What Is The Tone Of The Tyger

To begin with, the poem itself serves as something of a statement on the concept of beauty, and the first stanza of the poem is essential to this overarching theme. William Blake seems to be of the opinion that there is always a part of a creator that "rubs off" on its work, and nowhere is this more apparent, to Blake, than in nature. This is not exactly a surprise; according to one work, Blake spent a great deal of time in nature throughout the course of this life and, like the creator found in The Tyger, it is likely that this time in nature had a salient effect on his own poems (Gilchrist, 1998). To that end, the first stanza establishes the overall tone of the poem, and this tone is one of curiosity and wonder; two emotions that one would

This is primarily done through the ways that the creation mimics its creator in a number of ways. Indeed, Blake seems to be taking a decidedly Greek approach to the concept of aesthetics and beauty, believing that if something is aesthetically pleasing, than it, therefore, must be good. At the same time, however, the author is also acknowledging that this tiger is extremely dangerous, even acknowledging the fire in its eyes, no doubt a reference to its intense, intimidating gaze (Blake,

For starters, according to another book, Blake is what is known as a practicing artist, meaning that he was constantly growing and evolving his art, and The Tyger seems to be a reflection on how Blake has matured as an artist over the years (Frye & Halmi, 2004). This means that the songs of innocence and experience, themselves, might represent the states of Blake throughout the course of his life, with the songs of innocence, of course, representing his earlier years, when he was an apprentice, and the songs of experience representing his time as more of a veteran of the art. This concept is important because it seems to be clearly present in The Tyger. As a result, this poem, in and of itself, functions as a representation of the entire mentality of Blake over the years, beginning with childlike wonder, eventually leaning toward more experience-driven, perhaps negative perceptions, then back to childlike wonder, coming full-circle. Of course, this is merely one interpretation of the poem, yet it is difficult to fully dismiss the obvious dichotomy that is at work