CHAPTER I

INTRODUCTION
I.1 Background of Study
Poetry is one of literary works that are rich in meaning and fancy
dictions. According to Chris Baldick in The Concise Oxford Dictionary of
Literary Terms (2001: 198! "oetry defines as #language sung, chanted, spoken,
or written according to some pattern of recurrence that emphasizes the
relationship between words on the basis of sound as well as sense$. %eferring to
&a'rence Perrine(s statement a)o't "oetry in Sound and Sense !n "ntroduction to
#oetry (19*+: ,! #poetry might be defined as a kind of language that says more
intensely than does ordinary language$. Poetry deli-ered to its reader )y 'sing
some elements which enhance the meaning of the "oem itself. .ario /larer in his
)ook !n "ntroduction to Literary Studies (2000: 28 writes that #characteristics
such as $erse, rhyme, and meter, which are traditionally regarded as the classical
elements that distinguish poetry from prose$.
I.2 Purpo! of Study
1he "'r"ose of this st'dy is to analy2e the "oem written )y 3illiam
Blake The Little %lack %oy. 1he writer interested to st'dy the sym)ols and
meanings in this "oem! a)o't how 3illiam Blake con-eyed his idea a)o't the
e4'ality )efore 5od whether )eing a )lack skin or a fair one.
I." Scop! of Study
1his "a"er only foc'sed on three main as"ects which are considered
s'ita)le to analy2e the "oem! they are: simile! imagery! and sym)ol. 1his "a"er
com"iled )y 'sing li)rary research method 'sing se-eral )ooks as the references
and searching on internet regarded as addition so'rces. 1he writer ass'mes that
those three elements are the most s'ita)le intrinsic theories to analy2e The Little
%lack %oy )y 3illiam Blake.
1
CHAPTER II
THE POET# THE POE$# AND TRANS%ATION
II.1 T&! Po!t
3illiam Blake was )orn in 6oho! &ondon! where he li-ed most of his
life! and was son to a hosier and his wife! )oth 7issenters. Blake8s early am)itions
lay not with "oetry )'t with "ainting and at the age of 10! after attending drawing
school! he was a""renticed to 9ames Basire! engra-er. After his se-en:year term
was com"lete! Blake st'died at the %oyal Academy! )'t he is known to ha-e
4'estioned the aesthetic doctrines of its "resident! 6ir 9osh'a %eynolds! and his
stay there was )rief. ;t nonetheless afforded him friendshi"s with 9ohn <la=man
and >enry <'seli! academics whose work may ha-e infl'enced him.
;n 1?80! he set '" a "rint sho"! )'t within a few years the )'siness
flo'ndered and for the rest of his life Blake eked o't a li-ing as an engra-er and
ill'strator. >is wife! Catharine! whom he married in 1?82! remained faithf'l and
diligent and she hel"ed him to "rint the ill'minated "oetry for which he is
remem)ered today.
;n 1?89! he "')lished his Songs of "nnocence! the gentlest of his lyrics!
)'t the collection was followed )y Songs of &xperience! containing a "rofo'nd
e="ression of ad'lt corr'"tion and re"ression. >is long list of works shows
relentless energy and dri-e. As one of the most com"le= writers known! it is
im"ossi)le to s'mmari2e his career : he was a com)ination of e=tremes. >is
-ision of ci-ili2ation as ine-ita)ly chaotic and contradictory mirrors the "olitical
t'rmoil of his era. ;t is only in retros"ect that we can )egin to a""reciate his work
and 'nra-el its com"le= and all'si-e so'rces.
This short biography of 'illiam %lake taken from:
htt":@@www.))c.co.'k@history@historicAfig'res@)lakeAwilliam.shtml
2
II.2 T&! Po!'
1>B &;11&B B&AC/ BCD
By: 3illiam Blake
.y mother )ore me in the so'thern wild!
And ; am )lack! )'t CE my so'l is whiteF
3hite as an angel in the Bnglish child:
B't ; am )lack as if )erea-(d of light.
.y mother ta'ght me 'nderneath a tree!
And sitting down )efore the heat of day!
6he took me on her la" and kissed me!
And "ointing to the east! )egan to say:
#&ook on the rising s'n: there 5od does li-e!
And gi-e his light! and gi-es his heat awayF
And flowers and tears and )easts and men recei-e
Comfort in morning! Goy in the noon day.
#And we are "'t on earth a little s"ace!
1hat we may learn to )ear the )eams of lo-e!
And this )lack )odies and this s'n:)'rnt face
;s )'t a clo'd! and like a shady gro-e.
#<or when o'r so'ls ha-e learn(d the heat to )ear!
1he clo'd will -anishedF we shall hear his -oice(
6aying: HCome o't from the gro-e! my lo-e I care!
And ro'nd my golden tent like lam)s reGoice.( $
1h's did my mother say! and kissed meF
And th's ; say to little Bnglish )oy:
3hen ; from )lack and he from white clo'd free!
And ro'nd the tent of 5od like lam)s we Goy!
;(ll shade him from the heat till he can hear
1o lean in Goy '"on o'r father(s kneeF
And then ;(ll stand and stroke his sil-er hair!
And )e like him! and he will then lo-e me.
#1he &ittle Black Boy$ )y 3illiam Blake taken from The (orton !nthology of
#oetry! edited )y 9'lia %eidhead.
3
II." Tran(at)on of t&! Po!'
6; /BC;& BB%/J&;1 >;1A.
;)' melahirkank' di selatan! di alam nan liar
/'litk' gela"! oh t'ngg'E Kam'n Giwak' s'ci
6eterang Giwa:Giwa malaikat! sem'rni Giwa anak:anak yang lahir di tanah ;nggris
Kam'n ak' teta"lah si k'lit hitam! si cahaya )erd'ka
7i)awah rim)'n "ohon! ;)' mengaGarkan "adak'
6em)ari ditem"a hangatnya mentari
;a memangk' dan menci'mik'
&al' serta merta men'nG'k ke 'f'k tim'r dan )erkata demikian:
#&ihatlah! dimana 6ang 6'rya meninggi: disanalah 1'han tinggal
;a mem)eri cahaya! memancarkan kehangatan
Dang oleh )'nga! "e"ohonan hewan:hewan serta man'sia! terima
6e)agai kenyamanan di "agi hari! s'ka cita di siang hari
#7an kita diletakkan di )'mi! menem"ati sat' r'ang kecil
7imana kita m'lai saling mem)eri cinta kasih
7an t')'h:t')'h gela" serta waGah yang ter)akar ini
6emata:mata adalah awan! layaknya )el'kar yang ted'h
#6eGak Giwa telah mengerti )agaimana memancarkan cinta kasih
Awan it' akan sirnaF lal' kita mam"' mendengar s'aranya!
Dang mengatakan: H/el'rlah dari )el'kar! kasih I cintak'
lal' kelilingi tenda emask' layaknya gem)ala yang girang( $
;t'lah yang dikatakan i)'! lal' dia ci'mi ak'F
7an demikian "'la yang k' katakan ke"ada anak laki:laki ;nggris:
/etika ak' )erasal dari gerom)olan k'lit gela" sedang ia )erasal dari awan "'tih
yang )e)as!
7an kami mengelilingi tenda 1'han layaknya gem)ala yang gem)ira!
&al' k' ted'hi ia dari hangat sinar mentari hingga ia mam"' menahannya sendiri
Jnt'k t'r't serta )ersandar dalam s'ka cita di l't't Ba"a kamiF
/em'dian ak' )erdiri sem)ari k' 'sa" ram)'tnya yang ke"erakan!
7an menGadi se"erti dirinya! maka ia akan mencintaik'.
4
CHAPTER III
%ITERAR* RE+IE,
III.1 S)')(!
6imile classified as one of the figures of speech in "oetry. According to
&a'rence Perrine! fig're of s"eech is more narrowly defina)le as #a way of saying
one thing and meaning another$ (Perrine! 19*+: +*. As .ario /larer e="lains!
simile #is a comparison between two different things which are connected by
)like*, )than*, )as*, or )compare*$ (/larer! 2000: ,2. 1he 'sing of simile can
)e seen from this following e=cer"t from a "oem written )y &ord 1ennyson #The
&agle$:
+e watches from his mountains walls,
!nd like a thunderbolt he falls,
1ennyson 'ses simile in #like a th'nder)olt$ to descri)e how the eagle
swoo"s down from the '""er air into the lower one! in s'ch a "owerf'l
mo-ement! G'st like the th'nder)olt.
III.2 I'ag!ry
According to 9.A C'ddon in #enguin Dictionary of Literary Terms and
Literary Theory! imagery defines as #a general term co$ers the use of language to
represent ob-ects, actions, feelings, thoughts, ideas, states of mind and any
sensory or extra.sensory experience$ (C'ddon! 1999: 01,. &ater on! 9.A C'ddon
ela)orates that #an image may be $isual /pertaining to the eye0, olfactory /smell0,
tactile /touch0, auditory /hearing0, gustatory /taste0, abstract /in which case it
will appeal to what may be described as the intellect0 and kinesthetic /pertaining
to the sense of mo$ement and bodily effort0 (1999: 01,. ;n the disc'ssion the
writer will only talk a)o't three kinds of imagery.
III.2.1 +)ua( I'ag!ry
Perrine states that imagery often refers to a "ict're of something that can
)e seen from o'r sight sense! the eyes! #the word image perhaps most often
suggest a mental picture, something seen in the mind1s eye $isual imagery is the
5
most fre2uently occurring kind of imagery in poetry$ (19*+: *0, Lis'al imagery
can )e seen in the e=cer"t from the following "oem )y %o)ert
Browning!*3eeting at (ight*:
The gray sea and the long black land4
!nd the yellow half-moon large and low4
1he "hrases #gray sea$! #long )lack land$! #yellow half:moon$! and
#large and low$ refer into something e="erienced thro'gh eyes as the -is'al sense!
s'ch as colors and sha"es.
III.2.2 Aud)tory I'ag!ry
Alten)ernd in %achmat 7Goko Prado"o ##engka-ian #uisi !nalisis
Strata (orma dan !nalisis Struktural dan Semiotik$ )elie-es that #auditory
imagery produced by mentioning and describing sound of the $oice$ (Prado"o!
199*: 82. B=am"le of a "oem that 'ses the a'ditory imagery can )e seen in this
following 4'otation from a "oem )y 1homas >ardy!$The Darkling Thrush$
!t once a voice arose among the bleak twigs o$erhead
"n a full.hearted e$ensong of -oy illimited4
1he "hrase #a -oice aro'se$ refers into o'r e="erience of hearing the
emergence of a -oice thro'gh ears as the a'ditory sense.
III.2." -)n!t&!t)c I'ag!ry
Prado"o e="lains that kinesthetic imagery or mo-ement imagery as
#something that actually standstill, but in fact, it is used to describe a thing as if it
can mo$e or a true general motion picture$ (199*: 8?. Cne of the e=am"les that
'se kinesthetic imagery can )e seen in this following e=cer"ts from a "oem )y
Archi)ald .ac&eish*5ou, !ndrew 3ar$el*
To feel the always coming on
The always rising of the night
1he word #rising$ shows a mo-ement of something that lifted '" from
the 'nder towards the '""er le-el! it indicates something does mo-e from one
"lace to another.
6
III." Sy'.o(
9.A C'ddon defines sym)ol as #an ob-ect, animate or inanimate, which
represents or stands for something else$ (C'ddon! 1999: 88*. An e=am"le of the
'sing of sym)ol can )e seen from this following "oem )y 9ohn Boyle C(%eilly
#The 'hite 6ose*
The red rose whispers of passion,
!nd the white rose breaths of lo$e4
#%ed rose$ sym)oli2e a lo-e that is f'll of "assion or desire. .eanwhile!
C(%eilly 'ses #white rose$ to sym)oli2e a lo-e that is "'re and sweet! not only
G'st "assion that constr'ct in it.
7
CHAPTER I+
DISCUSSION
I+.1 S)')(!
;n #The Little %lack %oy$! 3illiam Blake em"loys simile to com"are one
o)Gect with another! e-en each of it does not ha-e the correlation )'t the intention
was to enrich the meaning and the theme of the "oem.
White as an angel is the &nglish child
%ut " am black as if bereavd of light
;n the first stan2a! Blake 'ses #white as an angel$ to gi-e the same
knowledge as his in which he wants the reader to aware that an angel 's'ally ha-e
a white heart! the "'re one. Blake refers to an Bnglish child! as if white "eo"le are
angels li-e on earth! considered as the most high caste race among other h'man
races. Cn the contrary! Blake 'ses #as if )erea-(d of light$ to gi-e the descri"tion
of how other h'man races addressed their social constr'ction of mind to make the
stereoty"e of )lack "eo"le that they are #the )erea-ed light$! those who )elong in
this gro'" cannot shine. Black "eo"le has a gloomy history! they are s'ffering
from sla-ery! colonialism! discrimination and internal racist "ro)lems among their
own "eo"le. <rom the first stan2a! thro'gh simile! Blake has already gi-en the
reader a)o't the )ackgro'nd theme that he wants to con-ey in this "oem.
!nd these black bodies and this sun.burnt face
Is but a cloud, and like a shady grove
;n the fo'rth stan2a! 3illiam Blake 'ses #like a shady gro-e$ to descri)e
that tho'gh )lack "eo"le has a dark skin com"le=ion and their face )'rn! )'t
Blake addressed them as a clo'd like a shady gro-e! a clo'd that shades 's from
the heat of the s'n! therefore their faces got )'rn. 3illiam Blake wants to con-ey
his "'r"ose )y com"aring )lack "eo"le as a shady clo'd! which in this )ig world!
)lack "eo"le act'ally has the same role as well as white "eo"le. B-en! )lack
8
"eo"le ha-e the more 'sef'l role that the white ones! )eca'se they shade 's from
the s'n.
Saying 7come out from the gro$e, my lo$e 8 care,
!nd round my golden tent like lambs rejoice,1 *
;n the fifth stan2a! Blake 'ses #like lam)s reGoice$ to gi-e an o-er-iew to
the reader that 5od sees all of the h'man )eings! who )elongs in any races! as the
e4'al. 1hey ha-e the same "ortion in 5od(s eyes. 3illiam Blake wants to remind
's that h'man! des"ite his race! )elongs to )e 5od(s she"herd! like the lam).
1herefore! all of the h'man races m'st get the same treatment and not any races
ha-e to )e left )ehind! they ha-e to )e reGoicing together! to ha-e the same
ha""iness.
'hen " from black and he from white, cloud free,
!nd round the tent of 9od like lambs we joy,
;n the si=th stan2a 3illiam Blake em"hasi2e his meaning that once he
con-eys in the fifth stan2a! that all h'man m'st )e e4'al )efore 5od. #3hen ;
from )lack and he from white! clo'd free! and ro'nd the tent of 5od like lam)s we
Goy$ is a statement of 3illiam Blake that he wants "eo"le to 'nderstand there is
no 'se to white or fair skin "eo"le to discriminate '"on "eo"le with )lack or dark
skin. 1he conce"t of simile in #like lam)s we Goy$ gi-e the f'll descri"tion that all
of 's )elong to 5od! all of 's are 5od(s she"herd that sho'ld )e li-e together as
one comm'nion witho't any discrimination ha""ens among the "eo"le with races
that may -ary.
I+.2 I'ag!ry
After doing the close reading "rocess of this "oem! the writer considers
that #The Little %lack %oy$ )y 3illiam Blake written )y 'sing se-eral kinds of
imagery. 1he writer fo'nd that at least there are three kinds of imagery (-is'al!
a'ditory and kinesthetic "laced in the entire stan2as of this "oem.
9
I+.2.1 +)ua( I'ag!ry
;n the first stan2a! there is only one kind of imagery! which is -is'al
imagery. ;t em"loys in three lines:
!nd " am black, but O: my soul is white (Lis'al
White as an angel is the &nglish child (Lis'al
%ut " am black as if bereavd of light (Lis'al
1he words #)lack$ and #white$ e="erienced thro'gh o'r -is'al sense.
6omeone recogni2e the color of an o)Gect )y 'sing its eyes sense. #Berea-(d of
light$ refers to the intensity of the light! we might recogni2e it also )y 'sing o'r
eyes.
;n the fo'rth stan2a! the writer also fo'nd that -is'al imagery also
em"loys in one of its line.
)!nd these black bodies and this sun-burnt face (Lis'al
"s but a cloud and like a shady gro$e,
Lis'al imagery re"resented )y the word #)lack )odies$ and #s'n:)'rnt
face$! )oth of them refer to the com"le=ion of one(s skin.
;n the fifth stan2a! there is also -is'al imagery 'ses )y 3illiam Blake in
the second line! #The cloud will vanish4 we shall hear his $oice$. 1he word
#-anish$ refers to something we see from o'r -irt'al sense! disa""ear and gone at
last. &ater! in the fo'rth line Blake 'ses #!nd round my golden tent like lambs
re-oice$! #ro'nd$ might not )e directly refers to a sha"e )'t it also refers to
someone who go aro'nd at some "lace may made the sha"e of ro'nd on the way it
goes. #5olden tent$ refers to one of the color which o'r sight sense recogni2ed.
I+.2.2 Aud)tory I'ag!ry
1he writer fo'nd that 3illiam Blake 'ses a'ditory imagery in the fifth
stan2a! second line! #The cloud will $anish4 we shall hear his $oice$. 1he word
#hear$ is a word constr'cts the image that #we$ in the "oem hear the so'nd of
#his$ -oice. 1he image is )'ilt thro'gh o'r ear as a'ditory sense.
10
A'ditory imagery also fo'nd in the si=th stan2a! second line: #!nd thus I
say to little &nglish boy$ the word #; say$ em"loys a'ditory imagery! which #;$
in the "oem say something to the little Bnglish )oy. ;n the "rocess of saying
something! someone 'se the oral tool! the li"s! to "rod'ce a so'nd! which then the
so'nd "roceed )y o'r a'ditory sense! therefore the word #; say$ contains of
a'ditory imagery.
I+.2." -)n!t&!t)c I'ag!ry
1he writer fo'nd some kinesthetic imagery em"loy in se-eral lines in the
"oem. ;n the second stan2a! fo'rth line! 3illiam Blake writes #!nd pointing to
the east, began to say$! the image of #"ointing$ that constr'ct in o'r mind is
someone who mo-e his@her finger and "oints it to a""oint an o)Gect or direction.
1he mo-ing finger em"loys the kinesthetic imagery.
<'rthermore! 3illiam Blake writes in the third stan2a! first line #Look on
the rising sun there 9od does li$e$! kinesthetic imagery re"resented in the word
#rising$! meaning that one o)Gect mo-es from the lower le-el '" to the '""er
le-el! and th's made a mo-ement or something. 1herefore! #Look on the rising
sun there 9od does li$e$ em"loys kinesthetic imagery.
;n the fifth stan2a! last line! Blake writes: #!nd round my golden tent like
lambs re-oice$! #ro'nd$ might not )e directly refers to a sha"e )'t it also refers to
someone who go aro'nd at some "lace may made the sha"e of ro'nd on the way it
goes. ;t also contains of kinesthetic imagery "oints o't to someone who go
aro'nd! someone who mo-e from one "lace to another in certain direction.
I+." Sy'.o(
<rom the -ery first line! 3illiam Blake has already 'se sym)ol to con-ey
more in this "oem. #3y mother bore me in the southern wild$! 3illiam Blake 'ses
#so'thern wild$ to refer to the "eo"le who )orn and )elong to any races in the
so'thern "arts of the world! and he also gi-es a #wild$ attri)'te to em"hasi2e that
the s"ecific "lace he was referring to is Africa! the )lack continent! where Africa
11
known as a wild and the ci-ili2ation is still 'nderde-elo"ed. 1he ne=t line is
#'hite as an angel is the &nglish child$! Blake refers the "eo"le of the white race
with the word #angel$! as it is descri)e something good! "'re and a higher degree
than those of other races in all o-er the world. ;t is a constr'ction of the stereoty"e
)'ilt d'ring the colonialism era in which 3estern "eo"le claimed that they are the
s'"erior race among all races.
;n the second stan2a! 3illiam Blake 'ses #!nd pointing to the east,
began to say$! #the east$ he was referring to is where the s'n rises! and it also
means that he refers to "eo"le li-ing in the eastern "art of the world! where the
third world co'ntries de-elo". &ater in the third stan2a he contin'es: #Look on the
rising sun, there 9od does li$e$. Blake sym)oli2es 5od like the s'n! which shines
for e-eryone! shatters its light to the world! witho't making any discrimination.
All the "eo"le are treated the sameF they recei-e the same heat and warmness
from the s'n. #Comfort in morning, -oy in the noon day$ sym)oli2es that the s'n!
or 5od! )rings so m'ch ha""iness and comfort to the world he created and shines
for.
;n the fifth stan2a #Saying come out from the gro$e, my lo$e 8 care,
!nd round my golden tent like lambs re-oice$! Blake is trying to e="ress his idea
in this line! that the )lack races which recei-e many social discriminations G'st )y
G'dging o-er their skin color! they still get the same treatment )efore 5od. 5od
does not discriminate any race with any skin color! they all e4'al )efore >im! and
all of them were 5od(s she"herds. 1herefore! thro'gh this "oem! 3illiam Blake
wanted to gi-e a 'ni-ersal de"iction if 5od does not disting'ish >is own creat're!
then why "eo"le gi-e s'ch a discriminate G'dgment against each otherM 1his
statement also e="licitly em"hasi2es in the line third and fo'rth in si=th stan2a
#'hen " from black and he from white cloud free, !nd round the tent of 9od like
lambs we -oy$ this line re"resented the ideal idea of 3illiam Blake! when
someday all the h'man races can li-e together regardless of their skin colors and
other social discrimination.
12
CHAPTER +
CONC%USION
#The Little %lack %oy$ written )y 3illiam Blake is generally ill'strates
that h'man )eings are considered e4'al )efore 5od! whether they are coming
from fair com"le=ion or dark com"le=ion! they all are the same. 3illiam Blake
concerns a)o't how discrimination often ha""ened and directed against the )lack
skin "eo"le as the lowest h'man race! considered as #st'"id$! G'ristically law and
'nderde-elo"ed ci-ili2ation. 1he discrimination often coming from the white skin
races! this can )e -iewed as the legacy of a social constr'ction from the
colonialism era! in which 3estern "eo"le came into the Bast! coloni2e them! take
their nat'ral reso'rces commodity! and mani"'lated the nati-es who li-e in these
colonies. 1hro'gh this "oem! 3illiam Blake wanted to show to the reader that
5od sees no color! >e does not differentiate "eo"le )y its race! ethnicity! or skin
color. >e is like the s'n! shining on the whole world with its warmness and heat
e-ery single day of 's witho't any single e=ce"tion. 5od treats "eo"le e4'ally!
lo-e and cherish all of >is creations in this world.
;n order to con-ey the ideas and s"irit'al e="erience of 5od and the
h'man races! 3illiam Blake 'ses simile to com"are o-er two things )'t it gi-es a
-ery wide sense of the meaning. Cther than that! Blake also 'ses imagery to
constr'ct the image of sit'ation contained in the "oem. 6ym)ol! is the key of this
"oem! as 3illiam Blake 'ses it to e="lain many things that sho'ld )e taking a
long sentence to )e e="lained in details! into one single "hrase that is remarka)le
and striking to the heart of his reader.
13
BIB%IO/RAPH*
Baldick! Chris. 2001. The Concise Oxford Dictionary of Literary Terms. Kew
Dork: C=ford Jni-ersity Press ;nc.
C'ddon. 9. A. 1999. The #enguin Dictionary of Literary Terms and Literary
Theory. Bngland: Peng'in Books.
/larer! .ario. 2000. !n "ntroduction to Literary Studies, Second &dition. &ondon:
%o'tledge 1aylor I <rancis 5ro'".
Perrine! &a'rence. 19*+. Sound and Sense !n "ntroduction to #oetry. Crlando:
>arco'rt Brace Com"any.
Prado"o! %achmat 9oko. 199*. #engka-ian #uisi !nalisis Strata (orma dan
!nalisis Struktural dan Semiotik, Dogyakarta: 5adGah .ada Jni-ersity
Press.
%eidhead! 9'lia. ! ed. 200*. The (orton !nthology of #oetry, ;ifth &dition. Kew
Dork: 3. 3. Korton I Com"any! ;nc.
Biogra"hy of 3illiam Blake taken from
htt":@@www.))c.co.'k@history@historicAfig'res@)lakeAwilliam.shtml accessed +
9'ne 201,.
14