'English Literature Commentary Essay\r'

'‘The quartz glass footlocker’ is an outstanding example of Blake’s custom of an alternating(a) reality to can readers to mull over the boundaries of their society in light of companionship about a nonher military personnels where these boundaries do non exist. Through the song which was indite just after the French Revolution, Blake offers the fundamental of gentlemans gentleman experiences; as the of import fiction of the poem symbolizes a deep human fair play which can be take with his poem, ‘capital of the United Kingdom’. The poem’s unanalyzable goal is to tell a storey and sh be a wisdom.\r\nThe poem contains seven-spot stanzas, several stanzas containing a varied knowledge domain and a assorted boundary; inwardly each stanza sensation and single(a) is able to attend a frost precis which well follows a gloomy dactylic tetrameter. The vitreous silica Cabinet’s seven stanzas orchestrates a superstruc ture upon which the story elements can be intertwined, and mental imagery can be overlaid as deeper themes of Blake’s philosophy can be in comparable manner be embedded. The startle stanza is the main and central metaphor which unity should focus on as it unfolds line of descent by line before connecting with the help stanza to beat back ahead evoke readers on the different dimensions and boundaries.\r\nThe first dickens lines in the first stanza seemingly cost’s a form of innocence, a naked natural into a modern cosmea that deserved a jubilation which is where and why Blake uses the term â€Å" jubilantly”. However, ace notices the semi-colon after the â€Å"merrily” as it drifts gain ground away from the supposed celebration, as the fibber’s ‘ wet-nurseen’ puts the range into a storage locker and â€Å"lock’d me up with a deluxeen see”; the poems gratification and joy consequently comes to a pro minent halt. The broken dactylic meter in the first stanza seems to be contradicting, as ‘merrily’ pay offing a form of joy and freedom, is partnered with ‘key’ which in damage symbolizes a note where freedom is lacked and limited, where one is locked.\r\nThe console in which the fabricator/Blake figures himself in is â€Å"form’d of gold, and pearl and vitreous silicalization shining scarcetony”, a contrast to the large and lingering serviceman of nineteenth atomic number 6 London. The second stanza, from lines 5-9, Blake is using the storage locker for which the fabricator is locked in to emphasize an ply to a different world as opposed to a world for which he lives in, a silent and guardianshipful nineteenth century world, in London.\r\nThe second stanza contains two broken rhymes/dactylic meters as Blake rhymes â€Å"gold” and â€Å"world”, and â€Å" keen” and â€Å"night” together. Inside the cabinet is where we find â€Å"an another(prenominal) London with its tower” †Blake uses to represent a temporarily forgotten vile of which the real city contained and the imaginary one within the cabinet was freed from. The cabinet that is draw through the second stanza is a cabinet full of dreams and light, of beauty and no fright. A â€Å"world” that is surrounded by â€Å"gold”, a â€Å"night” that has a â€Å" watch watch glass shining bright” light; this as opposed to a world where the narrator/persona is captured dancing merrily and locked up into a world of limits.\r\nThe images inside this crystal cabinet â€Å"translucent, lovely, shining overstep”; wholly of the quite a little and places argon presented in their accurate forms. Here, Blake comes to an agreement with Plato’s philosophy ‘that a world of ideal forms scarce exists beyond our perception’. His poem presents an encounter with the world, as the fourth stanza seems to be Blake pleading in hope that his readers will one twenty-four hour period realize the possibility and potential which one can escape from their repressed society.\r\nâ€Å"O, what a pleasant trembling guardianship!” is not necessarily speaking of fear itself, entirely the fear that this translucent, lovely and shining clear world of his will dissipate and in one case again, be ruined by repression †in contrast to the French Revolution and its bear on on England and the people of England. Here, Blake uses another broken dactylic meter of ‘clear’ and ‘fear’; the ‘clear’ representing/ represent a form of clarity, purity, innocence, and happiness and the ‘fear’ that represents the loss of that clarity. Thus, allowing one to see the desperate desire that the narrator must ready towards a collected world, a peaceful life that is not full of danger and uglyness.\r\nThrough this poem which c atapults the reader into a estate of the persona’s imagination, Blake description and different body politic throughout the fifth stanza is a world containing ‘love’, for which was given and pass alonged. This particular stanza differs from the first four as it is filled with joy, happiness and love, without having a halt. ‘O, the happiness and joy for which carry through my soul as though a flame being burnt, no composition, no question, I undertake the love as I kiss the lovely ‘ housemaid’ and found that the love I seek was returned.’ Notice the ‘Maid’ in the third line of this stanza, is capitalized, which in terms represents something more than than just a maid we generalize in modern day, for this ‘Maid’ is not one who cleans up after our mess, but a context used metaphorically to describe a woman in particular, a woman whom the persona is trap with respects and cares about, perhaps a lover.\r\nLinki ng to Blake as the poet of this poem, must represent a patch in his human experience of a lover which made him burn like a flame and smile ‘ soprano smiles’. Another point for which one notices while reading this poem is the broken rhyme of ‘burn’d’ and ‘return’d’; the burn’d here represents a fire (danger), a wrath, however symbolizing much more than just a fire object itself, as it symbolizes a warmth, the warmth of love, which in contrast was ‘return’d’. Here in this new world of The Crystal Cabinet, the persona pin down is happy and is in a world where his desires are fulfilled, as is the desire of his lover, his ‘Maid’.\r\nWhen the persona suddenly breaks the crystal cabinet in the fifth stanza, after having well-tried to â€Å"seize the inward form”, the world was ‘fierce’ and shattered; and the reader is persuade that both imagination and reason are incompati ble to one another. Here, the poem suggests that our lives have been so dominated by the doctrines of society that if we do try to find whatsoever reason in anything beyond the edge of the familiar lives for which we’ve been put in, we will not succeed, but will fail. In terms of Blake during his time, this particular part of the poem suggests that people during this time, their lives, are so dominated by not only the doctrines of society, but the doctrines of the Church, that if they do find reasoning and truth beyond those lines that have been drawn for them, they will die, and that truth does not prevail because of the imposed laws and rules. Therefore, the realm of the imagination that is transcended can not be quantified by either science or mathematics, nor can it be philosophized according to the laws of the read or the Church’s teachings, passing the human minds, locking each human up with a golden key, only allowing the locked up humans to use their Ã¢â‚¬Ë œalternative reality’ minds to go into other realms of the world.\r\nThe destination stanza, striking to the reader as to the narrator, essentially states that ‘although one has been locked up into a crystal cabinet with a golden key, having see different realms of the world and having love and loved back, one opens their eye (…seize the inmost form… but burst the Crystal Cabinet…) they break through the cabinet and once again, is back into the reality of fear and danger, back to the fearful nineteenth century world of London. As babies crying because their births are of no happy events as it only represents a continuation of this ‘woe’ (linking to ‘London’ as well as finishing line of ‘The Crystal Cabinet’), and ‘ tears Woman pale reclin’d’, representing the ‘ stimulate’ from the Sexually Transmitted Diseases woman get from their husbands; there is no happiness, no other dimen sion that is capable of allowing one to escape reality forever, as the persona is born into a world ‘fill’d with woes the passing wind’.\r\nIn conclusion, this crystal cabinet symbolizes a unique probability to unfold meaning and explore further into those minds of the nineteenth century. Using the metaphorical verbose/images to help set a submit for a greater understanding of the environment, shoes and journey for which is also a acknowledgment of the philosophy of William Blake.\r\nThis poem is independent, yet associate through the narrative, using color scheme and the re-use of objects and words from other narrative elements, these different realms of world’s and spaces produces a unique, harmonic, and fearful resonance to viewers. It is when the four-fold vision is sought as the Crystal Cabinet breaks, in the one-seventh and final stanza, summing up everything the poem marrow and has stood for, is returned back to the original place and perspe ctive for which they had entered, in the town squares of London. Here, the readers experience has thus triggered a new perception of London, as this perception is the perception seen through the eyes of William Blake himself.\r\n'