Tiger! tiger! Burning bright
In the forests of the night,
What immortal hand or eye
Could frame thy fearful symmetry?
...In what distant deeps or skies
Burnt the fire of thine eyes?
On what wings dare he aspire?
What the hand dare seize the fire?
And what shoulder and what art
Could twist the sinews of thy heart?
And when thy heart began to beat,
What dread hand and what dread feet?
What the hammer? what the chain?
In what furnace was thy brain?
What the anvil? What dread grasp
Dare its deadly terrors clasp?
When the stars threw down their spears,
And water'd heaven with their tears,
Did He smile His work to see?
Did He who made the lamb make thee?
Tiger! Tiger! Burning bright
In the forests of the night,
What immortal hand or eye
Dare frame thy fearful symmetry?
William Blake
Tigre! Tiger! Burning bright,
in the forest of the night,
What immortal hand or eye could
to forge thy fearful symmetry?
... In what distant deeps or skies
burned the fire of thine eyes?
On what wings dare he hover?
What the hand dare seize the fire?
And what shoulder and what art,
managed to twist the fibers of your heart?
And when thy heart began to beat, what fearsome
hand and foot as scary?
What the hammer? What the chain?
In what furnace was thy mind?
What the anvil? What terrible power
dares to grab his mortal terror?
When the stars threw their spears on the ground
and flooded the sky with their tears
he smiled to see his work?
was he who made the lamb make up too?
Tigre! Tiger! Burning bright,
forest of the night,
What immortal hand or eye could
to forge thy fearful symmetry?
William Blake [1757-1827]
As is often the case in the history of literature, a reputation for an author to come back, so did William Blake that when he dies almost ignored in the sphere of painting, and not very well known for his poetry, which breaks with the classical patterns of the eighteenth century, creating works less didactic, didactic and set relative to the times. Imagination, which is the most exalted among the virtues romantic, in a role he should not be underestimated. This is his idea about it: The Fall of Man
not be attributed to apple (Eve and their disobedience ) but the fact that the reason has imposed on the imagination, confining a man in his senses, and placing it in a fight against his fellow man for greed and power, and so he finds himself living in a world that is only weak shadow of the real world and eternal imagination. So what is the imagination ? And 'the ability to see deeper into the life of things, and this ability is typical of the child (innocent, net of experiences that make it "learned" and therefore, be prudent.) But also of the poet, that is, a man capable to live, or to preserve its original innocence.
As is often the case in the history of literature, a reputation for an author to come back, so did William Blake that when he dies almost ignored in the sphere of painting, and not very well known for his poetry, which breaks with the classical patterns of the eighteenth century, creating works less didactic, didactic and set relative to the times. Imagination, which is the most exalted among the virtues romantic, in a role he should not be underestimated. This is his idea about it: The Fall of Man
not be attributed to apple (Eve and their disobedience ) but the fact that the reason has imposed on the imagination, confining a man in his senses, and placing it in a fight against his fellow man for greed and power, and so he finds himself living in a world that is only weak shadow of the real world and eternal imagination. So what is the imagination ? And 'the ability to see deeper into the life of things, and this ability is typical of the child (innocent, net of experiences that make it "learned" and therefore, be prudent.) But also of the poet, that is, a man capable to live, or to preserve its original innocence.
The poet, Blake (as Hugo in France), sees him as a prophet that his generation has to wake up and bring it to the world of imagination. (Remember that, historically speaking, we are still close to the "age of reason, that the era of the classics, ie the time when the art comes from" recipes "creative).
chooses to be guided the Bible and the classics (and their principle of imitation). Its intent is to write a modern Bible, which is based more on form than on the theme . Hence the 'inevitable union of myth and legend bibbliche private.
Some of his famous statements:
"nature of my work is visionary or imaginative." "... If the doors of perception were cleansed, everything would appear for what it is, infinite" [if you hear echoes of Jim Morrison on the film "The Doors" ... it makes perfect sense!] Dice also " explicitly to what can be an idiot, does not deserve my attention . Finally, "all I know is in the Bible." This gives us enough to know that his art is full of symbols, deliberately complex, rich in metaphors. The Bible is by definition the place where meaning and significance are tinged with ambiguity.
"Songs of Innocence and Songs of Experience", are two collections of poetry in the 1789/1794 and summarize the essence of human and artistic. In this unique book, the associated write the image to create something profoundly new and visionary.
Language is simple but the symbolism is complex. The poems are short (20/25 for each of the two collections) and are united by a common inspiration, as well as structural interconnections desired by Blake.
innocence and experience are the two boundaries "natural" man, the two opposing states of being. If innocence is the ideal man, she is typical of the child and the poet, as I said. Experience is the following stage, that is growth. The price to pay is next to happiness (which is typical of innocence) is known suffering. In fact you can not choose, because life without against the stops.
According to many critics, the two poems that best tell this dualism is unsolvable:
The lamb (sheep) [Songs of innocence] and
The Tiger (the tiger) [Songs of Experience]
The two poems answer the question "Who made thee ?" (Who created you?) The poet is amazing that the creator of the lamb, a symbol of good, innocence and purity, has also created the tiger, which is its opposite, a symbol of evil, 'aggression, yet so fascinating. In fact, the "virtue" sheep, the man derives from reason, which "forces" instinct. The sheep, in hindsight, is a symbol of liabilities (and the metaphor bibbliche remember over and over again, from sacrificed "Lamb of God").
The tiger however, as well as intimidating, embodies the new symbol of human energy, which emerges in spite of the moral and social repression. Instinct, therefore, the propensity to act is stronger than that in the tiger in sheep.
Sheep and Tiger, as good and evil, innocence and experience, they end up representing an irreducible duality of human beings, and this idea reminds the foundations upon which "The Flowers of Evil" by Baudelaire, 1857, only a few years after Blake's (and of course, in France rather than England.)
(the rest of the refrain. .. saving me not to abuse the patience of others!)
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