In his poem “The Shepherd,” from Songs of Innocence, William Blake describes the scene of innocent sheep being diligently watched over by a sweet shepherd. The obvious message is the absolute sense of tranquility that is found by the herd from having a benign celestial father alertly protecting them. But, as is with much of Blake’s writing, there is also a sense of a sinister totalitarianism being exercised by the benign shepherd. He asserts guard over his sheep from “morn to evening,” “following his sheep all the day,” and, “his tongue shall be filled with praise.” The Shepherd’s benefit from this relationship appears to be a self-aggrandizing one, basking in the sheep’s dependence on him. The sheep, for their part, blissfully bask in innocent ignorance, enjoying the peace of mind grated to them through the shepherd’s protection. Though the poem diverts the reader’s attention from sensing anything menacing with the strategic usage of gentle words like sweet, praise, innocent, tender, and peace, the dire message here can be read as indeed one of solace for both the sheep and shepherd, but also of a particularly menacing variant, reminiscent of captive victims who have learned to identify with their captors (Stockholm Syndrome).
In contrast to “The Shepherd,” Blake’s poem in Songs of Experience titled “The Angel,” approaches the same theme from a different standpoint. Here, a maiden is being guarded over by a benign angel, similar to how the sheep were watched over by the shepherd, except unlike the sheep the maiden is filled with anguish rather than bliss. The telling piece in the poem is that the angel is by no means a brute, but a concerned protector, yet the maiden seems to resent his presence anyway. Whereas “The Shepherd” is comparable to a child yearning for the fawning of an overbearing parent, “The Angel” is that child maturing into adulthood, and desperately yearning for independence from her parents’ authority. When the angel does flee the situation and the maiden is left alone, she “dried [her] tears, and arm’d [her] fears,” and upon the angel’s return she states, “I was arm’d, he came in vain,” because through her maturity she has made the conscious decision in her advanced years to—if need be violently—break free from the self-deprecating condition the angel’s preoccupation with her has created.
In line with the underlying anticlerical message evident in much of William Blake’s work, both “The Shepherd” and “The Angel” can be read as subtle, but stern, condemnations against church establishment. “The Shepherd” illustrates the churches relation towards the youth of their flock, instilling within them a herd-like obedience towards its own authority and at the same time teaching them to praise this same authority. It is fitting that “The Shepherd” is in the Songs of Innocence collection, since it appeals to the time in people’s lives before they are capable of reflecting on a situation and figuring out on their own what decisions are best for them. It is the sort of innocence, which according to Blake, can be easily corrupted by organized religion and lead men further away from the truth of God in favor of expanding its own power; crushing creativity for the sake of conformist obedience. Mention must also be given that the poem is written in third person, meaning that the true thoughts of the sheep are ultimately closed off to us, and the entire narrative serves as a representation of the oblivious public that gives cover to a harmful system because it itself is incapable of noticing that the dependence the shepherd had trained in his sheep is a form of mental submission, rather than sincere devotion. On that same note, “The Angel,” from the Experience, shows a first person narrative, giving a personal account into the loathing and grief experienced by a creative mind craving to be free from an overbearing guardian. Whereas, the young sheep sought the guidance of the shepherd because their reasoning skills were not developed enough to know better, the aging maiden’s experienced rationale had rebelled against her guardian.
Just as the church in Blake’s view seeks to do what it thinks is best for the salvation of man’s soul, “The Shepherd” and “The Angel,” demonstrate the irony of how the imposition of guarded and conditional deliverance can only be perceived as virtual imprisonment, and will–contrary to its own goals–impose a token brand of cerebral tyranny.
KRONSTADT REVOLT 