William Blake was never fully appreciated in his own time but is still an influence on literary, political and theological analyses long after his death. While the amount of modern literary criticism that now exists should hold testament to his importance, Blake and his visions, pastoral-like settings and illuminated writings shaped the modern literary canon and paved the way for others. Specifically his works "The Divine Image," its companion poem

William Blake's "The Lamb" In the poem "The Lamb," William Blake distinguishes his unique style through the incorporation of religious symbolism, creative lines, and simplistic patterns. "The Lamb" was published as part of a series of poems in 1789 titled the Songs of Innocence; actually, he wrote "The Lamb" and the other works as part of a series of lyrics. The entire work represents an enlightened state in Blake's life, and

William Faulkner's As I Lay Dying The classic 1930 Novel by William Faulkner, “As I Lay Dying” is a demonstration of the evolution of modernist literature that incorporates an in-depth psychological aspect. The psychoanalytic novel displays the intricacy of the human psyche by attempting to unravel what lays in human minds. The novel presents an emotionally, psychologically and physically distressing journey of a family characteristic by selfishness as they embark. The

The poet does not use slang as a means to alter the general messages of the poem, as the grammatical style is formal for the period during which the poem was written. The vocabulary he uses is standard and although contemporary readers might consider the vernacular to be outdated, it is actually in accordance with the period when "The Lamb" was written. Blake wrote the poem in closed verse and

James believed that belief in God could be contemplated in terms of "live and dead hypotheses" (James 2010). He argues that when one is trying to find an argument for God existing or God not existing, we must consider three things: 1) Living or dead 2) Forced or unavoidable; and, 3) Momentous or trivial. He says, "and for our purposes we may call an option a genuine option when it

... Poor Catholic poor-white crazy woman, said the black folks' mouths" (8). But throughout the novel, it is factual treatment of race that dominates any emotional construction of race. The central problem of identity in Cane is grounded in lack of acceptance of what has universally existed i.e. polarities. In the 1920s, writers like Toomer embraced a new kind of racial identity i.e. repudiation of race itself that emerged from accepting