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William Blake (London, 1757-1827) was a poet and an artist who used symbolism. He was not a Romantic but his work contained Romantic ideas and he was an influence on the Romantics. He was a professional engraver. His visionary poetry and art was not appreciated during his life. Blake used simple grammar and words but his poems are complex. Blake thinks society lacks (Manca) imagination and pure feeling. For Blake, the true poet is a visionary Unlike other Romantic writers, Blake was not nostalgic - he had no solutions to the problems of existence. In 1789 Blake published Songs of Innocence, In 1794 he published Songs of Experience. For Blake, man cannot be a child forever. He must grow and have adult experiences. Songs of Innocence and Songs of Experience contrast and complement each other (uno l'altro). In Songs of Innocence, most of the poems are about infancy and introduce the visionary element which was typical of Blake's later work. For Blake, childhood (infanzia) is a state of the soul (anima). Songs of Experience shows the world of adult life: people are selfish (egoisti) and not capable of spontaneity. Blake's had a dualistic vision of life — for him, good and evil, energy and restraint (ritengo) and desire (desiderio) and frustration are interdependent For Blake, urban and industrial landscapes and machines represent rationalism and oppression. Blake's most famous dual symbol is the tiger and the lamb. The poet can be identified with the Lamb (agnello) and the child, and the child is identified with the infant Christ. Some people think Blake's 'Tyger' is a symbol of the creative energy of human life. For Blake this symmetry and perfection is ‘fearful' (da temere) because it contains the contradictory forces of good and evil — man creates and destroys. This was how Blake saw the French Revolution: the possibility for total freedom (libertà) inseparable from terror and violence. The Lamb and the Tyger reflect (rispecchiono) each other: the Tyger is innocent, and the destruction of the revolution are also innocent. Like the Tyger, freedom and revolution are glorious but also terrible. The Tyger Tyger Tyger, burning bright, In the forests of the night; What immortal hand or eye, Could frame thy fearful symmetry? In what distant deeps or skies. Burnt the fire of thine eyes? On what wings dare he aspire? What the hand, dare seize the fire? And what shoulder, & what art, Could twist the sinews of thy heart? And when thy heart began to beat, What dread hand? & what dread feet? What the hammer? what the chain, In what furnace was thy brain? What the anvil? what dread grasp, Dare its deadly terrors clasp! When the stars threw down their spears And water'd heaven with their tears: Did he smile his work to Tigre! Tigre che brucia Nelle foreste della notte, Quale immortale mano o l'occhio ha formato la tua agghiacciante simmetria? In quali abissi o in quali cieli Accese il fuoco dei tuoi occhi? Sopra quali ali osa slanciarsi? Quale mano afferrò il fuoco? Quali spalle, quale arte Ha creato i tendini del tuo cuore? E quando il tuo cuore ebbe il primo palpito, Quale terrible mano? Quale terrible piede? Quale mazza e quale catena? in quale fornace fu forgiato il tuo cervello? E su quale incudine? Quale pugno osò tenere i suoi terrori mortali? Mentre gli astri buttavano giù le loro lance E hanno annafiato il cielo con le loro lacrime Questa persona 
