August 29, 2021: Difference between revisions
From Gerald R. Lucas
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[[File:The Tyger BM b 1794.jpg|thumb]] | [[File:The Tyger BM b 1794.jpg|thumb]] | ||
{{Center|{{Large|The Tyger}}{{refn|From ''The Songs of Experience'', “The Tyger” is perhaps Blake’s most famous poem. It concerns creation and the Romantic emphasis of seeing in new ways and perhaps the revolutionary impulse and its consequences. The tiger seems to symbolize the way Blake saw the major changes at the turn of the 18th and 19th centuries brought about by the French revolution on people’s everyday lives. The tiger might symbolize the ''experience'' or wisdom precipitated by the many contemporaneous events of Blake’s lifetime, both beautiful and terrifying, that influenced Romanticism.<br />{{sp}}Note the image of the tiger that Blake includes with the poem does not seem to reflect the picture painted in his poem. Perhaps he meant to mitigate the the fierce image conjured by his words, as this tiger seems to be the opposite of the tiger in the poem.<br />{{sp}}Read this poem along with its ''contrary'' “[[The Lamb]]” from the ''Songs of Innocence'' where the speaker asks similar questions about creation, but here with a feeling of deeper mystery ({{harvnb|Battenhouse|1958|p=55}}). Consider which each symbolize—here, the tiger seems to stand for experience, wisdom, fear, or disillusionment.}}<br /> | {{Center|{{Large|The Tyger}}{{refn|From ''The Songs of Experience'', “The Tyger” is perhaps Blake’s most famous poem. It concerns creation and the Romantic emphasis of seeing in new ways and perhaps the revolutionary impulse and its consequences. The tiger seems to symbolize the way Blake saw the major changes at the turn of the 18th and 19th centuries brought about by the French revolution on people’s everyday lives. The tiger might symbolize the ''experience'' or wisdom precipitated by the many contemporaneous events of Blake’s lifetime, both beautiful and terrifying, that influenced Romanticism.<br />{{sp}}Note the image of the tiger that Blake includes with the poem does not seem to reflect the picture painted in his poem. Perhaps he meant to mitigate the the fierce image conjured by his words, as this tiger seems to be the opposite of the tiger in the poem.<br />{{sp}}Read this poem along with its ''contrary'' “[[The Lamb]]” from the ''Songs of Innocence'' where the speaker asks similar questions about creation, but here with a feeling of deeper mystery ({{harvnb|Battenhouse|1958|p=55}})—as if, in Makdisi’s words, he is raising the stakes: going from “who made thee” to who could ''possibly'' have made thee? ({{harvnb|Makdisi|2015|p=215}}). While the lamb is cuddly, cute, and innocent made by a benign creator, the tiger was made by a unimaginable and perhaps not-so-benign power. Consider which each symbolize—here, the tiger with his burning eyes seems to stand for experience, wisdom, fear, or disillusionment.}}<br /> | ||
By: [[w:William Blake|William Blake]] ([[w:The Tyger|1794]])}} | By: [[w:William Blake|William Blake]] ([[w:The Tyger|1794]])}} | ||
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When the stars threw down their spears | When the stars threw down their spears | ||
And water’d heaven with their tears:{{refn|Bloom suggests that the raw power and beauty was too much for heaven to contain, so it gave up rather than try to dominate or master the animal ({{harvnb|Bloom|2003|p=17}}).}} | And water’d heaven with their tears:{{refn|Bloom suggests that the raw power and beauty was too much for heaven to contain, so it gave up rather than try to dominate or master the animal ({{harvnb|Bloom|2003|p=17}}).}} | ||
Did he smile his work to see? | Did he smile his work to see?{{refn|One could picture Blake, the creator of both “The Lamb” and “The Tyger” smiling over his poetry: or his acts of making/creation ({{harvnb|Makdisi|2015|p=215}}).}} | ||
Did he who made the Lamb make thee?{{refn|Again, the poet wonders at the psychology of the creator and its responsibility to its creation. How could the same entity be responsible for the tiger and the lamb. Perhaps the suggestion here is reflected in Blake’s songs as a progression of the “two contrary states of the human soul”: the innocence of the lamb must eventually give way to the worldliness of the tiger. Bloom asks: “Did Blake believe that transformation from the gentle lamb into the powerful tiger is an integral part of maturation?” ({{harvnb|Bloom|2003|p=18}}). Blake reminds us that a creator of our nature is not necessarily akin to a Christian God of love, but one who contains all facets of creation, like his [[w:Urizen|Urizen]]. Yet, the tiger, while terrifying, is not necessarily evil, but one of the multifarious states of nature—or perhaps humanity.<br />{{sp}}Nevertheless, the speaker here is unable to reconcile the the complexities | Did he who made the Lamb make thee?{{refn|Again, the poet wonders at the psychology of the creator and its responsibility to its creation. How could the same entity be responsible for the tiger and the lamb. Perhaps the suggestion here is reflected in Blake’s songs as a progression of the “two contrary states of the human soul”: the innocence of the lamb must eventually give way to the worldliness of the tiger. Bloom asks: “Did Blake believe that transformation from the gentle lamb into the powerful tiger is an integral part of maturation?” ({{harvnb|Bloom|2003|p=18}}). Blake reminds us that a creator of our nature is not necessarily akin to a Christian God of love, but one who contains all facets of creation, like his [[w:Urizen|Urizen]]. Yet, the tiger, while terrifying, is not necessarily evil, but one of the multifarious states of nature—or perhaps humanity.<br />{{sp}}Nevertheless, the speaker here is unable to reconcile the the complexities, since his questions go unanswered in contrast to those in “The Lamb” ({{harvnb|Tomlinson|1987|p=30}}). The tiger, then, becomes a power he cannot understand but something he fears and must submit to ({{harvnb|Tomlinson|1987|p=31}}). }} {{ln|20}} | ||
Tyger Tyger burning bright, | Tyger Tyger burning bright, | ||
In the forests of the night: | In the forests of the night: | ||
What immortal hand or eye, | What immortal hand or eye, | ||
Dare{{refn|This word is changed form the first stanza, showing the shift on the narrator’s frame of mind: from observing the beautiful fierceness of the tiger to wondering what power would dare to create it ({{harvnb|Tomlinson|1987|p=31}}).}} frame thy fearful symmetry? | Dare{{refn|This word is changed form the first stanza, showing the shift on the narrator’s frame of mind: from observing the beautiful fierceness of the tiger to wondering what power would dare to create it ({{harvnb|Tomlinson|1987|p=31}}). The object or creation seems to be less important than the process of creation and the ineffable power of the creator ({{harvnb|Makdisi|2015|p=215}}).}} frame thy fearful symmetry? | ||
</poem> | </poem> | ||
|}</div> | |}</div> | ||
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{{reflist}} | {{reflist}} | ||
=== | ===Works Cited=== | ||
{{refbegin}} | {{refbegin|indent=yes|20em}} | ||
* {{cite book |last=Battenhouse |first=Henry M. |date={{date|1958}} |title=English Romantic Writers |url= |location=New York |publisher=Barron’s Educational Series, Inc. |ref=harv }} | * {{cite book |last=Battenhouse |first=Henry M. |date={{date|1958}} |title=English Romantic Writers |url= |location=New York |publisher=Barron’s Educational Series, Inc. |ref=harv }} | ||
* {{cite book |last=Bloom |first=Harold |date={{date|2003}} |title=William Blake |series=Bloom’s Major Poets |url= |location=New York |publisher=Chelsea House |ref=harv }} | * {{cite book |last=Bloom |first=Harold |date={{date|2003}} |title=William Blake |series=Bloom’s Major Poets |url= |location=New York |publisher=Chelsea House |ref=harv }} | ||
* {{cite book |last=Makdisi |first=Saree |date={{date|2015}} |title=Reading William Blake |url= |location=Cambridge, UK |publisher=Cambridge University Press |ref=harv }} | |||
* {{cite book |last=Tomlinson |first=Alan |date={{date|1987}} |title=Song of Innocence and of Experience by William Blake |series=MacMillan Master Guides |url= |location=London |publisher=MacMillan Education |ref=harv }} | * {{cite book |last=Tomlinson |first=Alan |date={{date|1987}} |title=Song of Innocence and of Experience by William Blake |series=MacMillan Master Guides |url= |location=London |publisher=MacMillan Education |ref=harv }} | ||
{{refend}} | {{refend}} | ||
Revision as of 15:29, 2 September 2021
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Tyger Tyger, burning[2] bright, |
Notes & Commentary
- ↑ From The Songs of Experience, “The Tyger” is perhaps Blake’s most famous poem. It concerns creation and the Romantic emphasis of seeing in new ways and perhaps the revolutionary impulse and its consequences. The tiger seems to symbolize the way Blake saw the major changes at the turn of the 18th and 19th centuries brought about by the French revolution on people’s everyday lives. The tiger might symbolize the experience or wisdom precipitated by the many contemporaneous events of Blake’s lifetime, both beautiful and terrifying, that influenced Romanticism.
Note the image of the tiger that Blake includes with the poem does not seem to reflect the picture painted in his poem. Perhaps he meant to mitigate the the fierce image conjured by his words, as this tiger seems to be the opposite of the tiger in the poem.
Read this poem along with its contrary “The Lamb” from the Songs of Innocence where the speaker asks similar questions about creation, but here with a feeling of deeper mystery (Battenhouse 1958, p. 55)—as if, in Makdisi’s words, he is raising the stakes: going from “who made thee” to who could possibly have made thee? (Makdisi 2015, p. 215). While the lamb is cuddly, cute, and innocent made by a benign creator, the tiger was made by a unimaginable and perhaps not-so-benign power. Consider which each symbolize—here, the tiger with his burning eyes seems to stand for experience, wisdom, fear, or disillusionment. - ↑ A dominant metaphor in the poem, burning, according to critic Hazard Adams, purifies something or is being purified (quoted in Bloom 2003, p. 21). The image is brilliant, but Blake also seems to be suggesting something about knowledge and experience: it comes at a price.
- ↑ Maybe innocence or ignorance—the dark night of the soul—where the tiger brings in the burning light. “The contrast between fire and night,” states John E. Grant, “of course, corresponds to the contrast of yellow and black stripes ringing the Tyger itself” (quoted in Bloom 2003, p. 23).
- ↑ Simple and powerful, this first stanza introduces the tiger and the poet’s admiration of it beauty and his wonder at the creative impulse behind its existence. The tiger could symbolize Lucifer—the fallen angel who is dark and ominous but also intriguing and solitary (Bloom 2003, p. 17). Tomlinson suggests that the tiger is God’s anger in contrast to the Lamb which signifies His gentleness and love (Tomlinson 1987, p. 30).
- ↑ The fire in the tiger’s eyes could be passion or animal intensity, but could also be associated with a knowledge or vitality (Bloom 2003, p. 19). Knowledge and experience, in contrast to the lamb, have given the tiger it power and ferocity, and this fact is reflected in its eyes.
- ↑ The questions the imagery continues from the first stanza. The fire might be that of Hell, contrasting with the wings of the angels. The tiger itself seems to reconcile these contrasting images in its symmetrical form. The tiger, again, is both terrifying and beautiful. There might also be a suggestion of Greek mythology: of the wings of Icarus, the forge of Hephaestus (which are made explicit and emphasized below), or the guile of Prometheus who stole fire from the gods.
- ↑ The poet reflects on the creator of the tiger and the characteristics that it must have possessed to make such a beast. LIkely, the tiger is a reflection of its creator: strong and beautiful and terrifying.
- ↑ As the poem continues, the tiger becomes more terrifying, as does the image and responsibility of its creator. What was the creator thinking? What was its reason for creating and releasing such beauty and power in the world?
- ↑ Bloom suggests that the raw power and beauty was too much for heaven to contain, so it gave up rather than try to dominate or master the animal (Bloom 2003, p. 17).
- ↑ One could picture Blake, the creator of both “The Lamb” and “The Tyger” smiling over his poetry: or his acts of making/creation (Makdisi 2015, p. 215).
- ↑ Again, the poet wonders at the psychology of the creator and its responsibility to its creation. How could the same entity be responsible for the tiger and the lamb. Perhaps the suggestion here is reflected in Blake’s songs as a progression of the “two contrary states of the human soul”: the innocence of the lamb must eventually give way to the worldliness of the tiger. Bloom asks: “Did Blake believe that transformation from the gentle lamb into the powerful tiger is an integral part of maturation?” (Bloom 2003, p. 18). Blake reminds us that a creator of our nature is not necessarily akin to a Christian God of love, but one who contains all facets of creation, like his Urizen. Yet, the tiger, while terrifying, is not necessarily evil, but one of the multifarious states of nature—or perhaps humanity.
Nevertheless, the speaker here is unable to reconcile the the complexities, since his questions go unanswered in contrast to those in “The Lamb” (Tomlinson 1987, p. 30). The tiger, then, becomes a power he cannot understand but something he fears and must submit to (Tomlinson 1987, p. 31). - ↑ This word is changed form the first stanza, showing the shift on the narrator’s frame of mind: from observing the beautiful fierceness of the tiger to wondering what power would dare to create it (Tomlinson 1987, p. 31). The object or creation seems to be less important than the process of creation and the ineffable power of the creator (Makdisi 2015, p. 215).
Works Cited
- Battenhouse, Henry M. (1958). English Romantic Writers. New York: Barron’s Educational Series, Inc.
- Bloom, Harold (2003). William Blake. Bloom’s Major Poets. New York: Chelsea House.
- Makdisi, Saree (2015). Reading William Blake. Cambridge, UK: Cambridge University Press.
- Tomlinson, Alan (1987). Song of Innocence and of Experience by William Blake. MacMillan Master Guides. London: MacMillan Education.
