Its popularity is due to its apparent simplicity and to its generous ambiguity. When students are asked to give their own impressions of the poem, their responses are usually vague and various.
The disequilibrium of the psyche, its reduced perception, is the creator of the natural world as it is now known. Contraries are to be understood as psychic or mental opposites that exist in a regenerated state, a redeemed paradisiacal state of unlimited energy and unbounded perception.
Blake has in his total work depicted the progress to regeneration based on a conflict between contraries. Once contraries are accepted, energy is created, progress is inevitable, and reintegration occurs. Paradisiacal man perceives the majesty of the imagination, the passions, the reason, and the senses.
The imagination in the redeemed state is called Urthona, and after the Fall, Los. Urthona represents that fourfold, unbounded vision that is the normal attribute of the redeemed man. Such vision is not bound by the particulars it produces through contraction, nor is it bound by the unity it perceives when it expands.
Luvah, the passions or love, is represented after the Fall by Jesus, who puts on the robes of love to preserve some hint of divine love in the fallen world. Urizen, the zoa of reason, is the necessary boundary of energy, the wisdom that supplied form to the energies released by the other contraries.
In the fallen world, he is the primary usurper of the dominion of other faculties. Tharmas, the zoa of the senses, has, in his paradisiacal form, unrestrained capacity to expand or contract his senses. In the fallen state, these senses remain but in an enervated condition.
Sexuality, the sense of touch shared by two, is a means by which fallen man can regain his paradisiacal stature, but it is unfortunately a suppressed sense.
The Blakean Fall that all the personified contraries suffer is a Fall from the divine state to the blind state, to the state in which none of their powers are free to express themselves beyond the severe limitations of excessive reason. Each of the contraries has his allotted place in the Fall; each sins either through commission or omission.
The Four Zoas, Miltonand Jerusalem. The metaphysic of contraries, the theoretical doctrine, is never denied. From Night IX in The Four Zoas onward, Los, who embodies something akin to the Romantic concept of the sympathetic imagination, becomes the agent of regeneration.
It is he who can project himself into the existence of his polar opposite and can accept the existence of that contrary in the act of self-annihilation and consequently forgive.
Thus, the theory of contraries has not altered; any contrary can assume a selfhood in conflict with dialectic progression itself. Los preserves the dialectic while Orc maintains a hierarchy. An acceptance of contraries would lead to the destruction of false perception and disequilibrium and eventually to a complete resurrection of the fallen body.
Humanity would again possess divine proportions through a progressive development of its own nature rather than through obedience to the supposed laws of an external deity. Through the faculty of imagination, Blake intuits the divinity of humankind, the falseness of society, and the falseness of laws based on societal behavior.
He perceives the spiritual essence of humans, displaying therefore a spiritual rather than a rational brand of humanism. His diagnosis of the divided psyche becomes a revelation, and his therapy, an apocalypse. Blake himself dons the mantle of a prophet. Able to see God and his angels at the age of four, Blake gave precedence in his life to vision over the natural world.
He would continue to see through and not with the eye, and what he saw he would draw in bold outline as ineluctable truth. Ultimately, even the heterodoxy of Swedenborgianism was an encroachment on the supremacy of his own contact with the spiritual world.
Early inspired by the revolutionary spirit of the times, he continued throughout his life to advocate a psychic revolution within each person that would lead to regeneration. His focus moves from a political-societal revolution of apocalyptic proportions to a psychic, perceptual regeneration of each individual person.
It is the regenerated person who can perceive both a unity beyond all diversity and a diversity within that unity. In Songs of Innocence, a glimpse of energies is uncircumscribed, of what humans were and again could be if they rightly freed themselves from a limited perception and repressed energies.
The later poems, The Four Zoas, Milton, and Jerusalem, are large-scale epics whose focus is a particularly Romantic one—epistemological and ontological transformation.
Los, hero of the imagination, is not a hero who affirms the values of a culture, nor are his strengths and virtues uniformly admired by that culture.
What is perceived depends on the imaginative act.
The world can be construed only imaginatively. Humanity, Blake held, can apprehend the infinity within only through imagination. London is at every moment available for imaginative transformation; so is every object in the natural world. In this view of imagination, Blake foreshadows Samuel Taylor Coleridge and especially Percy Bysshe Shelley and attacks the rationalism of the eighteenth century.Free Essay: Interpretation of “The Sick Rose” William Blake’s “The Sick Rose” is not easily interpreted at first glance.
One must look at the deeper meaning.
In the poem The Sick Rose by William Blake the subject is a women on her psychological and physical sick bed. Blake uses imagery and similes to describe the destruction, caused by a sexual affair, of a female.
To begin with, Blake uses similes to express his message. The Rose is not only a flower. A summary of “The Sick Rose” in William Blake's Songs of Innocence and Experience.
Learn exactly what happened in this chapter, scene, or section of Songs of Innocence and Experience and what it means. Perfect for acing essays, tests, and quizzes, as well as for writing lesson plans. - William Blake's The Sick Rose "The sick rose" is a very ambiguous poem and open to several interpretations, Blake uses lots of imagery and effective metaphors.
My first impression of the poem was that it?s very negative and includes elements of destruction revenge and perhaps even murder. Essays and criticism on William Blake - Critical Essays. William Blake’s focus is primarily on inner states; What's the analysis of the poem "The Sick Rose" by Blake?
William Blake, known for his excellent writing ability wrote a poem which I was intrigued by, "The Sick Rose." I find the rose to be that of a reflection of Beauty as the Soul a Christian woman rather than a plant. Perhaps the 1st line can explain this: "O rose, thou art sick!" I can certainly 3/5(4).