was made of straw as in any a pastoral context. The ‘ tears’ here are the tears of joy and not of sorrow.

We may compare ‘He wept with joy to hear’ with ‘Excess of sorrow laughs.’ The poet makes a rural pen from a reed and staining the clear water of a stream, writes the Songs of Innocence. He is inspired to do so by a child he sees in a vision. William Blake was a mystic and visionary; and he promptly wrote down the songs he visualized. Perhaps, the child he sees on the clouds symbolizes the infant Jesus.

The Biblical saying is carried forward by the poet in its true spirit. The child is innocent, knows no selfishness and wants the poet to write down the songs so that every child might read them and become happy. There is no selfishness or sophistication in the world of innocence. Purity in thought and action mark a child’s life and ensuing happiness. There are several references to happiness, joy and innocence.

2.1.1.2.

‘Pipe a song about a Lamb!’

So I piped with merry cheer,

‘Piper, pipe that song again,’

So I piped :he wept to hear.

The poet states that the child asks him to pipe a song about a lamb. The child may be Jesus, the child. The lamb is symbol of innocence, docility, and purity. In another poem titled The Lamb, it acquires, perhaps , another symbolic significances. Second and fourth lines rhyme, here. ‘Merry cheer’ and ‘wept to hear’ may look odd; but if one understands that tears of joy roll down when the child weeps, it doesn’t look incongruent. This is further substantiated in the next stanza when the poet says the child wept with joy to hear the songs of happy cheer he composed.

‘Piper, sit thee down and write

In a book, that all may read’.

So he vanish’d from my sight,

And I pluck’d a hollow reed.

Through these lines in the penultimate stanza of this poem, Blake conveys his intention and purpose of writing these poems aptly titled Songs of Innocence. The poet desires to point to the happy and innocent state of every human being as a child and how the materialistic world and contaminating society around corrode and contribute to suffering and misery mankind experience subsequently, as one grows up.

The Lamb

2.1.2.1. This poem may be stated as the simplest of poems of William Blake , who sees unity of all living creatures with Nature and God, particularly Jesus Christ. The lamb has immense symbolic significance.

The expression is at once very simple and a series of questions are asked. This poem may be compared with Tiger, a remarkable poem in Songs of Experience. Statements are turned into questions. These questions are to be found in the first stanza and the answers are to be found in the second. This can only be a general statement, for you have the question ‘Dost though..?’

The second stanza changes the pattern of the poem by identifying the lamb with child Jesus and with the child-speaker in the poem. Jesus is the ‘lamb of God’ in the European Christian tradition. Lamb, as one knows, symbolizes innocence and gentleness; and the love behind the question ‘Dost thou know who made thee?’ should be contrasted with the awe behind the question ‘Did he who made the lamb make thee?’ in the poem The Tiger.

The lamb, the questioning child and the Creator look like three different beings in the first stanza, and the second stanza shows them to be one. They are identified with each other. Though this poem looks simple to read and understand, it requires supreme craftsmanship to compose such a poem. Divine spirit present in every being created is manifest in the lamb. This poem presents question and answer pattern, so common in communication with children. Child’s curiosity and implicit obedience in accepting what is told makes it quite impressive.

2.1.2.2.

Little Lamb, who made thee?

Dost thou know who made thee?

The child, the narrator in the poem, asks the lamb whether he knows who made him. Curiosity of a child is at once so appealing and fascinating. Here these questions are followed by answers, unlike the pattern found in the poem Tiger.

Gave thee life and bid thee feed,

By the steam and o’ver the mead;

Gave thee clothing of delight,

Softest clothing, woolly, bright;

Gave thee such a tender voice,

Making all the vales rejoice?

William Blake describes the lamb and uses simplest of words and terms indicating joy, innocence and brightness, essential qualities associated with childhood. The narration is in harmony with the theme of the poem.

He is called by thy name,

For He calls Himself a Lamb.

He is meek and He is mild;

He became a little child.

I a child, and thou a lamb

We are called by His name.

Now, the poet’s intention becomes clear. Innocence and ability to rejoice looking at simplest things are a child’s prerogative. Divine spirit present in childhood slowly makes way tomany undesirable elements as one grows up. The way the poet blends figures of the child, lamb and God makes an interesting reading. A questioning mind only finds a solution. Reference to Jesus the child and lamb representing mankind directly link to Biblical images and beliefs.

The Shepherd

2.1.3.1. This pastoral poem enriches the tradition of pastoral poetry of the eighteenth-century. But there is no contrived thought or artificiality in its sentiments. On the other hand, there is a freshness of vision in it. There is a freshness of vision in it. It evokes the Christian image of Jesus as the Shepherd and the followers of Jesus as the sheep. It is evocative, but not obtrusive. Joys of leading simple life with trust in the master make such poems simply beautiful, enjoyable and memorable.

2.1.3.2.      How sweet is the Shepherd’s sweet lot! From the morn to the evening he strays; He shall follow his sheep all day, And his tongue shall be filled with praise.

The lines in this stanza are perfectly in tune with pastoral poetic tradition. In eighteenth century pastoral poetry and pastoral elegies gained prominence as an essential element of romantic poetry. The poet sings in praise of the Shepherd, which in Biblical parlance is a reference to Jesus. Mankind is represented as sheep that need to be tended with care and love. Trust in the shepherd makes them carefree, liberating from possibilities of committing sins. Absolute trust in His master’s ability to protect is explicitly communicated in simple, yet impressive terms.

For he hears the lamb’s innocent call,

And he hears the ewe’s tender reply;

He is watchful while they are in peace,

For they know when their Shepherd is nigh.

William Blake’s love for peace in life is remarkably relevant in the present times, when man is troubled by innumerable problems, self-acquired and those created by society around. Lack of spiritual approach, besides meaningless pursuit of materialistic pleasures, make modern man’s life miserable. Though many may disagree with what the poet says in his poems, the above lines offer a way to make life peaceful, enjoyable and purposeful. There is no greater pleasure than leading a tension free life, for which faith is the fulcrum! These lines assure the believer that the creator will take charge of steering one’s life and destiny to safer shores, if one develops implicit faith in Him!

The Divine Image

2.1.4.1. This poem appears on the surface to be a didactic one belonging to the tradition of the moral songs written during and earlier than Blake’s time. However, a close observation reveals an interesting feature not found in the moral songs. God and Man are regarded as one. They are identical, when mercy, pity, love and peace dwell together in man. The poet speaks of ‘human form divine’. If man is divine, all men must be loved, whether they are Jews, Turks or heathens. The poet appears as a true lover of humanity, transcending barriers of faith and nationality. The quintessential qualities of divinity to be acquired by man are described in detail.

Shakespeare eloquently extols the nobility of being merciful in The Merchant of Venice. Racial harmony is upheld because both the Jews and the Christians are human. Blake in this poem upholds racial harmony because divinity dwells in all human beings. He is essentially a Christian. Applying the convictions of the righteous people of other religions my not appear appropriate.

2.1.4.2.

For Mercy has a human heart,

Pity a human face,

And Love, the human form divine,

And Peace, the human dress.

In this poem Blake gives an account of elevating virtues of Mercy, Pity, Love and Peace. This poem reminds the reader of the famous passage on ‘Quality of Mercy’ in Shakespeare’s play The Merchant of Venice. The dramatist eulogizes eloquently the ennobling quality of ‘Mercy’ and declares that it is ‘twice blessed’ as both the giver and receiver are blessed.

In these lines Blake enumerates the essential human traits that make one acquire divinity and see the same in others too. In simple words profound spiritual and philosophical content is offered alluringly.

And all must love the human form,

In heathen, Turk, or Jew;

Where Mercy, Love, and Pity dwell

There God is dwelling too.

These lines in the concluding stanza of the poem sum up Blake’s concept of ‘Humanity’ and ‘Divinity.’ Essential human virtues enable one to transcend the barriers of ethnicity and faith to locate ‘Divinity’ in every human being, so necessary in present day conflict ridden world. In a way Blake seems to anticipate notions of equality, fraternity and related concepts which propelled and launched the French Revolution where the power of the church was relegated. His religious and spiritually inclined mind preaches means of acquiring divinity to lead a peaceful life on earth. Racial harmony is possible if a society is founded on pillars of mercy, pity and love for others. This perspective helps in locating the divine spirit in all.

Holy Thursday

2.1.5.1. This service was organized annually for the children of the charity schools of London. There is an ironical tone at the end of the poem. It is a well-known fact that Blake was very bitter at the man-made poverty and misery. The poor children who were dirty were scrubbed and allowed a rare bath before being taken to St. Paul’s cathedral on Thursday. William Blake did not approve the condescending attitude that some people had towards those boys. The phrase ‘wise guardians of the poor’ carries stinging irony. The last line has an epigrammatic force in it. Its moralizing tone is not in tune with the irony of the previous line. The poet’s love and sympathy for the under privileged children is perceptible in this poem. He firmly believed that man is the enemy of man and castigated all evil ways and cruel treatment of children in Victorian England.

2.1.5.2.

It was a Holy Thursday, their innocent faces clean,

The children walking two and two, in red and blue and green,

Grey- headed beadles walk’d before, with wands as white as snow,

Till the high dome of Paul’s they like Thames water flow.

These lines give an account of the way the children were lead to St. Paul’s Cathedral on Holy Thursday for singing in the service, dressed in the uniform given to them. It was done for the occasion only.They were under the vigilant supervision of elderly petty parish officials appointed to keep order in the church, who did not hesitate to punish those who were found to be guilty of petty offense. Even prayers were to be offered as per custom and under strict supervision of Church authorities.

O what a multitude they seem’d, these flowers of London town!

Seated in companies they sit with radiance all their own,

The hum of multitudes was there, but multitudes of lambs,

Thousands of little boys and girls raising their innocent hands.

William Blake repeats the image of lambs and dwells on innocence associated with childhood.

While children’s faces are radiant on account of innocence and purity of mind, it is appalling how they have been herded in to the cathedral like flock of sheep. Their voices too reflected conditions in which they lived. The next and concluding stanza reveals the poet’s use of irony and epigrammatic expression to drive home his view in crystal clear terms.

2.1.6. General Estimate of Poems in this volume:

The poems in this section are exquisitely crafted with simple expression, easily recognizable symbols and poet’s preoccupation with Biblical images and lore. Blake’s innermost feelings about contemporary society and the manner in which children are made to suffer also are conveyed. However, these poems essentially reflect simple joys in life, craving for peace in life and around and the need to have firm spiritual convictions to lead a quiet and blissful life. A remarkable feature is that words are fused by inspiration and smoothly joined, as they are perfectly adapted to the thought which is simple and delightful.

Songs of Experience

2.2.1. This volume has been brought along with the Songs of Innocence. The title page of the combined volume of these two sets of poems carries the figures of a man and a woman clad in leaves suggesting they are Adam and Eve. Anguish marks their expression indicating their state after the fall. While Eve is prostrate, Adam bends over her and one may notice twirling flames of fire and a bird on wing. They may be symbolic of joy deserting them. Some critics have opined that the two figures may not be those of Adam and Eve, but represent innocence and experience. The themes and content in this set of poems are remarkable for their high seriousness, complexity in thought and expression in addition to significant symbols employed. Blake’s personal views about contemporary society and church are laid bare unmistakably. Tyranny, jealousy, usury, and authoritarianism conspicuous in contemporary society are loathsome to the poet. He’s moved by the misery and suffering of the poor children. The indifference of man to man and the irresponsibility of the church to sufferers are appalling to say the least. Thus a child is forced to forsake his innocence, a God given attribute. A child like Adam violated God’s command; hence misery, disease and death started haunting him.

Introduction

2.2.1.1. This poem is quite in contrast to the poem of the same title in Songs of Innocence. Simple expression is still used to convey profound ideas. The prophetic voice calls the Earth to wake up, as the night ends and morning light suggests scope for regeneration. The earth, here, represents man who has fallen from grace of God. Having lost his innocence, he is surrounded by rules and regimentation. For the grown up man stars in the sky are vigilant watchers, with boundaries drawn on earth by sea waters. With daybreak , prospects of unbounded freedom are bright. A delightful world beyond the bounds of earth and sky awaits man.

2.2.1.2.

Hear the voice of the Bard!

Who present , past and future,sees;

Whose ears have heard

The Holy Word

That walk’d among the ancient trees,

Calling the lapsed soul,

And weeping in the evening dew;

That might control

The starry pole,

And fallen, fallen light renew!

The prophetic voice of the Bard, who knows all and could visualize the future calls up the lapsed soul to wake up. There is reference to Biblical allusion of Adam and Eve hiding themselves among the trees in the Garden from the presence of the Lord, as they heard his voice while he was walking in the Garden. Fallen man wails vainly for losing His grace. Yet there are hopes as the stars and light suggest possibility of his renewal. Sadness of God at the fallen state of man is suggested by’ weeping in the evening dew.’ Dew represents tears.

O Earth,O Earth, return!

Arise from out the dewy grass;

Night is worn,

And the morn

Rises from the slumberous mass.

The holy word embodied in God wails at the fall of man, suggested by ‘lapsed soul’. The tears are dew drops. ‘Dewy grass’ carries literal meaning. The Earth here represents fallen man, lying dormant and immobile. There is an exhortation to return to normal state, as the night is on the wane and dawn is about to brighten the world with new dispensation of boundless freedom.

Earth’s Answer

2.2.2.1. In this poem the earth is portrayed as a woman. This is in contrast to what the earth stands for in the poem ‘Introduction.’ Blake imagines a god who is jealous and imposes restrictions. The earth asks whether love without any freedom can bring forth the virgins of youth and morning. She is depressed in the dark and forsaken state after the fall of man. The poem implies that love should be as free and spontaneous as the joy of spring which cannot be hidden, when the buds and the flowers bloom. Why should there be restrictions on love? Why should love-making be prohibited during day time? There is a strong plea for liberating love from all constricting norms enforced. The language of the poem is a little more emphatic than that of the previous poem, but Blake does not resort to high-flown rhetoric. The fourth stanza is remarkable for its candid and suggestive analogy. As in all poems here too symbols lend grace to expression.

2.2.2.2.

Prisoned on wat’ry shore

Starry Jealousy does keep my den;

Cold and hoar;

Weeping o’er,

I hear the Father of the Ancient Men.

The earth that is depressed and dank as she is enveloped by waters of sea, wonders why one should be under the constant watch of stars shining brightly in the sky at night. She feels that stars are jealous of her as she craves for unbridled freedom. So she is under the scanner. She also sympathizes man who has fallen from grace of God. Man’s pathetic plight moves her immensely.

Does spring hide its joy

When buds and blossoms grow?

Does the sower

Sow by night,

Or the the ploughman in darkness plough?

There is implicit sexual image in these lines. There seems to be a question why sexual activity should be restricted to the time of dark night. Pure love does not seek secrecy because there can be no sense of guilt and it does not tolerate any restrictions. The poet is not, of course, advocating free love only in a carnal sense. What he means is that modesty, restraint and restriction have entered to bind love in the world of experience. To a person who has retained a state of innocence, the God of traditional religion appears like a jealous tyrant who does not permit uninhibited love and imposes a cold chain of restriction on the warm body. Acts of sowing and ploughing suggest sexual activity symbolically. Expression of love too is as natural as growth of buds and blooming of flowers in spring in an unrestrained manner. Pure love need not be under wraps, as it is not a crime. No one should feel guilty.

The Tyger

2.2.3.1. This is the most celebrated poem of William Blake, which has been interpreted and commented upon in numerous ways. It stands in direct contrast to ‘The Lamb’ in Songs of Innocence. The narration is so arresting that once the first line is read it inspires the reader to run through the entire poem, leaving the reader in inconceivable awe and admiration of the poetic craftsmanship of Blake and competence of the Tiger’s creator.

A series of questions are asked in succession, without giving a chance to pause and respond. The poet convincingly establishes that the creator of a meek and innocent Lamb also is capable of creating an awesome, fierce, mighty creature like the tiger. The lamb and the tiger may represent the divergent traits of man and the creator as well.

2.2.3.2.

Tyger!Tyger! burning bright

In the forests of the night ,

What immortal hand or eye

Could frame thy fearful symmetry?

Two burning bright eyes represent the tiger in darkness of night. The background presented is at once astonishing and amazing. ‘Forests of the night’ refers to density of darkness as well as thickness of the forests where the fierce tiger roams freely. ‘Eye’ and ‘hand’ by implication suggest the supreme ability to conceive the very idea of creating the tiger and the consummate craftsmanship required to execute the task. A hint at the inexhaustible and enormous power of the animal is hinted by ‘fearful symmetry’ ‘.Immortal’ makes it obvious that it is beyond the ken of ordinary human beings to embark upon such a task. ‘Burning bright’ not only is related to the eyes but to the tiger as a whole. ‘Burning’ may imply fierceness, but it is modified by ‘bright’ implying incandescence.

And what shoulder, and what art,

Could twist the sinews of thy heart?

And when thy heart beagan to beat ,

What dread hand? and what dread feet?

These lines throw ample light on the superb poetic competence of Blake. One finds a series of wh questions. Nowhere an answer is provided. The reader has to infer all by himself. The poet’s curiosity to know the impact of tiger’s creation is also evident here. How the world reacted or responded is the moot point. Was there a design or desire in creating the tiger? If so, what it might be? To scare or control who? Where is the need to create the tiger at all? These questions haunt any sensible reader.

What the hammer? What the chain?

In what furnace was thy brain?

What the anvil? What dread grasp

Dare its deadly terrors clasp?

These lines exhibit the beauty lying in creating a cluster of half-activated associations and potential feelings and meanings. All the tools used in a smithy are mentioned, a common poetic practice of Blake. He himself an engraver, the poet knows how to design and bring to life an inanimate object on a sheet of copper. Different critics offered divergent views diligently. Inspite of all academic attempts to evaluate the poem, it still retains its own eternal charisma enigmatically.

When the stars threw down their spears,

And water’d heaven with their tears,

Did he smile his work to see?

Did he who made the Lamb make thee?

Now comes the time to assess the impact of tiger’s creation. The poet asks in all curiosity, whether the stars surrendered themselves by laying down their arms of ‘steely glitter’ and watered the sky with their tears. ‘Watchful stars’ ever awake in the sky at times exhibit ‘jealousy.’ Did the creator desire to teach them a lesson? Then, Blake asks how the creator responds and reacts to his own work of creativity? There is an art. There is a reason. There is a purpose to be served. Blake wants to know did He smile with satisfaction for what he has done? Then the last line unravels the mystery of creation associated with the concept of tiger. There is equal space for the meek as well as the mighty in god’s creation. Harmony is the key to survival.

It is pertinent to recall what Prof C.D.Narasimhaiah stated about the tiger and this poem of Blake.He strongly felt that the Tiger is an ‘udhbhava murthy’[that which sprang to life] than an ‘uthsava murthy’[idols taken in procession during temple rituals].Hence, the abiding charm of the poem which pulsates with rhyme, rhythm and vitality! A former Professor in EFLU, Hyderabad opined that in Indian context emergence of the Narasimhavtara to end menace of wicked demon Hiranyakasipu also may be mentioned, to illustrate how God manifests himself in myriad forms to establish reign of peace and dharma on earth, protecting the meek and the faithful and punishing the evil doers.

The Human Abstract

2.2.4.1. Concise, intellectual abstractions make it an interesting poem. Poetic devices like symbolism are employed, which continues the theme of Blake that the loss of intuitional goodness of man has resulted in the creation of an organized religion founded upon falsehood and exploitation. The Human Abstraction is one of the best poems of Blake, as it has intellectual as well as emotional strength. The poem blends the virtues of both prose and poetry.

2.2.4.2.

Pity would be no more

If we did not make somebody poor;

And Mercy no more could be

If all were as happy as we.

The first stanza carries couplets marked by excellent epigrammatic quality in them. The poet states that major features of religion like pity and mercy could be wholly needless in a society in which no man keeps another man poor and unhappy. This is what all humanists aspire for. An individual’s happiness lies in happiness of all around him.

And mutual fear brings peace

Till the selfish love increase:

Then Cruelty knits a snare,

And spreads his baits with care.

How fear, cruelty and selfishness develop, is depicted here beautifully. After portraying a state which is a possibility, Blake speaks of evolution of religion. The uneasy peace that prevails as a result of the balance of mutual fears is destabilized by the rise of religion and fear of God. A network of religion with its cruel do’s and don’ts starts crippling man’s freedom of experiencing joy and happiness. This is how ‘net of religion’ spreads its wings in human society.

Soon spreads the dismal shade

Of Mystery over his head!

And the caterpillar and fly

Feed on Mystery.

One can notice how the image of the tree of humility and mystery takes its shape. Instead of enjoying life as it is, man starts looking for reasons for his plight. Reason is dominated by faith. Religion thrives on this mystery and faith of man in a cruel god he feels exists. Priest hood and institutions thrive under protective cover of religion. It becomes home of the caterpillar and the raven which symbolize the priest and the church respectively. Caterpillar chooses nicest leaves to lay its eggs on. Similarly the clergy sustains on the fear of common man. ‘Fly’ may mean a parasitic insect feeding on place. Feelings of Mystery of God, universe and life allow exploitation of innocent people by the wily.

The Gods of the earth and sea

Sought thro’ Nature to find this tree

But their search was all in vain:

There grows one in the Human brain.

The tree of humility and mystery grows before one’s eyes. It does not exist anywhere else. The last stanza states that this tree could not be found by the gods who went in search of it for the tree is growing in the human brain only. It is the human abstract created by man’s mind. Thus life of man is conditioned by religion, society, clergy and his own inner feelings and fears.

Holy Thursday

2.2.5.1. This poem is in stark contrast to the poem with the same title in the Songs of Innocence. Blake’s castigation of the Church, London city and poverty and squalor amidst which the children are forced to live make it all the more significant. It carries the same tone and disapproval of contemporary English society’s indifference and self-centered attitude towards the sufferers seen in his group of poems known as London City poems. The title of the poem ‘Holy Thursday’ carries a devastating irony with it.

One may notice absence of brilliant imagery in the poem. Bare statement like lines reflect the impoverished condition of the destitute. In agitated mood the poet questions the existing state of things and the establishment in modern parlance. The questions are free from rhetoric, because he avoids all clichés and normal terms to refer to poverty. The poem emphatically establishes the humanitarian attitude of Blake and concern for the disadvantaged in the City of London. He is also unhappy with the unhelpful attitude of Church which is supposed to come to the succor of the suffering people.

2.2.5.2.

Is this a holy thing to see

In a rich and fruitful land

Babes reduc’d to misery,

Fed with cold and usurious hand?

There is a single question covering four lines of this stanza, reflecting the appalling conditions in which poverty-stricken children live. The implication is that there is a single reason for theterrible situation: indifference of man to man and desire to worship Mammon the god of wealth. The poet questions where can one find holiness in the midst of squalor and poverty. Instead of feeding the poor children with love, they are herded to the Cathedral for a supposedly holy service. There is a stunning exposure in the line ‘Fed with cold and usurious hands’ which refers to the public contribution made to maintain the neglected children and for their charity service in the Cathedral of St. Paul. One is reminded of Mother Theresa’s statement that hands that serve are better than hands that pray.

Is that trembling cry a song?

Can it be a song of joy?

And so many children poor?

It is a land of poverty!

This stanza reminds the reader of the poem ‘Tyger’ where a series of questions are asked in a stanza. In these lines one may locate anger and bitterness of the poet who suggests that the appalling poverty is man-made and not made by Nature or God. The charity of the rich who were soulless and patronising shocks him. As the poet asks in righteous indignation, how can a starving child think of God and pray when ordered? Prayer brings relief to the well-fed, not to hungry souls. Joy is not known to them. The society is so repulsive in in its coldness shown to the little, poor, hungry children.

For where’er the sun does shine,

And where’er the rain does fall,

Babe can never hunger there,

Nor poverty the mind appal

This concluding stanza of the poem gives an account of the conditions which make a happy society for children to live in. William Blake prays for a state where hunger is unknown, where there is plenitude of joy on account of favourable conditions in nature and society. A happy child auger well for any society. Suffering and starvation are indicators of the doomsday. These lines remind the reader of Rabindranath Tagore’s well known poem “Where the mind is without fear.”

General Estimate of Poems:

Blake’s righteous indignation and love of mankind make the poems more impressive. The poems are patterned differently with exquisite expression making them eminently enjoyable. These poems are in contrast to those in Songs of Innocence both in content and themes. Blake’s images are highly symbolic in nature. A city dweller’s experiences and disenchantment with cherished values in society on account of prevailing pathetic condition of the disadvantaged are emphatically conveyed. Some of the poems like ‘The Tyger’ have immortalised William Blake.

2.2.6. William Blake as a poet and significance of his contribution:

William Blake is known for his epigrammatic expression conveying profound ideas with the help of alluring symbols in his poems. These symbols are at times quite simple to understand and appreciate and at times complex beyond the comprehension of common reader. His ability to conceive patterns consciously and unconsciously makes his poetry eminently enjoyable. A careful reader can find common concepts, familiar ideas and extension of expression in his poems.

‘Holy word’ at the beginning of his poem ‘Introduction’ in songs of Experience provides key to all allusions and symbolic expression in the poems to follow in the book. The reference is to the Biblical notion of ‘First there was the word.’ It connects several aspects of creation, fall of man and subsequent suffering depicted subtly or explicitly in the poems under reference. Man’s suffering is shifted to the earth who questions ways of god in some of the poems .At times God is presented as a jealous, uncompromising patriarch who carefully keeps a watch all the time, suggested by the jealous stars and their feeling of superiority in controlling man’s destiny. It also helps in understanding the creation of the tiger and the line ‘Did he smile his work to see?’ Of course, the poem ‘Tiger’ is a multi-layered, brilliant poetic extravaganza.

Blake’s concern with childhood, the associated joys and fears witnessed in Songs of Innocence is perfectly in tune with the practice of romantic poets extolling childhood and its impact in their poems. The Lamb, the Child, sheep, the Shepherd, flowing meadows, hills, vines all combine to create an ambience absolutely required in depicting the basic traits of man, his innocence and simple joys in life. Meekness and faith in the Master mark his nature. Tears shed in joy enhance the impact of a state of bliss associated with early stages in life. Here, probably the poet is preparing a platform for the ideas and symbols to be found in Songs of Experience. Biblical allusions unmistakably extend elegance to his expression in all his poems. Some poems in this volume reflect his resentment and disenchantment with the prevailing social practices and pathetic condition of the disadvantaged in contemporary society. His bitterness at the hypocrisy of the clergy and failure of the Church in offering succor to the suffering is conveyed obliquely as well as directly. Symbolically conveyed flashes of fleeting ideas and visions characterize his succinct expression that enriches judiciously crafted poems. His experience as an engraver enhances the appeal of his poetry. Though he loved to be socially invisible during his times, his poems extend an elevated status to William Bake and his poetry. Modern critics employ psycho-analytical techniques to unravel some of his symbols and poems. Blake sought social justice, the term extensively employed at present, as reflected in his poems in the Victorian age itself.

Reference

• Berger, P.(1914).William Blake: His Philosophy and Symbols. London: Dawsons of Pall Mall.
• Binyan, L (1926) The Engraved Designs of William Blake.London: Bronowski, J.(1943;1954) A Man Without a Mask.London:Pelican. Bunyan, L (1926).The Poetical Works of William Blake.London:O.U.P. Eliot.T.S.(1917).Selected Essays.London:Faber&Faber.
• Ford, Boris.(ed).(1957).From Blake to Byron.London:Pelican.
• Frye,N.(1947).Fearful Symmetry of William Blake.Princeton.
• Gardener,S..(1954).Infinity on the Anvil:A Critical Study of Blake’s Poetry.Oxford.
• Keynes,Geoffery(ed).(1953).Blake:Songs of Innocence and of Experience.London:O.U.P.
• Raine,Katheleen.(1970).William Blake.London:Longman,Green&co.
• Sampson,J.(1905).Poetry&Prose of William Blake.London:O.U.P.