In this article, we are introducing three terminologies, namely "Individuation", "Individualism" and "Thingliness" as far as Blake"s Romantic vision is concerned. We posit that Blake"s Songs of Innocence and Songs of Experience, besides portraying the two contrary states of the human person, are journeys of life from individuation, through individualism and back to individuation, rather to "Thingliness". Put differently, the Songs of Innocence define who we are and the process by which we can fulfil our potential to become all that we can be (Individuation) whereas the Songs of Experience define what we have become (Individualism) and the process by which we can become what we were before (Thingliness). The first is a state of perfect harmony in the cosmos, the second is disharmony and the third is a journey back to the state of perfect harmony. To inform our discourse, we make recourse to the psychoanalytical theories of Carl Jung and Ecocriticism.
IntroductionWilliam Blake"s poetry has been the subject of many and diverse interpretations from critics and reviewers, with varied analyses of either individual poems, a collection of poems or even Blake"s vision as derived from his poetry in both the Songs of Innocence and Songs of Experience. A good number of these critics and reviewers have pitted the Songs against each other in their contrary natures and states. Others, however, have given credence to what they call the silent voices in Blake"s Songs. William J. Martin (2013) contends that many critics of Blake:….have focused their attention on the galaxy of characters whose voices are heard throughout Blake's poems. These are the voices of London's disenfranchised-the men, women and children who thronged London's streets and whose piteous cries became the object of Blake's concern. However, in addition to these spoken voices there runs throughout Songs an undercurrent of silent voices-voices that can be inferred, or as Blake would say, imagined-which speaks no less directly to the reader but which sustains Blake's depiction of the frightful living conditions he witnessed daily in late eighteenth century London. (1)