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" Rather, both are essential parts of being human, and instead of seeking to purge ourselves entirely of innocence or experience we would do better to combine the wisdom

of each."

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"The contrasts Blake set forth in the Songs are echoes of English society's approach to the social and political issues of his era--a time characterized, on the one hand, by increasing desire for personal, political, and economic freedom, and on the other, by anxiety regarding the potential consequences of that freedom for social institutions."

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"In "The Tyger," when the stars throw down their "spears" at the emergence of dawn, they concomitantly water heaven with their "tears," language that in part resonates Milton's imagery, wherein "Pearls of dew" are the "presaging tears" of "sad morn" in Milton's An Epitaph on the Marchioness of Winchester (43-45), while in initial lines in Book Five of Paradise Lost (1-2) "Morn ... in th' Eastern Clime / Advancing, sow'd th Earth with Orient Pearl" (after Milton's Satan flees such an impending dawn, at the end of Book Four). Later, Milton's Adam in joy is "dew'd in tears" of "grief" in Paradise Lost (12.373), while in The Four Zoas (1.10:20, IX. 127:27, IX. 130:18) Blake refers to "pearly" and "dewy tears.""

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"Blake posed an age-old puzzle in the poem's question 'Did he who made the Lamb make thee?'"

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"Blake's diction, again, reflects Book One of Paradise Lost"

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https://www.poetryfoundation.org/poems/43687/the-tyger

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"Blake's revisions in the manuscript of "The Tyger" substantiate that Divine as well as Satanic forces forge the "fearful symmetry" of the flaming "cruel" (E 794) beast,"

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"The fact that we aren't entirely sure what they mean adds to their effect, rather than subtracting from it, for the poem's power depends at least partly on its ambiguity."

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"Earlier in the environs of a Miltonic hell in The Book of Urizen (4:41-49, 5:1-2), amid "sulphurous [sic] smoke," "enormous forms of energy" in "living creations appear'd / In the flames of eternal fury"--apropos of Blake's wrathful "Tyger, burning bright" in flagellating stripes of fire, signifying the afflictions of Morality"

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"Tyger Tyger, burning bright,

In the forests of the night;

What immortal hand or eye,

Could frame thy fearful symmetry?"
Blake is speaking of a tiger in the forest at night. He describes the tiger as vivid in color as it is "burning bright." Blake questions who created the tiger.

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"In what distant deeps or skies.

Burnt the fire of thine eyes?

On what wings dare he aspire?

What the hand, dare seize the fire?"
Blake wonders where the tiger was created. Blake pictures the God, who created the tiger, to have wings. He wonders who "dare[d]" to create such a ferocious animal tat could cause destruction in the world.

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"And what shoulder, & what art,

Could twist the sinews of thy heart?

And when thy heart began to beat,

What dread hand? & what dread feet?"
Blake is still questioning who could have created the tiger. He describes the creator's hands and feet as "dread," which leads me to believe that Blake does not understand how God could create such powerful living things that can harm other things.

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"What the hammer? what the chain,

In what furnace was thy brain?

What the anvil? what dread grasp,

Dare its deadly terrors clasp!"
Blake uses diction like, "hammer," "chain," "dread," "deadly" and "terrors" to create imagery of the conditions a terrifying tiger must have been created in. Blake believes many more "terrors" are created in the same place the tiger was.

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"When the stars threw down their spears

And water'd heaven with their tears:

Did he smile his work to see?

Did he who made the Lamb make thee?"
Blake creates imagery for "the stars" and rain to show that the creator of the tiger also created these things. Blake wonders if God is happy he created these things, including the deadly tiger. He wonders if a God who created an innocent "lamb" could have created this beast of a tiger

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"Tyger Tyger burning bright,

In the forests of the night:

What immortal hand or eye,

Dare frame thy fearful symmetry?"
Blake repeats the first stanza in the last to explain to the audience that his questions about the creation of the tiger were never answered, and will never be. This presents a theme of confusion and doubt in the world and creation.

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" The child inhabits a straightforward world where questions have answers. The speaker of experience inhabits a world where there are only questions, a world of threatening, inexplicable objects whose origins and purposes are unknown"

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" imagery referencing the genesis, evolution, and redemption of this fiery creature"

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"But 'The Tyger' itself consists of nothing but a series of questions, that its speaker asks in an attempt to understand the nature and meaning of the mysterious 'tyger' with which they, too, are confronted."

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"its parallel song of innocence is 'The Lamb', and a careful comparison of the two poems may help to reach an understanding of them both."

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"Clearly the child is referring to Jesus, the Lamb of God, who 'became a little child' in Mary's womb. But if Jesus made the lamb, who made the tyger?"

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"The certainty of 'The Lamb' has become doubt in 'The Tyger'. That the lamb was made by Jesus is presented as a given fact, but that the tyger had the same origins is offered as a mere guess, a possible hypothesis, no more.

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"These lines present a phantasmagoria of disconnected body parts. The heart is that of the tyger, while the shoulder belongs to whoever 'could twist the sinews of thy heart', although the speaker has no idea who or what that might have been. But it is unclear whether the hands and feet belong to the tyger, the twister, or something else entirely."

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"Blake's Miltonic phrasing in "The Tyger" also subtly accentuates the thoughts of Beelzebub in Book Two of Paradise Lost "

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"Perhaps the only reason why the child is so sure of its answers is because it is innocent, aware only of the lamb-like side of life, the safe, pastoral world of the 'stream', 'mead', and 'vales'. If the speaker were not innocent but experienced, aware that the world also contained tygers and the forests of the night, perhaps he or she would be less certain that God was meek and mild."

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"Blake extensively evaluates Miltonic imagery in Jerusalem"

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"The impression is of shapes looming out of darkness, or perhaps half-glimpsed in 'the forests of the night'--enough to know that something is out there, but not enough to be able to tell what."

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"One reason may be that what really baffles the speaker in 'The Tyger' is not how it was made, but why it was made. The child sees in the lamb proof that the world was made by a 'meek', 'mild', benevolent god, because woolly, harmless little lambs are exactly the sort of animals that one would expect such a god to make. But why would such a god make an animal like the tiger, whose entire body has obviously been designed for dealing death and inflicting pain on other creatures? 'Did he who made the lamb make thee?' If he did, what does that say about him? If he didn't, who did?"

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"Such a reading would follow a familiar modern storyline, in which coming of age is associated with loss of faith"

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"Blake creates a dichotomy between wishes and desires on the one hand and duties and responsibilities on the other, always privileging the imaginative over the rational."

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"Everything is open to doubt, so there is no secure point from which to begin, leaving one with an infinite number of questions and no positive answers whatsoever. This is the position of the speaker of 'The Tyger', who has been led by experience into a world of doubt, able to ask questions but unable to answer them."

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"The group of poems associated with experience is replete with images of restriction and constraint"

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" Such an idiom is anticipated in the MS of "The Tyger" (lines not used in the final engraved version), where Blake asks: "In what clay [ground] & in what [artful] mould / Were thy eyes of fury rolld"? (E 794)--the raging eyes of the "Tyger" poured from furnaces upon the furrows of a heavenly-hell (my emphases)."

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"Its representation of a physicality that both attracts and terrifies"

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" Is there one god for the lamb (let us call it 'that which pitieth') and one for the tyger (let us call it 'a devouring flame') or are they the same god, seen from the perspectives of innocence and experience, respectively?"

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"Although the poems of the two sections are obviously meant to serve as contrasting states of the human condition, the individual poems, even those associated with innocence, themselves contain discontinuities, as though in anticipation of the much harsher view of life outlined in the second sequence."

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"In line 3 in the second stanza in the first part of MS Blake assesses the capabilities of the creator of the "Tyger," asking: "On what wings dare he aspire"? (19) Such imagery pertains to Milton's Satan, since Christ conventionally is a wingless entity, and Blake's language alludes to Book Two in Paradise Lost (630-35), in which formidable Satan "shaves with level wing the Deep, [and] then soars up [or aspires] to the fiery concave tow'ring high." The Blakean universe in Milton (12/13:22-23) also is "orb'd ... round in concave fires," forming a "Hell of our own making," allusive to the awful "concave fires" of "Hell" mentioned in Book Two of Paradise Lost (my emphases)."

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"the embodiment of an implacable primal power"

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"It provides a window into the world of experience, where nothing is certain, just as 'The Lamb' provides a window into the world of innocence, where all is settled and secure. Each poem provides a critique of the other. From the perspective of 'The Tyger' the speaker of 'The Lamb' is hopelessly naive, while from the perspective of 'The Lamb' the speaker of 'The Tyger' is not wiser than the child, just more fearful and confused."

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"influenced crucially by the works of John Milton"

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"Suspicion and mistrust of authority figures--parental, religious, or political--and the power they wield is an important theme throughout the work."

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"The next four stanzas elaborate on the concept of a creator forging a savage, beautiful creature."

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"The point is not to work out what 'The Tyger' 'really' means, or what the tyger itself 'really' is. The poem itself is constructed in such a way as to make that impossible, allowing at best only hypotheses of greater or lesser plausibility."