Tyger School

To accompany last week's reading of The Tyger by Matt Ray Brown, artist Linda Richardson shares her experience working with Year 4 pupils to bring to life their responses to the poem. This classic poem from William Blake the storyteller never fails to engage the imagination!

One Friday a couple of weeks ago, I was artist in residence at Linton Heights School in Cambridgeshire, and had the wonderful opportunity of introducing William Blake to about 180 children. They loved him! I began each session by reading The Tyger, and encouraged them to listen, not just with their brains, but with their whole being. 

Painting and poetry is a full body experience, I told them, and they were a joy as they had genuine responses of wonder, excitement, curiosity, bewilderment and surprise. They brought their sketchbooks with them and I am sure William Blake would have loved the weird and wonderful images they drew. I encouraged them to react from their deep imagination, not their mind, and that there was no right or wrong way to respond. What a joy children are.


Notes

Linda Richardson is an artist. Based in Cambridge, England, she makes work that engages the imagination and intuition and tries to make a creative space for the viewer to connect their inner nature with their outer nature to form ideas that are not rooted in convention, reason or rationality. However neither are they pure fantasy that provides an escape from humdrum life. Linda wants instead to awaken the senses to the beauty and wonder of the world in which we live, to activate the attention to the mystery of the human experience.

Tyger, Tyger Image: Linda Richardson © 2018 lindarichardson.net

Here is the painting that Linda shared with the class at Linton Heights School, inspired by Blake’s poem, as seen in the photograph above.

You can find more of Linda’s work at lindarichardson.net

We shared actor’s Matt Ray Brown’s reading of The Tyger here, as part of Matt’s exclusive series for Finding Blake — filmed at William Blake’s home on South Molton Street, London.

The Tyger

The third in our exclusive series of actor Matt Ray Brown reading William Blake's poems is The Tyger - perhaps the most famous of Blake's poems, alongside the 'hymn' version of Jerusalem. As with the other sessions in this series, filmed by Finding Blake's Jonnie Howard, Matt was performing The Tyger in Blake's flat at South Molton Street in London, adding an extra magic to these films.

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 see?
Did he who made the Lamb make thee?

Tyger Tyger burning bright,
In the forests of the night:
What immortal hand or eye,
Dare frame thy fearful symmetry?


Finding Blake team member Mark Goldthorpe says of this poem: “Many of us have strong childhood memories of The Tyger being read to us at primary school or at home. Something of the power of the animal and of Blake’s depiction — through words such as ‘fearful’, ‘fire’ and ‘dread’ — impresses itself into our minds and persists in our imaginations. Just as master storyteller William Blake intended, of course. I wonder if he sensed that this poem was one that would certainly outlast him? The imagery of the tyger, a majestic large cat “burning bright” in the dark recesses of our psyches, connects us with something primeval. In Blake’s own experience, that primeval is the link between creator and creature, the mystery of each revealing itself (but only partially) to human consciousness, and the ‘balance of contraries’ between the light and dark aspects of creation: lamb and tyger, innocence and experience. For many of us now, perhaps, the primeval is that state of imagination which can rediscover itself in all-too-human imagery grasping at a more-than-human world. For the child, it is reality. And for the tyger?…”


Notes

Matt Ray Brown reads eight Blake poems for Finding Blake and appeared in the original film for our Crowdfunder video. You can find all Finding Blake videos, as they are posted, on the Finding Blake Films at a Glance page in our Blakean Archive section. You can explore Matt’s work as an actor, including his showreel at Mandy.com, ‘the world’s largest creative community of actors, film and TV crew, theatre professionals, child actors, voiceover artists, dancers, singers, musicians, models and extras.’

Artist Linda Richardson recently took The Tyger to share with pupils at Linton Heights School in Cambridgeshire. See her post, Tyger School, for further confirmation of the enduring power of William Blake’s great poem.

 

‘Jerusalem’ – a Song, an Idea, Few Can Resist

James Murray-White reflects on the enduring, but shifting, resonance of Blake's famous lines on 'Jerusalem' for visions of 'England's green and pleasant land.' His choice of this iconic poem also introduces the launch of Finding Blake's series of powerful readings of this and other Blake poems, which we recorded in Blake's house in South Molton Street, London.

This month on Finding Blake we’re launching a series of eight short video posts featuring readings of some of Blake’s best known poems.

We took actor Matt Ray Brown to London recently to film him reading these poems in Blake’s flat in South Molton Street. In this exclusive series, filmed and sound recorded by Finding Blake’s Jonnie Howard, we showcase eight pieces — some well known, some not so well known — and delight in that they are being read probably in the very place they were written!

We will start the series with Matt’s powerful reading of Jerusalam, Blake’s most famous poem; so do watch out for that in the next few days. In the meantime, I wanted to share my own reflections on what that poem has come to mean in different contexts today.


I recently watched this new version of composer Hubert Parry’s interpretation of Blake’s Jerusalem:

In this version, featuring athlete Jazmin Sawyers singing the poem, musician Tokio Myers interprets it as the anthem ushering the England Team into the recent Commonwealth Game. The athletes stand by, humming the words as a chorus, rather unsuccessfully I feel (you may differ, and other versions of the same arrangement are available).

However, it stands as yet another take on the anthemic nature of the words, and the unusual way Blake has been taken to the heart (possibly quite a superficial heart) of the British nation. And of British culture — whatever that means, particularly in these difficult Brexit days as we try to understand a national psyche. So Jerusalem is sung at the Last Night of the Proms in the Albert Hall; it’s sung by the Women’s Institute at their annual general meeting, and by rugby players and old Etonians at their dinners; and in the piece below, featured in a Classic FM post, we travel from the pomp and spectacle of a Royal Wedding no less, to the continued ignominy of more sports stars mugging it for the cameras, led by a pretty terrified looking soprano:

Are we a nation that constantly needs a rallying call to the depths of ourselves to build a better place around us? And if so — and if Parry’s version keeps getting trundled out and we use it as a national salve — why haven’t we built Jerusalem here, in England’s green and pleasant land?

Why do we build on the countryside, allowing our cities to expand? Why do we value industry — any industry, from mining, through the exploitation of labour, to the current media industry and coming obsession with digital technologies and artificial intelligence — over rural agrarian values, or simple spiritual inquiry?

From my experience a few years ago, deep in a Sussex woodland (see The Unfolding and Unveiling) bringing forth these lyrics amongst a group of ‘we once were strangers and now we’re friends’ festival-goers, to seeing all these versions online, it feels that Blake has caught the culture, and the culture has caught a small, fragmented part of him and his experience and vision. Finding Blake continues and honours that.

And for the record, my favourite version is as arranged by folk singer and musician Chris Wood, who has kindly allowed us to use the opening bars on some of our clips. Chris has been deeply influenced by Blake and by fellow poet John Clare: their empathy for the man in the street, the simplicity and ability to look deeply at every situation, every moment. I love the slower, measured pace of Chris’s version – it seems to encourage, while remaining rooted in a pastoral idyll. This is exemplified in this performance, filmed in the wonderful Green Backyard, a few miles up the road from me in Peterborough. Rather that than imperious Britain at its worst, pulling itself up by the short and curlies in the midst of the battlefields and times of despair that our corrupt leaders have walked us into……..

Shine Forth.


Notes

This recent post at Interesting LiteratureA Short Analysis of William Blake’s ‘Jerusalem’, does it what it says on the can and looks at the meaning of the words. Is it a patriotic paean to England or,  perhaps, scathing satire? Interesting Literature also discusses other Blake poems, A Poison Tree and London, and is well worth checking out.

Poet Niall McDevitt, in his piece Urban shaman and psychogeographer,  signposted on our Blakean Articles page, says of Jerusalem: “Blake is a British-Israelite who sees ancient parallels between Albion and the Holy Land. His hymn Jerusalem is such a powerful statement of this belief that it unites all the warring factions of his country, and draws in everyone. Though unofficial, it must be the finest national anthem available to humanity. What could be more charmingly perverse than a national anthem which contains the word ‘satanic’ and which is named after somewhere else? … Despite his British-Israelism, there is no doubt that if Blake were alive today he would look upon modern Jerusalem with despair, and would be furious at the conditions in which Palestinians are forced to live.”

And musician Jah Wobble said that “For years, people were telling me that I’d love William Blake, but I had never felt like poetry related to me. When I thought of Blake I thought of Jerusalem and Last Night of the Proms and all that flag-waving, which put me off … I don’t think anybody really understands Blake. Songs of Innocence and of Experience seems pretty straightforward, but even there if you scratch the surface it gets really heavy. He’s been hijacked by retired colonels in Surrey who think he represents their Albion, and he absolutely doesn’t. Blake was nonconformist and imaginative and rule-breaking. If Blake had been my age in the 1970s, he would have been on the punk scene, without a doubt. He was a regular London bloke who worked for a living.” You can find Perspectives: Jah Wobble, musician, on William Blake via our Blakean Articles.