"all cited Blake as one of their major inspirations. Comic designer William Blake Everett claims to be descended from Blake. In his film ""Mean Streets"" (1973), Martin Scorsese refers to Blake's poem ""The Tyger"" when a young pet tiger makes Harvey Keitel and Robert De Niro take refuge atop a couch, paralleling the grit and innocence of life in the city. A variation on a verse from Blake's ""America a Prophecy"" appears in Ridley Scott's science fiction film ""Blade Runner"" (1982), spoken by Roy Batty (Rutger Hauer). This has been interpreted as a way of linking Batty to Blake's mythic"
"of the tunes. The Tyger ""The Tyger"" is a poem by the English poet William Blake published in 1794 as part of the ""Songs of Experience"" collection. Literary critic Alfred Kazin calls it ""the most famous of his poems"", and ""The Cambridge Companion to William Blake"" says it is ""the most anthologized poem in English"". It is one of Blake's most reinterpreted and arranged works. The ""Songs of Experience"" was published in 1794 as a follow up to Blake's 1789 ""Songs of Innocence."" The two books were published together under the merged title ""Songs of Innocence and of Experience, showing"
"protect the bodies of the martyrs from all the other carrion beasts."" Notes Bibliography Beasts of battle The Beasts of battle is a poetic trope in Old English and Old Norse literature. It consists of the wolf, the raven, and the eagle, traditional animals accompanying the warriors to feast on the bodies of the slain. It occurs in eight Old English poems and in the Old Norse Poetic Edda. The term originates with Francis Peabody Magoun, who first used it in 1955, although the combination of the three animals was first considered a theme by Maurice Bowra, in 1952. The"
"The Tyger ""The Tyger"" is a poem by the English poet William Blake published in 1794 as part of the ""Songs of Experience"" collection. Literary critic Alfred Kazin calls it ""the most famous of his poems"", and ""The Cambridge Companion to William Blake"" says it is ""the most anthologized poem in English"". It is one of Blake's most reinterpreted and arranged works. The ""Songs of Experience"" was published in 1794 as a follow up to Blake's 1789 ""Songs of Innocence."" The two books were published together under the merged title ""Songs of Innocence and of Experience, showing the Two Contrary"
"Night (Blake) ""Night"" is a poem in the illuminated 1789 collection ""Songs of Innocence"" by William Blake, later incorporated into the larger compilation ""Songs of Innocence and of Experience"". ""Night"" speaks about the coming of evil when darkness arrives, as angels protect and keep the sheep from the impending dangers. ""Songs of Innocence"" was written by William Blake in 1789 as part of his Illuminated Books. Blake's aim for his ""Songs"" was to depict the two contrary states of human existence: innocence and experience. The Songs speak upon the ""innocence"" of being a child and the ""experience"" gained over a"
"The Night of Enitharmon's Joy The Night of Enitharmon's Joy, often referred as The Triple Hecate or simply Hecate, is a 1795 work of art by the English artist and poet William Blake which depicts Enitharmon, a female character in his mythology, or Hecate, a chthonic Greco-Roman goddess of magic and the underworld. The work presents a nightmarish scene with fantastic creatures. ""The Triple Hecate"" is painted with deep tones and bold masses. Blake employed a new technique whose ""effect is darker and richer than [his] illuminated books"". One scholar interprets his colour print ""Hecate"" thus: ""She is triple, according"
"darkness. The use of the raven—the ""devil bird""—also suggests this. This devil image is emphasized by the narrator's belief that the raven is ""from the Night's Plutonian shore"", or a messenger from the afterlife, referring to Pluto, the Roman god of the underworld (also known as Dis Pater in Roman mythology). A direct allusion to Satan also appears: ""Whether Tempter sent, or whether tempest tossed thee here ashore..."" Poe chose a raven as the central symbol in the story because he wanted a ""non-reasoning"" creature capable of speech. He decided on a raven, which he considered ""equally capable of speech"""
"identified with Job, as he spent his lifetime unrecognized and impoverished. Harold Bloom has interpreted Blake's most famous lyric, ""The Tyger"", as a revision of God's rhetorical questions in the Book of Job concerning Behemoth and Leviathan. Blake also depicted the story of Job throughout his career as an artist. The song of Enion in Night the Second of ""The Four Zoas"" also demonstrates that Blake identified with Job. Blake used symbols extensively in the illustrations; most notable is the use of right and left limbs in the figures. The right limb represents the spiritual and the good; the left,"
"The Panther (poem) The Panther (subtitled: ""In Jardin des Plantes, Paris"") is a poem by Rainer Maria Rilke written on 6 November 1902. It describes a captured panther behind bars, as it was exhibited in the Ménagerie of the Jardin des Plantes in Paris. It is one of Rilke's most famous poems and has been translated into English many times, including by many distinguished translators of Rilke, like Stephen Mitchell, C. F. MacIntyre, J. B. Leishman and Walter Arndt, Jessie Lamont and poets like Robert Bly. It is used in the film ""Awakenings"" (1990) by the protagonist Leonard Lowe as"
"The Echoing Green ""The Echoing Green"" (or Ecchoing Green) is a poem by William Blake published in ""Songs of Innocence"" in 1789. The poem talks about merry sounds and images which accompany the children playing outdoors. Then, an old man happily remembers when he enjoyed playing with his friends during his own childhood. The last stanza depicts the little ones being weary when the sun has descended and going to their mother to rest after playing many games. The poem follows the structure of a day— 'the sun does arise' in the beginning of the first verse, and 'the sun"
"besmirched by duty, or any other thorn the rose may bear. The Lilly The Lilly is a poem written by the English poet William Blake. It was published as part of his collection Songs of Experience in 1794. The modest Rose puts forth a thorn, The humble sheep a threat’ning horn: While the Lily white shall in love delight, Nor a thorn nor a threat stain her beauty bright. The Rose, which is a symbol of love and beauty, puts forth a flaw or a thorn. The humble sheep also calls to attention its horn or flaw. The Lilly, however,"
"far and wide! You open the roses to help them spreading their scent, And the nightingale’s silent throat to sing with content, And clothe the trees all in their rainbow-hued raiment. The bushes bloom brightly for you, violets, far and near, Flowing waters and wells, thanks to you, will begin to run clear, And the best of the fastest of horses will prick up their ears, Because after they’ve tired their legs racing, you make them strong, On lovely, lush, pasture grasses, all dewy and long, You strengthen their sinews anew for the next hectic furlong. Indeed, the bold soldier-knights"
"The Lamb ""The Lamb"" is a poem by William Blake, published in ""Songs of Innocence"" in 1776. ""The Lamb"" is the counterpart poem to Blake's poem: ""The Tyger"" in ""Songs of Experience"". Blake wrote ""Songs of Innocence"" as a contrary to the ""Songs of Experience"" – a central tenet in his philosophy and a central theme in his work. Like many of Blake's works, the poem is about Christianity. The lamb is a common metaphor for Jesus Christ, who is also called ""The Lamb of God"" in John 1:29. This poem has a simple rhyme scheme: AA BB CC DD"
"The Shepherd (Blake) The Shepherd is a poem from William Blake's ""Songs of Innocence"" (1789). This collection of songs was published individually four times before it was combined with the ""Songs of Experience"" for 12 editions which created the joint collection ""Songs of Innocence and of Experience"" (1794). Blake produced all of the illuminated printings himself beginning in 1789. Each publication of the songs has the plates in a different order, and sixteen other plates were published posthumously Ralph Vaughan Williams set the poem to music in his 1958 song cycle ""Ten Blake Songs"". The Shepherd <poem> How sweet is"
"in numbers when horses were the primary mode of transportation, requiring larger supplies of hay. Emily Dickinson penned many poems about the bird. Edgar Allan Poe mentions the bird in ""Landor's Cottage"". The bobolink is mentioned in the song Evelina by Harold Arlen and Yip Harburg, from the musical ""Bloomer Girl"": <poem>Evelina, won't ya ever take a shine to that moon? Evelina, ain't ya bothered by the Bobolink's tune?</poem> The bird is also one of the many important ornithological references in Vladimir Nabokov's John Shade's poem ""Pale Fire"" in the novel of the same name. Sophie Jewett ends her poem"
"air. </poem> On the subject of nature, Campbell could produce poetry such as this in his ""The Zebras"" (1931): <poem> From the dark woods that breathe of fallen showers, Harnessed with level rays in golden reins, The zebras draw the dawn across the plains Wading knee-deep among the scarlet flowers. The sunlight, zithering their flanks with fire, Flashes between the shadows as they pass Barred with electric tremors through the grass Like wind along the gold strings of a lyre. Into the flushed air snorting rosy plumes That smoulder round their feet in drifting fumes, With dove-like voices call the"
"Beasts of battle The Beasts of battle is a poetic trope in Old English and Old Norse literature. It consists of the wolf, the raven, and the eagle, traditional animals accompanying the warriors to feast on the bodies of the slain. It occurs in eight Old English poems and in the Old Norse Poetic Edda. The term originates with Francis Peabody Magoun, who first used it in 1955, although the combination of the three animals was first considered a theme by Maurice Bowra, in 1952. The beasts of battle presumably date from an earlier, Germanic tradition; the animals are well"
"he sees while escaping from the heat of noon a white heifer near a bull; when the heifer is pecked by a crow, it leaves the bull for a meadow with other bulls. The interpreter interprets the dream as a love allegory; the bull represents the poet, the heifer a girl, and the crow an old woman. The old woman spurs the girl to leave her lover and find someone else. The poem is known to have circulated independently and its lack of engagement with Tibullan or Propertian elegy argue in favor of its spuriousness; however, the poem does seem"
"animals in the paintings are similar in proportion to the reedbuck, but the large ears, horns, and lack of a mane rule out species other than the bluebuck. A South African fable, ""The Story of the Hare"", mentions a bluebuck (referred to as ""inputi"") that, among other animals, is appointed to guard a kraal. The bluebuck is also mentioned in French novelist Jules Verne's ""Five Weeks in a Balloon"" (1863); the animal is described as a ""superb animal of a pale-bluish color shading upon the gray, but with the belly and the insides of the legs as white as the"
"following his herd, the reader may view both the sheep and The Shepherd as protectors of each other. The Shepherd watches over his herd with delight as God watches over his people. Reversed, Jesus - represented as a lamb - does not lead mankind - The Shepherd - astray. The Shepherd in the illustration is standing underneath a vine-wrapped tree surrounded by his herd of sheep. In many of the ""Songs of Innocence,"" Blake uses vegetation to show the security of innocence that is secure and unthreatened. This dove underneath the poem mimics the dove found on the introduction plate."
"wight Calls the watchman of the night? 'I am set to light the ground, While the beetle goes his round: Follow now the beetle's hum; Little wanderer, hie thee home! In this poem, Blake portrays the concepts of the return to innocence from experience. No wonder the artist thought first of including it in “Songs of Experience” at first, finally deciding to move it back to “Songs of Innocence” (according to the Blake Digital Text Project). The theme of the child who is lost and later found is also present in the character of the Emmet (ant) who is given"
"Like birds in their nest,<br> Are ready for rest;<br> And sport no more seen <br> On the darkening Green. Scholarly editions all place ""The Echoing Green"" as the sixth object in the print order for the ""Songs of Innocence and of Experience"". The following, represents a comparison of several of the extant copies of the poem, their print date, their order in that particular printing of the poems, and their holding institution: The Echoing Green ""The Echoing Green"" (or Ecchoing Green) is a poem by William Blake published in ""Songs of Innocence"" in 1789. The poem talks about merry sounds"
"Typically a symbol of peace, the dove enables the reader to absorb the peaceful setting that is typical of a pastoral poem. Depending on the version, the sun appears to either be rising or setting. The rising sun gives the impression of new beginnings that is consistent with innocence while the setting sun encourages the reader to view the poem as the end of a journey through innocence and onto experience. The Shepherd (Blake) The Shepherd is a poem from William Blake's ""Songs of Innocence"" (1789). This collection of songs was published individually four times before it was combined with"
"The poet dreams that he wakes in a chamber with windows of stained glass depictions of the tale of Troy and walls painted with the story of ""The Romance of the Rose"". He hears a hunt, leaves the chamber, and inquires who is hunting. The hunt is revealed to be that of Octavian. The dogs are released and the hunt begins, leaving behind the poet and a small dog that the poet follows into the forest. The poet stumbles upon a clearing and finds a knight dressed in black composing a song for the death of his lady. The poet"
"and a hare (lebre) dancing and circling a tree. It has been suggested that the three animals represent the King, Lord and Church who were responsible for taxation (the lyrics go on to refer to money gained over the year and how nothing was left after seeing 'the wolf, the fox and the hare'). In Europe, in the Middle Ages and Renaissance, foxes, which were associated with wiliness and fraudulent behavior, were sometimes burned as symbols of the Devil. In early Mesopotamian mythology, the fox is one of the sacred animals of the goddess Ninhursag. The fox acts as her"
"the creation of the poem only the narration in the novel 'the wanderer between both worlds' can be used... Although the book is heavily influenced by an autobiographic side it is nevertheless fictitious for the most part. Wild Geese (song) Wildgänse rauschen durch die Nacht (""Wild geese rush through the night"") is a war poem by Walter Flex. It was published in 1917 in his poem book Im Felde zwischen Nacht und Tag (""In the (battle) field between day and night""). The poem was also part of his 1916 novel Der Wanderer zwischen beiden Welten (""The wanderer between both worlds"")."
"every thoughtless nest They visit caves of every beast, When wolves and tigers howl for prey, Seeking to drive their thirst away, And there the lion's ruddy eyes And pitying the tender cries, 'And now beside thee, bleating lamb, Or think on Him who bore thy name, An interpretation of Blake's ""Night"" is offered in D. G. Gillham's book ""William Blake"" published in 1966. Gillham explains how this poem gives divine beings a clear identity, unlike other poems in ""Songs of Innocence"". The identity and actions of the angels show how all will be cared for after death. Gillham discusses"
"The Lilly The Lilly is a poem written by the English poet William Blake. It was published as part of his collection Songs of Experience in 1794. The modest Rose puts forth a thorn, The humble sheep a threat’ning horn: While the Lily white shall in love delight, Nor a thorn nor a threat stain her beauty bright. The Rose, which is a symbol of love and beauty, puts forth a flaw or a thorn. The humble sheep also calls to attention its horn or flaw. The Lilly, however, which is pure and white, enjoys love and has no thorn"
"standoff between Oona and a tiger, and Will remembers the poem ""The Tyger"" by William Blake. Saying this poem out loud gives Will courage. This bravery is needed when Will is kidnapped by hunters, and finds out about threats to the rainforest through trade in exotic pets, animal furs, palm oil and timber The idea for this book came from a newspaper article about Amber Owen, who was saved from the 2004 tsunami by an elephant whom she was riding at the time. Morpurgo had not traced Owen until 2016, and invited her and her family to the opening night"
"the dragon, and the griffin. In classical times, the griffin was a keeper of light, attending Apollo, and Christians retained the griffin's association as a guardian of the dead. Imaginary creatures are also frequent, and the gargoyles alone display a great variety. Viollet-le-Duc remarked that he did not know, in France, two gargoyles alike. The symbolism which usually attaches to the various animals is derived for the most part from the bestiaries. Thus, for the lion, strength, vigilance, and courage; for the siren, voluptuousness; for the pelican, charity. The four animals which symbolize the leading characteristics of each of the"
"uplands overlooking a broad expanse of tidal, saltwater marsh that has long inspired poets such as Charles G.D. Roberts and Bliss Carman. Lochhead first saw the Tantramar Marshes from a troop train on his way to England during the Second World War. After moving to Sackville, he visited them nearly every day where he watched the many flocks of migrating birds and closely observed the landscape that became an important subject for his poems. ""September 22"" ""<poem>the horse limps out of the covered bridge. a girl leads it. she is teaching it to go into darkness. into new noises, silences."
"the picture is part of W. Graham Robertson's private collection and was presented to the Tate Gallery by himself in 1939. It is considered to be one of the most brilliant and significant pictures of William Blake. The Night of Enitharmon's Joy The Night of Enitharmon's Joy, often referred as The Triple Hecate or simply Hecate, is a 1795 work of art by the English artist and poet William Blake which depicts Enitharmon, a female character in his mythology, or Hecate, a chthonic Greco-Roman goddess of magic and the underworld. The work presents a nightmarish scene with fantastic creatures. ""The"
"deaths of entire species buried in the earth. 1816, the year in which the poem was written, was called ""the year without summer"", as strange weather and an inexplicable darkness caused record-cold temperatures across Europe, especially in Geneva. Byron claimed to have received his inspiration for the poem, saying he ""wrote it... at Geneva, when there was a celebrated dark day, on which the fowls went to roost at noon, and the candles were lighted as at midnight"". The darkness was (unknown to those of the time) caused by the volcanic ash spewing from the eruption of Mount Tambora in"