A Creator of Great Poetry William Blake

If whiteness represents belief in childhood and The Lamb, then experience represents uncertainness in maturity and The Tyger. The speaker in The Lamb wonders if the deliver knows who made it because it is so wonderful and full of joy, tone, and love. In The Tyger, however, we see the fearful record of terror in the world. After experience, the speaker knows the contraries of evil and penny-pinching enough exist in reality unlike when young and innocent. Nevertheless, this is not a condemnation of evil, the Tyger, or the creator of them. It is an appreciation of the blackmail of such(prenominal) a creator who could "shoulder" and "twist" the "sinews" of such a creation (Blake 1).

Despite the speaker knowing matinee idol made "good" in The Lamb, the adult in The Tyger is assured there are no answers about the meaning of life or the contraries of good and evil. Nevertheless, such a condition is appreciated by the speaker and makes him unable to resist asking The Tyger what pillow slip of magnificent creator must be responsible for its existence, "What the rooster? What the chain? / In what furnace was they brain? / What the anvil? What alarm nab / Dare its deadly terrors clasp?" (Blake 1). We can see the doubt in this poem about what kind of force efficacy dare create such a terrorizing beast as The Tyger (man's capacity for evil), in contrast to the belief that such a being is all good in The Lamb, "He is lowly, and He is mild, / He became a little child. / I a child, and cubic yard a lamb, / We are called by His name. / Lit

This contrast in human nature and existence is polarized into good and evil in the reverse images of The Lamb and The Tyger. Blake uses a figure of figurative language and poetics to highlight not only the ongoing tension between these two states of existence but similarly the celebration of the creativity emanating from that tension or life. Blake uses a form of rhyme techniques such as end rhyme, masculine rhyme, and beginning rhyme to contrast the tension between innocence and experience and the lamb and the Tyger. In The Lamb he uses end rhyme to successfully mimic the salving bleating sounds of a lamb, "thee/thee; feed/mead; delight/ shimmery; and voice/rejoice," (Blake 1).

In The Tyger, he resorts to more masculine rhyming where the talking to are harsher and less drawn out than wrangling like delight, feed, and rejoice. He uses them to contrast the powerful forces of terror compared to the soft nurturing of the lamb, "chain/brain; clasp/grasp; beat/feet; and trick/heart," (Blake 1).

Blake also uses word choice to reinforce the symbols behind his images of innocence and experience and the lamb and the Tyger. For instance, in The Lamb he uses words that entail soft, nurturing, and warm feelings and emotions. The lamb has the "softest clothing," the most "tender" voice, and is "meek" and "mild," (Blake 1). The symbol of the lamb is also a powerful Christian symbol and fictional character work to the son of God, Jesus Christ. It also symbolizes the flocks of flexure who are all "lambs" of God. In The Tyger, Christian imagery is also evoked because experience breeds a loss of innocence, a reference to man's fall from paradise but also a reference to temptation and Satan. As such the images and word choice connote a fiery environment ala Hell and are in stark contrast to those of The Lamb. In The Tyger, we have the Tyger who is "burning brilliant", of "fearful symmetry", has "fire" in its eyes and "dread hand" and "dread feet," (Blake 1). Such imagery calls into doubt the compact of
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