INNOCENCE AND EXPERIENCE


I shall not ask the commentators whether Blake used these two words in
union or in antithesis. They assuredly have an inseverable union in the
art of literature. The songs of Innocence and Experience are for each
poet the songs of his own separate heart and life; but to take the
cumulative experiences of other men, and to use these in place of the
virginal fruit of thought--whereas one would hardly consent to take them
for ordering even the most habitual of daily affairs--is to forego
Innocence and Experience at once and together. Obviously, Experience can
be nothing except personal and separate; and Innocence of a singularly
solitary quality is his who does not dip his hands into other men's
histories, and does not give to his own word the common sanction of other
men's summaries and conclusions. Therefore I bind Innocence and
Experience in one, and take them as a sign of the necessary and noble
isolation of man from man--of his uniqueness. But if I had a mind to
forego that manner of personal separateness, and to use the things of
others, I think I would rather appropriate their future than their past.
Let me put on their hopes, and the colours of their confidence, if I must
borrow. Not that I would burden my prophetic soul with unjustified
ambitions; but even this would be more tolerable than to load my memory
with an unjustifiable history.

And yet how differently do the writers of a certain kind of love-poetry
consider this matter. These are the love-poets who have no reluctance in
adopting the past of a multitude of people to whom they have not even