The ministry of higher and secondary special education of uzbekistan

Childhood provided another source of interest. Some poets celebrated an uncorrupted, instinctive, or childlike, view of the world. In its innocence untouched by civilisation, this view gave a freshness and clarity of vision which the poet himself aspired to. Some poets felt themselves attracted to the exotic. Distant times and places became a sort of refuge from the unpleasant reality. The Middle Ages in particular served as a source of inspiration in both form (ballad, for example, became a popular verse form once again) and subject matter.
Nature provided another stimulus for imagination and creativity. It reflected a poet’s moods and thoughts. It was interpreted as the real home of man, a beneficial source of comfort and morality, the embodiment of the life force, the expression of God’s presence in the universe. The Romantic poets are traditionally grouped into two generations. The poets of the first generation,

William Blake
William Wordsworth and Samuel Taylor Coleridge, were greatly influenced by the French Revolution, which physically represented a deliverance from the restrictive patterns of the past. Poets of the second generation lived through the disillusionment of the post-revolutionary period. George Gordon Byron, Percy Bysshe Shelley and John Keats, all had intense but short lives. Content William Blake William Blake (1757–1827) was born on November 28, 1757, in the family of a London haberdasher. He received little formal education and spent his youth as an apprentice to a famous engraver. At the age of twenty-four he married the illegitimate daughter of a market gardener, Catherine Boucher, whom he taught to read, write and help with his engravings. The couple remained childless.
Blake stayed a religious, political, and artistic radical throughout his life. He protested against the rationalist philosophy of the 18th century and its restrictive influence on man’s life and work. In his childhood he professed to have seen God’s head at his window and a tree filled with angels. During his mature artistic life he claimed to have had conversations with the Virgin Mary and the Archangel Gabriel. These visions preditermined his strong belief in the vital role of imagination in his life and works. Blake insisted that he had been granted visions by God. As an artist he transformed those visions into special designs which combined picture and word. Blake transferred the written text of a poem to an etched copper plate, accompanying it with appropriate illustration or decoration. When printed, the page was elaborately hand-coloured or, in some cases, actually printed in colour by a unique method of illuminated printing invented by Blake himself.
To make a living Blake taught drawing and illustrated books. A one-man show of his poems and drawings in 1809 was a failure. The Examiner magazine labelled him ‘an unfortunate lunatic’. Blake persisted in his unconventional poetry and drawing becoming increasingly obscure and odd. William Blake achieved little recognition during his lifetime. When he was in his late fifties he began to attract a small group of admirers, the general opinion being that he was gifted but insane.
In the twentieth century Blake came to be recognised as a poetic genius. He is often regarded as the first Romantic poet who revolutionized the concept of creative process. “One Power alone”, he wrote in Proverbs of Hell, “makes a Poet: Imagination, the Divine Vision”. By cleansing what Blake defined as the “doors of perception” the individual sees beyond the surface reality of everyday objects into the infinite and eternal, discerning within the physical world symbols of a greater and infinitely more meaningful spiritual reality. “A fool”, wrote Blake, “sees not the same tree a wise man sees”. For Blake, imagination was God operating in the human soul.