Love Personification In William Blake'sWhy Was Cupid A Boy?

“The Chimney Sweeper” (128): This version of the Chimney Sweeper is very upfront and saddening. The version that is presented in the songs of innocence is much more of a calm town and is not as straightforward, while this version is very short and to the point. In this version its very deep as the narrator basically just calls out the parents/church for doing these horrible things to the children. I really love all three stanzas of this poem because they all have a really deep meaning and Blake transitions through them very well. Reading this poem over and over I don’t know what to make of it other than it is an absolute horrible situation. I think it can be tied in to

As a forerunner to the free-love movement, late eighteenth century poet, engraver, and artist, William Blake (1757-1827), has clear sexual overtones in many of his poems, and he layers his work with sexual double entendres and symbolism. Within the discussion of sexuality in his work Songs of Innocence and of Experience, Blake seems to take a complicated view of women. His speakers use constructs of contraries, specifically innocence/ experience and male/female. Of the latter sex, he experiments with the passive (dependent, docile, virtuous) and active (independent, evil, a threat to the masculine) female subjects. Blake’s use of personification specifically of nature and botany suggest the use of nature to discuss human society. In Songs

Love is a supernatural force that unites two beings, whether they are the two most unlikely candidates or childhood friends, and it inspires hope in all. Homer’s The Odyssey is the tale of the epic hero Odysseus on his quest back from the Trojan War, and all the hardships he faces as a result of his decisions. Throughout the course of the book, love plays a large role, and is his fuel to return to Ithaka, his home. There are three types of love are presented in the epic; lust, which is purely sexual and lacks a deeper meaning, family love, such as that displayed between Odysseus and his men, colleagues and Telemakhos, and lastly there is true love, which is shown between Odysseus and Penelope, true love holding the most value and power over all other forms of love.

One way that Blake uses to convey his anger on what he sees is through

Before watching your presentation, I only knew the basics regarding William Blake. There are various interesting things that you mentioned that I did not know about. For example, you mentioned how he was more commonly known for his art rather than his poems. His art as a whole is really interesting. You mentioned how he took his encounters with the people around him, his brother’s death, and visions and reflected them into his work. One thing from that list that stood out to me the most were his visions. He was able to take his visions and portray them in his paintings even when many people found it difficult to understand the meanings behind it.

Love is a term used daily in one’s life. Many categorize love in many forms. These forms differ from one-another such as the difference between love for food and love for one’s spouse. However, in the play; “A Midsummer Night’s Dream”, love takes different forms than the ones experienced in reality. One can classify the different types of love used in this play into three different categories; true love, love produced by cupid’s flower, and the state of lust.

The ancient greeks language had many different words for love categorizing the different types. With the theme love makes people do crazy things, they specifically point out the love between man and women. In ancient greece, it was frowned upon to let you relationships with others to dictate your decisions and actions for the greater good. Family was very important, but not as important as the rules, laws, and the gods. In Ode 4, the chorus says “Love!-you wrench the minds of the righteous in outrage,

On January 1st, 2017, a gang held an alleyway waiting for people to come through so they and take their money. The alley was very dark. People came through the alley at nights and trashed the alley, cracking windows, leaving cigarettes on the dirty spray-painted ground littered with sharp shards of glass from a broken window. Their leader, Kole Blazer, was there in the rooftops, waiting for someone to come through, when he saw someone betray his gang: Mike Blazer, his brother. Kole was taller than him by only a few inches. He had brown hair, freckles, blue eyes, more muscular than his brother who was always the weaker one, but they were twins and he wanted to keep a secret. His brother betrayed them and now it’s time for payback.

The opinion and image that most people have of Eros, the god of love in Greek mythology, often reflect the view and representation that people have for love itself. Since love is such a puzzling matter, people quickly form an ambivalent opinion toward Eros. Robert Bridges and Anne Stevenson reveal these uncertain feelings toward Eros in their poems directed to the Greek god of love through their diction, allowing readers to notice similarities and differences in their works. Although Bridges and Stevenson expose a level of uncertainty and sympathy toward Eros in their poems, both poets different inquisitive interpretations of Eros divulge their true and differing feelings toward

Every teenage girl has at least once wondered about love. As a sixteen-year old, Janie begins her awakening to the idea of love and marriage. She cites the pear tree as a metaphor for her idea of what love is. She describes herself as developing “glossy leaves and bursting buds” (11). During her stage of puberty, Janie makes herself believe that love is easy and natural just like how the pear tree attracts the bees and blossoms in the spring. Her idea of what love is entrapped her for unsuccessful relationship with two men. The pear tree, which ignites her interest in the opposite sex degrades her expectations of what love should be. She fails to see that love is not all about romanticism because it takes two to make a relationship to work.

In order to exist in nature and in human, innocence requires experience. The author, William Blake divided his poems into two volumes which are Songs of Innocence and Songs of Experience. “The Lamb” is the poem from Songs of Innocence and “The Tyger” is from Songs of Experience. In “The Lamb,” Blake writes in an incomplex, childlike way asking an innocent lamb who made it. In “The Tyger,” Blake asks who could have possibly made something as formidable as the tiger. William Blake uses archetypes in his poems “The Lamb” and “The Tyger.”

Images of male homosocial and homoerotic relations pervade Athenian culture. From plays to poetry and jugs to the justice system one can find these relations represented pictorially and in words. But do all these images align with each other or are there irreconcilable differences between them? To look at this question we will take two small pieces of culture, a philosophical treatise, Plato's Symposium and the lyric poetry of Theognis and Anacreon.

In the world of Ancient Greece, a large array of deities were worshipped. Each god had their own forms of identification in which they used to express themselves. This includes things such as personality, style, sexuality, and many other things. One of these forms of expression was gender. The Greeks seemed to focus more on the two typical genders, which are male and female. Some Greek gods seemed to play into certain gender roles, but others portrayed traits of the opposite sex. In this paper, I will be analysing the possibility that the Greeks believed the female and male genders were closely connected and that is why many of the gods are described with blended aspects of gender.

William Blake focused on biblical images in the majority of his poetry and prose. Much of his well-known work comes from the two compilations Songs of Innocence and Songs of Experience. The poems in these compilations reflect Blake's metamorphosis in thought as he grew from innocent to experienced. An example of this metamorphosis is the two poems The Divine Image and A Divine Image. The former preceded the latter by one year.

Ground-breaking, momentous, and a time of great struggle, the Industrial Revolution was famous for its innovations and infamous for the sobering reality it inflicted upon the standard family. Mid-18th century Britain brought poverty to everyday urban workers. With it, came an increase in child labor like never seen before. In order for a normal family to survive in the urban lifestyle, all members of a family had to work. This included children as young as four years to work as chimney sweepers, miners, and most popularized in 18th century Britain, factory workers. By the year 1800, children under the age of 14 in Britain’s factories accounted for 50% of the labor force (“Industrial Revolution, Child Labor”). Though the number continued to grow, all did not go unaccounted for. Romanticism, an effort opposite the movement, gave recognition to the emotional conflicts overlooked. Romanticism shed light on the daily struggles of the everyday man, woman, and the most neglected up until that period of time, the child. Throughout history, others have written about childhood, but Romantic poets began to question what it meant to be a child. The question, though not answered directly, later became revealed in their works where it exposed their belief systems. The role of the child in British Romantic Poetry represents the early life of Romantic poets, and the qualities they possessed in childhood.