The Garden Of Love Essay Research Paper — страница 2
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I used to play on the green? (1-4). The voice was individualistic and not influenced by any powers other than her own. However, as the poem progresses and the persona experiences more negativity, that voice changes. In the final lines, with the addition of internal rhyme scheme, the voice seems trapped and confused. ?And Priests in black gowns, were walking their rounds,/And binding with briars, my joys & desires?(11-12). In the first two stanzas of the poem, it consists of an a, b, c, b rhyme scheme or end rhyme. The end rhyme gives the sense that the poem is only half of a nursery rhyme; it is an incomplete, but happy ending. The pattern is particularly effective when the a and c lines are negative. For example, in line 5, Blake says, ?And the gates of this Chapel were shut.? By ending the line with ?shut,? it gives the reader a sense that there are unanswered questions; it is a hopeless situation, where there is no possibility of opening the gates. Line 5 is a statement- a declaration, or sorts, of impossibility and hopelessness- without a rhyming word to imply a happy ending. However, the last stanza maximized this feeling of confusion, as there was no end rhyme, only internal rhyme. The internal rhyme gives a feeling of rushed and lost hysteria, because the rhyme was much tighter, as well as giving a sense of hopelessness. Through his use of rhyme scheme, Blake effectively conveyed the idea of cultivating the creator within and the effects of organized religion on the individual. Had Blake used a different rhyme scheme or voice, the subtle nuances or hopelessness, frenzy, or confusion would have been lost to a totally different purpose. With each negative aspect of the Church?s presence that the persona encountered, its hopeful and explorative nature became increasingly influenced by religious standards, therefore losing it?s positive and loving qualities. Blake also uses religion as an effective means of showing the denial of love. By convention, religion is sought after as a refuge, usually by people who cannot deal with issues in their own life. In this instance, priests, who deny love through adopting the vow of celibacy, do not even allow the persona the opportunity to explore love, as they have taken over the only environment that has symbolized positivity. The priests, dressed in cloaks the color of death, fulfill their duties to the church by ?walking their rounds.? They strangle the love and joy of a person, allowing the piercing thorns of briars to overgrow(Blake 52). Even in seeking out a priest for advice on love, how could the priest possibly give valuable and true advice? He is limited by his own feelings of duty towards rules set by an institution and not by himself. Celibacy is not a natural act of the human body, as love is, but something entirely foreign and centered in the mind. The religious institution follows a series of laws and motions that love does not. In ?The Garden of Love,? the church expects the natural act and emotion of love to follow these motions, which is entirely unnatural, just as it is unnatural to be celibate and deny emotion for another human being. ?The result is no less cruel-the banishment of daylight love for nighttime deceit, the repression and perversion of the young into the gray and palsied sufferings of the old?(Hagstrum 531). The negative and confining nature of the Church and celibacy prevent the young, positive nature of love from existing and exploring. ?The Garden of Love? is a true testament to how easily negative energy and negative surroundings can wound and infect a positive environment. Negativity spreads like a disease, disrupting the easy and natural optimistic heart. Blake conveys this point with the convenient use of a confining institution such as the Church, which he further supports with a fine use of imagery and an effective incomplete rhyme scheme and voice. He quite easily showed that the negativity others accept through their life experiences end up robbing others of their innocence, as they choose not to process their emotions, but dwell in them.
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