블레이크의 『경험의 노래』 다시 읽기

양승갑 ( Sungkap Yang ) 21세기영어영문학회 2019 영어영문학21 Vol.32 No.3

William Blake states that the purpose of his work is an endeavour to restore “the Golden Age” of human beings. His vocation for the restoration is revealed explicitly in Songs of Innocence and of Experience, an early production in his writing career. In the epigram, he says that the songs are written for “shewing the two contrary states of the human soul.” From the title itself we can draw easily what the two contrary states of the human soul are. And in Songs of Innocence, it’s easy to tell what ‘innocence’ means. The prevailing motifs and imagery in the poems show that it’s an innocent status of the human mind which can be found in young boys and girls inexperienced in the tough world. But in Songs of Experience, ‘experience’ resists obstinately being translated into ‘corruption’ as opposed to ‘innocence.’ Songs of Experience witnesses many young boys and girls deserted and tormented by grown-ups especially by the established. The fact that the former-dwellers in the world of innocence are harshly abused in the world means that the experience is not the state of the human soul or mind but ‘the conditions in living.’ And also the translation of experience into corruption impairs the coherence of the whole context in Songs of Experience. Experience as the conditions in living invites inevitably the problem of ‘justice.’ In Songs of Experience, Blake criticizes severely the ‘logocentrism’ which has been corrupted into the dominant ideology by the ruling class, especially by the religious. The religious who have monopolized all the information in the name of religious mysticism curb the reasons of people and their bodies as well. Blake believes in the original status of human beings but also believes that the deep-rooted injustice done by the established has been spoiling the prime quality. Only the society of justice in which reciprocal equality is fulfilled can restore “the Golden Age” of human beings. The predicaments of the modern world in which the social polarization between the rich and the poor has been deepened clarify that Songs of Experience can be a prophetic and apocalyptic gospel for us.

블레이크의 『경험의 노래』와 생태 정의

양승갑 ( Yang¸ Sung-kap ) 21세기영어영문학회 2021 영어영문학21 Vol.34 No.1

Blake’s Songs of Experience, the antithetical poem to Songs of Innocence, depicts the apocalyptic realities of human beings in the world of experience. And the calamity of the world, Blake clarifies, has come from deep-rooted social injustice which has been enforced to innocent and vulnerable children and grown-ups by the established in the name of religion and reason. In Blake’s poems, the widespread injustice wields its power especially upon the intrinsic vitality of human beings. And poems make it clear that the oppression has become more wretched in parallel with the distance of human beings away from nature with which they had once dwelled in harmony. Consequently, the accomplishment of eco-justice can restore the dwelling place of human beings in nature and recover their inherent properties of, what Blake calls, ‘innocence and experience’. Additionally, the approach to Songs of Experience with eco-justice can make the meaning of the ‘experience’ more explicit. With the help of eco-justice, any constraints surrounding the experience can be eliminated and reveal its genuine quality to be the ‘energetic’ pair to ‘pure’ innocence in the human mind.

『순수와 경험의 노래』에 나타나는 언어와 시각적 이미지 사이의 통합과 파편성의 문제

김혜연 현대영미어문학회 2017 현대영미어문학 Vol.35 No.1

The study examines the complex relationship between words and images in William Blake’s illustrated book, Songs of Innocence and Experience. Since the 1950s, Blake’s illustrated books have been considered “composit art” by Blake scholars like Northrop Frye, Jean Hagstrum and W. J. T. Mitchell. Most recently, however, influenced by Poststructuralism, some Blake scholars have begun to insist on observing the illustrated books as an “open and disintegrable text.” In examining “The Lamb,” “The Tyger,” “Infant Joy” and “The Fly” of Songs of Innocence and Experience, this paper argues that this illustrated book can be seen from both perspectives, as “composit art” and an “open and disintegrable text.” These are two contradictory characteristics of this book, and the inconsistent relationship between words and images can be an essential artistic framework of this book. .

블레이크 시의 「순수와 경험의 노래」에 나타난 디스토피아적 상황과 유토피아적 희망의 사회문화 고찰

민장배,송진영 인하대학교 교육연구소 2020 교육문화연구 Vol.26 No.5

"Songs of Innocence and Experience," the theme of William Blake's chimney sweep, can be regarded as a spiritual allergy depicting the grim situation and utopia vision of the time with biblical symbols and image rates. The purpose of this study is to explore the dystopian situation and utopian hope through "Song of Innocence and Experience" of a naive child cleaning the chimney, under the corrupt social climate of England in the 18th century. In "Song of Innocence" in "Chimney Cleaner," the children's horrifying background on the exploitation of labor was intended to inform adults of their depravity and their anger toward society at the time through innocent children. In "Song of Experience" in "Chimney Cleaner," adults harshly criticize that "the heaven" was created only for satisfaction, while young children no longer have such innocent children as to say that their sad tones sounded only happy and pleasant to adults. Blake's intention was to make the world's social criticism of experience stand out by the yardstick of "pure" by showing a child in two different worlds. This change is not only a social change that can emerge not only in that era but also in a modern society yearning for a new era, but also a life attitude that is requested by all of us in a society of infinite competition and parenting. Blake also wanted to portray the process of reaching salvation, the ultimate goal of man, by presenting two alternative concepts of purity and sin. In the process, he reflected on the dystopian situation hidden by the yawning social yoke, and sought to pursue utopian hopes. 윌리엄 블레이크의 굴뚝청소부를 주제로 한 『순수와 경험의 노래』는 성서적 상징과 이미지률 가지고 당시의암울했던 상황과 유토피아 비전을 그린 영적 알레고리(spiritual allegory)로 간주될 수 있다. 본 연구의 목적은 18세기영국의 타락한 사회풍토 하에서, 굴뚝을 청소하는 순진무구한 어린아이의 『순수와 경험의 노래』를 통해 디스토피아적상황과 유토피아적 희망을 탐구하는 데 있다. 「굴뚝청소부」의 『순수의 노래』에서는 아동들의 노동착취에 대한섬뜩한 배경을 순진무구한 어린아이를 통해 어른들의 타락한 모습과 당시 사회에 대한 분노를 알리고자 하였다. 「굴뚝청소부」의 『경험의 노래』에서는 어른들이 만족만을 위해 ‘천국’이 만들어졌다고 통렬하게 비판함과 동시에어린아이들은 자신의 비애의 음조가 어른들에게는 오로지 기쁘고 즐겁게만 들렸다고 할 만큼 더 이상 순진구무한어린아이의 모습을 지니지 못한다. 블레이크의 의도는 두 개의 다른 세계 속에 있는 어린아이를 보여줌으로써 ‘순수’의잣대로 ‘경험’의 세계의 사회 비평을 더 돋보이게 하려는 것이었다. 이러한 변화는 그 시대뿐만 아니라 새로운 시대를갈망하는 현대사회에서도 나타날 수 있는 사회변화일 뿐만 아니라 무한경쟁과 양육강식의 사회 속에서 우리 모두에게요청되는 삶의 자세인 것이다. 또한 블레이크는 순수와 죄라는 두 가지 대치된 개념을 제시하면서, 인간의 궁극적목표인 구원에 도달하는 과정을 그리고자 하였다. 이 과정에서 그는 위선적인 사회의 굴레에 가려진 디스토피아적상황을 성찰하고, 유토피아적 희망을 추구하고자 하였다.

오에 겐자부로의 윌리엄 블레이크 - 「순수의 노래, 경험의 노래」에 나타난 상호텍스트적 서사전략

왕은철 전북대학교 인문학연구소 2020 건지인문학 Vol.0 No.28

Oe Kenzaburo has been deeply influenced by William Blake, an English poet of the eighteenth and nineteenth centuries. He resorted to Blake especially after his first son was born severely handicapped. It is extraordinary to see how much he has been indebted to Blake. His Rouse Up O Young Men of the New Age! is literally filled with quotations from William Blake’s poems and engravings. It is, to use Julian Kristeva’s phrase, “a mosaic of quotations.” Oe absorbs and transforms Blake’s text to a great extent in which his text is almost saturated by Blake’s. This study examines “Songs of Innocence, Songs of Experience,” the first story in the collection, in light of what Kristeva calls intertextuality and brings into discussion the ethical dimension of intertextuality Oe makes use of. It highlights the way Oe reads Blake and draws connections between Blake’s poems and his own life particularly regarding his handicapped son with a severe brain damage. Reading Blake was for Oe not only a way to survive the traumatic experience of his own family but a way to find a new style through which he came to terms with his writing profession. Oe has drawn connections between his personal and professional life and Blake’s poems of which he thinks as “some marvelous encyclopedia.” He found in Blake “some kind of prophetic guidance” for his own life.

『순수와 경험의 노래』에 나타난 가족의 문제와 구원

이지연 ( Lee¸ Jiyeon ) 동국대학교 영어권문화연구소 2010 영어권문화연구 Vol.3 No.2

William Blake is an early romantic poet in England. In Blake's time, the eighteen century of England went through sudden social upheaval and great confusion through the influence of the Industrial revolution and the French revolution. Humanism and morality were fallen as Materialism was getting spread. Blake saw the united world through contrastive vision in Songs of Innocence and of Experience. Blake focused on the negative aspects of society in the vortex of revolutions. He criticized them in his poems with a keen observation and would like to suggest the solution for social recovery and human release. This study attempts to analyze the social criticism in the sense of family matters and redemptive voice for Utopia centering around Songs of Innocence and of Experience.

블레이크의 『순수와 경험의 노래』 연구

이종민 ( Lee Chong-min ) 대한영어영문학회 2003 영어영문학연구 Vol.29 No.1

The aim of this essay is to investigate multi-dimensional meaning of some poems in William Blake's Songs of Innocence & of Experience. The primary background of this kind of investigation is what is called ‘Doctrine of the States,’ which becomes more concrete in Blake's later epics. States are stages of error, which the Divine Mercy creates so that the State, not the Individual in it, shall be blamed, and the Individual can be forgiven. Each speaker of each song is not alway Blake the poet. Blake is a kind of stage director who manages the speaker behind the scene. He does not directly represent the states of Innocence or of Experience, but tries to show “the Contrary States of Human Souls.” To understand this deliberate strategy of the prophet-poet and the various ironical and symbolic meanings behind it, the reader should cultivate his own imagination and intuition. Only then he can escape from the Newtonian vision which Blake does his best to avoid. < Chonbuk National University >

A Study on the Process of Sublime Spiritual World of William Blake

( Choi¸ Chang-young ) 동국대학교 영어권문화연구소 2017 영어권문화연구 Vol.10 No.3

William Blake's dream, the spiritual form that comforts his soul, was a world of unity through the imagination that harmonizes the natural and human worlds in the idyllic natural landscape where the sound of children, sheep, and flutes can be heard. Blake begins his art world with a refutation of the logic of 18th century's empiricists such as John Locke, Burke and Bacon. The philosophies at that time underestimated the imagination and intuition of the poets and argued that all ideas emerged from external beauty with an emphasis on human's firm reason. The real world of art they reveal is a poet as a role model imitating nature. It is the concept of mirrors that illuminate things, not lamps that shine by themselves. In addition to theses concepts, these philosophers have called it innate ideas, believing that all noble and stubborn thoughts start with such a concept. The artistic world of mystic creativity of early Romantic poet Blake, who attempted to lead the poet's prophetic role, has a remarkable modernity in subjective spiritual function. In fact, current status of knowledge focus on cultivating talented people with creativity. It is similar to strengthening the pluralistic ability through mutual cooperation required by modern society and to emphasizing high personality and etc. and rejects the existing thinking system. And it reminds us of Blake's poetic spirit that emphasizes innovation, creativity, and harmony. Blake tries to overcome the philosophical limitations of contemporary times by combining both genres of literature and painting with his musical elements and harmonizing them into his poetic world. The association theory of contemporary empiricists points out that the domain of imagination can not be presented, and reaches the ultimate theory that only high-level ideas can be obtained through imagination. Based on this philosophical idea, he introduces his own creative worlds, illustrations and poems, and draws his own vision. His Visionary Form is the core concept of his art world. That is, human beings come to assimilate the attributes of God and this development process is embodied in the world theory of innocence and experience. Lamb and Tyger in his representative poem, Songs of Innocence and Experience, are symbols of the world of pureness and experience though, however, we could see Blake's unique philosophical and visionary world of mutual development and perfect harmony through these conflicting concepts. To him, imagination refers to the human being as a recognizing subject and has Divine Image he wanted to pursue throughout his entire life is the attribute of God that man has: Mercy, Pity, Peace, and Love. This paper is to trace the process leading to humanity through the symbolism of painting and music, recognizing the limitations of his empirical philosophy and overcoming it, through his sympathy with the divine image that his poetic journey world starting from infancy. In the end, he emphasizes that Divine Image was to embody the spiritual world through this poet's imagination.

「델기」

신경원(Kyungwon Shin) 19세기영어권문학회 2014 19세기 영어권 문학 Vol.18 No.1

Most critics including Northrop Frye read Thel in William Blake’s “The Book of Thel” as a social failure in her growth from Blakean Innocence to Experience. W. J. T. Mitchell, on the other hand, suggests that “The Book of Thel” is to be read as the first among Blake’s prophecy works. Accepting Mitchell’s view above, this paper studies Blake’s perspectivism revealed in “The Book of Thel” that allows and embraces differences and diverse perspectives of every individual of different species. Thel’s ventriloquism in the voices of the lily of the valley, the cloud, and the clod, reveals at fIrst her utilitarian use-value orientation in evaluating the raison d’?tre of beings, but her ultimate return from the “abyss of the five senses,” the “house” of the clod, allows also an extremely opposite interpretation, i.e., Thel’s escape from the ‘ratio’ of five senses and her future potentiality in exerting her “Poetic Genius.” Through his perspectivism, therefore, that does not allow any oppressive reconciliation or assimilation of bipolar dialectic forces, Blake opens readers to opposite readings. This paper examines how “The Book of Thel” with its embarrassingly ambiguous ending exemplifies Blakean perspectivism. It particularly focuses on the possibility of reading “The Book of Thel” as showing a woman’s desire to know and explore the secret of the unknown land, namely, the clod’s house. Thel’s shriek is not just a hysteric reaction of a naive virgin toward the generative world but a rejection of being caught in the abyss of five senses that will oppress her “Poetic Genius” and the latent potentiality of her expanding the poetic spirit.

윌리엄 블레이크의 채색시집 『순수와 경험의 노래』에 나타난 상호매체성과 상호텍스트성

김진아 한국미술이론학회 2011 미술이론과 현장 Vol.12 No.-

William Blake, regarded as one of the great Romantic poets, was a prolific painter, printer, and engraver as well. Yet, he did not receive due credit for his work during his time. For a long time, his graphic art and literature were treated in isolation from each other; literary critics focused only on his poems and art historians on his engravings or paintings. Recently, attempts to see his work, particularly his illuminated books, as a “composite art” or as a synthesis of word and image have increased. I will also consider his work as a kind of open text in a poststructuralists’ notion, which blurs the boundaries between them and encourages readings as textual performance. In this paper, I will first show how Blake differentiated himself from other painters, engravers, and publishers by devising his own way of creating and printing illuminated books. Next, focusing on his earlier work, Songs of Innocence and of Experience, I will briefly discuss the characteristics of his illustration and the content of his poems. Finally, I demonstrate how Songs makes for unique reading in which the reader is an ongoing participant in its textuality, crossing between words and words, and words and images. The advent of the Industrial Revolution brought with it an increase in mass publication, and the distinction between fine art and designs or craftsmanship was yet to be clarified. Against such distinction, Blake created a unique method of "relief-etching", through which he combined text and engraved illustration on a single copper plate and hand-colored the prints. Each copy thus remains a unique work of art. His illuminated books envision interdisciplinary and multimedia text and question the modern system of classification and hierarchies between poem and painting, painting and engraving, art and literature. In the images of Songs, we see Blake’s profound interest in Gothic art as “divine” work. For example, he persisted in using firm outlines that were characteristic of Gothic art. Like other Romantic poets, Blake believed the imagination and God’s spirit to be manifest in outline rather than color. The letter was regarded to be appealing to the sensuality of the eyes. On the other hand, the poems in Songs reflect the dialectical relationship and synthesis in which “innocence” might be wedded to “experience,” as its subtitle Shewing the Two Contrary States of the Human Souls implies. Songs is, however, not to be read by isolating the poems from the illustrations. In the introduction of Songs of Innocence, Blake proposed the intricate and conflicting relationship between speech, writing, and painting. The title page also suggests that children are not merely passive learners imitating the nurse’s reading but active readers-seers who may better understand Blake’s illuminated books. Further, this paper, after the examination of a few poems, attempts to show that the images do not necessarily illustrate the poems and can rather create a link between different parts of the text. This rejects the traditional critical hierarchy of word over image. Blake’s work indeed opens up an infinite vortex, that is, the textuality, as Roland Barthes or other post-structuralists might call it, and invites us to participate as active readers.