'Comparing The Powerful Images of the Tyger and the War photographer Essay\r'

'William Blake and Carol Ann Duffy two implement almighty see to itry to describe the â€Å" struggle lensman” and â€Å"The Tyger”, making similar statements about them. In addition, both poems deceaseling vivid substitution classry associated with the theme of morality and war.\r\nThe subprogram of imagery by both poets emphasizes the unanimity between the â€Å"The Tyger” and the â€Å" war photographer” as it suggests that both these characters forego on wipeout. For physical exertion, William Blake describes the Tyger to ache a â€Å" imposing symmetry” and â€Å"fire” in its eyes. The intelligence operations â€Å" stately” and â€Å"fire”, create a semantic house of ferocity and danger associated with the Tyger. Further more(prenominal), this play ups the savage and formidable nerve of the Tyger, making the predatory nature of much(prenominal) an wildcat prominent. The use of the word â€Å"symmetry â€Å" not exclusively indicates the Tiger’s symmetrical appearance only if to a fault, on a deeper level may call for the ordered and mechanical manner in which it kills its prey.\r\nThis is because the position that its appearance remains symmetrical suggests how cold and insensitive it is when using the finale of other animals to fuel its throw ruthless mind and body. Although the â€Å" struggle photographer” isn’t portrayed to this extent of barbarity, the fact that he uses destruction and woe as a source of income is sure as shooting similar to the Tyger’s situation. This is exemplified when Carol Ann Duffy says that the War lensman â€Å"st bes impassively at where he earns a living.” The use of the adverb â€Å"impassively” conjures up images showing how the War photographer is so unemotional and machinelike in the guidance he takes designs of the death and measly of War safe to â€Å"earn a living.” theref ore, in this way, the mental images organise in ratifier’s mind from severally(prenominal) poem illustrate that the War Photographer is similar with the Tyger as they both cold-heartedly use the medium of death to improve their own lives.\r\n that, on other hand, the wave-particle duality of both the Tyger and the War Photographer is overly make clear with the use of imagery. For example, William Blake excessively take ups the Tyger to be â€Å" tan bright.” This emphasizes the magnificence of the Tyger in a much more â€Å"bright” and positive manner, juxtaposing its deadly and dangerous side. The use of bilabial plosives in the ‘b’ sounds in â€Å" sunburn” and â€Å"bright” creates an explosive and energetic sound, creating images of an animated and spirited animal, contrasting to the alternative dull and spiritless lore of the Tyger. Moreover, the depiction that the Tyger is a thing of beauty instead than dismay is acce ntuated when the Tyger, which is â€Å"burning bright”, comes from â€Å"the forests of the night.”\r\nThis creates a picture of the Tyger being something full coming out of horror as the words â€Å"forest” and â€Å"night” consume connotations of something dark and sinister, contrasting to the magnificence of the Tyger’s brightness. William Blake also goes on to ask the mind â€Å"Did he who make the bear make thee?” This is referring to divinity as the love is depicted as the ‘Lamb of matinee idol’. This question reinforces the idea that there must be something sincere coming out of this seemingly deadly animate being if God is its creator. The reason for this is that God is often image an omnipotent, benevolent figure and the fact that he created the â€Å"Lamb”, a symbol of complete innocence and purity, reinforces this.\r\nTherefore if he created the Tyger, there must be a positive outcome to its inventi on. perchance Blake is conveying the image to the reviewer that the valuable purpose of the Tyger is to create a natural order of balance in the valet de chambre. Although on the surface its predatory nature seems only to have negative impacts, it is required to ensure the survival of not only its own species but also to celebrate 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 get the circle of flavor to happen, a concept that is fortify by the cyclic structure of the poem. Similarly, in War Photographer Carol Ann Duffy mentions how the War photographer â€Å"sought-after(a) approval without words to do what some unitary must.”\r\nThis adds a horse sense of morality to his job and the purpose of it, serious like the creation of Tyger benefits the world in a much larger sense; he doesn’t do it unspoilt to earn money. This produces a con trasting image on the War Photographer as it suggests he is doing something right and â€Å"what someone must” as making people aw are of the death and suffering in the world, is a step closer to answer this problem 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 portrayed.\r\nPowerful imagery is also presented in both poems via the theme of religion. For example, in War Photographer, strong ghostly imagery is created with use of the give-and-take quote â€Å"All flesh is grass.” This implies that all heart is as temporary as grass and just like grass life will transmit for its season but then wither, fade and die. instead the â€Å"flesh” could be a metaphor for death, suggesting th at death in war is as common and in huge 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 well-nigh blame Christianity or religion for allowing or creating War, which makes life so fragile and transient.\r\nFurthermore, maybe, C. A. Duffy conveys these religious images to the commentator, to highlight the interrogative sentence she has in the supposed altruism of God for creating war. William Blake uses religious imagery similarly in the Tyger. â€Å"What immortal hand or eye, Dare frame thy fearful symmetry?” This questions the nerve of the â€Å"immortal” God to create such a â€Å"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 very beneficent. This image of an un pardonate God i s reenforce when God is questioned to have â€Å" affright hand” and â€Å"dread feet” for creating this creature.\r\nThe use of the adjective of â€Å"dread” to describe God produces powerful images that oppose the assumed kindness of God, implying that this almighty figure may also harbour vixenish intent. Perhaps Blake is alluding to the fearful Jehovah like image from the Old Testament, questioning 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 God’s good will for creating suffering in the world evince through the creation of the Tyger and War.\r\nAn apparent difference in the portrayal of images between the 2 poems is that the War Photographer is closely related to humanity, whereas The Tyger focuses on images beyond human. In War photographer, C.A. Duffy emphasizes the effect of War on public such as the â€Å"War Photographer” and the ”readers” of his pictures. For example the War photographer’s hand is exposit to â€Å"tremble” when he is forming the pictures of â€Å"agonies.” The words â€Å"agonies” and â€Å"tremble” paint a vivid image of the hardships of his job and the nub 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, â€Å"The reader’s eyeballs woodpecker with tears” when seeing the â€Å"agonies” in the pictures that the War Photographer takes.\r\nThe use of the verb â€Å"prick” to depict how the readers weep when seeing theses pictures, illustrates how superficial and apathetic this rejoinder is, the photos just â€Å"prick” the surface of their â€Å"eyeballs”, it is not heart-felt or deep. Perhaps this pageantrys that these readers forge even this feeble motion of respect, as they have to go the extent of tool their eyeballs to make themselves cry, as it does not come naturally. This is to â€Å"prick” is quite an abrasive or forceful verb may imply that they are forcing themselves to artificially show that they care, when truly â€Å"they do not care.” This gives the whimsey that the readers suffer from compassion fatigue, they are desensitized by the sheer number of horrendous 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 forefront of the reader’s mind.\r\nFurthermore this imagery is quite because it questions whether the reader (of this poem) deep inside, have this same indifference to the pictures of War, numerous readers would relate to the way th ey are often dismissive of these images (like the readers in the poem), making them almost feel guilty. However the visualization in the Tyger creates very different personal effects on the reader. The lexical patterning of the words â€Å"immortal”, â€Å" opposed”, ”wings” and â€Å"heaven” creates a strong impression that the only 2 figures in this poem (The Tyger and its creator) are superhuman and celestial, creating a very mystical timber to the poem.\r\nThis is reinforced with auditory imagery through the incessant trochaic metre of the poem and the repetition of the word Tyger, very much chant or anthem 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 fear 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 effects o n the reader, one leaving you with emotions of empathy and guilt and the other with a sense of wonder.\r\nIn 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.\r\n'