Blake's Songs of Experience as a Companion to Songs of Innocence

William Blake's Songs of Innocence and of Experience is a seminal work that explores the dualities of human existence through two contrasting yet interconnected collections.

While Songs of Innocence portrays a world of purity, simplicity, and childlike wonder, Songs of Experience is its darker counterpart. It reveals the corruption, oppression, and disillusionment that underlie societal structures. 

Together, these collections form a dialectical relationship, offering a profound critique of the human condition and the societal forces that shape it.

This essay will explore how Songs of Experience functions as a companion to Songs of Innocence, examining their thematic complementarity, social critique, symbolism, the role of the child, and the dialectical relationship between the two collections.

1. Thematic Complementarity

The Songs of Experience are not merely a negation of the Songs of Innocence but a necessary companion that deepens and complicates the themes introduced in the earlier collection.

Blake's work is built on the idea of "contrary states of the human soul," and the two collections reflect this duality.

For instance, the poem The Lamb from Songs of Innocence celebrates divine innocence and the purity of creation. The lamb, a symbol of Christ and innocence, is described as "meek and mild," embodying divinity's gentle and nurturing aspects.

In contrast, The Tyger from Songs of Experience questions the nature of a creator who could produce both the gentle lamb and the fearsome tiger:

"Did he who made the Lamb make thee?"

This juxtaposition highlights Blake's exploration of the coexistence of good and evil, innocence and experience, in the world.

The tiger, with its "fearful symmetry," represents the darker, more destructive aspects of creation, forcing readers to confront the complexity of divine power and suffering in the world.

Poems like The Divine Image from Songs of Innocence and The Human Abstract from Songs of Experience further emphasize the thematic complementarity between the two collections. 

In The Divine Image, Blake presents an idealized vision of humanity, where mercy, pity, peace, and love are divine attributes shared by all.

However, in The Human Abstract, he critiques the hypocrisy and corruption that arise when societal institutions manipulate these virtues:

"Pity would be no more / If we did not make somebody poor."

This contrast reveals Blake's belief that the virtues celebrated in Songs of Innocence are often perverted in the world of experience, where power and greed dominate.

2. Social Critique

Blake uses Songs of Experience to critique the societal institutions that exploit and oppress individuals, particularly children.

In The Chimney Sweeper from Songs of Innocence, the young sweep retains a sense of hope and innocence, believing that "if all do their duty, they need not fear harm."

The poem ends on a note of optimism, with the sweep dreaming of an angel who promises him joy in the afterlife.

However, in the Songs of Experience version, the sweep's tone is one of bitterness and resignation, as he blames his parents and the church for his suffering:

"And because I am happy and dance and sing, / They think they have done me no injury."
This stark contrast underscores Blake's condemnation of child labor, religious hypocrisy, and the failure of societal structures to protect the vulnerable.

The church, which should offer solace and justice, is instead complicit in the exploitation of the poor, as seen in the line:

"And are gone to praise God and his Priest and King, / Who make up a heaven of our misery."

Similarly, in Holy Thursday from Songs of Innocence, the children are portrayed as "innocent faces" singing in harmony, symbolizing the purity and potential of youth.

However, in the Songs of Experience version, Blake exposes the hypocrisy of a society that celebrates charity while perpetuating poverty:

"Is this a holy thing to see / In a rich and fruitful land, / Babes reduced to misery, / Fed with cold and usurous hand?"

This contrast highlights Blake's critique of the systemic injustices that rob children of their innocence and perpetuate cycles of poverty and suffering.

3. Symbolism and Imagery

Blake's use of symbolism in Songs of Experience deepens the themes introduced in Songs of Innocence.

For example, the image of the garden in The Garden of Love from Songs of Experience contrasts sharply with the idyllic landscapes of Songs of Innocence.

In Songs of Innocence, nature is often depicted as a place of joy and freedom, as seen in The Echoing Green, where children play freely in a pastoral setting.

However, in The Garden of Love, the garden, once a place of joy and freedom, is now dominated by a chapel and graves, symbolizing the repression of natural desires by institutionalized religion:

"And I saw it was filled with graves, / And tomb-stones where flowers should be."

This transformation reflects Blake's belief that organized religion and societal norms stifle human creativity and joy, replacing the spontaneity of life with the rigidity of dogma.

Another powerful symbol in Songs of Experience is the "mind-forg'd manacles" in London, which represent the mental and emotional chains imposed by societal institutions.

The poem paints a bleak picture of a city dominated by oppression and suffering, where even the natural world is tainted:

"Every black'ning church appalls, / And the hapless soldier's sigh / Runs in blood down palace walls."

This imagery underscores Blake's critique of the dehumanizing effects of industrialization, war, and institutional power.

4. The Role of the Child

In Songs of Innocence, children are depicted as symbols of purity and divine grace. However, in Songs of Experience, they become victims of societal exploitation and moral decay.

For instance, in Infant Joy from Songs of Innocence, the birth of a child is celebrated as a moment of pure joy and potential:

"I happy am, / Joy is my name."

In contrast, Infant Sorrow from Songs of Experience portrays the pain and struggle of entering a world filled with suffering:

"My mother groaned, my father wept, / Into the dangerous world I leapt."

This contrast captures the complexity of human existence, where joy and sorrow, innocence and experience, are inextricably linked.

The exploitation of children is a recurring theme in Songs of Experience, as seen in The School Boy, where the child laments the loss of freedom and joy imposed by formal education:

"How can the bird that is born for joy / Sit in a cage and sing?"

This poem critiques the societal structures that rob children of their natural curiosity and creativity, forcing them into rigid systems of control.

5. The Dialectical Relationship

The true power of Songs of Experience lies in its dialectical relationship with Songs of Innocence.

Blake does not present one collection as superior to the other; rather, he suggests that both innocence and experience are necessary for a complete understanding of the human condition.

For example, the poem The Little Black Boy from Songs of Innocence explores themes of racial equality and divine love, while The Little Vagabond from Songs of Experience critiques the church's failure to provide comfort and compassion to the poor.

Together, these poems highlight the tension between idealized visions of humanity and the harsh realities of societal injustice.

Blake's dialectical approach is also evident in the structure of the collections. Many poems in Songs of Experience have direct counterparts in Songs of Innocence, creating a dialogue between the two states of being.

For instance, Nurse's Song in Songs of Innocence depicts a nurturing figure who allows children to play freely, while Nurse's Song in Songs of Experience portrays a bitter, disillusioned figure who warns children of the hardships of life:

"Your spring and your day are wasted in play, / And your winter and night in disguise."

This contrast reflects Blake's belief that innocence and experience are not static states but dynamic forces that shape our understanding of the world.

Conclusion

In conclusion, Blake's Songs of Experience serves as an essential companion to Songs of Innocence, offering a darker, more critical perspective on the themes of innocence, society, and human nature.

Through contrasting imagery, symbolism, and tone, Blake reveals the dualities of existence and critiques the societal forces that corrupt and oppress.

Together, these collections form a profound and enduring exploration of the human condition, challenging readers to confront the complexities of innocence and experience.

Blake's work remains a powerful reminder of the need to balance the purity of innocence with the wisdom of experience and strive for a world in which both can coexist harmoniously.