ENGLISH LITERATURE 1590-1798 – WILLIAM BLAKE READING “THE TYGER”

ENGLISH LITERATURE 1590-1798 – WILLIAM BLAKE READING “THE TYGER”

WILLIAM BLAKE

Songs of innocence, songs of experience, Man’s struggle with a Maker, who is at once benevolent, and also jealous, and tyrannical - these were his themes, portrayed deeply in layers of both innocence and experience, questioning, and expressing. He portrays, the bliss of innocence, and childhood, and he is obviously very critical of his age that bound man, and shackled his expression of joy. His themes are romantic, which means Man’s striving to break free, and the conflicts with both the Maker, and the society around him. Yet, his poems are supremely crafted and shows all these themes in profound perception and wholeness, revealing both the innocence and experience.

 

ENGLISH LITERATURE 1590-1798 – WILLIAM BLAKE READING “THE TYGER”

William Blake Reading “The Tyger”

William Blake’s “The Tyger” is one of the most iconic poems in English literature, a fiery meditation on creation, divinity, and the nature of good and evil. Imagining Blake himself reading the poem aloud invites us to consider how his voice—both literal and poetic—might have shaped its reception. Blake was not just a poet but also an engraver, painter, and mystic, and his recitation would have carried the weight of his artistic and spiritual vision.

The Voice of the Poet

Blake’s voice, by historical accounts, was passionate and intense. Fellow artist and diarist Henry Crabb Robinson described him as speaking with “a certain solemnity of manner” and a “fiery glow of enthusiasm.” If Blake were to read “The Tyger,” his tone would likely be both reverent and fierce, embodying the poem’s awe before the sublime and terrifying power of creation.

The opening lines—

“Tyger Tyger, burning bright, / In the forests of the night”—

would resonate with rhythmic precision, Blake emphasizing the trochaic meter like an incantation. His voice might drop to a whisper at the questions—

“What immortal hand or eye, / Could frame thy fearful symmetry?”—

suggesting both wonder and dread.

The Performance of a Visionary

Blake was known for his radical beliefs and rejection of institutional authority. His reading of “The Tyger” would not be a detached literary exercise but a performance of his mystical convictions. He might pause dramatically before the central stanza:

“And what shoulder, & what art, / Could twist the sinews of thy heart?”

His emphasis on “art” would hint at his own labor as an engraver, drawing a parallel between divine and human creation.

The famous line—

“Did he who made the Lamb make thee?”—

would carry a challenge, perhaps a raised eyebrow or a knowing smile, as Blake juxtaposed the gentle Christ-like Lamb (from his Songs of Innocence) with the ferocious Tyger. His reading would underscore the paradox of a God who creates both beauty and terror.

The Sound of the Engraver’s Craft

Blake’s method of illuminated printing—where text and image merged—suggests that his recitation would also be visually evocative. As he read, he might trace the imagined flames of the Tyger in the air, his voice rising with the imagery of fire and forge:

“What the hammer? what the chain, / In what furnace was thy brain?”

The metallic clang of those words would echo like a blacksmith’s workshop, Blake’s voice hammering each syllable into the listener’s mind.

A Prophetic Tone

Blake saw himself as a prophet, and his reading of “The Tyger” would likely feel like a revelation. The final repetition of the opening stanza—

“Tyger Tyger burning bright…”—

might be delivered more slowly, as if the question of the Tyger’s maker remained unresolved, lingering in the air like smoke.

Conclusion

Hearing William Blake recite “The Tyger” would be an electrifying experience—part poetry, part sermon, part artistic manifesto. His voice would bring to life the poem’s burning questions, its rhythmic power, and its unresolved tension between beauty and terror. More than just a recitation, it would be an act of visionary artistry, leaving listeners as awestruck as the poem itself.

ENGLISH LITERATURE 1590-1798 – LATE ELIZABETHAN AND 17TH CENTURY POETRY GEORGE HERBERT “THE COLLAR”

ENGLISH LITERATURE 1590-1798 – LATE ELIZABETHAN AND 17TH CENTURY POETRY GEORGE HERBERT “THE COLLAR” ENGLISH LITERATURE 1590-1798 – LATE ELIZABETHAN AND 17TH CENTURY POETRY GEORGE HERBERT “THE COLLAR”

George Herbert’s “The Collar”: Rebellion and Submission in Late Elizabethan and 17th-Century Poetry

George Herbert’s The Collar, published posthumously in The Temple (1633), is a striking example of the metaphysical poetry that flourished in the early 17th century. The poem captures the tension between spiritual duty and personal freedom, reflecting the broader religious and existential anxieties of the late Elizabethan and Stuart eras. Through its dramatic monologue form, vivid imagery, and sudden resolution, Herbert explores the struggle of a speaker chafing against divine authority before ultimately submitting to it.

Rebellion and Restraint

The title The Collar is a pun, referring both to the clerical collar worn by Herbert as an Anglican priest and to the restraints of religious obedience. The poem opens with the speaker’s outburst:

I struck the board, and cried, “No more;

I will abroad!”

This declaration of defiance sets the tone for a tirade against the perceived constraints of a devout life. The speaker laments lost pleasures—"my harvest," "wine," and "corn"—suggesting worldly desires suppressed by religious discipline. The irregular, free-verse structure mirrors his emotional turmoil, breaking from the strict formal conventions of earlier Elizabethan poetry.

Metaphysical Conceits and Imagery

Herbert employs metaphysical conceits, comparing spiritual struggle to physical bondage. The speaker asks:

Is the year only lost to me?

Have I no bays to crown it?

Here, "bays" (laurel wreaths symbolizing poetic or martial triumph) signify secular achievements denied by his religious vows. The poem’s imagery shifts from agricultural ("harvest") to martial ("rope of sands"), reflecting the speaker’s inner conflict. The rhetorical questions accumulate, creating a sense of claustrophobia, as if he is trapped in his own mind.

The Turn to Submission

The climax arrives when a divine voice interrupts:

“Child!”

And I replied, “My Lord.”

This moment of recognition—where the speaker acknowledges God’s call—transforms the poem. The brevity of the exchange contrasts with the preceding chaos, underscoring the peace found in submission. The collar, once a symbol of restriction, becomes a mark of belonging.

Historical and Religious Context

Herbert wrote during the rise of Protestant individualism, where personal piety often clashed with institutional religion. The poem’s tension reflects the broader Calvinist debates over free will and predestination. Unlike the public, ornamental verse of the late Elizabethan era (e.g., Spenser or Sidney), Herbert’s work is introspective, aligning with the metaphysical poets’ focus on inner experience.

Conclusion

The Collar exemplifies Herbert’s mastery of psychological depth and spiritual paradox. Its abrupt shift from rebellion to resignation captures the human struggle with faith—a theme resonant in an age of religious upheaval. By blending dramatic immediacy with theological nuance, Herbert bridges the late Renaissance and early modern periods, offering a timeless meditation on devotion and surrender.

ENGLISH LITERATURE 1590-1798 – READING MARVEL : STUDIES ON TWO POEMS BY ANDREW MARVELL

ENGLISH LITERATURE 1590-1798 – READING MARVEL : STUDIES ON TWO POEMS BY ANDREW MARVELL ENGLISH LITERATURE 1590-1798 – READING MARVEL : STUDIES ON TWO POEMS BY ANDREW MARVELL

Reading Marvell: Studies on Two Poems by Andrew Marvell

Andrew Marvell (1621–1678) was a leading metaphysical poet whose works blend intellectual depth, wit, and striking imagery. Two of his most famous poems, "To His Coy Mistress" and "The Garden," explore contrasting themes—time and seduction versus solitude and contemplation—yet both demonstrate his mastery of metaphysical poetry.

1. "To His Coy Mistress": The Urgency of Time and Love

"To His Coy Mistress" (1681) is a carpe diem ("seize the day") poem in which the speaker attempts to persuade his hesitant lover to embrace passion before time destroys their opportunity. The poem follows a three-part syllogistic structure:

The Ideal (Lines 1–20): The speaker claims that if they had infinite time, he would adore her slowly, spending centuries praising her beauty.

The Reality (21–32): Time is fleeting—death looms, and her "quaint honor" will turn to dust.

The Conclusion (33–46): They must act now, transforming their passion into a fiery union before life ends.

Marvell employs hyperbolic imagery ("My vegetable love should grow / Vaster than empires") and metaphysical wit (comparing time to a "wingèd chariot") to heighten the poem’s urgency. The speaker’s argument is both seductive and philosophical, blending flattery with grim reminders of mortality. The poem ultimately critiques human vanity—while the mistress resists love, time marches on indifferently.

2. "The Garden": Nature as Spiritual Retreat

In contrast, "The Garden" (1681) is a meditative poem celebrating the tranquility of nature over human society. The garden symbolizes an Edenic escape, where the mind finds peace away from worldly pursuits. Key themes include:

Rejection of Human Ambition (Stanzas 1–3): The speaker mocks society’s futile struggles for fame, preferring the "delicious solitude" of the garden.

Nature’s Superiority to Love (Stanza 4): Even romantic love pales next to the garden’s quiet beauty.

The Mind’s Transcendence (Stanzas 5–6): The soul finds divine harmony in nature, where it can "Annihilate all that’s made / To a green thought in a green shade."

Mythological & Biblical Allusions: The poem references Apollo, Daphne, and Eden, reinforcing its themes of innocence and retreat.

Unlike the urgent tone of "To His Coy Mistress," "The Garden" is philosophical and serene, reflecting Neoplatonic ideals of spiritual elevation through contemplation.

Comparative Analysis

While both poems exhibit Marvell’s metaphysical style—complex metaphors, intellectual depth, and wit—they differ in tone and purpose:

"To His Coy Mistress" is persuasive and urgent, using time as a weapon in a lover’s argument.

"The Garden" is reflective and tranquil, advocating withdrawal from human folly.

Yet both explore human limitations: one through the lens of mortality, the other through the futility of worldly pursuits. Marvell’s genius lies in his ability to weave profound ideas into richly imaginative verse, making these poems enduring masterpieces of English literature.

Conclusion

Marvell’s poetry balances passion and intellect, whether in the seductive logic of "To His Coy Mistress" or the serene wisdom of "The Garden." Both poems reveal his philosophical depth and lyrical brilliance, cementing his place among the greatest metaphysical poets.

ENGLISH LITERATURE 1590-1798 - JOHN DONNE’S THE SUN RISING

ENGLISH LITERATURE 1590-1798 - JOHN DONNE’S THE SUN RISING ENGLISH LITERATURE 1590-1798 - JOHN DONNE’S THE SUN RISING

John Donne’s The Sun Rising: A Celebration of Love’s Transcendence

John Donne’s The Sun Rising is a passionate and witty love poem that challenges the natural order of the world, asserting the supremacy of love over time and space. Written in the early 17th century, the poem belongs to Donne’s collection of Songs and Sonnets, which are celebrated for their metaphysical conceits, intellectual depth, and emotional intensity. In The Sun Rising, Donne employs personification, hyperbole, and vivid imagery to elevate the lovers’ world above the mundane realities governed by the sun.

Defiance Against Time and Space

The poem opens with a bold address to the sun, personified as a “busy old fool” and a “saucy pedantic wretch.” The speaker scolds the sun for intruding upon the lovers’ private bliss, suggesting that love operates beyond the constraints of time and season. The rhetorical question—“Must to thy motions lovers’ seasons run?”—mocks the sun’s authority, implying that the lovers’ emotions are not subject to its cycles.

Donne’s speaker then asserts the power of love by claiming that he could eclipse the sun’s beams “with a wink.” This hyperbolic statement reinforces the idea that human love holds greater significance than celestial phenomena. The lovers’ bedroom becomes the center of the universe, rendering the sun’s journey irrelevant:

Shine here to us, and thou art everywhere;

This bed thy center is, these walls, thy sphere.

Love as a Microcosm of the World

In the second stanza, Donne expands his metaphysical conceit, arguing that the lovers contain all the riches and kingdoms of the world within themselves. The speaker dismisses the sun’s duty to wake kings and nations, declaring that all honor and wealth are mere shadows compared to the lovers’ union:

Princes do but play us; compared to this,

All honor’s mimic, all wealth alchemy.

This stanza elevates love to a divine status, suggesting that the external world is insignificant compared to the lovers’ inner universe.

The Triumph of Love Over Cosmic Order

The final stanza culminates in the speaker’s triumphant declaration that the sun’s warmth and light are not needed because the lovers’ love sustains them. The speaker even offers to take on the sun’s role, claiming that his beloved’s eyes outshine its beams. The poem concludes with a bold assertion that the lovers’ bedroom is the epitome of the world:

Thou, sun, art half as happy as we,

In that the world’s contracted thus.

Conclusion

The Sun Rising is a masterful blend of passion, intellect, and wit, showcasing Donne’s ability to fuse emotion with philosophical depth. Through exaggerated metaphors and playful defiance, the poem celebrates love as an all-encompassing force that transcends time, space, and even the cosmos. Donne’s speaker does not merely reject the sun’s authority—he rewrites the universe’s rules, placing love at its center. In doing so, the poem immortalizes the lovers’ bond as something eternal and invincible, untouched by the passage of time.

ENGLISH LITERATURE 1590-1798 : THE SONNET IN ENGLAND – EDMUND SPENSER AND PHILIP SIDNEY

ENGLISH LITERATURE 1590-1798 : THE SONNET IN ENGLAND – EDMUND SPENSER AND PHILIP SIDNEY ENGLISH LITERATURE 1590-1798 : THE SONNET IN ENGLAND – EDMUND SPENSER AND PHILIP SIDNEY

The Sonnet in England – Edmund Spenser and Philip Sidney

The sonnet, a 14-line poetic form originating in Italy, was introduced to England in the early 16th century and flourished during the Renaissance. Two of the most influential figures in the development of the English sonnet were Sir Philip Sidney and Edmund Spenser, both of whom contributed significantly to the evolution of the form, blending Petrarchan conventions with distinctly English innovations.

Philip Sidney and Astrophil and Stella

Sir Philip Sidney (1554–1586) was a courtier, soldier, and poet whose sonnet sequence Astrophil and Stella (written in the 1580s, published posthumously in 1591) marked a turning point in English poetry. Comprising 108 sonnets and 11 songs, the sequence explores the unrequited love of Astrophil ("star-lover") for Stella ("star").

Sidney primarily used the Petrarchan sonnet structure (an octave followed by a sestet, often with a volta, or turn, in thought) but infused it with a more conversational, psychologically complex tone. Unlike the idealized love of Petrarchan tradition, Sidney’s work reflects frustration, self-doubt, and irony. For example, Sonnet 1 begins with the famous line: "Loving in truth, and fain in verse my love to show," where Astrophil struggles to express his emotions authentically. Sidney’s wit and metrical skill helped establish the sonnet as a vehicle for personal and intellectual exploration.

Edmund Spenser and the Amoretti

Edmund Spenser (1552–1599), best known for The Faerie Queene, also made significant contributions to the sonnet tradition with his sequence Amoretti (1595). Unlike Sidney’s tormented lover, Spenser’s sonnets celebrate a more hopeful, reciprocal love, likely inspired by his courtship of his wife, Elizabeth Boyle.

Spenser employed his own Spenserian sonnet form, a variation of the English (Shakespearean) sonnet. While retaining the 14-line structure and three quatrains followed by a couplet, Spenser linked the quatrains with interlocking rhymes (abab bcbc cdcd ee), creating a flowing, musical effect. Sonnet 75 ("One day I wrote her name upon the strand") exemplifies this, blending themes of love, mortality, and poetic immortality. The waves erase the lover’s name, but the poet declares: "My verse your virtues rare shall eternize."

Comparison and Legacy

While Sidney’s Astrophil and Stella is dramatic and introspective, Spenser’s Amoretti is more harmonious and celebratory. Sidney’s influence lay in his emotional depth and rhetorical brilliance, paving the way for Shakespeare’s darker sonnets. Spenser, meanwhile, refined the sonnet’s structure, influencing later poets with his intricate rhyme schemes and idealized love themes.

Together, Sidney and Spenser helped establish the sonnet as a dominant form in English literature, adapting Italian models to express Renaissance humanism, personal emotion, and linguistic artistry. Their works remain foundational texts in the study of English poetry.