The Poem The Tyger By William Blake English Literature Essay
In 2002, Trina Robbins enhanproduced a sketch of "Alan Moore's closet" for the publication of the homage book to Alan Moore, Moore wears the uniform of his early hero Marvelman, but alternate cut out costumes are also provided. Robbins appended parodic instructions telling the viewer to "cut carefully around Alan's beard, slide outfits under" if they wanted a "perfect fit." Alan Moore has been reduced to a set of costumes, each supplanting the earlier version of Moore, each generating a new take on the same image: Alan Moore stands as a prophet, holyman, occultist superhero – complete with cloaks, tights, masks, even a metal corset. With some cutting and fitting – specifically by sheering off his prophetic persona – Alan Moore magically transforms into his characters. Moore cannot control his popular reception any more than William Blake can. He moves into and out of his own writing, becoming the Marvelman, the Promethea, the V he depicts on the comic page. All distinction between the "real" Alan Moore and the Alan Moore on Robbin's illustration breaks down: he steps into the intertextual web of referentiality, becoming his own written trace – a fictionalized character no longer under his own control but one that spreads and disseminates into the myriad of different blogs, motion pictures, comic books, and biographies that discuss him. While William Blake possesses the capitalist subject, the capitalist subject possesses Alan Moore – Alan Moore becomes William Blake – and one cannot tell if the capitalist subject is being perverted or if the capitalist subject is dominating everything: transforming and commodifying mysticism, superheroics and prophecy in a flourish of postmodern monetary exchange. Who made the Tyger? Who made William Blake, or Alan Moore, or the transcendental unity of apperception? All are fearful symmetrical reflections of one another. All contribute to, pound away at, and fracture the sublime network that is contemporary global capital.
The Lamb & the Tyger by William Blake
"The Tyger" just might be ’s most famous poem. Kids read it in elementary school because it rhymes and is about a tiger (yay!). High schoolers read it because their teachers want to give them something tougher to chew on (like a tiger!...OK, we’ll stop). Scholars debate about it because it connects to much of Blake's other work and its themes touch upon a lot of the central issues of Blake’s craft (marvelous!).
Published in a collection of poems called in 1794, Blake wrote "The Tyger" during his more radical period. He wrote most of his major works during this time, often railing against oppressive institutions like the church or the monarchy, or any and all cultural traditions – sexist, racist, or classist – which stifled imagination or passion. Blake published an earlier collection of poetry called the in 1789. Once Songs of Experience came out five years later, the two were always published together.
In general, Songs of Innocence contains idyllic poems, many of which deal with childhood and innocence. Idyllic poems have pretty specific qualities: they’re usually positive, sometimes extremely happy or optimistic and innocent. They also often take place in pastoral settings (think countryside; springtime; harmless, cute wildlife; sunsets; babbling brooks; wandering bards; fair maidens) and many times praise one or more of these things as subjects.
The poems in Songs of Experience, on the other hand, wrestle with issues of what happens when that innocence is lost. "The Tyger" is often paired with the poem called "" from Songs of Innocence. The former references the latter and reexamines the themes of "The Lamb" through the lens of experience. "The Lamb" is one of those idyllic poems which asks the Lamb who made "thee" (just like "The Tyger"), praises how soft and cute it is, then tells it that God made it and how wonderful that is. Blake's tone almost seems ironic (i.e., he actually means something very different than what he seems to be saying). Many scholars have argued just that, especially when paired next to his poems about the dangers of religious dogma.
“The Tyger” consists of a series of rhetorical questions that attempt to reconstruct the process of the formidable animal’s creation ("Explanation of: 'The Tyger' by William Blake"), a trochaic tetrameter rhythm with a catalexis, vivid imagery, an apostrophe, an allusion, and a compelling use of metaphors....
The Tyger: William Blake - Summary and Critical Analysis
The formal violence of Moore's text is reflected in the final scene of the issue where the violent hero Rorschach is unmasked. Rorschach spends the majority of the issue intimidating reformed criminals. He had also been known as a particularly violent hero, sometimes killing his enemies in the name of justice and balance. At the end of the issue Rorschach's true face is revealed, its childish innoncence reflecting the cartoony tiger in Blake's print. While kicking and punching him, the police capturing Rorschach scream in glee "[w]ho is he? This ugly little zero is the terror of the underworld[…]and we're gonna lock him up with them. It's karma, man. Everything evens out eventually. Everything balances" (Moore and Gibbons V; 28). Moore shows this belief in symmetry and karma as a desire for violence and restoring a sense of balance and meaning to history. Rorschach's violence, like the violence of the police in the final scene, indicates a belief in the reality and redemptive meaning of time and history. It is the vacillation between the violence of a metaphysical history and the violence of writing that interests Moore, and it is also this vacillation that brings in the haunting aura of William Blake. As Blake's words echo on the final panel of the issue, and as Blake's Tyger (reincarnated as Rorschach) is beaten into submission, Blake's uncanny aura permeates this issue. It slips in between the absent panels and the characters who do not realize that they are merely ink blots on a reproduced page.
The Lamb & the Tyger by William Blake Essays
From this, the essay moves forward by examining the multiple references to symmetry made by Blake in “The Tyger,” and proposes that these are an overall collection that contains many of the tiger’s contradictions....