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19 pages 38 minutes read

William Blake

The Sick Rose

Fiction | Poem | Adult | Published in 1794

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Literary Devices

Form and Meter

“The Sick Rose” consists of two stanzas of four lines each. The poem’s lines each contain two stressed syllables and roughly conform to either iambic or anapestic dimeter. Some lines, such as “The invis | ible worm” (Line 2), are in perfect anapestic dimeter, while some lines, such as “Of Crim | son Joy” (Line 6), are in perfect iambic dimeter. Most of the poem’s lines, however, contain one iamb and one anapest. For instance, the opening line, “Oh Rose | thou art Sick,” has an iamb followed by an anapest, while the last line, “Does thy life | Destroy,” has an anapest followed by an iamb.

Dimeter gives the poem a sense of simplicity and directness that works to obscure its symbolic and narrative richness. The simple, short meter also reflects many of the works in the collection’s Songs of Innocence, some of which resemble children’s songs. However, Dimeter is quite rare in written poetry, especially prior to the modernist movement of the early 20th century, and even children’s songs tend to use longer meters.

Formally, “The Sick Rose” can be considered a lament, or a poem that expresses grief over a personal loss. In cases where the speaker’s loss is the life of another, laments often address those who were lost through apostrophe, or the address of an absent person or thing. In the case of Blake’s poem, the rose is imagined present and still alive. The speaker laments the rose’s loss of innocence rather than its loss of life.

Personification

Blake personifies, or attributes human characteristics, to both the rose and the worm in order to manipulate their relationship. This personification is most clearly seen in how Blake’s speaker addresses the sick and dying rose, suggesting that it is an audience capable of hearing and understanding the poem. Blake’s speaker attributes human states and emotions such as “joy” and “sick[ness]” to the rose (Lines 6, 1), and human traits such as “secret[iveness]“ and “love” to the worm (Line 7).

The speaker’s direct address to the rose presumes a shared understanding and connection between humanity and nature, and works to establish the groundwork for the poem’s use of the rose as a representation of human youth, innocence, and maturity. The worm and the rose also take on certain sexual characteristics similar to those of humans (See: Poem Analysis). Much of the worm’s personification is the result of the connection that Blake draws between the worm and Satan’s role in the Eden narrative.

Allusion

“The Sick Rose” relies on the Garden of Eden narrative and John Milton’s Paradise Lost to make many of its points. Despite the poem’s relatively simple surface, the use of allusion, or references to other texts, allows the speaker’s words to take on referential, polyvalent meanings. By using words like “bed” to evoke the idea of a flower garden (Line 5), or “worm” to evoke the serpent that entered the Garden of Eden (Line 2), Blake knits “The Sick Rose” into a rich narrative history that adds colors and meanings to the poem’s otherwise simple vocabulary.

The poem’s reliance on allusion interacts with the poem’s greater message about experience as well. Though knowledge and experience appear maligned and corruptive within the poem, interpreting the poem itself requires experience and knowledge of outside texts. The necessity of these allusions points to a self-evident positive of experience: it allows for the acquisition and development of knowledge (such as that of good and evil). This knowledge, gained through experience, allows for better judgments and deeper interpretations.

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