The innocence presented by Blake in his vision of the child in unspoiled nature translates through the artist’s tools and onto the page, creating a group of poems that are written from the perspective of an innocent soul. Watercolors were used by Blake to paint his prints, thus the Piper “stain’d the water clear,” while transcribing his “happy songs / Every child may joy to hear”. The “hollow reed” and “rural pen”, referenced by the Piper serve as pastoral symbols for the Blake’s engraving tool the burin used in crafting the plates from which Songs of Innocence and of Experience were first printed. Serving as muse, the child on the cloud urges the speaker to “write In a book that all may read”, the happy songs song on behalf of and from the standpoint of unsullied innocence. The child’s joyful tears, in once sense, oppose the weeping in “Introduction” in Songs of Experience, but also forecast the mourning for innocence lost and experience gained. Implicit in the Piper’s song about the Lamb the redemption of mankind through Christ is the notion of original sin and the loss of innocence. The tears elicited from the ethereal child at the Piper’s second recitation represent a reaction of untainted innocence to the song of Christ’s mercy.
Blake’s speaker pipes “with merry chear”, and plays the song once again for the child who reacts to the speaker’s efforts with tears of joy. The lamb represents innocence, but also the ‘Lamb of God,’ Jesus Christ. A laughing child on a cloud, an otherworldly symbol of innocent joy, asks the speaker to “Pipe a song about a Lamb”. From this standpoint of pastoral innocence the Piper receives inspiration. It enjoys the most spontaneous communion with nature, readily perceiving the divine in all things”. It is happy, since it is unsophisticated. Foster Damon as “free, as it needs no laws. The “valleys wild” and “songs of pleasant glee”, are lawless and unbounded by social systems and structures, placing the piper within the state of innocence described by S. The Piper, Blake’s speaker, begins the poem “Piping down the valleys wild”, a pastoral scene revealing the speaker as one unified with the natural world. Introduction to Songs of Innocence: analysisīlake’s use of trochaic tetrameter in his “Introduction” to Songs of Innocence produces a sing-song rhythm akin to children’s songs lending the poem a tone of childlike innocence. Blake’s illuminated poems, “Introduction” to both Songs of Innocence and Songs of Experience, feature a speaker whose inspirations, themes and tones highlight the dichotomy between the soul’s states of both innocence and experience. The companion poems in Songs of Innocence and of Experience establish a distance between the dissimilar states of pure innocence and world-worn experience. Although Songs of Innocence, written in 1789, was crafted five years prior to Songs of Experience both collections read as stand alone works of engraving art and poetry however, the second work was created to accompany the first. William Blake’s collection of illuminated poems in Songs of Innocence and of Experience depict, as the title page explains, “the Two Contrary States of the Human Soul” (Blake 1). Songs of Experience: introduction summary.Introduction to Songs of Innocence: analysis.A Canada wide initiative by dedicated enthusiasts, designed to promote the benefits of purebred dog ownership.Contact the CDJA to offer Ringside Mentoring & Breed Presentations.
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