The Lamb by William Blake Essay

such a terrifying beast?” and “Who is God who dares to make such a terrifying

Palestrina had a simple but complex way when it came to his strategic plan in this piece. The piece is text­ driven as is written as a simile. Palestrina used Aesthetic appeal, emotional power, and intellectual depth to make this piece a true masterpiece. Part of Palestrina is strategic plan was to write the piece as a simile. He used the translation from Psalm 42, “ As a deer longs for springs of water, so my soul longs for you”. First off, this line is represented throughout the motet, like a simile. The deer longing for springs of water is a simile as to how the soul longs for God. Each part is put into three sections, because Palestrina is comparing “ As a deer longs for springs of water” and “ my soul longs for you”. Palestrina also uses “so” or “ita” to put the simile together, he uses this to show what is being compared and to help show that the deer longs for water is the same as the soul longs for God. Palestrina also shows text­painting when has the notes flowing just like the flowing of water when it says water. The springs of water is a comparison to God. Also, he when it states in the piece ,” my soul longs” the notes go down because the soul is connected to Earth. This is also a connection to how the notes go higher when it reaches God because God is up in heaven. As a result, the strategic plan was to make the piece a simile and

Early in the poem, Jarman points out the “sermon’s trenchant commentary on the world’s ills” (2-3), illustrating a mutilation of the connectedness of the congregation focusing instead on the very real but nonetheless generic ills of the world. Furthermore, the phrase “hand-wringing” (4) seems to describe the shaking of hands as the congregation members greet each other with the peace of Christ, again listing the routine of the congregation. Although, it appears to be more inclined towards a description of a helpless, passive anxiety that corresponds well with a sermon designed to impose guilt without inspiring action. Jarman goes on to compare the persistent nature of sin even in moments of peace with “motes of dust ride, clinging” (8). In this line, Jarman suggests that the congregation is sinful even after all the doctrinal procedure done to become clean from sin. Even the structure of the octave suggests a conventional and never changing sonnet form with 14 lines, a perfect Italian rhyming scheme, and a fascinating iambic pentameter alone, that inspires nothing more than an

Persona is an important concept in these poems. "The Lamb" could be read as a nursery rhyme to little children. The persona of this poem is one of a little child talking to a lamb. The persona of "The Lamb" is shown in line seventeen, "I a child, and thou a lamb." The persona helps Blake to show that God made such a harmless creature like the lamb and such a pure child. The reader knows that God made both these creatures because the line "Little Lamb, who made thee?"(Blake 538) is repeated throughout the poem. The child is a symbol of purity so that is why Blake chose to use a child as the persona rather than a grown up. The child is describing to the lamb who made him: We know this because in the second

Furthermore, Hughes uses the rhetorical device of allusion when he writes about his aunt’s bringing him to the church for a special meeting. When he writes, “Then just before the revival ended, they held a special meeting for children, ‘to bring the young lambs to the fold’’’ (1), he attempts to correlate his invitation to salvation to a Biblical parable. Along with his reference to the Bible, he conveys the church member’s excitement with vivid imagery. He illustrates the church’s setting as being infuse with “all moans and shouts and lonely cries and dire pictures of hell”, and he also describes the preacher’s sermon as a “wonderful rhythmical sermon” (3). Conjointly, Hughes presents imagery of the churchgoers and alludes to a Biblical story in order to demonstrate the magnitude of the religious enthusiasm of the members of the church.

In the second stanza, the child tells the lamb who created him. In lyrics 13 and 14, he says “He is called by thy name/For he calls himself a Lamb. In Christianity, this is Jesus Christ, the son of God. In explaining the trinity earlier, this is another reference to God. Lyrics 15 and 16 say “He is meek, and he is mild/He became a little child. Jesus Christ was sent down to bare people’s sin. This could only happen if a child was born of purity (from a virgin).

Just like the “lamb” that was born into this world through a virgin and was sacrificed for all mankind, this same “lamb” made us and called us by his name. In his poem "The Lamb," William Blake clearly uses repetition, personification, and symbolism to describe his religious beliefs and how a pure sacrifice is portrayed by a little lamb. Laura Quinney’s book, “William Blake on Self and Soul,” shows the religious side of Blake when it says, “Blake makes this argument in his address “To the Deists,” where he insists “Man must & will have Some Religion; if he has not the Religion of Jesus, he will have the Religion of Satan” (Quinney, 2009). Blake uses his religious view to show us he believes that our creator is the Lamb of God. He distinctively uses the innocence and purity of a little lamb and how its creator clearly takes care of it. The lamb is fed, given water by the stream and a bidden a blessed life.

The author presents characters such as Abraham, Melchizedek, angels, and those listed in chapter 11, all of whom were held to high esteem in the Christian community. However, using a literary form called synkrisis throughout the book (Thompson 18), the author maintains that Christ is better than all of them. For Christ allows the readers to enter boldly into the presence of God because he, remaining faithful, went before them in suffering and persevered the cross. In light of Christ’s faithfulness, the author exhorts the readers,

Some of these words evoke very strong emotions. The word "reverence" makes me imagine a crowd of worshipping masses, as it means "feelings of deep respect or devotion" ("Reverence"). This is a rather obvious conclusion to draw, as the poem at its heart is very much about God's stature. One can assume that the preacher is probably not one to criticize God, given his profession, and thus the praise heaped upon God by the narrator is appropriate.

The Christ depicted in this passage willingly accepts his battle on the cross and because of this act the poet then goes on to describe Christ as a "warrior", "strong," and "stouthearted." Christ is not portrayed as a meek and humble man resigned to his task as savior and lord. Within this portion of the text, he becomes a bold warrior climbing the cross as if going into battle. At the end of the poem, the narrator looks to Christ and the cross for protection.

In “Introduction” the “ancient trees” are used to represent the forests of materialism. “The Holy Word” is portrayed as walking through this field of materialism, showing that when not in a form of exaggerated innocence, religious values and ways of life can become lost and confused within everyday life. The structure of “The Songs of

The poem begins with the speaker addressing God as “Our Father who art in heaven” (1.1).

show a large amount of similarity, as well as differences, both in the way he

Blake's poems of innocence and experience are a reflection of Heaven and Hell. The innocence in Blake's earlier poems represents the people who will get into Heaven. They do not feel the emotions of anger and

William Blake used animals as basic building blocks for poems such as “The Lamb” and “The Tyger.” By using these carefully selected animals to depict good and evil, the reader truly understands Blake’s words. All readers can relate to animals such as an innocent lamb and a