Symbol is a mode of expression in which a writer depicts indirectly through the medium of another object. But symbol is not a mere substitution of one object for another. There is much more to it. Symbolism is the art of evoking an object little by little to reveal a mood or emotion or some mysterious region of human psyche. A symbolist is a seer of a prophet who can look beyond the objects of the real world and convey the essence of the ideal world which human mind tries to express. On the other hand, imagery is the total picture produced by the images.
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The poetry as well as the whole art of William Blake is abundant with symbols and allegories that carry a strong charge — inspirational, charismatic and religious. Moreover, he was the first poet after Edmund Spenser who produced his own mythological reality [1, ], which proves the power of his imagination and creative potential. In his childhood and youth, William Blake was surrounded and impacted by objects, phenomena and people that were of pronounced symbolic character — his Dissenter origin, Bible study, visions and revelations that visited him throughout all his life, work in Westminster Abbey [1, 74] — and they could not but be incorporated in his masterpieces. If we add here interest in and adherence to Emmanuel Svedenborg and Jacob Boehme [2, xxi], the background of his symbolism may become more or less clear.
6 Pages, Grade: 10
Scrivi un commento I commenti dovranno prima essere approvati da un amministratore. Verranno pubblicati solo quelli utili a tutti e attinenti al contenuto della pagina. Il concetto di simbolismo secondo William Blake scritto in inglese. His longer poems revolve around characters he has invented to represent certain positions towards existence. The childlike qualities of the Lamb refer also to the God of love and infinite forgiveness as incarnated in the baby Jesus. The figure of the poet can also be compared to that of the Lamb and the child. Bu to Blake this symmetry is awful because it embodies the contradictory and complementary forces of good and evil which are impossible to separate. Like the Lamb, the Tyger is innocent and in a similar way the violence and destruction of the revolution are also innocent, like the destructive impulses of a child. Blake did not turn away from the idea of Revolution towards nostalgia for an idyllic world of the past. He chose simply to describe these forces without trying to resolve them harmoniously.
In some sense at some level, the poetic-prophetic voice asserts in the Songs of Experience the state of corruption where man has fallen into. Blake, William Morris Eaves, Robert N. Essick and Joseph Visconi. Frye, Northrop Harold Bloom. London: Norton. Chelsea House: Yale. George, Diana Hume