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Auguries of Innocence can be seen as a one-poem example of Blake’s longer poetic volumes, Songs of
Innocence and Songs of Experience. It uses the same tenets used in Songs of Innocence and Songs of
Experience – that is, the construction of both an innocent, child-like narrative, and a mature, adult
narrative – but puts them together in one poem to show the hypocrisy and the chaos of Blake’s
contemporary life.
William Blake was an unknown among his contemporaries. Considered at times a genius, and at times a
complete madman, he is only seen as a great poet, and indeed a great artist, posthumously; in 2002,
Blake was placed at number 38 in a list of the 100 Greatest Britons, and today he is considered one of
the most important figures of the Romantic movement.
His work was beyond comment: mythological, philosophical, and mystical, he eschewed and derided all
forms of organized religion, but worshipped the Bible; in fact, one of his influences was Milton, and
Milton’s Paradise Lost, and the discerning reader can find quite a few influences to Paradise Lost in
more than one of Blake’s works. The French and American revolutions – which, at the time, were
glorified and romanticized quite heavily – also served as an influence to Blake. He was so enamored, in
fact, by the idea of the American Revolution that he wrote what later became known as the ‘prophetic
book’ – a series of interrelated poetic works that drew upon his own mythology, which attempted to
make sense of the current political and spiritual mire of the time. This particular book was called
‘America, a Prophecy’, and it was published in 1793 on eighteen different plates. Only fourteen copies
are in circulation today.
If one follow Blake’s mind through the several stages of his poetic development it is
impossible to regard him as a naïf, a wild man, a wild pet for the supercultivated.
The strangeness is evaporated, the peculiarity is seen to be the peculiarity of all
great poetry: something which is found (not everywhere) in Homer and Æschylus
and Dante and Villon, and profound and concealed in the work of Shakespeare—
and also in another form in Montaigne and in Spinoza. It is merely a peculiar
honesty, which, in a world too frightened to be honest, is peculiarly terrifying. It is
an honesty against which the whole world conspires, because it is unpleasant.
Blake’s poetry has the unpleasantness of great poetry. Nothing that can be called
morbid or abnormal or perverse, none of the things which exemplify the sickness of
an epoch or a fashion, have this quality; only those things which, by some
extraordinary labour of simplification, exhibit the essential sickness or strength of
the human soul. And this honesty never exists without great technical
accomplishment. The question about Blake the man is the question of the
circumstances that concurred to permit this honesty in his work, and what
circumstances define its limitations. The favouring conditions probably include
these two: that, being early apprenticed to a manual occupation, he was not
compelled to acquire any other education in literature than he wanted, or to acquire
it for any other reason than that he wanted it; and that, being a humble engraver, he
had no journalistic-social career open to him.
– T.S. Elliot on William Blake.
One of the tenets of his mythology was this: the manipulation of religion for the means of the Catholic
church; the misconstruing of religious values such as mercy, piety, love, and faith by the money-hungry
bishops and nuns of the Church of England; the destruction of innocence by the journey into adult hood;
the power of human creativity and freedom; and the spiritual unity with the divine, which he thought of
as this: ‘mercy has a human heart, while pity is revealed in the human face’.
There is also the idea that Blake’s opening paradox is to give the world that he was writing about the
appropriate level of mystery and stunning wonder that nowadays is forgotten. Note also that the first two
lines specifically reference sight – more to the point, it references a sight so common that most people
would skim over it, however this is Blake’s aim – beauty, his idea is, is found in common places. The
very articles that we have witnessed a thousand times before can still be transcendently beautiful, and
allow us to connect to God. That is the ultimate goal of Blake’s poetry: unity with the divine. It also
stands as a testimony and a character witness to Blake’s intelligence and forward thinking; although
these concepts are not new, to put them in poetry shows the true genius of Blake. He wanted to use his
poetry to express his own personal mythology: that mythology which was partly political, partly
mythical, and partly divine, and to express his own complicated worldview and feelings about the
society that he was a part of.
One can also take into account that the doves and pigeons referenced are meant to stand for children –
those who are born into a world that they do not rightly understand, and are taken advantage of by the
very people who are supposed to help them, such as the Church, and the master of the mill, or wherever
they worked. Using two Christians birds – the robin red breast, and the dove – also reminds the reader of
Blake’s opinion on religion; he could very well be drawing an allusion between Christianity and its
oppressive nature through the symbols of the cage and the dove house.
The French Revolution disavowed these tenets and the poor rebelled against the rich. However, this did
not happen in England, a thing which was reportedly one of Blake’s biggest regrets.
The reference to the ‘Horse misusd’ can also be towards the mistreatment of the working man by the
oppressive mill owner or employer; both are working animals which, if treated fairly, respond with
loyalty. However, in Blake’s Auguries there is no fair treatment.
Each outcry of the hunted Hare
A fibre from the Brain does tear
A Skylark wounded in the wing
A Cherubim does cease to sing
The Game Cock clipd & armd for fight
Does the Rising Sun affright
Every Wolfs & Lions howl
Raises from Hell a Human Soul
The wild deer, wandring here & there
Keeps the Human Soul from Care
The Lamb misusd breeds Public Strife
And yet forgives the Butchers knife
The Bat that flits at close of Eve
Has left the Brain that wont Believe
The Owl that calls upon the Night
Speaks the Unbelievers fright
Birds were considered signs of freedom, and thus to wound them – and to wound them in what gives
them their freedom – shows the chained nature of man. The next few lines go deeply into the idea of
terror: here all the animals are frightened, showing the confused and terrified nature of man, and of the
world at large. It can be taken as an expression of the world howling in confusion at the unbalanced
nature of the events – mainly, the French Revolution, and the American Revolution.
The symbol of the lamb is also a Christian image; however, here, it is subverted. The image of the land
is historically used as an image of rebellion; however here, the lamb stands for the subservient and brutal
methods of organized religion. It is the people, who are easily terrified into submission by organized
religion.
Historical Background
Auguries of Innocence is a collection of conflicting situations written as a kind of prophetic judgement.
It pits the innocent against the mature, the rich against the poor, the elite against the underprivileged, and
invites the audience to recognize the fragile beauty and balance found within nature. The rough rhyme
scheme and uneven length of the poem adds to its sense of passion and fury, as it reads much like a plea
from the poet to the reader.