The Comparison Of Eros And Energy By William Blake

“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

In Anne Stevenson’s “Eros,” the god of love is shown to be broken and abused. Many negative words are used to emphasize Eros’ brokenness. He is described as a “bully boy,” a “brute” that “offends,” and is given “blows” delivered by “lust.” These words are not pleasant, as they illustrate an offensive, hurtful figure. As a “slave” to immortality, Eros is doomed to a “bruised” and “battered visage” for eternity. It is destined for him to endure such a future because of the nature of his job. These strong words of hate and hurt show the pain that love had to endure. The caller of love asks, “Can this be you, with boxer lips and patchy wings askew?” Eros answers with, what “you see is what long overuse has made

and to write historical biographies to make the Order better known. The abbot also urged the

It is essential to assess human psyche or personality as an identity or the totality of a person, with an approach from “Sigmund Freud of psychoanalysis theory, the id, ego and super-ego” which develops at every stages of human’s life, irrespective of age, sex and status. Those three structures motivate a person’s actions, a spontaneous reaction, an voluntary or involuntary action, all these can be termed to what Sigmund referred to as; two instinctual drives: he called the first one the “Eros” which is originated from Greek mythology and it means, the sex drive, how it unconscious motive leads to life

William Blake was a painter, engraver and poet of the Romantic era, who lived and worked in London. Many of Blake’s famous poems reside in his published collection of poems titled Songs of Innocence and of Experience. This collection portrays the two different states of the human soul, good and evil. Many poems in the Songs of Innocence have a counterpart poem in the Songs of Experience. The poem “A Poison Tree” is found in the Songs of Experience and it delves into the mind of man tainted with sin and corruption that comes with experience. In a simple and creative style, the religious theology of the Fall of Man is brought to life. The poem tells the story of how man fell from a state of innocence to impurity, focusing on the harmful repercussions of suppressed anger. Blake utilities many literary devices to successfully characterizes anger as an antagonist with taunting power.

Freud’s view of civilization emerges from his understanding of the struggle between Eros and Death. Freud expresses the existence of two contrary instincts, Eros and Death, via starting from the speculations on the beginning of life and biological parallels. While Eros preserves the living substance and joins it into larger units, such as societies, Death dissolves these units and brings them back to their primeval state. The death drives appear to be regressive, striving for a return to a less differentiated, less organized state of tensionlessness. In contrast, Eros (which embraces sexual and life-preserving instincts) is progressive in seeking ever more differentiated forms of organized life and even the widening of differences in it

We can see transcendentalism with William Blake and his poetry. William Blake, who is a pre-romantic poet, handles his themes sincerely with a mind that is not distracted by the existing opinions such as rationalism, suppression and reason of opinions in his society. Although, he favors the morals of love, freedom, brotherhood and equality. Therefore, I believe he is considered one of the best romantic poets of all time. The majority of Blake’s poems show the romantic side of things such as simplicity, nature, transcendentalism, imagination, childhood and freedom. For instance, in his poem "the Lamb", simplicity, nature, and transcendentalism are strong romantic descriptions that we, as readers, can see them easily. Finally, the

Before being good or bad, human beings are just humans who have to live with their own nature, which they sometimes cannot control. Man can do good or evil but he always makes it with a unique purpose, his personal satisfaction, because it is simply in his nature. Thus, human beings aware of good and evil are confronted with conflicting choices but they never act against their will. The poem, “The Human Abstract”, written by William Blake reflects on these characteristics of human beings and demonstrates how they are unconsciously corrupted by their own nature in a selfish way.

It holds no morals and seeks instant gratification containing sexual or aggressive impulses. ‘’a cauldron full of seething excitations…it is filled with energy … but… has no organisation… only a striving to bring about the satisfaction of instinctional needs subject to observance of the pleasure principle’’ (Freud, New introductory lectures in psychoanalysis, 1933, p. 73) Within the id lies the Eros (life or pleasure drive) and Thanatos (death instincts). Eros ‘’helps the child to survive, it directs life-sustaining activities such as respiration, eating, sex and the fulfilment of other bodily needs’’ In contrast Freud believed ‘’Destructive acts such as arson, fist fights, murder, war and even masochism were outward expressions of the death instincts’’ (R.Shaffer, 1946, p. 43)

The term “Eros,” referring to passionate love in English, has long been the mainstream of themes in drama, literature, arts, and cinematic media. The fascinating power of love has been exhaustively publicized, and the pursuit of love is diffused in streets and lanes. Conversely, in ancient times, many poets, especially Virgil, Ovid and Apuleius, described eros as such an evil spirit that it will destroy the female soul thoroughly, except for the one in Apuleius’ story of Cupid and Psyche. Even if taking into account the historical background of a patriarchal community and therefore the esteemed male dominance, the particular case of Psyche’s surviving and even thriving her encounter with eros

Blake uses traditional symbols of angels and devils, animal imagery, and especially images of fire and flame to: 1) set up a dual world, a confrontation of opposites or "contraries" which illustrate how the rules of Reason and Religion repress and pervert the basic creative energy of humanity, 2) argues for apocalyptic transformation of the self "through the radical regeneration of each person's own power to imagine" (Johnson/Grant, xxiv), and 3) reconstructs Man in a new image, a fully realized Man who is both rational and imaginative, partaking of his divinity through creativity. The form of the poem consists of "The Argument," expositions on his concepts of the "contraries" and of "expanded perception" which are both interspersed with "Memorable Fancies" that explicate and enlarge on his expositions, and concludes with "A Song of Liberty," a prophecy of a future heaven on earth.

There are two instincts within Freud’s psychoanalytic theory: the death instinct and the life instinct. The goal of the death instinct is for individuals to die. The life instinct, on the other hand, includes drives controlled by the ego and sexual drives. There is an energy that helps motivate individuals in the life instinct. The name of the energy is the libido. The overall goal of the life instinct is for individuals to preserve and to reproduce. The drives of the life instinct are really important because they are shaped by the pleasure principle. The drives of the life instinct cause tension on an individual and therefore individuals want to release that tension by acting on the pleasure principle. It

William Blake is one of England’s most famous literary figures. He is remembered and admired for his skill as a painter, engraver, and poet. He was born on Nov. 28, 1757 to a poor Hosier’s family living in or around London. Being of a poor family, Blake received little in the way of comfort or education while growing up. Amazingly, he did not attend school for very long and dropped out shortly after learning to read and write so that he could work in his father’s shop. The life of a hosier however was not the right path for Blake as he exhibited early on a skill for reading and drawing. Blake’s skill for reading can be seen in his understanding for and use of works such as the Bible and Greek classic literature.

William Blake was a writer and a painter in the late 1700s and early 1800s whose imagination was untamed and incomprehensible to most ordinary people of his time. Blake was different from most writers of his who were trying to be famous and get people?s attention. Everything Blake did was for himself and he was not willing to change for money or popularity. William Blake is often considered to be insanely genius because of his transition to a new literary era, known as Romanticism, and for his depictions of life from the viewpoints of a child and an adult.