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Comparing Songs Of Innocence And Songs Of Experience By William Blake

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Some of William Blake’s poetry is categorized into collections called Songs of Innocence and Songs of Experience. Blake explores almost opposite opinions about creation in his poems “The Lamb” and “The Tiger.” While the overarching concept is the same in both, he uses different subjects to portray different sides of creation; however, in the Innocence and Experience versions of “The Chimney Sweeper,” Blake uses some of the same words, rhyme schemes, and characters to talk about a single subject in opposite tones. The first stanzas of both poems establish that the children have been forsaken by their parents and were left in the role of a chimney sweeper. The Innocence poem’s rhyme scheme consists of two couplets per quatrain. The couplets create a sound similar to nursery rhymes (which often mask dark events, like the Black plague). The Experience poem begins with rhyming couplets in a quatrain, but switches to ABAB rhymes in the second stanza. Some of the end rhymes are just barely off, which causes a slight feeling of uneasiness. The speaker in Innocence is a chimney sweeper, but the poem doe snot focus on him–it focuses on “little Tom Dacre” and his dream (Innocence, 5). Before it was shaved off, Tom had white hair “that curled like a lamb’s back” (Innocence, 6). The color white and lambs are symbolic of innocence and purity; even though his hair is shaved away, the goodness is still right below the surface. The subject of Experience is in stark contrast to Tom Dacre. The speaker of the poem is someone who is talking to the child, and they do not describe the chimney sweeper like a person. Instead, he is called “a little black thing” sitting in the snow (Experience, 1). Snow may be white like Tom Dacre’s hair, but it is also stark and inhospitable: it serves to make the soot-covered child stand out. Like Tom, this child was prepared to become a chimney sweeper; his parents dressed him in “the clothes of death” and taught him “to sing the notes of woe” (Experience, 7-8). Crying is described in both poems as “‘weep!” This cry forms an end rhyme and an internal rhyme in Innocence–the cohesion of sounds lessen the emotional impact of the cry. Whereas, in Experience, “‘weep” does not rhyme with anything, and

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