blake and keat s techniques compared

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Songs of Innocence associated with Experience, William Blake

William Blake was known for dressmaker his intimate poetry specifically for children, especially in ‘Songs of Innocence’, where the styles of mother nature and religion were utilised to allow Blake to immediately educate his intended young audience regarding faith, the advantage of the natural world, plus the injustice with the industrial wave in the eighteenth century. It can be certain that Blake’s poetry was intended to train. However , Keats, who composed the composition ‘The Individual Seasons’ just two decades after Blake’s ‘Songs of Innocence’, delivers less of a ‘taught’ message and even more of a basic observation within the life of man, because of his more casual publishing style, his younger plus more innocent era, and his extremely short life. These factors contribute to the likely interpretation that, as MacLeish states in ‘Ars Poetica’, “A poem should not suggest, but always be. ” Though Keats does not always mean to teach, viewers may typically be able to discover and learn coming from his poetry.

In ‘The Human being Seasons’, Keats creates a prolonged metaphor pertaining to the progress of the four seasons since man’s existence: youth in spring, adult life in summer season, old age in autumn and death in the wintertime. The reader can learn from the final rhyming couplet of the composition, as Keats relates Wintertime to male’s death. The words “mortal nature” are easily construed as the inevitable loss of life of mother nature in harsher winter months as trees shed their leaves and become bare, but may also be seen as the mortality of man, enabling the reader to find out that fatality is unavoidable. This studying is particularly poignant to Keats’ contemporary readers, as his own early death because of tuberculosis stressed this meaning, even without any explicit instructing. Somewhat similarly, Blake allows his viewers to learn via his beautifully constructed wording in ‘Holy Thursday’. Blake describes a “land of poverty” in which it is “eternal winter”. When related to the inevitable morbidity in Keats’ winter, the “eternal” character of Blake’s winter becomes much deeper and can be viewed as a never ending world of loss of life, gaining a lot more horror as you add the context of Blake composing for children. The imagery of this hopeless property allows the reader to learn in the disadvantages enforced on kids during the industrial revolution and the sometimes fatal struggles they will endured. Likewise, in ‘Nurse’s Song’, the line “Spring and your day happen to be wasted in play” continues the use of months as a metaphor for life, with the reader learning from “wasted”, since it suggests that a single shouldn’t spend all of ones youth getting childish and really should instead gain the maturity which will be significant later in life, this is a direct communication from Blake to his young visitors.

Still, Keats’ ‘The Human Seasons’ gives a spat against the concept that poems usually are meant to teach. In the winter section of the poem, we come across the importance of learning from beautifully constructed wording, rather than being shown. In the planting season section of the poem, the niche “takes in most beauty”, while Keats should promote and provoke a sense of discovery inside the reader, rather than leading the reader to an convenient conclusion. Furthermore, in the summer section “Spring’s honied cud of youthful thought” allows the subject of the composition to learn through the mistakes of his “lusty” youth, since “honied cud” could be construed as the rose-tinted values of adolescence before getting into the harsh world of adulthood, and “lusty” features both restless and sex connotations. Keats’ expertise in extended metaphor make it clear that he likes his visitors to come to their own conclusions following reading the poem, combining elements of breakthrough discovery and learning rather than becoming given the deeper that means on a dish, in the manner of Blake’s even more explicit writing. After all, Blake’s poetry offers more of a ‘teaching’ approach. The cynical ‘London’ from ‘Songs of Experience’ presents a more socially weathered Blake: because of his discontentment with the problem of the “blackening Church” and English politics, he identifies the “mind-forged manacles” with which men are bound to the regime in London. Whilst “mind-forged” indicates that individuals are enclosed by their very own interpretations, forces existing only in the mind, the use of “manacles” very large, strong and physically awe-inspiring creates a feeling of this oppression in the real life, linking returning to Blake’s choice for the explicit. He is unafraid of talking out on the corruption of society will not so to be able to teach and educate his readers, who had been often as well uninformed being literate during these issues. Yet Blake offers such concerns a voice.

Total, there is a unique contrast between the two poets’ approaches about writing beautifully constructed wording specifically to teach their readers. Keats’ poetry observes fantastic readers passively learn, Blake’s poetry is exploring and his visitors are actively taught.

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