THE STUDY OF SATIRE IN WILLIAM BLAKE'S POETRY

Abstract

This research uses different hypotheses of humor and Bakhtin language hypothesis (exchange) to give another picture of humor in Blake's tunes of guiltlessness and experience. Bakhtin's hypothesis is by all accounts an absurd instrument for analyzing Blake's humor at the beginning. Be that as it may, contemporary pundits even utilize the hypothesis of exchange to analyze heartfelt verse, which from Bakhtin's perspective outlines the tallness of the writer's standard and subjectivity. The utilization of these speculations presents Blake's work as an offbeat poem in which the part of humor is critical as the prevailing technique for talk. Blake's parody is somewhat the replacement to Dryden and Pope's parody, in light of the fact that the two's renowned parodies, particularly their epic mockery, are fair similar to because of the juxtaposition of grand and low styles, and subsequently conversational. There are various kinds of Bakhtin talks in Blake's sonnets: repetitive and frightening talk of verse, objectivist talk of the play, and polyphonic and novelistic talk. Bilingual discourse likewise shows up as a type of joke. Blake's work is a joke of the immature sonnets of his time, just as the dictator talk of strict and state rule. Conversationalism in Blake's lyricism upgrades the mocking impact that objectives church and state belief system. Blake's humor denotes the dream that is the aftereffect of the shrewdness of the talk of the Enlightenment. The idea of dream in Blake's works communicates the ethical way of thinking of discourse, which depends on the idea of presence. Roya makes justification for exchange and, in spite of the lovely savvy underway of Dryden and Pope, diminishes somewhat the strength of the ironical writer. Blake's humanist self, subsequently, is at chances with the social political self of Dryden and the pope's own elitist.