William Blake 's Poem ' The Garden Of Love ' Essay

The deceased are often remembered in either the best of themselves or the worst. Family and friends usually look back and reminisce on the most striking qualities held by their lost loved ones. Death is a shocking and confusing period for those affected by it and the whirlwind of emotions, such as the various stages of grief, catch many by surprise. Born in 1908, Theodore Roethke was an American poet who was deemed one of the most proficient and leading poets of his generation. In his poem, “Elegy for Jane”, Roethke uses a variety of poetic devices to express the different themes of love, happiness, and grief. His use of imagery, symbolism, persona, tone and word choice, contribute to the deeper meaning of the poem, assisting in the expression of the speaker’s feelings for Jane and of how, Jane, herself felt.

In “The Last Stop” Brian Cable gives his rendition of what death is like and how we as human beings cope and handle it. Cable started the essay with his own view of death. In the first part he says, “Death is a subject largely ignored by the living. We don’t discuss it much, not as children, not as adults, and not even as seniors.” (104) Cable then gives a description of the mortuary he visits to interview a funeral director and its licensed mortician. He describes the building as, “a bit like a church, tall, with gothic arches and stained glass.” (104) He goes on to say that “it was not what I expected. I had thought it would be more like Forest Lawn, serene with green lush lawns and meticulously groomed gardens.” (104) However, instead

Death is a controversial and sensitive subject. When discussing death, several questions come to mind about what happens in our afterlife, such as: where do you go and what do you see? Emily Dickinson is a poet who explores her curiosity of death and the afterlife through her creative writing ability. She displays different views on death by writing two contrasting poems: one of a softer side and another of a more ridged and scary side. When looking at dissimilar observations of death it can be seen how private and special it is; it is also understood that death is inevitable so coping with it can be taken in different ways. Emily Dickinson’s poems “Because I Could Not Stop for Death” and “I Heard A Fly Buzz When I Died” show both

The Songs of Innocence poems first appeared in Blake’s 1784 novel, An Island in the Moon. In 1788, Blake began to compile in earnest, the collection of Songs of Innocence. And by 1789, this original volume of plates was complete. These poems are the products of the human mind in a state of innocence, imagination, and joy; natural euphoric feelings uninhibited or tainted by the outside world. Following the completion of the Songs of Innocence plates, Blake wrote The Marriage of Heaven and Hell and it is through this dilemma of good and evil and the suffering that he witnesses on the streets of London, that he begins composing Songs of Experience. This second volume serves as a response to Songs of

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

What does it mean to be human? William Blake, an 18th century English poet, artist, and philosopher asked these questions, often masqueraded under a wall of color, and rhyme. Through seemingly childish, almost nursery-esq poems, Blake teases us to think about who we are, and ask ourselves things that challenge who we are as a species. Often his poems were sister pairs that mirrored each other in theme and appearance. For example, his poem “The Lamb” a poem about innocence and divine creation, is mirrored by “The Tyger,” a look at experience, and a subtle inquiry at why the divine creator of the lamb, would create such an evil as a tiger. The same can be said about two of his other poems, “The Chimney Sweeper” and “Infant Sorrow,” whose themes deal with again, innocence and experience, in a Taoism manner of thinking. Blake uses archetypes of innocence and experience in “The Lamb, “The Tyger,” The Chimney Sweeper,” and “Infant Sorrow.”

Funeral Rites’ tri-partite structure is reminiscent of the structure of North. North is separated into three sections, with each representing Heaney’s altering attitudes towards death. The first section contains two poems in dedication - clearly personal to Heaney. By introducing North with two personal poems, Heaney situates the reader in a ‘world of warmth, solidarity and almost

Robert Frost’s poem “Home Burial,” written in 1914, centers around the conversation of a married couple whose relationship is struggling after the death of their young child. A duality in meaning exists in the poem’s title, “Home Burial,” which references not only the death of their child but also the death of their marriage. Is the child’s death the sole cause of their marital distress? Robert Frost opens the poem in the couple’s home with the husband watching as his wife, Amy, begins to descend the staircase (1-2). After a few verses, the audience has become witnesses to the marriage’s descent into nothingness. The child’s grave lies forever in the background, framed by a small window at the top of the stairs (Frost 24-31). In Robert Frost’s “Home Burial”, the marriage of Amy and her husband is irreparable due to differences in expression, acceptance, and perception.

Emily Dickinson concentrates many of her poems on the theme of death, predominantly her own. These “poems about death confront its grim reality with honesty, humor, curiosity, and above all a refusal to be comforted (“Emily Dickinson 1830-1886” 1659). While this was not an out of the ordinary topic during the American Romantic era, Dickinson seemed near obsessive in her focus. Additionally, Dickinson seems questionable in her thoughts on religion, another theme popular during the American Romantic era. Emily Dickinson’s “Because I could not stop for death” and “I felt a Funeral, in my Brain” both explicitly examine the concept of death, the afterlife, and the author’s obsession with the melancholy.

In "London", William Blake brings to light a city overrun by poverty and hardship. Blake discards the common, glorifying view of London and replaces it with his idea of truth. London is nothing more but a city strapped by harsh economic times where Royalty and other venues of power have allowed morality and goodness to deteriorate so that suffering and poverty are all that exist. It is with the use of three distinct metaphors; "mind-forg'd manacles", "blackning Church", and "Marriage hearse", that Blake conveys the idea of a city that suffers from physical and psychological imprisonment, social oppression, and an unraveling moral society.

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.

The fear I held as a child that my body would become a vessel for other souls to enter was intensified. This was my first impression of my first time in a cemetery and I was not off to a good start. As I grabbed a map to find my way around, I began to dread the walk through the cemetery and having to see all the lives lost, especially those who lost their lives before they even really began. However, to my surprise, as I made my way through the graveyard this feeling of sadness slipped away. The sun began to shine through the clouds of gray and illuminated both the cemetery and my mood. I was delighted to notice that many of the tombstones I encountered read that these lives that were lost were not taken too soon. Most of the people had lived over eighty years and were buried next to fellow family members who also lived just as long. It was nice to see that many people were laid to rest next to family so they wouldn’t have to enter the next life

Blake also airs his issues with the church’s policy on the spiritual status of “unsaved” people who die, children and adults alike. He addresses the “spiritual status of babies” in several of his poems (Dilworth, 43). The child in “A Cradle Song” is depicted as an “Angel mild” in whose face the

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 one of those 19th century figures who could have and should have been beatniks, along with Rimbaud, Verlaine, Manet, Cezanne and Whitman. He began his career as an engraver and artist, and was an apprentice to the highly original Romantic painter Henry Fuseli. In his own time he was valued as an artist, and created a set of watercolor illustrations for the Book of Job that were so wildly but subtly colored they would have looked perfectly at home in next month's issue of Wired.