The indefinite response of Songs of Innocence and of Experience influentially raise the brow of many poetry critics since that the formalism and precession of William Blake’s greatness utterly led many to ambiguous rather larger random perception stressing the ability of the poem to be on track of literature but that of which is swimming in the ocean of meaningless exhausting the ability of such purely fictive entity.The amazing clash of ingredients as conveyed in the poem has deliberately resulted into queries which rather give a bicker to the minds of the many readers. How it actually portrays the vortex of authenticity and engravings of societal implications which are considerably emblems of ‘real’ characters in this earthly place undeniably stands the immortality of the poem (Macnamara, 1999).The amazing fact which has been represented in his book, having presupposed two sets of unreservedly different perspectives to convey is interestingly the dynamics of Blake’s ability to illustrate and give emphasis on his sense of unpredictability. Moreover, the submission of Innocence, literally conveyed, established obscured stories of characters which he pertinently places in the right posts of his precession.
Quite a blast for the set of comprehension to readers but a rather mystifying aura credited to the author’s grandeur.In the light of Experience, where Blake completely showed the ‘face behind the façade of the society’ contrarily dwells on ‘evil’. Establishing “the climbing boys’ in a revolutionary fervor, he has envisioned the scenario as that which was apparently taking in occurrence during the outbreak of the French Revolution (Mellown, 2002). Further, in collaboration with Blake’s inexperienced form in childhood and refinement in his approach with the society, it is evident that his intent of producing such masterpiece and standpoint in contrasting both good and evil.
In addition to that, the typescript reflected on both categories (set of poems) seemingly clash in summit, but astoundingly adhere in the rather paradoxical state of its holistic gist. Songs of Innocence – depict the echelon of happiness of a boy, describing the innocence of children and the point of fact that ‘evil’ is surrounding their being, thus their innocence apparently accompanies their freedom from culpability and ignorance (Blake, 2004), if it may not be too much to use, in the level of remorse contained by others.Consequently, the Songs of Experience extrinsically assert the ‘reality’ which is happening in the political and social landscape as well as with the social pyramid of the society, taking for granted the worth of those belying in the ground while taking advantage over those individuals’ innocence (Blake, 2004), or unsolicited harshness of labor, so to speak. Conceivably, both categories share a rather hostile relationship interpretation of the blossom and the whirlwinds of the situation which entails the rapport of both ‘purity’ and ‘wickedness’ during that certain era.
His preference in allusion in illustrating the substance of his purpose may seem hard to specify, thus, formalist association of the lines shall create a whole new dimension of apprehending the ‘symbols’ (Macnamara, 1999) which Blake has magnificently drawn in the walls of Freytag technique which eventually flavors the design of his work by putting together two standpoints explicitly clashing in structure but complementing in substance.