Consider William Blakes presentation of love in the poem The Clod and the Pebble Essay

(b) pay close attention to language and form, deliver a critical appreciation of the side by side(p) poem, considering William Blakes instauration of grapple in the poem The Clod and the Pebble.The Clod and the Pebble neck seeketh non itself to please,Nor for itself hath any care,But for former(a)(prenominal) gives its ease,And builds a promised land in hell on earths despair.So sung a little Clod of Clay 5Trodden with the cattles feet,But a Pebble of the brookWarbled out these metres meet make out seeketh only self to please,To bind another to its delight, 10Joys in anothers dismission of ease,And builds a Hell in nirvanas despite.The ostensible prettiness of the poem The Clod and the Pebble perhaps masks a more morbid and deeply distrustful assessment of spang by the poet William Blake. Initially, the oppose between the palooka and the pebbles speeches on revel life efficiency encourage a positive response to the ballocks optimism nearly how sleep together can deport us from even the most fiendish position. The pebbles pessimism somewhat love, on the other hand, is unpleasant and unsettling, but its to a fault a more accurate verbal expression of the brutal nature of the field as it is depicted in the poem. Blakes presentation of love, then, is ambivalent. While the ideal that love is adapted to overcome any circumstance is kindly, it might not be a practical(prenominal) assessment in the context of the valet de chambres cruelty.Blakes personification of the hunk and the pebble captures twain truly different compassionate senses. We are told that the clod is trodden with the cattles feet. With the contrive trodden Blake captures the develop of running(prenominal) hardship, and being repeatedly downtrodden, subjugated and abused. There is also tactile imagery of weight and blackjack from the cattles feet, restricting the clod and forcing it into a new shape. In this way, the clod is described as though it cognizes human suffering. It makes us think about individual who has had to become flexible to fit the continual hardship of their circumstances reflected in the corporeal properties of a soft clod of clay. It is then pleasantly surprising that the clod sings about love in the most sanguine way.On the one hand, the clods optimism concerning love is deeply admirable, and the parallel twist used to present this speech alongside the pebbles marks that optimism in the most appealing way. The clod states that love builds a Heaven in Hells despair, magic spell the pebble states that it builds a Hell in Heavens despite. The clod speaks from the context of a hellish public that entails pain and suffering, and endows love with the capacity to transcend such an experience and create a heavenly human race of joy and happiness. The pebble, on the other hand, speaks from a comparatively heavenly existence and instead endows love with the capacity to corrupt that existence with the pain and suf fering aimed by the word Hell. Our feeling that the clod is admirably starry-eyed ten evolves into a feeling that we in like manner want and even believe that love will rescue and provide solacement to this figure.Conversely, the parallel structure also helps to emphasise the pebbles pessimism. The clod declares that love seeketh not itself, spot the pebble answers that love seeketh only self. The phrases not itself and only self create a clear juxtaposition here of the two suasions of love. The first underscores it as essentially selfless, bit the other underscores it as absolutely and altogether egotistical. Moreover, while the clod sings happily about how love for another gives its ease the pebble responds with how love joys in anothers loss of ease. The clods words suggest an action of willing self-sacrifice, while the pebbles words suggest a selfish acquisition that leaves another diminished. Of course, the pebbles view means that there is no entrust for the clod and that love in incident provides no Heaven.Furthemore, the pebbles assessment of love is deeply cynical and ugly. It is, however, true to some(prenominal) its own experience and that of the clod. The clod is trodden upon while the pebble is of the brook. We pretend a gentle and sedate existence within the soft certain of a stream. Traditionally, however, rivers also symbolise a journey from innocence to macrocosmliness. The pissing represents the experience that flows over us during life, leaving us more aware. This experience has left the pebble implacable. We imagine someone who has become hardened from experience and this is reflected in the physical properties of the pebble. Now the water is forced to change form around the pebble, estimable as the clod must bend around the feet of the cattle. This is a depiction of the worlds harshness and cruelty, and we cannot help but appreciate that it is the pebbles assessment of love that more accurately reflects it.To conclude, p erhaps the poem is as much about noble-mindedness and realism as it is about love. Love, later on all, is subject to our tendency to be both(prenominal) idealistic and realistic. Ultimately though, it seems that the depiction of the world as harsh and brutal confirms a negative view of love as equally harsh and brutal. At the very least, the poem encourages us to be ambivalent of love and not suppose it to be a kind of saviour clear of transcending all.