William Blake Essay, Research Paper

In William Blake’s Songs of Innocence and Experience, the gentle lamb and

the dire tiger define childhood by setting a contrast between the innocence of

youth and the experience of age. The Lamb is written with childish repetitions

and a selection of words which could satisfy any audience under the age of

five. Blake applies the lamb in representation of youthful immaculateness. The

Tyger is hard-featured in comparison to The Lamb, in respect to word choice

and representation. The Tyger is a poem in which the author makes many

inquiries, almost chantlike in their reiterations. The question at hand: could the

same creator have made both the tiger and the lamb? For William Blake, the

answer is a frightening one. The Romantic Period’s affinity towards childhood

is epitomized in the poetry of Blake’s Songs of Innocence and Experience.

“Little Lamb who made thee/ Dost thou know who made thee (Blake 1-2).”

The Lamb’s introductory lines set the style for what follows: an innocent

poem about a amiable lamb and it’s creator. It is divided into two stanzas, the

first containing questions of whom it was who created such a docile creature

with “clothing of delight (Blake 6).” There are images of the lamb frolicking in

divine meadows and babbling brooks. The stanza closes with the same

inquiry which it began with. The second stanza begins with the author claiming

to know the lamb’s creator, and he proclaims that he will tell him. Blake then

states that the lamb’s creator is none different then the lamb itself. Jesus

Christ is often described as a lamb, and Blake uses lines such as “he is meek

and he is mild (Blake 15)” to accomplish this. Blake then makes it clear that

the poem’s point of view is from that of a child, when he says “I a child and

thou a lamb (Blake 17).” The poem is one of a child’s curiosity, untainted

conception of creation, and love of all things celestial. The Lamb’s nearly

polar opposite is The Tyger. It’s the difference between a feel-good minister

waxing warm and fuzzy for Jesus, and a fiery evangelist preaching a hellfire

sermon. Instead of the innocent lamb we now have the frightful tiger- the

emblem of nature red in tooth and claw- that embodies experience. William

Blake’s words have turned from heavenly to hellish in the transition from lamb

to tiger. “Burnt the fire of thine eye (Blake 6),” and “What the hand dare seize

the fire (Blake 7)?” are examples of how somber and serrated his language is

in this poem. No longer is the author asking about origins, but is now asking if

he who made the innocuous lamb was capable of making such a dreadful

beast. Experience asks questions unlike those of innocence. Innocence is

“why and how?” while experience is “why and how do things go wrong, and

why me?” Innocence is ignorance, and ignorance is, as they say, bliss.

Innocence has not yet experienced fiery tigers in its existence, but when it

does, it wants to know how lambs and tigers are supposed to co-exist. The

poem begins with “Could frame thy fearful symmetry (Blake 4)?” and ends

with “Dare frame thy fearful symmetry (Blake 11)?” This is important because

when the author initially poses the question, he wants to know who has the

ability to make such a creature. After more interrogation, the question evolves

to “who could create such a villain of its potential wrath, and why?” William

Blake’s implied answer is “God.” In the poems, innocence is exhilaration and

grace, contrasting with experience which is ill-favored and formidable.

According to Blake, God created all creatures, some in his image and others

in his antithesis. The Lamb is written in the frame of mind of a Romantic, and

The Tyger sets a divergent Hadean image to make the former more holy. The

Lamb, from William Blake’s Songs of Innocence and Experience is a befitting

representation of the purity of heart in childhood, which was the Romantic

period.

Bibliography

Blake, William. Songs of Innocence and Experience, The Tyger and The

Lamb. The Longman Anthology of British Literature . Ed. David Damrosch.

New York: Addison Wesley Longman, Inc. 1999. 112, 120.