The Little Vagabond is a 1794 poem by English poet William Blake in his collection Songs of Innocence and of Experience . His collection, Songs of Innocence , was originally published alone, in 1789. The scholar Robert Gleckner says that the poem is a form of transformation of the boy in the poem "The School Boy", from Songs of Innocence. [2]
In "William Blake and the Ten Commandments", critic Paul Kuntz summarizes the main theme of the poem: it gives us a view into the lives of those who get drunk on Sundays versus those who choose to attend church. [3] The poem tells the opinion of the boy who believes that more people would choose to go to church if there were alcoholic beverages. This is because he sees how happy those in the alehouse are, therefore he believes church should have a similar atmosphere and people would be more willing to attend. Also, that it would not be sinful to make the church similar to the alcohol-serving establishment because God wants to see his children happy.
This poem has four stanzas of four lines each. It has an ABCC rhyme scheme in the first stanza, but an AABB rhyme scheme in the last three.
Dear Mother, dear Mother, the Church is cold,
But the Ale-house is healthy & pleasant & warm;
Besides I can tell where I am use'd well,
Such usage in heaven will never do well.
But if at the Church they would give us some Ale.
And a pleasant fire, our souls to regale;
We'd sing and we'd pray, all the live-long day;
Nor ever once wish from the Church to stray,
Then the Parson might preach & drink & sing.
And we'd be as happy as birds in the spring:
And modest dame Lurch, who is always at Church,
Would not have bandy children nor fasting nor birch.
And God like a father rejoicing to see,
His children as pleasant and happy as he:
Would have no more quarrel with the Devil or the Barrel
But kiss him & give him both drink and apparel. [4]
The top of this plate displays a larger man, possibly God, laying over and protecting a boy. The lower section shows a group of people of different sizes hugging, possibly parents and children, sitting around a fire. The two halves of "Songs of Innocence and Experience" differ in more ways than the writing alone. The imagery on the plates differ as well. The tree bark on the plate of this poem is created using vertical lines; this is different than the tree bark on plates from "Songs of Innocence" because the tree bark is drawn in horizontal strokes on them. [5] The rays of light over the larger man were considered a remarkable section of the plate, as Blake did not often add halos or anything similar over the heads of those in his plates in the past. [5]
The repression of children's points of view in terms of church and happiness are motivating factors in Blake's writing of "The Little Vagabond." Another motivating factor is how different people view God in different ways. There have been many different reactions to "The Little Vagabond," from a renowned scholar, Wickstead saying that it is, "the noblest conception of Blake's ever-recurring idea that forgiveness is the only power of salvation" [6] to Gilham's view that "the vagabond's vision is too earthy." [7] [8] Scholar Galia Benziman proposes that the child narrarating could be interpreted as both hypocritical and deceptive, considering his hateful view of the church. She also considers the fact that rather than speaking to the priest about his concerns, the child chooses to proclaim his opinions, making any changes to his local church impossible an important point to recognize. [9]
The unlikely comparison of alehouse and church confused a major contributor to Duke scholarly journals, Coleridge, who says,
"Though I cannot approve altogether of this last poem, and have been inclined to think that the error which is most likely to beset the scholars of Emanuel Swedenborg is that of utterly demerging the tremendous incompatibilities with an evil will that arise out of the essential Holiness of the abysmal A-seity in the love of the Eternal Person, and thus giving temptation to weak minds to sink this love itself into Good Nature, yet still I disapprove the mood of mind in this wild poem so much less than I do the servile blind-worm, wrap-rascal scurf-coat of fear of the modern Saint (whose whole being is a lie, to themselves as well as to their brethren), that I should laugh with good conscience in watching a Saint of the new stamp, one of the first stars of our eleemosynary advertisements, groaning in wind-pipe! and with the whites of his eyes upraised at the audacity of this poem! Anything rather than this degradation I [SE’c] of Humanity, and therein of the Incarnate Divinity." [10]
The poem has been used in a musical format in multiple instances. There is a bibliography which lists all of these, Blake Set to Music: A Bibliography of Musical Settings of the Poems and Prose of William Blake
William Blake was an English poet, painter, and printmaker. Largely unrecognised during his life, Blake is now considered a seminal figure in the history of the poetry and visual art of the Romantic Age. What he called his "prophetic works" were said by 20th-century critic Northrop Frye to form "what is in proportion to its merits the least read body of poetry in the English language". While he lived in London his entire life, except for three years spent in Felpham, he produced a diverse and symbolically rich collection of works, which embraced the imagination as "the body of God", or "human existence itself".
"The Chimney Sweeper" is the title of a poem by William Blake, published in two parts in Songs of Innocence in 1789 and Songs of Experience in 1794. The poem "The Chimney Sweeper" is set against the dark background of child labour that was prominent in England in the late 18th and 19th centuries. At the age of four and five, boys were sold to clean chimneys, due to their small size. These children were oppressed and had a diminutive existence that was socially accepted at the time. Children in this field of work were often unfed and poorly clothed. In most cases, these children died from either falling through the chimneys or from lung damage and other horrible diseases from breathing in the soot. In the earlier poem, a young chimney sweeper recounts a dream by one of his fellows, in which an angel rescues the boys from coffins and takes them to a sunny meadow; in the later poem, an apparently adult speaker encounters a child chimney sweeper abandoned in the snow while his parents are at church or possibly even suffered death where church is referring to being with God.
Songs of Innocence and of Experience is a collection of illustrated poems by William Blake. Originally, Blake illuminated and bound Songs of Innocence and Songs of Experience separately. It was only in 1795 that Blake combined the two sets of poems into a volume titled Songs of Innocence and of Experience Shewing the Two Contrary States of the Human Soul. Even after beginning to print the poems together, Blake continued to produce individual volumes for each of the two sets of poetry.
"The Little Black Boy" is a poem by William Blake included in Songs of Innocence in 1789. It was published during a time when slavery was still legal and the campaign for the abolition of slavery was still young.
Holy Thursday is a poem by William Blake, from his 1789 book of poems Songs of Innocence.
"Holy Thursday" is a poem by William Blake, first published in Songs of Innocence and Experience in 1794. This poem, unlike its companion poem in "Songs of Innocence" (1789), focuses more on society as a whole than on the ceremony held in London.
Earth's Answer is a poem by William Blake within his larger collection called Songs of Innocence and of Experience. It is the response to the previous poem in The Songs of Experience-- Introduction . In the Introduction, the bard asks the Earth to wake up and claim ownership. In this poem, the feminine Earth responds.
"The Clod and the Pebble" is a poem from William Blake's 1794 collection Songs of Innocence and of Experience.
The Little Girl Lost is a 1794 poem published by William Blake in his collection Songs of Innocence and of Experience. According to scholar, Grevel Lindop, this poem represents Blake's pattern of the transition between "the spontaneous, imaginative Innocence of childhood" to the "complex and mature adult state of Experience."
"The Shepherd" is a poem from William Blake's Songs of Innocence (1789). This collection of songs was published individually four times before it was combined with the Songs of Experience for 12 editions which created the joint collection Songs of Innocence and of Experience (1794). Blake produced all of the illuminated printings himself beginning in 1789. Each publication of the songs has the plates in a different order, and sixteen other plates were published posthumously.
"The Fly" is a poem written by the English poet William Blake. It was published as part of his collection Songs of Experience in 1794.
"The Human Abstract" is a poem written by the English poet William Blake. It was published as part of his collection Songs of Experience in 1794. The poem was originally drafted in Blake's notebook and was later revised for as part of publication in Songs of Experience. Critics of the poem have noted it as demonstrative of Blake's metaphysical poetry and its emphasis on the tension between the human and the divine.
Introduction to the Songs of Experience is a poem written by the English poet William Blake. It was etched and published as part of his collection Songs of Innocence and of Experience in 1794.
"Night" is a poem in the illuminated 1789 collection Songs of Innocence by William Blake, later incorporated into the larger compilation Songs of Innocence and of Experience. "Night" speaks about the coming of evil when darkness arrives, as angels protect and keep the sheep from the impending dangers.
Spring is a lyric poem written and illustrated by William Blake. It was first published in Songs of Innocence (1789) and later in Songs of Innocence and Experience (1794).
"The Little Boy Found" is a poem by William Blake first published in the collection Songs of Innocence in 1789. Songs of Innocence was printed using illuminated printing, a style Blake created. By integrating the images with the poems the reader was better able to understand the meaning behind each of Blake's poems.
"The Little Boy Lost" is a simple lyric poem written by William Blake. This poem is part of a larger work titled Songs of Innocence which was published in the year 1789. "The Little Boy Lost" is a prelude to "The Little Boy Found".
"A Little Boy Lost" is a poem of the Songs of Experience series created in 1794 after the Songs of Innocence (1789) by the poet William Blake. The poem centers on the theme of religious persecution and the corrupted dictates of dogmatic Church teachings. As part of Songs of Experience the poem is set in the wider context of exploring the suffering of innocent and oppressed individuals—in this case a young boy, and his parents—within a flawed society that is oppressed and disillusioned with life's experience.
"The School Boy" is a 1789 poem by William Blake and published as a part of his poetry collection entitled Songs of Experience. These poems were later added with Blake's Songs of Innocence to create the entire collection entitled "Songs of Innocence and of Experience Shewing the Two Contrary States of the Human Soul". This collection included poems such as "The Tyger", "The Little Boy Lost", "Infant Joy" and "The Shepherd". These poems are illustrated with colorful artwork created by Blake first in 1789. The first printing in 1789 consisted of sixteen copies. None of the copies of Songs of Innocence are exactly alike as some of them are incomplete or were colored in posthumously "in imitation of" other copies.
"A Dream" is a poem by English poet William Blake. The poem was first published in 1789 as part of Blake's collection of poems entitled Songs of Innocence.