IS BLAKE's Illustrated DESIGNS VISUALIZE His poems in the Songs of Innocence and Experience? Leila Rouhi ShalmaeiMaster of Art in English LiteratureSussex University EnglandDOES BLAKE's Illustrated DESIGNS VISUALIZE His poems in the Songs of Innocence and Experience? Introduction: William Blake was born in London in 1757. His father soon recognized his son's artistic talent and sent him to a drawing school to learn, when he was ten years old. With fourteen years, said William as an apprentice to the engraver James Basire be, under whose guidance he developed his innate abilities. As a young man, Blake worked as an engraver, illustrator and art teacher and met artists such as Henry Fuseli and John Flaxman and Sir Joshua Reynolds, whose classical style, he would later come to reject. Blake wrote poems during this period as well, and his first printed collection, an immature and rather derivative volume entitled Poetical Sketches, appeared in 1783. Songs of Innocence was published in 1789, from Songs of Experience followed in 1793 and a combined output of the next year with the title of Songs of Innocence and Experience, which shows the two-state, contrary to the human soul. In 1809, Blake sank into depression and withdrew into the darkness, he remained estranged from the rest of his life. His contemporaries saw in him something of an eccentric as he was. Between the classicism of the 18th Century and the early stages of romance hanging Blake heard not a single poetic school or age. Only in the 20th Century has high ratings begin to recognize its profound originality and genius. (1985, 492) Blake's political radicalism intensified in the years before the French Revolution. He began a seven-book poem was about the revolution, but it was either destroyed or never completed, and survived only the first book. He disapproved of enlightened rationalism of institutionalized religion. In the 1790s, and after he turned his poetic voice from the lyrical to the prophetic mode, and he wrote a long series of prophetic books, including Milton and Jerusalem. Blake published almost all his works themselves, by an original process, in which the poems were etched by hand, with illustrations and decorative images on copper plates. These plates have been making ink prints, and the traces were then treated with paint. This expensive and labor-intensive production method resulted in a very limited circulation of Blake's poetry during his life. They also presented a special set of challenges for the scientists of Blake's work, which has interests both literary scholars and art historians. Studies of his work shows that we should accept his letter and graphics and be sure he is thinking of them as inseparable. (1985 was 493) William Blake one of the most influential English Romantic artists of the 19th Century. His poems, paintings and engravings, showed a remarkable talent. He was an artist who mixes his poetry with painting, which was really interesting. In his time he was influenced by various social, ideological and political movement, together with romanticism, which he developed his own method and practice a new style. Why does he do decorate its pages with lines and color it with color? He engraved illustrations for printed books and he was familiar with emblems, devices, borders and other decorations to embellish and interpret, that the printed page. One critic writes poems Blake admired: "The short poems by Blake are like stones thrown into a pond, making waves that move outward indefinitely, which cut across all sectors that affect it. At their mildest, they are like tendrils caressing the world, at their most violent, such as bombs smashed into pieces, the existing structures of the false beliefs and opinions [1]. 1 In his critics of Innocence and Experience, CM Bowra claims that the address reflected on the earth to experience an authentic appeal Blake's desire to create a "the ultimate synthesis of innocence and goodness know" 2 2 could be married Poems Blake Songs of Innocence and of Experience is song are representations of the constant conflict between innocence and experience. Each poem tells of the various links interwoven stories. Also, the "dawn" is a symbol of new life in which innocence and experience are transformed, and the soul of man is to achieve a full and active life in the creative imagination. 3 3 Add Concerning the connections between the Songs of Innocence and Songs of Experience, and some similarities Bowra adds that:. . . The Bard in "Introduction to Songs of Experience" reappears in "The Sick Rose [1]" and again called for an individual, maybe this guy the same character as the narrator at the end of "is The Green Ecchoing. By weaving through these stories and characters, describes Blake prospect of innocence and experience, as it appears in several characters. While these characters may not be the actual character in the last poems, there is enough evidence for the theory that the characters are introduced that are meant characters that similar experiences to those who have already been introduced earlier to represent support . Blake defines a few other "kind" of characters whose types by the amount specified, the experience, wisdom and maturity. "Blake's is well-known work, contained in his Songs of Innocence and Songs of Experience collections of poems. The first of these collections, printed 1789, shows a naive world of nature with Christ as overtones. However, it is recognized, an opposite or contrary world. The Songs of Experience, published at a later collection in 1794, shows a desperate cold, dreary place. In this essay I try to compare Blake's Illustrated designs and poems in his Songs of Innocence and Experience and examine, visualize the extent of his pictures of his poems. As my first step, I would elaborate on some of the poems of Songs of Innocence and the corresponding images. This section is followed by a similar study on his track experience. Finally, I would round out the arguments expressed by a number of his famous critique, and then a conclusion. Songs InnocenceBlake published his Songs of Innocence in 1789. The poems of innocence and simplicity of life full. The text focuses on the vital period of childhood and is full of energy. Both the design and the lyrics are simple and includes topics that are connected to nature and children. Each element in the text and especially in the design and emblems may be as meaningful. Picture Theory, Mitchell argued in a different way about the quality of the Songs of Innocence, the hollow reeds and the colored water to show that one type of absence and the absence of the innocence of the very attempt to express the message of the innocence of support. What the poems, songs makes of innocence, ignorance is the narrator this sinister connotation. (1994.122) Blake himself proposed approximately two years that could be a man with "the innocence of a child to be offended. . . , Because it reproaches him with the faults of the acquired folly. "Jean H. Hagstrum says in this context that deals Songs of Innocence with three integrally related elements – a modest life, natural sexuality, and the poet-Christ. Humble life is the special responsibility of the border, the richer and more beautiful than in Blake's on other sites. In Blake's borders with trees, vines, tendrils, leaves, birds and insects, life was rich and allusions, the letters of the title page vegetate into organic forms, such as the second major theme of the Songs of Innocence seems natural sexuality, both in word , the context and design. Some of the recurring sexual symbols are lamb, sheep, leaves, stems, grapes, and embrace of husband and wife. For example, the boy on the second page of "The Green Ecchoing. "Who gives a grape from a vine, a girl is a symbol of sexual awareness. The poet-Christ of Innocence is mainly represented in the poetic and prophetic sign of God's love, and the human imagination. All those who lost the salvage manifestations of Christ or the divine Shepherd who seeks and finds the lost sheep. In this part, I would like some of the most famous poems from Songs of Innocence explain, such as: "The Ecchoing Green," "The Lamb," "The Little Black Boy" and "Infant Joy. "I want to mention, has other critics' views in relation to these poems. The Green Ecchoing Blake uses a curved line extending from side to side and top side to connect different parts of the shape and vision to connect to. As the draft, the poems are full of sing of life and activity, the sun, birds, children playing, happy bells, and laughter. However, it lacks some details in the pictures, which are included in the texts as the sun and the birds. Also, the poem ends with a symbolic reference to mortality, are the last lines of a sad mood: "Like the birds in their nest, ready for rest: And sport no more seen On the darkening Green. "As previously mentioned, the second element of Innocence uninhibited sexuality, which is seen clearly in" The Green Ecchoing, "In the first draft of which we are a boy with a hoop and a boy with a bat, to a describe summer's here. According to Hagstrum, shows the second page of the poem all the qualities that Blake's manipulation emblematic: the direct appeal to children and adults to hear, the presence of proverbial wisdom as the substrate and the conversion of natural persons and details into a universal symbol. The poem is about a day of children's sport that symbolizes the beginning and end of life, and is supported by his designs. On the second page, children from the right-hand border of grapes to members of a group, which now returns back home from the game. It symbolizes the transition from innocence to experience through the gate of sex. (1964.56) The Lambin, "The Lamb," Lamb has a religious meaning and refers to Christ. The display screen shows a tree, turning all the way across the border and separates the verses. Also in the picture we see a house that is not mentioned in the text, nor is the willow (a symbol of the sky) on the back of the picture. As we can see in the picture, Blake uses natural scenery to convey his thoughts. According to S. Gardner, the image of the poem, the Lamb is not alone, it is a human being. This shows a connection between the Christian spirit, and went with "pastoral reality," which is the symbol of care and is associated with the clear light of day. (1986, 79) also will not appear the word "electricity" in the picture. It seems that (in the first stanza of the child in conversation with an animal) a sheep, but in the second stanza, he speaks to Christ. In the last four lines of the poem, God, Christ, and the child in each other, and they all become one, "He is called by thy name, for he calls himself a Lamb: He is gentle and mild he is, he became a little child: I have a child and thou a lamb, We are called by his name. "The poem has a simple kind of fluency and children's song which is the easy design of the image comparable. Both have a rural setting and quiet landscape. During the construction, there are two female angels, dancing as one of them on a stem of wheat and the other is sitting on another tribe in the first and a look at the child. There are also two sheep and a lamb, which are surrounded by wheat, dates. However, there is no substantive counterpart for the sheep and stems. The Little Black BoyThere are two songs and two pictures for "The Little Black Boy. "In the first picture, a black child is talking to his black mother. A twisted branch separates the image of the stanzas. There are two trees facing each other, which as a mother and her child can be taken in the poem. The sun in the picture is interpreted as God. The black child in her mother's lap, pointing to the SO However, the two trees are not mentioned in the poem. Also in the poem the mother's arm raised and pointing to the east, while the boy is in the picture, which shows the sky with his hand. In his Blake's Composite Art, "said Mitchell, who used in the poem, Blake, a visual allusion to the issue presented a guardian angel, a human soul to God. This reference includes an evolution in consciousness, which is clear in the text: the black boy realizes that despite his color he (equal or even higher than the white boys, "I am black, but oh my soul is white" ) because he had experienced much suffering, ironically (as the rays of love means. "The poem begins with the white boys (" white like an angel ") and the black boy in a terrible state (" light survivor " 
, but shows the design of a reversal of roles. (1978: 12) in the other song with the same title, shows the structure of a white boy leaned on the knees of the shepherd-Christ. The black boy is standing behind him, " ; stroke his silver hair. "The picture shows a flock of sheep grazing and a pasture that is the symbol of paradise. None of this information is included in the text. These features indicate a heavenly state before the black boy's eyes. While the wording of the first poem that bears a visual reference, in the second book that goes allusion to the visual image itself. directly appear on the screen of the first song, the boy and his mother at the top of the draft on a river while in the second image, the black and white boys with Christ appears at the bottom of the image. In both combinations appear to pictures only literal translations of the texts, because they regard as independent works of art on its own. JoyBlake be Infant, wrote his "Infant Joy" is mainly in monosyllables, and a melodious, smooth speech. Although he spoke not old enough (it only two days old), he expressed his profound happiness through natural and a sweet smile parallel to the bleating of a lamb. Robert N. Essick requires that the child does the smile of his joy and what it says is a translation into the language of what he says, through his expressive characters. The child's smile is a visual complement to the many natural acoustic evidence that crying echoed Blake's Songs of Innocence: laughter, groaning, crying, bleating, birds singing, screaming, howling, …. (1989, 110-11) The poem about a deep affection between mother and child, at a deeper level, showing Christ's love and compassion. The elements of love, birth, sexuality and unbridled joy are naturally seen in the picture the poem, too. Explaining the optical picture poem, Hagstrum writes: "The words alone will lead only two speakers, the child and the mother. The increased presence in the design … of an unexpected third figure, whose hands in reverence, adds dramatic ambiguity – but also makes the both an Annunciation scene, birth, and a saint. The text alone does not stimulate root, leaf, flower or – important information for the flame-flower and the bud of supporters suggest sexual experience, birth, and the prickly stem and leaves of the expected angle world of experience. "(1964, 6) The design and the border" Infant Joy expanded "its meaning, but the poem says nothing about the third person (a winged angel) who appears in the design, nor is there any plant or flower (ie the uterus) in the poem. The child shows his face without a smile of joy but it seems to express safety and peace. Songs of Experience, Songs of experience have been published by Songs of Innocence. Although there are some similarities between the two collections of poems, experience is almost different. Hagstrum describes the quality of these songs very nice: The Tree of innocence is large and healthy, their branches intertwined in a natural embrace, but it expects the case at the Serpentine creeper winds which often stem. The Library experience is dry and dying, his scathing branches form arches over the side as their thorny branches to penetrate the text, but its shape and a few sprays, shoot still remember the original force. Experience to Innocence as a fossil context, it is a living being. He added: "Experience is not primarily a state of nature, but is a psychological, political, social, a state of people and institutions …. Enjoy the work of the church, state and man in society. (1964: 78) In this section I will discuss some important songs to poems by experience, which include: The Tyger, the School Boy and Chimney Sweeper. TygerThe The Tyger is, maybe apart from the words of the hymn Jerusalem The most popular of all Blake's works. When directly opposite poem to the lamp, the Tyger is from the heart of the Songs of Experience. Although there are many interpretations of The Tyger, and some critics like Marsh who have read too deeply to come to the conclusion that it decipher a poem that addresses our "constant struggle to interpret and control the world around us" and satire on the way we try to perform this task, I think that poem The Tyger is that the creation of evil in the world addresses. Specifically, in the context of Blake's other work and personal opinion, as a subtle message that the organization was the creation of a creation of a great evil. The Tyger a poem is full of thought of rich, powerful images and sound. The more the speaker The Tyger, the more outstanding creators His power seems. This power that the Creator is to have indicated is important for the development of the message and it poems here is that the ambiguous areas of the poem is interpreted as meaning that the tiger can be framed not in a position to be "Read how the inability to control something or 'capture. Not even the immense power of the Creator capable of evil, he has created the limit. It is here that made the most important point of the poem, and this is done primarily through irony, the creator of an animal burn as brightly created the evil that it "seems to self" ; from the forests of experience, is so immense evil that can not control his own Creator, or Borders. Evil, others under Blake's works can be used as the construction of The Tyger and thus can be viewed as a subtle attack on it is overwhelming evil and hypocrisy to read. The Tyger has long been considered one of the most beautiful poems, Blake's has been recognized. told in his "Life of William Blake," biographer, Alexander Gilchrist, that the poem has been quoted often enough .. . she had her strange old Hebrew-size as is the case, its breadth or strength of the Oriental eloquence relatively familiar with. "The essayist and critic Charles Lamb wrote of Blake:" I have heard of his poems, but still never seen. It is a, a tiger … is the delightful, "Many critics have focused on the symbolism in the Tyger often contradictory, it concentrates produced with the language, images and questions about the origin of the" innocent "counterpart the Lamb. D E. Hirsch, Jr., for example, noted that while The Tyger satirizes the lyrics found in the lamb, which is not the primary function of poetry. Jerome J. McGann, however, asserts in his essay about the poem in1973 "… The Tyger tempts us to a cognitive anxiety, but eventually tired of our efforts." As a result, he concludes, "the extreme diversity of opinion of critics of Blake about the meaning of certain poems and passages of poems is perhaps the we have an eloquent testimony to the success of his work. "in 1794 as one of the Songs of Experience The Tyger Blake's Pub is a poem about the nature of creation, much as his earlier poem from Songs of Innocence, The Lamb. However, this poem is concerned about the dark side of creation, when their benefits are less obvious than simple pleasures. Blake's simplicity in language and the construction is contrary to the complexity of his ideas. This poem is to be interpreted in comparison and contrast with The Lamb, from which the "two contrary states of the human soul", in relation to creation. It was often said that Blake believed that a person had passed through an innocent state of being, like the lamb, and also absorb the contrasting conditions of experience, like the tiger to reach a higher plane of consciousness. In any event, Blake's vision of a creative force in the world is a balance between innocence and experience in the heart of this poem. The poem the speaker is making can not be identified and so more oriented to Blake himself as in his other poems. One interpretation could be that the Bard of the Introduction to Songs of Experience stroll through the ancient forest and the encounter with the beast in yourself or the material world. The poem reflects primarily the spokesman's reply to the Tigers, but as the Tiger's answer to the world. He wrote most of his work before the Romantic movement in English literature in the early stages of the industrial revolution, and in the midst of a revolution in the whole Europe and America. The school Boyon first reading The School Boy's complaint is the voice of a little boy instead of playing inside his school work outside in the sun. If we are the poem closer we can see that the poem back to the theme of childhood and subjected to destroy their natural joy in other poems in the collection, such as the chimney sweep was pleased with her experience in comparison of the child "over the heath to see is" far "Crying tears Scores hurt," An exact Comparison of the School Boy can Ecchoing Green in innocence. Both poems talk about "the children, but the Ecchoing Green gives us a picture of them playing in the idyllic natural surroundings. Ecchoing The green is the images that are full of children in pastoral and the manner typical of Innocence, while The Boy School children from these images points taken and subdued, making it more typical of the poem in experience. SweeperThe Chimney Chimney Sweeper poems addressed to face the hardships that children on the lives of chimney sweeps designed in the late 18th century in London. The poem is also on the plight of child laborers, and can be considered as an attack on the body that maintain poverty. The voice of the poem is the inspiration. 4Die Chimney Sweeper and The Tyger Blake reflects the political and social beliefs. He's actually attacking what he considers unjust, evil and suffering in the world. If we can look closely at this poem, we feel that the child has hope. Even if the design does not imagine the text, and does not disclose the hope and happiness, which is expressed in the poem. The Chimney Sweeper Experience in the same position as the poem of the same title in the innocence of collection development, but it's from a different perspective. In this poem, there are clearly three different views of the sweep position, his own, his parents and one observer. From the first reading, it is clear that the sweep young that his parents are feeling exploited to justify himself, seeking only to their own conscience calm down and that the viewer feels both sympathy and outrage. Overall the poem is an attack by Blake on the hypocrisy of the church and the further establishment is. 5 [Conclusion: Blake's works because of its famous composite art that he, unlike his contemporary artists. He wanted a special and unique technology and style by mixing painting and poetry. Blake, develop, was then a man be prevented violently angry at the organization as a whole. Blakes in London, however, strict social and moral values of society work ever accepted through the center of society, were rejected as the creations of a mad man, poems as the works of Wordsworth, those are sold. The 21st century was, however, with a very different social and political climate in which Blake lived. People are now freer than ever to pursue their own beliefs and as such, Blake's work has come under increasing attention. As a result, his poetry has been commented in detail, his use of traditional form and metrical skill to the attack on the church's establishment and the general . These poems discussed, the chimney sweep / s and The Tyger are all the poems that Blake reflect political and social beliefs, urging us to take them with him in attacking what he saw as the primary cause of evil, injustice and suffering in a "world of abundance", the church and the wider EstablishmentRegarding Composite his way back Mitchell added that the images or designs have many relations and reduplicate the verbal scene. More commonly, they are visual metaphors of translation of Blake's. And Blake's purpose of using this representation is to represent the personification of the poem and to give visual form to his personified. (1964: 18) Also, make use of designs, ie, more precisely, and something that they add to the imaginative resonance or not, they serve as an important aesthetic or content of the goal. (1964, repeated 
Sometimes, the shape of words. In most cases, complement the designs, the words in a manner to ensure that on almost every plate. If We consider boundary and design as well as word that Blake's whole paradise shown. (1964: 77) Blake's illuminated pounds but emphasize his theory that "no progression without dissension." The independence of the components is the reason for the unit his composite art, and for this his illuminated books, the most integrated forms of visual-verbal art. Blake himself believed that visual poetry and take pictures "speak" was incomplete, because they believed whatever the reality of space and time . In short, void of his poetry, the idea of objective time, and his painting invalidating the idea of objective space. In other words, his poetry demonstrates the power of human imagination to create time in his own image, and his painting confirms the central importance of human body as a structural principle of the space. In fact, can the unity of his art in the same imagination and commitment of the body to be found. (1978: 34) He tried to invade the soul of man through the streets in more ways than one his artistic mind and went into a unit. He models the sister arts, as they never or long in a single body, its organization, a new form of art – an art of arts. The independence of Blake's representation can be understood If there are images that do not illustrate the text. Blake's two different forms of his work will be considered separately. The text can be compared with other text to introduce the organization and with the other book. The independence of the text Blake and design helps him independent symbolic taken as some ironic contrasts and multiply metaphorical complexity. Northrop Frye declared its independence in another way: … The independence of Blake's designs from his words is surprising in light of the prevailing conventions in which he worked. The Tradition der Historienmalerei… tendenziell eine sklavische Treue zum Text zu diktieren, und die naive Allegorien des Emblems Bücher waren in der Regel ein Versuch, die Wortbedeutung zu vereinfachen. (1978, 14) Auch Mitchell schlägt vor, dass es im Wesentlichen drei Konsequenzen für die Praxis der Dichtung und Malerei zusammen. Er appelliert an den Glauben an die Übertragbarkeit von Techniken, von einem Medium zum anderen. Das bedeutete, dass die Idee, dass die Kopplung der beiden Künste bietet eine umfassendere Nachahmung der gesamten Wirklichkeit. (1978, 17) Wie erklärt Mitchell, Blake's illustrierte Bücher hat seinen eigenen "Inter-Animation"-Grundsätze, die eine bestimmte poetische Form oder Struktur der Bilder und Werte und ein charakteristisches Bild-Stil, interagiert mit dieser poetischen Form. Blake's Composite Kunst erreicht seine "Ganzheit", die auf verschiedenen Ebenen of poetic pictorial forms. This unity is also active and dynamic, and is based on the interaction of text and design as contrary or independent element. (1978, 16)If we evaluate Blake's painting and poems , we may conclude that, although they are different, they are almost equal in value. In short, illustrations in Blake's work may be used for understanding the meaning of the text, for the decoration of the text, or for visualizing the text. Painting can give life to the text. These roles can also be considered for a text. The text may be painted meaningfully and decorates the pages. Although, there is not sometimes any relation between the text and its illustration, we can say that the painting can decorate the poem and is pleasant to the eyes of the viewer. It was a new technique at that time and also very interesting. Bibliography1. Hagstrum, Jean, H. William Blake: Poet and Painter, The university of Chicago Press, 1964. 2 . Essick, Robert N. William Blake and the Language of Adam, 1989. 3. J. Mc Gann, Jerome, William Blake Illuminates the Truth, 1989. 4. Mitchell, Adrian. Contemporary British Dramatists. St. James Press, 1994. 5. Frye Northrop, Culture and Literature, 1978. 6. Gardner, Stanley. Blake's Innocence and Experience Retracted. London, Athlone, 1986.
The Sister Arts: the Relationship Between Poetry and Painting
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