Name Name of Professor Discovering the Roots of William Blake’s Complexity as a Literary Genius Introduction Anybody who has tried to read or teach William Blake’s poetry will experience both the complexity and the value of the works of Robert Rix, Susan Matthews, and Morris Eaves…
A reader is constantly being compelled to take into account the point of view of the speaker and the circumstances of the characters in the poem. Obviously, The Songs of Innocence as a group of poems is impossible to comprehend excluding, or independently from The Songs of Experience, where same issues of perspective are constantly emerging. All of these concerns are explored in this paper. The above are the reasons why the current author is interested in the complexity of Blake’s poems and their inherent religious theme. In one of the poems in The Songs of Experience, the ‘Little Black Boy’, the storyteller is an African slave woman, trying to enlighten her child about his connection to the English lad who refuses to be friends with him and his relationship with God. How should a reader judge her point of view? Does she explain to her son a disgraced, desecrated representation of God? These are only some of the difficult questions raised in the poem. But this paper does not try to answer these questions for these are only illustration of how interconnected are the parts of Blake’s works are. The Complexity and Faith of a Creative Genius Robert Rix’s (2007) William Blake and the Cultures of Radical Christianity explores the ‘Little Black Boy’ and other poems from The Songs of Experience and The Songs of Innocence. ...
he inner interpretative bottom lines, and the larger dilemma is representing him as the less gloomy, secluded talent and more the individual of or in communication with his period. Hence, the book of Rix is a religious treatise. The book is composed of eight chapters. The introductory sections quite thoroughly outline the general religious environment of 18th-century England. The explanation of Rix of Moravianism as a global reform campaign that largely paved the way for Methodism in England appeared quite thoroughly delivered, although the relationship to the own religious development of Blake, through his mother’s teachings, can simply be an issue of speculation. I chose Rix’s book as one of my references because of its comprehensive discussion of religion in the work of Blake as well as the influence of religion in his complex imagination. There are only two influences given by Rix: (1) family background, and (2) historical events. The discussion is credible because the author cites actual examples, or real cases from history. He also makes use of both primary and secondary references. The same is true for the books of Susan Matthews (Blake, Sexuality and Bourgeois Politeness) and Morris Eaves (The Cambridge Companion to William Blake), except that Morris Eaves’s book has been published 8 years ago. As stated by Susan Matthews (2011) regarding the complexity of Blake’s artistic influences, it was the blending of Moravian zeal, with its focus on a faith of the soul, with Behmenist religion alongside its restoration of medieval passion, that created the fertile ground where in the theosophical spiritual belief in general and the belief of Swedenborg particularly grew and thrived in England. Matthews’s analysis of Blake’s interpretation of Paine is ...
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