In so doing, she shows that innocence obtains knowledge just as well as an experienced adult.

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Therefore, would it not be safe to assume that without the corruption of certain experiences the soul can still be knowledgeable and wise? As the poem ends, the echo of laughter and shouting again rules the hills. By returning to the echoing laughter of children, Blake returns the reader to the innocence felt in the beginning. In addition, by using the word? The innocence and joy these children possess are mirrored in? Infant Joy.?

Songs Of Innocence And Experience Essay Examples

Infant Joy? There is a short dialogue between the baby and the baby's mother:? The poem continues with the sweetness and innocence that a baby represents. The nurse of experience reacts quite differently to the children in their play and the baby of joy. In this poem, a healthy, middle aged nurse brushes a boy's hair. A little girl sits down behind the boy.

The illustration shows no sign of carefree play and gives off the impression that these children are repressed. Surrounding the picture is a. Walt Whitman Biography. Great Gatsby 15 Short Essays.

Blakes Songs of Innocence and Experience Analysis essays

Blake Poetry. William Blake. Rhetoric Of Protest Songs. Children In Blakes Poetry.

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Explication Of Blake. William Blake Nurses Songs.

The Human Abstract. I have always admired Blake's shorter poems, and frequently taught them; but I have never written on Blake because I have felt to be disqualified by my inability to come to terms with some of the prophetic books. These seem to me turgid, boring, jargon-ridden, incomprehensible without the aid of cribs or lifelong study. The most surprising aspect of their failure as poems is that they eschew the very qualities which make Blake such a great poet in his shorter poems and in occasional passages from the longer ones - they are, of all things, prosaic.

Poems such as 'The Sick Rose' and 'The Tyger' are as poetic as poems can be, in the sense that they communicate with incredible power and economy by means which are unique to poetry. And it is poetry stripped of all inessentials.

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There is no clutter, no versified philosophy or myth-making, no self-indulgent rhetoric, no musical or onomatopoeic effects, no display of craftsmanship, no 'poetic' diction, no apparent attempt to 'load every rift with ore' Keats ; just the minimum number of simple words and images designed to slide irresistibly into the mind of the reader and detonate there. When I began to study poetry fifty years ago a group of Americans called the New Critics were in the ascendant. These critics developed a type of formal analysis which they tried to pass off as an objective academic discipline, though behind it lay a quasi-religious shared assumption about the relationship of art to life.

They believed that art stood in opposition to life, or offered an alternative to life, providing the form and meaning which chaotic life lacked. In art man was in control and could aspire to a degree of perfection impossible in life, could create forms, for example, which would not be subject to time, decay and death.

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  • Each poem should aspire to such self-contained perfection, separate from and owing as little as possible to the world outside itself, like a well-wrought urn. Some poems responded well to this treatment, including poems by such then fashionable poets as Auden, Stevens and Empson. But the works of greater poets such as Donne, Keats, Hopkins or Yeats seemed to me to be reduced by it.

    It could not handle less formal verse such as Whitman's and Lawrence's. Confronted by simplicity it was dumbstruck. Their concept of a good poem was not mine. As Lawrence said, nature abhors the billiard ball, the perfect-unto-itself sealed monad, the closed system.