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The Lamb and the Tyger William Blakes semantic development of the Songs of Innocence and the Songs of Experience can be measured through an analysis of the apparent dichotomies inherent in his archetypes Innocence and Experience each assume polarized roles of Mankinds place in Gods universe and of the ability of Mankind to achieve its own salvation through the anagogic principles set forth by the Creator They accomplish this goal in concert with one another rather than in opposition To explain this paradox it is necessary to understand Blakes concept of the Divine which is explicit in his poem from Songs of Innocence entitled The Divine Image wherein he states that regardless of our faith or the rituals we use to express our faith we all ultimately pray to the highest virtues within ourselves Divinity to Blake lies within us where God is Man and Man his own God Yet at the very core of his humanism Blake devoutly professes his faith in the Christian concept of God establi shing himself under the dubious appellation of Christian-humanist a term which is itself paradoxical but which serves the same complementary roles as do those of Innocence and Experience It is within this construct that the archetypes of the Lamb in the Songs of Innocence and the Tyger in the Songs of Experience are created linked indelibly to one another through the language and rhythm of their particular poems and bridging the hiatus that separates the opposing realms they occupy The function of Blakes dichotomies lay in interposing opposites in a complementary fashion in order to realize some prophetic vision Indeed it is only through a reconciliation of contrasts that prophets have ever achieved recognition as divinely inspired Blake however if he did uphold his artistic integrity as the highest virtue within himselfif that is what he prayed en route to Goddid not write for public recognition at all but for private absolution It is as if
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