THE INTRODUCTION (SONGS OF INNOCENCE)

Text of the Poem:

Piping down the valleys wild,

Piping songs of pleasant glee,
On a cloud I saw a child,
And he laughing said to me:

"Pipe a song about a Lamb!"

So I piped with merry cheer.
"Piper, pipe that song again;"
So I piped: he wept to hear.

"Drop thy pipe, thy happy pipe;

Sing thy songs of happy cheer."
So I sang the same again,
While he wept with joy to hear.

"Piper, sit thee down and write

In a book, that all may read."
So he vanished from my sight,
And I plucked a hollow reed,

And I made a rural pen,

And I stained the water clear,
And I wrote my happy songs
Every child may joy to hear.

Figures of Speech:

1. Symbolism:
o The Lamb symbolizes innocence and purity, a recurring image in Blake’s
work.
o The child represents divine inspiration or the uncorrupted state of innocence.
2. Imagery:
o Visual images such as "piping down the valleys wild" evoke a pastoral, serene
setting.
3. Alliteration:
o Repetition of consonants in "Piping...pleasant" and "Sing thy songs."
4. Personification:
o The child’s divine qualities elevate the role of innocence.
5. Metaphor:
o The hollow reed is a metaphor for creative expression.
Stanza-by-Stanza Analysis:

1. Stanza 1:
Blake presents a pastoral setting, introducing the piper, a figure of innocent creativity.
The child represents divine inspiration, an idea shaped by Blake’s belief in the
connection between imagination and spirituality.
o Biographical Connection: Blake's mystical visions of children and angels
directly inform this imagery.
2. Stanza 2:
The child instructs the piper to play a song about a Lamb. The repetition of the song
brings profound emotional resonance, reflecting the depth of divine innocence.
o Biographical Connection: Blake often used biblical imagery like the Lamb,
which symbolizes Christ and innocence.
3. Stanza 3:
Moving from music to oral storytelling, the child emphasizes the importance of
sharing happiness. This transition reflects Blake’s own journey from imagination to
creating art and poetry.
4. Stanza 4:
The child asks the piper to write the songs, ensuring their eternal presence. The rural
pen and stained water highlight natural creativity.
o Biographical Connection: This mirrors Blake’s life as a poet-artist who
believed in the divine purpose of his work.
5. Stanza 5:
The final lines emphasize the universality of joy through creative expression. Blake's
optimism about innocence and creativity is clear here.
 THE INTRODUCTION (SONGS OF EXPERIENCE)

Text of the Poem:

Hear the voice of the Bard!

Who present, past, and future sees;
Whose ears have heard
The Holy Word
That walked among the ancient trees,

Calling the lapsed soul,

And weeping in the evening dew;
That might control
The starry pole,
And fallen, fallen light renew!

"O Earth, O Earth, return!

Arise from out the dewy grass;
Night is worn,
And the morn
Rises from the slumberous mass.

Turn away no more;

Why wilt thou turn away?
The starry floor,
The watery shore,
Is given thee till the break of day."

Figures of Speech:

1. Personification:
o The Earth is personified, as it is called to "return" and "arise."
2. Symbolism:
o The Bard symbolizes the poet-prophet or a divine voice.
o Dewy grass and slumberous mass symbolize spiritual stagnation or death.
3. Imagery:
o Vivid images like "starry floor" and "watery shore" evoke cosmic and earthly
realms.
4. Alliteration:
o Repetition of initial consonants in "fallen, fallen" and "Holy Word."
5. Metaphor:
o The starry pole symbolizes divine order or universal guidance.
6. Repetition:
o The refrain "O Earth, O Earth" reinforces urgency and lament.
Stanza-by-Stanza Analysis:

1. Stanza 1:
The Bard, a prophetic figure, claims divine knowledge of past, present, and future.
The "Holy Word" refers to spiritual truths or divine revelation, symbolized as walking
among "ancient trees," which evoke Eden or primordial wisdom.
o Biographical Connection: Blake saw himself as a prophet and often claimed to
have visions, aligning with the Bard’s perspective.
2. Stanza 2:
The Bard calls to the lapsed soul—humanity lost in sin or materialism—urging
renewal. The "evening dew" represents sorrow or spiritual desolation. The ability to
"control the starry pole" suggests a cosmic power that can guide humanity back to
light.
o Biographical Connection: This echoes Blake’s critique of society’s moral
decline during the Industrial Revolution.
3. Stanza 3:
The Bard implores the Earth to "return" and awaken from its spiritual inertia. The
transition from night (ignorance) to morning (enlightenment) symbolizes hope for
redemption.
o Biographical Connection: Blake’s spiritual philosophy emphasized awakening
the human soul to divine potential.
4. Stanza 4:
A final plea asks humanity to stop turning away from divine truths. The “break of
day” symbolizes an impending spiritual reckoning or enlightenment, and Earth is
entrusted with divine gifts ("starry floor," "watery shore").
o Biographical Connection: Blake’s works often oscillate between despair for
humanity's state and hope for its redemption.
 HOLY THURSDAY (SONGS OF INNOCENCE)

Text of the Poem:

'Twas on a Holy Thursday, their innocent faces clean,

The children walking two and two, in red and blue and green,
Grey-headed beadles walked before, with wands as white as snow,
Till into the high dome of Paul's they like Thames waters flow.

O what a multitude they seemed, these flowers of London town!

Seated in companies they sit, with radiance all their own.
The hum of multitudes was there, but multitudes of lambs,
Thousands of little boys and girls raising their innocent hands.

Now like a mighty wind they raise to Heaven the voice of song,
Or like harmonious thunderings the seats of Heaven among.
Beneath them sit the aged men, wise guardians of the poor;
Then cherish pity, lest you drive an angel from your door.

Figures of Speech:

1. Imagery:
o Vivid descriptions like "red and blue and green" and "like Thames waters
flow" evoke the grandeur of the procession.
2. Simile:
o Comparisons such as "like Thames waters flow" and "like a mighty wind"
emphasize movement and the children's divine innocence.
3. Symbolism:
o Flowers symbolize the innocence and beauty of the children.
o Lambs evoke purity and Christ-like innocence, common in Blake's work.
4. Alliteration:
o Phrases like "faces clean" and "white as snow" emphasize purity and order.
5. Irony:
o Despite the children's vibrant display, the poem subtly hints at the control
imposed by societal institutions.
6. Personification:
o The “aged men” are depicted as “wise guardians,” emphasizing their moral
responsibility.
Stanza-by-Stanza Analysis:

1. Stanza 1:
Blake describes a grand procession of poor children from charity schools to St. Paul’s
Cathedral. Their “innocent faces clean” suggest external order, while “like Thames
waters flow” highlights their vast numbers and unity.
o Biographical Connection: Blake’s early exposure to London’s social disparity
informs this vivid yet critical portrayal of institutional charity.
2. Stanza 2:
The children are likened to “flowers of London town,” symbolizing their innocence
and fragility. The "multitudes of lambs" highlight their purity, while their raised hands
suggest both prayer and supplication.
o Biographical Connection: Blake saw children as embodiments of divine
innocence, often corrupted by societal neglect.
3. Stanza 3:
The children’s song rises “like a mighty wind” or “harmonious thunderings,”
suggesting a collective spiritual power. However, the presence of “wise guardians”
points to the adults’ authority and the underlying tension of institutional control.
o Biographical Connection: Blake’s distrust of organized religion is hinted at;
the guardians may represent the Church’s paternalism.
4. Stanza 4:
The concluding lines urge compassion and pity, warning against ignoring the
vulnerable (“angel from your door”). This moral plea reflects Blake’s belief in human
compassion as a divine attribute.
o Biographical Connection: Blake’s works consistently advocate for love and
empathy over institutionalized charity.
 HOLY THURSDAY (SONGS OF EXPERIENCE)

Text of the Poem:

Is this a holy thing to see,

In a rich and fruitful land,
Babes reduced to misery,
Fed with cold and usurious hand?

Is that trembling cry a song?

Can it be a song of joy?
And so many children poor?
It is a land of poverty!

And their sun does never shine,

And their fields are bleak and bare,
And their ways are filled with thorns:
It is eternal winter there.

For where'er the sun does shine,

And where'er the rain does fall,
Babe can never hunger there,
Nor poverty the mind appall.

Figures of Speech:

1. Irony:
o The title contrasts with the poem's critical tone, questioning the holiness of
institutional practices.
2. Imagery:
o Vivid depictions of suffering, such as "trembling cry" and "eternal winter,"
highlight despair.
3. Symbolism:
o The sun symbolizes happiness and divine presence, absent in this "land of
poverty."
o Thorns symbolize suffering and hardship, referencing biblical imagery of sin
and struggle.
4. Alliteration:
o The repetition of consonants in phrases like "fields are bleak and bare"
emphasizes desolation.
5. Metaphor:
o Eternal winter metaphorically represents the unending misery and spiritual
coldness.
Stanza-by-Stanza Analysis:

1. Stanza 1:
The speaker questions the sanctity of observing "babes reduced to misery" in a
supposedly "rich and fruitful land." This stark contrast critiques the hypocrisy of
religious and societal institutions that perpetuate inequality.
o Biographical Connection: Blake’s dissatisfaction with the Church of England
is evident, as he saw it complicit in neglecting the poor.
2. Stanza 2:
The rhetorical question challenges the legitimacy of calling the children’s cries a
"song of joy." Their suffering epitomizes a broader social indictment: England is
labeled a "land of poverty."
o Biographical Connection: Blake’s experience with London’s destitute shaped
his deep empathy for marginalized children.
3. Stanza 3:
The metaphor of "eternal winter" underscores the bleakness of these children's lives.
The imagery of "fields...bleak and bare" and "ways filled with thorns" paints a lifeless
landscape reflecting their plight.
o Biographical Connection: Blake often used nature to symbolize spiritual and
moral conditions, contrasting industrialized England's oppression with his
vision of divine harmony.
4. Stanza 4:
The final stanza offers a utopian vision where "the sun does shine" and "rain does
fall." This ideal world, free of hunger and mental anguish, critiques the failure of
society to provide basic necessities and foster spiritual well-being.
o Biographical Connection: This reflects Blake’s belief in a divine moral order
where love and equity should prevail.
 THE CHIMNEY SWEEPER (SONGS OF INNOCENCE)
Text of the Poem:
When my mother died I was very young,
And my father sold me while yet my tongue
Could scarcely cry "'weep! 'weep! 'weep! 'weep!"
So your chimneys I sweep, and in soot I sleep.
There's little Tom Dacre, who cried when his head,
That curled like a lamb's back, was shaved: so I said,
"Hush, Tom! Never mind it, for when your head's bare,
You know that the soot cannot spoil your white hair."
And so he was quiet, and that very night,
As Tom was a-sleeping, he had such a sight!—
That thousands of sweepers, Dick, Joe, Ned, and Jack,
Were all of them locked up in coffins of black.
And by came an Angel who had a bright key,
And he opened the coffins and set them all free;
Then down a green plain, leaping, laughing, they run,
And wash in a river, and shine in the sun.
Then naked and white, all their bags left behind,
They rise upon clouds, and sport in the wind;
And the Angel told Tom, if he'd be a good boy,
He'd have God for his father, and never want joy.
And so Tom awoke; and we rose in the dark,
And got with our bags and our brushes to work.
Though the morning was cold, Tom was happy and warm;
So if all do their duty, they need not fear harm.

Figures of Speech:
1. Symbolism:
o Tom Dacre represents innocence and the resilience of the child’s spirit.
o The coffins of black symbolize the oppressive life of chimney sweepers.
o The Angel symbolizes hope and divine salvation.
2. Imagery:
o Vivid images like “coffins of black” and “shine in the sun” contrast suffering with
divine joy.
3. Simile:
o “Curled like a lamb’s back” links Tom to the image of Christ-like innocence.
4. Alliteration:
o “Sweep, and in soot I sleep” emphasizes the harshness of the child’s life.
 5. Irony:
o The idea that doing one’s duty protects from harm starkly contrasts the grim reality of
the chimney sweepers’ lives.

Stanza-by-Stanza Analysis:
1. Stanza 1:
The speaker introduces himself as a child sold into labor after his mother’s death. His cries
mimic “weep,” which ironically parallels his profession. The stanza sets a bleak tone of
exploitation.
o Biographical Connection: Blake was deeply critical of child labor, a common practice
during his time.
2. Stanza 2:
Tom Dacre’s shorn hair, likened to a lamb’s back, underscores his innocence. The speaker
comforts him with practical wisdom, demonstrating the resilience of children in dire
circumstances.
o Biographical Connection: Blake saw children as embodiments of purity, exploited by
society.
3. Stanza 3:
Tom dreams of children locked in coffins, symbolizing their grim reality. The dream
introduces hope through the Angel’s arrival.
o Biographical Connection: Blake’s works often juxtapose harsh realities with spiritual
transcendence.
4. Stanza 4:
The Angel liberates the children, leading them to a green plain, a symbol of Edenic joy and
purity. The imagery contrasts their earthly suffering with heavenly freedom.
o Biographical Connection: Blake’s vision of divine justice highlights his belief in
spiritual redemption.
5. Stanza 5:
The children’s nakedness and whiteness signify purity and freedom. The Angel’s promise of
God as their father offers comfort to Tom, despite the hardships of his life.
o Biographical Connection: Blake’s Christian mysticism emphasized divine love as a
source of ultimate joy.
6. Stanza 6:
Returning to reality, Tom awakes to the cold morning but remains hopeful. The closing lines,
suggesting that duty will prevent harm, carry an ironic undertone given the children’s
suffering.
o Biographical Connection: Blake critiques societal complacency with injustice, using
the children’s optimism as a stark contrast.
 THE CHIMNEY SWEEPER (SONGS OF EXPERIENCE)
Text of the Poem:
A little black thing among the snow,
Crying "'weep! 'weep!" in notes of woe!
"Where are thy father and mother? Say!"
"They are both gone up to the church to pray.
Because I was happy upon the heath,
And smiled among the winter's snow,
They clothed me in the clothes of death,
And taught me to sing the notes of woe.
And because I am happy and dance and sing,
They think they have done me no injury,
And are gone to praise God and His priest and king,
Who make up a heaven of our misery."

Figures of Speech:
1. Irony:
o The parents’ piety contrasts their neglect of the child’s suffering.
2. Symbolism:
o Clothes of death symbolize the child’s enslavement and loss of innocence.
o The snow contrasts purity with the child’s darkened state.
3. Imagery:
o “Black thing among the snow” vividly contrasts innocence and corruption.
4. Allusion:
o References to “priest and king” critique institutionalized religion and power.
5. Repetition:
o "Notes of woe" emphasizes the child’s misery.
Stanza-by-Stanza Analysis:
1. Stanza 1:
The speaker describes a child crying in the snow, symbolizing innocence tarnished by
suffering. The neglect of the child’s parents is highlighted as they prioritize religious rituals
over their child.
o Biographical Connection: Blake’s disdain for religious hypocrisy aligns with this
critique.
2. Stanza 2:
The child’s joy and innocence, once flourishing, have been destroyed by societal expectations,
symbolized by the “clothes of death.” The “notes of woe” reflect the imposed suffering of
labor.
o Biographical Connection: Blake’s sympathy for marginalized children is a recurring
theme.
3. Stanza 3:
The parents’ justification of their actions, believing their child’s false contentment absolves
them, critiques society’s moral blindness. The final lines indict the complicity of religion and
monarchy in perpetuating oppression.
o Biographical Connection: Blake’s works frequently challenge authority figures,
exposing their role in human suffering.
 THE DIVINE IMAGE (SONGS OF INNOCENCE)
Text of the Poem:
To Mercy, Pity, Peace, and Love,
All pray in their distress;
And to these virtues of delight
Return their thankfulness.
For Mercy, Pity, Peace, and Love
Is God, our Father dear;
And Mercy, Pity, Peace, and Love
Is Man, his child and care.
For Mercy has a human heart,
Pity, a human face,
And Love, the human form divine,
And Peace, the human dress.
Then every man, of every clime,
That prays in his distress,
Prays to the human form divine,
Love, Mercy, Pity, Peace.
And all must love the human form,
In heathen, Turk, or Jew;
Where Mercy, Love, and Pity dwell,
There God is dwelling too.

Figures of Speech:
1. Personification:
o Mercy, Pity, Peace, and Love are given human attributes, such as hearts, faces, and
forms.
2. Symbolism:
o These virtues represent divine and universal qualities shared by all humanity.
3. Parallelism:
o The repetition of similar phrases emphasizes unity between God and human virtues.
4. Imagery:
o "Human heart," "human face," and "human form divine" create a vivid representation
of divinity in humanity.
5. Inclusiveness:
o References to “heathen, Turk, or Jew” underline universality.
Stanza-by-Stanza Analysis:
1. Stanza 1:
The poem opens by highlighting universal human prayer to virtues like Mercy, Pity, Peace,
and Love. These virtues are central to human experience and divine connection.
o Biographical Connection: Blake’s belief in universal love and spiritual equality is
evident.
2. Stanza 2:
The virtues are equated with God (the divine) and humanity (His creation). This unity
underscores Blake’s idea that the divine exists within all humans.
o Biographical Connection: Blake rejected orthodox religion in favor of a spiritual
philosophy celebrating human divinity.
3. Stanza 3:
The virtues are personified with human traits, reinforcing the idea that these divine qualities
are inherently human. The "human form divine" emphasizes Blake's view of humanity as a
reflection of God.
o Biographical Connection: This aligns with Blake’s visionary belief in the sacredness
of human existence.
4. Stanza 4:
The universality of these virtues is stressed: anyone praying in distress is appealing to shared
human-divine qualities.
o Biographical Connection: Blake’s inclusive vision transcends religious and cultural
boundaries.
5. Stanza 5:
The poem concludes with a moral imperative: to love all humans regardless of creed or
background, as God dwells where these virtues are present.
o Biographical Connection: This reflects Blake’s humanistic theology and criticism of
divisive religious practices.
 THE HUMAN ABSTRACT (SONGS OF EXPERIENCE)
Text of the Poem:
Pity would be no more,
If we did not make somebody poor;
And Mercy no more could be,
If all were as happy as we.
And mutual fear brings peace,
Till the selfish loves increase;
Then Cruelty knits a snare,
And spreads his baits with care.
He sits down with holy fears,
And waters the ground with tears;
Then Humility takes its root
Underneath his foot.
Soon spreads the dismal shade
Of Mystery over his head;
And the caterpillar and fly
Feed on the Mystery.
And it bears the fruit of Deceit,
Ruddy and sweet to eat;
And the raven his nest has made
In its thickest shade.
The Gods of the earth and sea
Sought through Nature to find this tree;
But their search was all in vain:
There grows one in the human brain.

Figures of Speech:
1. Irony:
o Virtues like Pity and Mercy are shown as dependent on human suffering, critiquing
their societal basis.
2. Personification:
o Cruelty, Mystery, and Deceit are personified, illustrating the darker aspects of
humanity.
3. Symbolism:
o The tree in the human brain symbolizes the origin of deceit and corruption in human
thought.
4. Imagery:
o Vivid images like “dismal shade” and “fruit of Deceit” evoke the destructive nature of
selfishness and hypocrisy.
 5. Allusion:
o The “tree” alludes to the Tree of Knowledge in the Garden of Eden, symbolizing
human fallibility.

Stanza-by-Stanza Analysis:
1. Stanza 1:
Pity and Mercy are shown as constructs arising from inequality and suffering. The stanza
critiques the societal structures that perpetuate these conditions.
o Biographical Connection: Blake’s works frequently critique the moral justification of
suffering in organized religion.
2. Stanza 2:
Peace, born of fear, becomes unsustainable as selfishness grows. Cruelty, personified, creates
traps, illustrating the cycle of human oppression.
o Biographical Connection: Blake’s view of society’s inherent flaws and hypocrisy is
apparent.
3. Stanza 3:
Cruelty cultivates false humility, which spreads underfoot. This stanza critiques the pretense of
moral superiority in religious and social institutions.
o Biographical Connection: Blake’s disdain for moral posturing aligns with this
imagery.
4. Stanza 4:
Mystery’s dismal shade symbolizes ignorance and secrecy, feeding corruption. The caterpillar
and fly suggest decay and exploitation.
o Biographical Connection: Blake viewed secrecy as a tool of oppression, particularly
in institutional religion.
5. Stanza 5:
The fruit of Deceit, sweet and tempting, leads to corruption. The raven’s nest, a symbol of
death and darkness, highlights the tree’s malevolence.
o Biographical Connection: This echoes Blake’s critique of materialism and spiritual
decay.
6. Stanza 6:
The final stanza locates the tree in the human brain, suggesting that all deceit and cruelty
originate in human thought. This internalization contrasts with the divine-human unity in The
Divine Image.
o Biographical Connection: Blake’s exploration of human duality—innocence and
experience—is central to his philosophy.
 THE SICK ROSE
Text of the Poem:
O Rose, thou art sick!
The invisible worm,
That flies in the night
In the howling storm,
Has found out thy bed
Of crimson joy,
And his dark secret love
Does thy life destroy.

Figures of Speech:
1. Symbolism:
o The Rose symbolizes purity, love, or beauty, often corrupted or destroyed.
o The Worm represents corruption, deceit, or death.
o The bed of crimson joy suggests passion, love, or sensuality, tainted by the worm’s
intrusion.
2. Personification:
o The Rose and the Worm are personified to depict the dynamics of innocence versus
corruption.
3. Imagery:
o Vivid images such as “crimson joy” and “howling storm” evoke passion and
destruction.
4. Alliteration:
o "Dark secret love" emphasizes the hidden, destructive force.
5. Irony:
o The beauty and vitality of the Rose are undermined by the invisible force that destroys
it.
Stanza-by-Stanza Analysis:
1. Stanza 1:
The speaker addresses the Rose, declaring it "sick." The invisible worm that flies at night
symbolizes a hidden, corrupting force. The "howling storm" suggests chaos and danger,
reflecting an external threat or inner turmoil.
o Biographical Connection: Blake often explored the fragility of innocence and purity
in a world marked by corruption and hidden evils.
2. Stanza 2:
The Worm has invaded the Rose's "bed of crimson joy," signifying the tainting of passion or
purity. Its "dark secret love" destroys the Rose, suggesting destructive forces lurking within
love or passion.
o Biographical Connection: Blake’s nuanced views on love, often seen as a balance of
spiritual and physical forces, are evident here. He critiques how human passion can be
corrupted by selfishness or deceit.

Themes:
1. Corruption of Innocence:
o The Rose, a symbol of beauty and purity, is corrupted by an unseen force.
2. Hidden Destruction:
o The Worm’s invisibility highlights the insidious nature of decay, love, or betrayal.
3. Duality of Love:
o Love, represented by the Rose and its bed, can bring joy but is vulnerable to hidden
dangers.
 THE GARDEN OF LOVE
Text of the Poem:
I went to the Garden of Love,
And saw what I never had seen:
A Chapel was built in the midst,
Where I used to play on the green.
And the gates of this Chapel were shut,
And "Thou shalt not" writ over the door;
So I turned to the Garden of Love
That so many sweet flowers bore.
And I saw it was filled with graves,
And tombstones where flowers should be;
And priests in black gowns were walking their rounds,
And binding with briars my joys and desires.

Figures of Speech:
1. Symbolism:
o The Garden of Love represents innocence, joy, and natural human passions.
o The Chapel symbolizes institutionalized religion imposing restrictions.
o Graves and tombstones represent the death of freedom and joy.
2. Imagery:
o Blake contrasts the vibrant "sweet flowers" with the grim "graves" and "tombstones."
3. Alliteration:
o "Binding with briars" emphasizes the entanglement of human desires by oppressive
forces.
4. Irony:
o The Chapel, a place of spiritual love, brings death and repression to the Garden of
Love.
5. Contrast:
o The natural joy of the garden contrasts with the cold rigidity of the Chapel and graves.
Stanza-by-Stanza Analysis:
1. Stanza 1:
The speaker revisits the Garden of Love, once a place of joy and freedom, only to find a
Chapel erected in its center. The Chapel signifies the intrusion of religious authority into
personal, natural spaces.
o Biographical Connection: Blake’s opposition to institutionalized religion reflects his
belief that such institutions stifle natural human joy and creativity.
2. Stanza 2:
The Chapel’s gates are shut, and “Thou shalt not” is written above, symbolizing restriction and
prohibition. The once-flourishing garden, filled with “sweet flowers,” is now dominated by the
Chapel’s oppressive presence.
o Biographical Connection: Blake criticized dogmatic religion for its focus on
prohibition rather than fostering love and creativity.
3. Stanza 3:
The garden is now a graveyard, symbolizing the death of natural joy and desires. The priests
in black gowns, representing authority, enforce these restrictions, "binding with briars" the
speaker’s joys and desires.
o Biographical Connection: Blake viewed institutional religion as corrupt, repressing
human nature and divine love.

Themes:
1. Loss of Innocence:
o The transformation of the Garden of Love into a graveyard reflects the repression of
natural human freedom and joy.
2. Critique of Institutional Religion:
o Blake condemns organized religion for stifling creativity and human desires with
restrictive moral codes.
3. Conflict Between Nature and Authority:
o The natural beauty of the garden contrasts with the rigidity and death brought by the
Chapel and priests.
 A RED, RED ROSE
Text of the Poem:
O my Luve's like a red, red rose
That’s newly sprung in June:
O my Luve's like the melody
That’s sweetly played in tune.
So fair art thou, my bonnie lass,
So deep in luve am I;
And I will luve thee still, my dear,
Till a’ the seas gang dry.
Till a’ the seas gang dry, my dear,
And the rocks melt wi’ the sun;
I will luve thee still, my dear,
While the sands o’ life shall run.
And fare thee weel, my only Luve,
And fare thee weel, a while!
And I will come again, my Luve,
Though it were ten thousand mile.

Figures of Speech:
1. Simile:
o Love is compared to a "red, red rose" and a "melody," emphasizing beauty, freshness,
and harmony.
2. Hyperbole:
o Phrases like "till a’ the seas gang dry" and "the rocks melt wi’ the sun" express eternal
and boundless love.
3. Imagery:
o Vivid natural imagery, such as the rose and seas, enhances the poem’s romantic tone.
4. Alliteration:
o Repetition of initial sounds, e.g., "red, red rose" and "sweetly played in tune," creates
musicality.
5. Repetition:
o Lines like "Till a’ the seas gang dry" reinforce the theme of eternal love.
6. Personification:
o The "sands o’ life" running suggests the passage of time, giving an abstract concept a
tangible quality.
Stanza-by-Stanza Analysis:
1. Stanza 1:
The speaker compares his love to a "red, red rose" in full bloom and a sweet melody. The
comparisons highlight the vibrancy, freshness, and harmony of his affection.
o Biographical Connection: Burns, known for his admiration of nature and
romanticism, often used natural imagery to express deep emotions.
2. Stanza 2:
The speaker declares the depth of his love, stating its endurance beyond natural limits—until
"the seas gang dry." This hyperbolic expression underscores the speaker’s unwavering
devotion.
o Biographical Connection: Burns, a celebrated romantic poet, frequently expressed
timeless and idealistic love in his works.
3. Stanza 3:
Reiterating the eternal nature of his love, the speaker imagines even impossible scenarios,
such as "rocks melt wi’ the sun," to illustrate its steadfastness. The imagery of the "sands o’
life" implies that love will persist until death.
o Biographical Connection: Burns’s love poems often explored themes of loyalty and
the eternal nature of human emotions.
4. Stanza 4:
The speaker bids farewell to his beloved, promising to return regardless of the distance ("ten
thousand mile"). The farewell is temporary, suggesting enduring hope and commitment.
o Biographical Connection: Burns’s personal life, marked by passionate and sometimes
transient relationships, influenced his depiction of love as both heartfelt and idealized.

Themes:
1. Eternal Love:
o The hyperbolic expressions of time and distance signify undying affection.
2. Nature and Love:
o Natural imagery symbolizes the beauty and harmony of love.
3. Commitment and Separation:
o The promise to return despite distance reflects loyalty and resilience in love.
 HUMID SEAL OF SOFT AFFECTIONS
Text of the Poem:
Humid seal of soft affections,
Tenderest pledge of future bliss,
Dearest tie of young connections,
Love's first snowdrop, virgin kiss.
Speaking silence, dumb confession,
Passion’s birth, and infant’s play,
Dove-like fondness, chaste concession,
Glowing dawn of brighter day.
Sorrowing joy, adieu’s last action,
Lingering lips, no more to move,
Sweetest token of affection,
Solemn pledge of mutual love.

Figures of Speech:
1. Metaphor:
o The "humid seal" symbolizes a kiss as a physical and emotional bond.
o "Love’s first snowdrop" compares a kiss to a delicate, pure first bloom.
2. Personification:
o "Speaking silence" gives silence human attributes, embodying unspoken emotions.
3. Alliteration:
o Repetition of consonant sounds, e.g., "soft affections" and "sorrowing joy," creates
rhythm and musicality.
4. Oxymoron:
o "Sorrowing joy" captures the bittersweet emotions of love.
5. Imagery:
o Phrases like "dove-like fondness" and "glowing dawn" evoke tenderness and hope.
6. Symbolism:
o The kiss represents connection, affection, and a promise of enduring love.
Stanza-by-Stanza Analysis:
1. Stanza 1:
The opening stanza celebrates the kiss as a “humid seal,” symbolizing love’s bond and
promise of future joy. It is described as tender, innocent, and pure, emphasizing its
significance in young love.
o Biographical Connection: Burns often wrote about the sanctity and passion of love,
drawing from his personal experiences with romantic connections.
2. Stanza 2:
The kiss is depicted as a silent yet eloquent expression of emotions—a "dumb confession." It
signifies the birth of passion and innocence, likened to a dove’s gentle nature and the hope of a
bright future.
o Biographical Connection: Burns’s romantic poetry frequently reflects the delicate
balance between innocence and the awakening of deeper emotions.
3. Stanza 3:
The final stanza introduces a bittersweet tone. The kiss, now tied to parting, becomes a
“sorrowing joy” and a “solemn pledge” of love. This evokes the complex emotions of farewell
and enduring connection.
o Biographical Connection: Burns experienced the pain of parting in his personal
relationships, which likely informed this blend of joy and sorrow in his depiction of
love.

Themes:
1. The Purity of Love:
o The kiss is portrayed as a sacred and innocent act, symbolizing pure affection.
2. Expression Beyond Words:
o Love is conveyed through silent gestures like a kiss, transcending verbal
communication.
3. Bittersweet Nature of Love:
o The juxtaposition of joy and sorrow reflects the complexities of romantic
relationships.
4. Promise and Connection:
o The kiss serves as a pledge of mutual devotion, enduring even in the face of
separation.
 THEMES
Songs of Innocence

The Introduction
Themes:
1. Innocence and Purity:
o The poem introduces a world of innocence, where joy, harmony, and childlike purity
are central. The speaker invites the readers to join in the celebration of a simple,
unspoiled life, where nature and joy are in perfect alignment.
2. Imagination and Creativity:
o The speaker’s role as a "piper" suggests the power of the artist or poet to shape the
world with words, guided by imagination and a vision of innocence. This connects to
Blake’s belief in the artist’s ability to bring forth a new, untainted world.

Holy Thursday (Songs of Innocence)

Themes:
1. Childhood and Divine Innocence:
o The children in the poem, described as “green” and “happy,” symbolize purity and
innocence, and their procession is seen as a divine act. The poem reflects Blake’s view
of childhood as a time of sacredness and divine connection.
2. Religious Hypocrisy:
o There is a subtle critique of the church’s role in the lives of poor children. While the
church may offer charity and care, the poem hints at how the church’s material and
societal structures fail to address deeper issues of injustice and inequality.
3. Contrast Between Spirituality and Materialism:
o The "gardens" and "green" of the children symbolize the natural beauty of innocence,
yet the poem contrasts this with the “rich” who benefit from the suffering of others,
hinting at Blake's critique of the material world.

The Chimney Sweeper (Songs of Innocence)

Themes:
1. Innocence and Exploitation:
o The poem explores the exploitation of children, particularly through the chimney
sweepers who represent the innocence of youth being exploited for labor. Despite the
grim subject matter, the child’s belief in a heavenly reward for suffering reflects the
hope and faith that children possess.
 2. Spiritual Salvation and Innocence:
o The child’s dream of angels who promise a better life is symbolic of a belief in
spiritual salvation. This theme reflects Blake’s vision of the purity of the child’s soul,
which remains untainted by earthly suffering and hardship.
3. Hope and Redemption:
o Even in the face of suffering, the poem emphasizes the hope that exists in innocence.
The promise of divine salvation contrasts with the oppressive reality of the chimney
sweeper's life.

The Divine Image (Songs of Innocence)

Themes:
1. Humanity and Divine Qualities:
o The poem suggests that qualities like mercy, pity, peace, and love are divine attributes
present in every human being. Blake emphasizes the connection between human
compassion and divine attributes, portraying these qualities as essential to human
goodness.
2. The Universal Presence of Divinity:
o The divine image in humanity is not distant or abstract but is accessible in every
human soul. This theme reflects Blake’s belief in the spiritual interconnectedness of
all people, suggesting that all humans are divine reflections of God.
3. Innocence and Spirituality:
o The speaker in the poem associates innocence with purity and divine love. The
attributes of mercy, pity, and love form an essential part of spiritual harmony and
goodness, which Blake sees as innate in every child.

THEMES
Songs of Experience

The Introduction (Songs of Experience)

Themes:
1. Loss of Innocence and the Fall from Grace:
o The poem introduces a darker, more cynical view of the world compared to the
idealistic tone of Songs of Innocence. The “child” who has now grown into an adult
 symbolizes the loss of purity and the painful process of experiencing the world's
harshness.
2. Experience and Wisdom:
o The speaker reflects on how the process of growing up and experiencing the world
leads to a loss of innocence but also brings wisdom. This journey is filled with
knowledge, but often at the expense of the joyful purity of youth.
3. The Conflict Between Innocence and Experience:
o The poem begins to address the tension between the two states of being: Innocence
(represented by the child) and Experience (represented by the adult). Blake presents
this as a central theme throughout the Songs of Experience.

Holy Thursday (Songs of Experience)

Themes:
1. Social Injustice and Poverty:
o Unlike the version in Songs of Innocence, this poem presents a critical view of the
children in the procession. They are described as poor and oppressed, and their "holy"
march is tainted by the social structures that exploit them. This reflects Blake’s
critique of the disconnect between religion’s idealized charity and the harsh realities
of society.
2. Hypocrisy and Corruption in Religion:
o The poem criticizes the Church for using religious ceremonies to mask the deeper
societal issues of poverty and exploitation. The procession of children in the cold
streets symbolizes the superficial charity that does not address the root causes of
inequality.
3. Separation of Spirit and Flesh:
o Blake portrays the division between the spiritual ideal (represented by the “holy” day)
and the physical suffering of the children, representing the disconnect between
spiritual ideals and material reality.

The Chimney Sweeper (Songs of Experience)

Themes:
1. The Cruelty of Society and Industrialization:
o This version of The Chimney Sweeper presents a much darker view, where the child is
not comforted by a dream of angels but instead speaks of the harshness of the world.
The poem suggests that society’s moral decay has led to the exploitation of children
for labor in the industrial age.
 2. Loss of Faith:
o The poem contrasts the optimism of the Songs of Innocence version with the
disillusionment of experience. The child’s realization that the promise of heaven is
hollow speaks to a loss of faith and the harshness of reality, which destroys the naive
belief in divine justice.
3. Injustice and Religious Failure:
o Blake critiques the role of religious institutions, which have failed to prevent the
exploitation of the poor. The child’s sorrow contrasts with the empty promises of
salvation, representing how the material world and institutional religion fail the
suffering.

The Human Abstract

Themes:
1. Corruption of Virtue:
o The poem explores how virtues such as pity, mercy, and love are corrupted by abstract
concepts like religion, morality, and reason. The poem suggests that these virtues,
when institutionalized, lose their true essence and become tools of control rather than
compassion.
2. The Creation of Human Suffering:
o The poem addresses how societal structures and ideas (such as religion and reason)
create suffering and misery, suggesting that these constructs do not lead to true
happiness or spiritual growth but instead promote hypocrisy and repression.
3. Critique of Idealism and Rationalism:
o The poem critiques the idealized concepts of morality and religion, showing how they
can distort and even perpetuate evil and suffering. Blake argues that true virtue is
found in the natural, uncorrupted state of innocence, not in the rigid structures of
society.

Summary of Key Themes for Songs of Innocence and Songs of Experience:

• Innocence in Blake’s work reflects purity, joy, and spiritual connection, often linked to
childhood, where virtues like mercy, love, and peace are freely expressed.
• Experience, conversely, represents the loss of that innocence through exposure to the
harshness of the world, including exploitation, social injustice, and religious hypocrisy.
• Blake contrasts the natural, untainted qualities of youth with the corrupting, oppressive
influence of institutional society, offering a critique of how adult experience often leads to
suffering and disillusionment.