A kid of the Romantic Period. William Blake was a poet born into the lively evidences of Soho. England. Since childhood. people observed in him a acute sense of imaginativeness. This acknowledgment so encouraged his parents to back up his calling way as an creative person ( Merriman n. p. ) . Blake was mostly considered as bizarre or demented by his coevalss. doing him to be denied in his life-time the acknowledgment he deserved. However. literary critics now consider him an influential force in the development of Romanticism ( Barker n. p. ) . Blake’s works and manner of composing can non be classified into a individual class or genre.
However. his plant showed repeating subjects of cognition and artlessness. Eden and snake pit. external world and internal world. and most of all. good and evil ( Merriman n. p. ) . Most of his plants are expressed with simpleness. except for some of his later plants. With this simpleness. Blake was able to portray opposing facets of human nature. He achieved this superbly by utilizing one literary piece to show the negative side of another earlier literary work. Sorrow: the Antithesis of Joy This manner of Blake was highlighted in his two verse forms Infant Joy and Infant Sorrow.
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Infant Joy was presented to brood on the joys of life. childbearing. and being. Then. in contrast. Infant Sorrow came to life to show the unhappiness of life and human being. Content Comparison. In Infant Sorrow. the infant’s realisation that the universe is an unhappy topographic point to populate in summed up human being. This verse form renders a black apprehension of human conditions and strongly contrasts with the earlier verse form. Infant Joy. This other verse form celebrates childbirth. as shown by the baby baptizing herself as ‘Joy. ’ The voice of her female parent celebrates with her babe excessively.
However. the poem’s too-evident joyousness invites intuition. The mask of hyperbole can be unfurled to uncover a deeper apprehension of human being. Both verse forms portion similar strong emotions in depicting birth. and both use small to no nonliteral linguistic communication. However. they differ in constructions and in the portraiture of human subjugation. The verse forms both describe the sentiments that surround the birth of a kid. Infant Joy portrays the felicity of an baby for being alive ( Blake 4-5 ) . There is a sense of gladfulness because human being is deserving observing.
When one is born. he/she is given civil rights and freedoms that are deserving being born for. Nonetheless. the baby can non realistically even be cognizant of herself in such a manner. A beginning even notes that it is still the female parent who provides the infant’s voice: she simply undertakings herself unto her baby’s looking felicity ( Gilham 3 ) . Still. the mother’s voice ( as herself ) is besides present in the verse form. She besides feels exuberant. so she sings for her babe ( Blake 11 ) . On the other manus. Infant Sorrow depicts the infant’s feelings of deficiency of safety and security. every bit good as experiences of subjugation ( Blake 5 ) .
The parents in this verse form besides express echoing emotions. as the “mother groaned” and the “father wept” ( Blake 1 ) . This first line of the verse form emphasized the parents’ unhappiness and wretchedness about the baby’s birth. Therefore. both poems explore the avalanche of powerful feelings that come with childbearing. Use of Figurative Language. Both poems likewise employ small to no nonliteral linguistic communication. For Infant Sorrow. the most dramatic nonliteral linguistic communication is the simile. “Like a monster hid in the cloud” ( Blake 4 ) . This indicates that the babe is like a felon in the clouds of felicity.
The sarcasm stands out: here is a two-day old baby who usually feels peaceable and happy. but in world should truly experience like another felon who can non conceal anyplace. non even in the comfort of his dreams. Another nonliteral address is the wordplay of “sulk. ” alternatively of “suck” ( Blake 8 ) . The babe sulks in being fed by her female parent. which is confusing. because there should be a natural connexion between feeding and being. a connexion that is more positive than dejecting. For Infant Joy. there are no apparent figures of address.
This makes the poem really straightforward to some extent. Curran calls this as holding no word “in excess” ( 6 ) . which have made the verse form a sententious rendering of childbearing felicity. Structure and Rhyming Patterns. The verse form besides diverge in different facets. get downing with their dissimilar rhyming forms. In Infant Sorrow. Blake uses a regular AABB rime strategy for its two stanzas. but in Infant Joy. he utilizes ABCDAC for the first stanza and ABCDDC for the 2nd. The dissimilar rhyming forms depict the implicit in pandemonium behind the sweet joy of the baby.
This rhyming manner suggests the incongruence that exists between what is said and what is non said in Infant Joy. Furthermore. the most distinguishable form in Infant Joy is the dual rime that recurs in lines three. six. nine. and twelve. This riming pattern contrasts with the more stable rime of Infant Sorrow. As pointed out already. this signifies an uncertainness in the voice of the female parent in Infant Joy. as she wishes her child a happy life. The female parent could be stamp downing the world that felicity is seldom come-at-able. when human being can non be described as joyful at all.
Other Structures. Both poems possess different constructions that besides impact their significances. These verse forms use different schemes in exemplifying human subjugation. Infant Joy uses two voices of felicity and the subject of artlessness to dissemble the latent uncertainties of insecurity in the mother’s voice. The voices come from an baby and female parent who believe that human life is joyful and so being born into it must be a cause of cheerful temperament. The verse form portrays the felicity of an baby in being born: “I happy am. /Joy is my name” ( Blake 4-5 ) .
The female parent feels high-spirited besides and she sings for her babe. The verse form besides celebrates artlessness by reiterating the phrase “sweet joy” five times over in lines 6. 8. 9. and 12. The repeat emphasizes the sugariness of being born and being so immature. Infant Joy. nevertheless. somehow masks an uncertainness. The female parent keeps on stating that the babe is merely two yearss old. In a manner. it indicates that this is the chief ground why the babe feels excessively happy ; she is still excessively immature to see the abrasiveness of life. Furthermore. there is a tone of desirous believing about felicity from the female parent.
When she says “Sweet joy befall thee! ” ( Blake 12 ) . it is more of a blessing instead than a strong belief ( Gilham 3 ) . In here. human artlessness has resembled a mask. a parody for a female parent who wishes a signifier of short-run felicity for her babe. Blake undermines the felicity of human being through Infant Sorrow. which straight assaults human artlessness through dark symbolism. imagination. and nonliteral looks. It is rather flooring that an baby would depict a new universe as unsafe. one where the infant’s parents would cry or moan. as if in panic.
Parents should be happy when they see their babe. but this verse form paints an highly contrastive image. This point of position can be explained by the fact that Blake lived in a clip of war ( Curran 6 ) . Therefore. in the author’s context. he was right to state that a kid born in such a society merely “leapt to a unsafe world” ( Blake 2 ) . An infant described as a monster is besides barely anticipated. This image is rather confusing. because artlessness has been plunged into the cloudy Waterss of immorality ( Blake 4 ) .
At the same clip. the baby. who has merely been born. already feels “bound and weary” ( Blake 7 ) . A babe should be free of the world’s legion concerns. but this baby is like an grownup who has been disillusioned by the loads of human life. The infant even sulks upon his mother’s chest. “Sulk” is a wordplay for “suck. ” which renders a different reading of depending on a female parent for nurturance ( Carson 150 ; Bender and Mellor 300 ) . “Sulk” underscores the opposition to the inactive function of the babe in society ( Gilham 4 ) .
The battles of the baby typify the battles of grownups against the subjugation from political and economic forces of society. The “swaddling bands” bespeak how people besides struggle to contend the establishments that make it impossible for them to bask their civil autonomies. Infant Sorrow. hence. takes the voice of an grownup who has briskly shaken off the pretenses of modern autonomies. Blake used babies as the get downing point of his statement about human being.
Conclusion Infant Joy and Infant Sorrow may straight oppose each other in the pick of words. construction and riming form. Underneath them. nevertheless. are the same strong human emotions. portrayed merely with small usage of nonliteral linguistic communication. These verse forms possess the voice of a weary and disgruntled grownup who wants to get away but can non entirely leave society. The artlessness and felicity was a mere mask for the worlds of life. They besides express inconspicuously the voice of a human being who invariably fights the conflict against dominant societal establishments that trample on civil autonomies. Ultimately. both poems unusually render in diverse ways. the anguishs of human being.