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PRINTED AND COLOURED PLATE FROM
“SONGS OF EXPERIENCE,” 1794

Of one—not spontaneous certainly, but created little bit by little bit with unerring judgement and rich fancy, struck out like the embossed design on a shield, each blow, each delicately graduated tap and touch, bringing out in clearer relief the magnificence of the heraldic images—of this poem, “The Tyger,” it is impossible to speak too enthusiastically. It is a grand piece of chased metal work, and Blake has done nothing better. The fierce swift rhythm, imitative of the padding footfalls,

Tyger, tyger, burning bright
In the forests of the night,

called out Lamb’s critical admiration, and no one was ever better qualified than Lamb to appreciate our painter and poet. It is matter for regret that he came across so little of Blake’s work in either kind, though we shall find him presently with something to say anent the engraving of the “Canterbury Pilgrimage.”

One wishes (profanely no doubt) that our artist had seen fit to make the tiger that illustrates the British Museum copy, yellow and black, rather than blue and bistre and red, which colours seem to have no natural relation to the animal. Is it possible that this page was coloured by Mrs. Blake’s hand in these weird parti-hues?

The “Songs of Experience” are pitted like a dark contrast against the sun-kissed radiance of the “Songs of Innocence.”

One state of mind opposes itself aggressively against the contrary state of mind. One set of impressions is recorded in opposition to the impressions of sometimes the same things, sometimes their correlatives taken from a widely divergent stand-point. Thus the Lamb in the “Songs of Innocence” finds its contrast in the Tiger of the “Songs of Experience.” Infant Joy is set against Infant Sorrow, the ordered beauty and sweetness of one Holy Thursday is the reverse of the despairing cry of pain uttered in the other Holy Thursday. The Divine Image emits its celestial radiance against the cynical brilliance of the Human Abstract, and that other distorted Divine Image.

It is interesting to know that Blake issued the “Songs of Innocence and Experience” at the modest price of from thirty shillings to two guineas at first. Later in life he received four guineas for each copy, and during his last years Sir Thomas Lawrence insisted on paying twelve guineas and Sir Francis Chantrey twenty for copies.