Comparing The Powerful Images of the Tyger and the War photographer Essay

William Blake and sing Ann Duffy twain utilize powerful resourcefulness to describe the war photographer and The Tyger, make similar statements about them. In addition, two poems make use of vivid resource associated with the head of religion and war.The use of vision by both poets emphasizes the agreement between the The Tyger and the war Photographer as it suggests that both these characters prey on close. For example, William Blake describes the Tyger to have a fearful symmetry and fire in its eyes. The wrangling fearful and fire, create a semantic field of vehemence and danger associated with the Tyger. Further much, this highlights the savage and formidable side of the Tyger, making the predatory temperament of such an animal prominent. The use of the give-and-take symmetry not still indicates the Tigers symmetrical appearance plainly similarly, on a compacter level may imply the ordered and mechanical manner in which it kills its prey.This is because the fact that its appearance remains symmetrical suggests how emotionless and insensitive it is when utilize the wipeout of other animals to fuel its own ruthless mind and body. Although the contend Photographer isnt portrayed to this extent of barbarity, the fact that he uses wipeout and torture as a source of income is certainly similar to the Tygers situation. This is exemplified when carol Ann Duffy says that the fight Photographer st atomic number 18s impassively at where he earns a living. The use of the adverb impassively conjures up images showing how the War Photographer is so unemotional and machine deal in the route he takes pictures of the death and suffering of War just now to earn a living. Therefore, in this way, the mental images make in commentators mind from each poem represent that the War Photographer is synonymous with the Tyger as they both cold-heartedly use the robust point of death to improve their own lives. save, on other hand, the dichotomy of bo th the Tyger and the War Photographer is alike made clear with the use of imagery. For example, William Blake also depicts the Tyger to be burning vivid. This emphasizes the magnificence of the Tyger in a much more b mightily and official manner, juxtaposing its deadly and dangerous side. The use of bilabial plosives in the b sounds in burning and bright creates an explosive and energetic sound, creating images of an gay and vibrant animal, contrastive to the alternative dull and spiritless perception of the Tyger. Moreover, the limning that the Tyger is a thing of beauty rather than threat is accentuated when the Tyger, which is burning bright, comes from the forests of the night.This paints a picture of the Tyger being something good coming out of criminal as the words forest and night have connotations of something dark and sinister, separate to the magnificence of the Tygers brightness. William Blake also goes on to ask the question Did he who made the Lamb make thee? Th is is referring to divinity as the Lamb is pictured as the Lamb of beau ideal. This question reinforces the idea that there mustiness be something good coming out of this seemingly deadly tool if beau ideal is its creator. The reason for this is that God is often pictured an omnipotent, benevolent interpret and the fact that he created the Lamb, a symbol of complete honour and purity, reinforces this.Therefore if he created the Tyger, there must be a positive outcome to its invention. Perhaps Blake is conveying the image to the reader that the valuable conception of the Tyger is to create a natural order of equalizer in the valet de chambre. Although on the place its predatory nature seems only to have negative impacts, it is compulsory to ensure the survival of not only its own species yet also to prevent the overpopulation of prey species like the Lamb. This imagery implies that the Tyger needs to prey on animals such as the lamb in order to keep balance in the world, and to allow the circle of sustenance to happen, a concept that is strengthen by the cyclic structure of the poem. Similarly, in War Photographer chirrup Ann Duffy mentions how the War photographer sought approval without words to do what some ace must.This adds a intellect of morality to his job and the purpose of it, just like the creation of Tyger benefits the world in a much larger sense he doesnt do it just to earn money. This produces a contrasting image on the War Photographer as it suggests he is doing something right and what someone must as making people aware of the death and suffering in the world, is a step closer to resolving this bother of war. Furthermore, powerful imagery used by both C. A. Duffy and William Blake, emphasizes the duality of the Tyger and War Photographer. On the surface, both the Tyger and the War photographer seem to be emotionless and insensitive in the way they prey on death but the larger, meaningful purpose of each character is also port rayed.Powerful imagery is also presented in both poems via the theme of religion. For example, in War Photographer, potent religious imagery is created with use of the Bible quote All manakin is grass. This implies that all life is as temporary as grass and just like grass life will shine for its season but then wither, fade and die. Alternatively the flesh could be a illustration for death, suggesting that death in war is as common and in vast numbers as blades of grass. Nevertheless, both these interpretations highlight the ephemeral nature of life in war. Perhaps Carol Ann Duffy uses the fact that quote stems from the Bible to closely blame Christianity or religion for allowing or creating War, which makes life so soft and transient.Furthermore, maybe, C. A. Duffy conveys these religious images to the reader, to highlight the doubt she has in the supposed altruism of God for creating war. William Blake uses religious imagery similarly in the Tyger. What immortal hand or eye, Dare frame thy fearful symmetry? This questions the nerve of the immortal God to create such a fearful, dangerous creature. Perhaps Blake uses the terror of Tyger to represent the suffering and death in the world and in this way, he creates striking images to question whether God is truly beneficent. This image of an un kindnessate God is reinforced when God is questioned to have dread hand and dread feet for creating this creature.The use of the adjective of dread to describe God produces powerful images that oppose the fictive kindness of God, implying that this all-powerful figure may also harbour leering intent. Perhaps Blake is alluding to the fearful Jehovah like image from the Old Testament, sceptical whether in fact he is a benevolent figure for creating the death and suffering that the Tyger embodies. Therefore, the religious imagery in both the War Photographer and the Tyger question whether Gods good will for creating suffering in the world emphasized through the crea tion of the Tyger and War.An apparent difference in the portrayal of images between the 2 poems is that the War Photographer is closely colligate to humanity, whereas The Tyger focuses on images beyond human. In War photographer, C.A. Duffy emphasizes the effect of War on humans such as the War Photographer and the readers of his pictures. For example the War photographers hand is described to tremble when he is forming the pictures of agonies. The words agonies and tremble paint a vivid image of the hardships of his job and the amount of money of fear he has when witnessing the horrors of war. Therefore, the plight of the War Photographer evokes the base instincts of empathy from the reader. Carol Ann Duffy also goes on to mention, The readers eyeballs prick with tears when see the agonies in the pictures that the War Photographer takes.The use of the verb prick to depict how the readers shout out when seeing theses pictures, illustrates how superficial and apathetic this respo nse is, the photos just prick the surface of their eyeballs, it is not heart-felt or deep. Perhaps this displays that these readers forge even this feeble motion of respect, as they have to go the extent of pricking their eyeballs to make themselves cry, as it does not come naturally. This is to prick is quite an abrasive or bruising verb may imply that they are forcing themselves to artificially show that they care, when truly they do not care. This gives the impression that the readers suffer from compassion fatigue, they are desensitized by the bluff number of horrific photos of War that are presented to them and subconsciously, they realise this lack of compassion but they do not want to display it. In this way C.A Duffy, brings this insensitivity that masked by artificial acts of kindness of the viewers (of pictures of War), to the knife edge of the readers mind.Furthermore this imagery is quite because it questions whether the reader (of this poem) deep inside, have this sa me indifference to the pictures of War, many readers would relate to the way they are often dismissive of these images (like the readers in the poem), making them almost feel guilty. However the visualization in the Tyger creates genuinely different effects on the reader. The lexical patterning of the words immortal, distant, wings and heaven creates a strong impression that the only 2 figures in this poem (The Tyger and its creator) are divine and celestial, creating a very mystical tone to the poem.This is reinforced with auditory imagery through the incessant trochaic metre of the poem and the repetition of the word Tyger, very much chant or hymn like, re-iterating the supernatural theme to the poem as hymns are sung to emphasise the magnificence of God. Therefore, this leaves the reader is awe and amazement of the power of these 2 figures that belong to a world much beyond the one of a human. Thus, the imagery in the Tyger and the War photographer also has very different effec ts on the reader, one leaving you with emotions of empathy and guilt and the other with a sense of wonder.In conclusion, Carol Ann Duffy and William Blake both present powerful images of the figures of the War Photographer and the Tyger that make them very alike.