More than thirty years would pass after his death before William Blake, an under- acknowledged during his time, musical poet and artist, starting receiving an admiring consideration for his work. The Enlightenment period delivered new philosophies and beliefs that rivaled the old, a thorough disturbance of government dynamics, and figures who challenged society members to think in ways that had not before. Blake, like many others of the time, advocated for transpositions in many regards. Often isolated, but commonly described as eccentric, the absence of timely admiration for him leaves inquisition into his experience of the world lingering. Through his poetry, like many other poets, readers can extract themes that piece together meanings about
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Both poems pose the question about their creators, and contrast themes of good versus evil (Whitney; Norton). One poem arose from a collection with child-like perspectives, Songs of Innocence. The other, from a collection on the same topics, but from a more experienced view, Songs of Experience (“William Blake,” 333-334). Interpretations of “The Lamb” hold that the process in creating a delicate lamb is natural and harmonious. On the other hand, “The Tyger” leads readers into a darker creation of a more abrasive animal. This creation is one that is fragmented and aggression-driven, and associated with the evil side of the creator. Upon closer examination, “The Tyger” offers more than just adverse allusion to its companion, “The Lamb.” In isolation, “The Tyger”, without relying on “The Lamb,” conveys spiritual considerations of existence. The features of the poem provide insight into each as an integral piece of a larger-scale, more whole and complete existence. The poem also articulates a transcendent philosophy on the physical placement of God and where to find him in relation to the human spirit. Inside the persistent analytical comparison of “The Tyger” and “The Lamb” together, these expressions found in an isolated look at the poem, are often
Both poems pose the question about their creators, and contrast themes of good versus evil (Whitney; Norton). One poem arose from a collection with child-like perspectives, Songs of Innocence. The other, from a collection on the same topics, but from a more experienced view, Songs of Experience (“William Blake,” 333-334). Interpretations of “The Lamb” hold that the process in creating a delicate lamb is natural and harmonious. On the other hand, “The Tyger” leads readers into a darker creation of a more abrasive animal. This creation is one that is fragmented and aggression-driven, and associated with the evil side of the creator. Upon closer examination, “The Tyger” offers more than just adverse allusion to its companion, “The Lamb.” In isolation, “The Tyger”, without relying on “The Lamb,” conveys spiritual considerations of existence. The features of the poem provide insight into each as an integral piece of a larger-scale, more whole and complete existence. The poem also articulates a transcendent philosophy on the physical placement of God and where to find him in relation to the human spirit. Inside the persistent analytical comparison of “The Tyger” and “The Lamb” together, these expressions found in an isolated look at the poem, are often