مادة الشعر lane 447

[هـتلـر]

السلام عليكم ورحمة الله وبركاته

ممكن يا اخوان وأخوات تعطوني (القصائد المهمة وطريقة الأسئلة والأشياء الي نركز عليها)
واهم شي طريقة الأسئلة وإذا فيه أسئله من الأعوام السابقة يا ليت تجيبوها ولكم دعواتي
أنا تابعت جميع ماكتب والأخت روز وفقها الله ما قصرت لكن لم اجد طريقة الاسئله ولا القصائد المطلوب التركيز عليها


تحياتي للجميع

اخوكم هتلر

[مستشارك]

طريقة الاسئلة يقول فيه مقالي وفيه خيارات وركز على القصائد ال 14 الي فيها تحليلات وفق الله الجميع

[مستشارك]

The clod and the pebble

Analysis
William Blake’s poem “The Clod and the Pebble” was completed in 1794 in the second part of "Songs of Innocence and Experience." In the title page which Blake etched for Songs, he defined them as showing “Contrary States of the Human Soul” – which is exactly what “The Clod and the Pebble” represents (1). The poem is a brief yet dense comparison between unselfish love, represented by the clod, and selfish love, represented by the pebble. These different viewpoints are indicative of their contrary states of Innocence and Experience, yet the structure and illustrations reveal the Blake does not pass judgment on either.
The first stanza introduces the clod’s view of love (2):
Love seeketh not Itself to please,
Nor for itself hath any care;
But for another gives its ease,
And builds a Heaven in Hells despair.
The stanza represents the clod’s optimism yet naïve innocence. Indeed the choice of using a clod to represent “soft love” is important because a clod is a lump or earth or clay which is easily malleable and soft. In Thel, the clod of clay is the mother which suggests a feminine viewpoint of love which is understandable after reading the entire poem (3).The clod comments that “Love seeketh not Itself to please,/ Nor for itself hath any care”, suggesting that love must be an unselfish state. Blake’s choice to personify love as seeking something is significant towards understanding the clod’s view of love. The clod itself represents a state of pure, childlike innocence which only seeks altruistic motives. Yet there is a degree of self-sacrificing, as all altruistic acts involve, since “for another [it] gives its ease.” The ending idea that love somehow “builds a Heaven in Hells despair” is another representation of the dialectical view of love. Blake did not “believe there is such a thing literally”; instead the real Hell is not a place but a state which the individual passes (3). This becomes indicative of the clod’s optimism to create a state of wellbeing despite being in a difficult environment.
The middle stanza is a metaphorical bridge between the clod and the pebble (2):
So sang a little Clod of Clay,
Trodden with the cattles feet;
But a Pebble of the brook,
Warbled out these metres meet:
The stanza represents the environment of the clod and the pebble. The speaker notes that the clod “sang” his view on love, which connotates a blissful joyfulness in his situation despite being “trodden with cattles feet.” The use of the semicolon indicates a break in tone, shifting the poem from an innocent view of love towards an experienced view. Additionally, the use of “But” presents a shocking and abrupt change to the sweet, melodic sounds of the first stanza. This could be suggesting that experience usually shatters and halts the clod's innocent views. The pebble is associated with a hard and immovable object, learned from its “experience.” The use of water for the environment, “the brook,” may safely be translated as ‘matter’ (3). The symbolism of water as matter could indicate the realistic side of water, it's ability to reflect nature back to the clod and the pebble. Lastly, Blake’s use of “warbled” suggests a quavering voice which could be because of the pebble’s sad view of reality.

The last stanza ends with the pebble’s stark pessimism (2):
Love seeketh only Self to please,
To bind another to its delight:
Joys in anothers loss of ease,
And builds a Hell in Heavens despite.
While the clod was represented as soft, the pebble's structure is hard and immovable which is indicative of its authority gained from "experience" of love. The pebble’s verse is highly satirical, mocking the clod’s innocence and grandiose ideals. The comments are contrary to the clods, imitating the speech and structure by stating that love is selfish. The use of the word “bind” is a very strong, masculine word; it suggests a sort of aggressive, violent and masculine view of love yet this view has been debated thoughout Blake's scholars. Yet these views are brought to the extreme when it suggests love somehow takes pleasure or “Joys” in this selfishness, this deliberate cruelty. The last line portrays an exact reversal of the clod’s epilogue, suggesting even when the pebble lives in the brook without any trodden hooves that love still sucks the pleasure from its wellbeing.

The poem addresses, without passing judgment on either, the two contrary states of Innocence and Experience. This dichotomy or dialectic represents the opposites in life which act as eternal principles: Optimism and Pessimism, Positive and Negative, Feminine and Masculine (4). Yet neither state is preferred – Blake’s poem impresses the idea that love is both selfless and selfish and must always be so. If the clod seeks not “to please itself,” then it must exist to please another self. Yet two clods could not be pleased by the passiveness of the other; it would result in the same effect of bringing two negative poles together. The unity comes from the pebble and the clod, with the pebble’s love to “bind” the clod and the clod’s love to “care” for the pebble. The interpretation of the clod as feminine and the pebble as masculine is understandable because the two forms of love fit with the stereotypes in gender. The traditional female role desires to selflessly care for the male while the traditional male role desires his love to satisfy his own needs and “bind” her to him (3).

The structure and imagery support this interpretation that both views hold equal weight, because Blake’s poem is perfectly symmetrical – devoting 6 lines to each figure and each line in the last quatrain is the mirror opposite of the corresponding line in the first. The imagery, the four sheep (perhaps one lamb) and two oxen along with the two frogs, snake, and duck at the bottom, stresses the variety of created life in the contrast of the sheep and cattle and also in the contrast of sexes. While the animals are opposite, they both are sustained by the “mother clod” and the “watery life” of the pebble (5). While the environment is alive, the clod and the pebble literally are not (6). This can indicate a more metaphysical approach to understanding the clod and the pebble rather than a literal one.

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