Songs of Innocence and Experience Contents
- Social / political context
- Religious / philosophical context
- Literary context
- Textual history
- Songs of Innocence
- Introduction (I)
- The Shepherd
- The Ecchoing Green
- The Lamb
- The little black boy
- The Blossom
- The chimney sweeper (I)
- The little boy lost (I)
- The Little Boy Found
- Laughing song
- A Cradle Song
- The Divine Image
- Holy Thursday (I)
- Night
- Spring
- Nurse's Song (I)
- Infant Joy
- A Dream
- On Another's Sorrow
- Songs of Experience
- Introduction (E)
- Earth's Answer
- The Clod and the Pebble
- Holy Thursday (E)
- The Little Girl Lost
- The Little Girl Found
- The Chimney Sweeper (E)
- Nurse's Song (E)
- The Sick Rose
- The Fly
- The Angel
- The Tyger
- My Pretty Rose-tree
- Ah! Sun-flower
- The Lilly
- The Garden of Love
- The Little Vagabond
- London
- The Human Abstract
- Infant Sorrow
- A Poison Tree
- A Little Boy Lost (E)
- A Little Girl Lost
- To Tirzah
- The Schoolboy
- The Voice of the Ancient Bard
- A Divine Image
Textual history
The shape of Blake's enterprise
The production of the version of Songs of Innocence and of Experience used in most modern editions took place over a period of thirty-five years, with Blake acting as his own publisher.
Most scholars agree that:
- Songs of Innocence was written in 1789
- Five years later, the combined Songs of Innocence and of Experience: Shewing the Two Contrary States of the Human Soul, appeared in 1794, for which Blake produced a new illustration for the title page.
There is some disagreement among scholars about Blake's intention. Some believe that the Songs of Innocence were originally a separate project and thus the Songs of Innocence and of Experience as we have them now were not conceived and planned as an entity.
Moveable texts
Whatever the case, Blake did not have settled opinions about the category to which some of his poems belonged:
- Four of the songs belonging initially to Songs of Innocence
- The Schoolboy
- The Little Girl Lost
- The Little Girl Found
- The Voice of the Ancient Bard
were moved to the Songs of Experience in the 1794 version.
In addition, when comparing the surviving copies of Songs of Innocence (1789) and Songs of Innocence and of Experience (1794) there is considerable variation in the positioning of the poems in each sequence. It seems that Blake wished to resist a simplistic pairing of poems from the two sequences.
The final poem of Songs of Experience, To Tirzah, seems to have been added possibly as many as twelve years after the first appearance of the combined Songs of Innocence and of Experience. It is understood as summarising the combined Songs of Innocence and of Experience i.e. the entire work.
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