Blake s take on a human soul

Music of Chasteness and of Knowledge, William Blake

. William Blake, in line with his standing like a Romantic and being both equally politically and ideologically a libertarian, show up in his ‘Songs of Innocence’ to express his views for the superlative benefit of the flexibility of the man spirit, simply by presenting a Utopia exactly where individuals are clear of oppression, institutionalized religion, and corrupt governmental authorities. Although, Blake can be seen in his ‘Songs of Innocence’ not only to present the importance from the freedom in the human nature but of his tips surrounding innocence, the relationship of humans with nature and protesting the abuse of children, too, within his conception of an idealized world.

Blake, very much like other Romantic poets such as Wordsworth, held kids in excessive esteem due to their innocence, their freedom from the soul associated with the creativeness: this interpretation of children becoming one way by which Blake champions the freedom of the human nature within his ‘Songs of Innocence’. In linking symbolism of the normal world with this of children, Blake demonstrates his ideas as to the freedom of the human soul within kids in line with his values like a Romantic from the sublimity and freedom inside the pastoral world.

In ‘The Ecchoing Green’, a harmony among children and nature is seen as the youngsters play ‘sports’ ‘on the Ecchoing Green’, with the color symbolism of ‘green’ hinting to mother nature as a whole rather than just one particular place, and the setting in the poem going on in ‘Spring’ mirroring the youth with the children themselves, the positive lexical field throughout the poem such as the use of the text ‘merry’ and ‘happy’ providing the overall sense that Blake regards both equally children as well as the pastoral globe in excessive regard. Blake can be seen to further compare the freedom and purity of children with that of character in ‘Holy Thursday’ through the simile wherever children is visible to enter St Paul’s Cathedral ‘like Thames waters flow’, and too in ‘The Lamb’ where the kid narrator says to a lamb ‘I a kid, and thou a lamb, /We are called by His name’, the collective pronoun ‘we’ drawing a comparison for the reader between the lamb, an often religious symbol pertaining to innocence and purity, as well as the child.

As a cultural and personal protest text message, throughout ‘The Songs of Innocence’ Blake can be seen to juxtapose the liberty of the man spirit, specifically that of children, with the oppression and reductions faced by simply children in 18th 100 years England, making the poetry a form of criticism against child slavery and the corrupt education system of time. Moreover, Blake frequently presents innocence as a form of freedom against constraints and self-consciousness leaving people that have innocence, just like children, full of trust for anyone around them, putting them in a condition of corruptible fragility and painting purity as not wholly desired, as such as state leaves the individual unaware of the realities of the postlapsarian world and the possibility of foreseeable future betrayal and exploitation. The vulnerability of innocence are visible ‘The Son Lost’ since the son is still left alone and unprotected because of the obvious deficiency of concern intended for his proper care by his father, as ‘no daddy was there’ for the boy’s direction, the explanation of the establishing being that ‘the night was dark’ alluding to the kid’s lack of knowledge and his weeknesses to exploitation because of his innocence. Blake can be seen to increase criticize the exploitation of kids in ‘The Chimney Sweeper’ as he explains how the slavery of children because chimney sweepers keeps them restricted from freedom: the of ‘coffins’ works as a metaphor for the restrictions of the children plus the way they may have had their livelihoods taken away from them by the corrupting influence of those in power, the depiction with the children sleeping in ‘soot’ criticizes not merely the poor living conditions of the chimney sweepers although perhaps also the look at of others to oppress them beyond amount of resistance but the best freedom with their spirit because the narrator later goes on to say ‘that the soot cannot spoil your light hair’, lending to the supreme freedom and goodness essentially of their lifestyle.

In the ‘Songs of Innocence’, Blake can be seen to criticize ethnicity prejudices, holding the belief that inside the eyes of God every races are equal and the physical body is nothing more than a vessel to get the spiritual soul, which can be far better than the body by itself. In this way, Blake can be seen to provide the view from the soul, or human heart, as having ultimate independence whilst the entire body lends to restriction, and particularly in case of ethnicity minorities, reductions of the individual. In ‘The Very little Black Boy’, Blake uses the color images of black and white to present the dark-colored child’s chastity and goodness of heart and soul by describing it because ‘white’, adding him on a level of equality with white colored children, in addition, Blake goes against the landscapes of his contemporaries in a clear form of social demonstration as he employs the images of The lord’s love staying in the form of sunbeams, leading to the accepting of God’s love making the person become ‘sunburnt’, meaning that dark-colored children like the narrator of the poem are more receptive than others of God’s like. Blake’s views on Christianity are very important in analyzing his ‘Songs of Innocence’ as a cultural and political protest text, as during these poems he can be seen to illustrate his views regarding the corruption of institutionalized religion and the teachings of contemporary Christianity during the Enlightenment period which in turn taught individuals to accept present suffering and injustice because of the promise of bliss as well as the lack of enduring in the afterlife, along with the anxious idea of the ‘fall’ as well as the ‘fallen’ individual who commits trouble as a result of their particular ultimate independence and the earlier sins of Adam and Eve. This idea can be shown in ‘The Fireplace Sweeper’ since the narrator (and also the various other chimney sweeps) is offered as being a great innocent, great Christian son who is motivated to accept his position of oppression, with all the promise that ‘if most do all their duty, they require not dread harm’, whereby Blake can be seen to plainly criticize the lovely view that those in positions of powerlessness and oppression should certainly accept their particular mistreatment for there will be equality in the next community, an idea which in turn a Marxist critique will point out to be another way for the people higher the power structure to implement their employees, such as the chimney sweepers, to take their dehumanization as means of production in order to profit the bourgeoisie. Blake, therefore , is visible to champion the ultimate freedom of the human being spirit and attack the way in which institutionalized religion and the lording it over classes of the 18th century attempt to suppress and control the freedom of the individual.

In the ‘Songs of Innocence’, Blake can be seen to champion the freedom of the human spirit, tightly relating the innocence and goodness of children with pastoral imagery to be able to demonstrate the overwhelmingly very good freedom individuals, along with using images of binding and limitations in order to present how the man spirit can often be suppressed by corrupt institutions and those in power, which will he episodes through presenting these because an evil and destructive force which corrupts the sublime contemplating laid out in his ‘Songs of Innocence’.

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