In peace there's nothing so becomes a man
As modest stillness and humility,
But when the blast of war blows in our ears,
Then imitate the action of the tiger:
Stiffen the sinews, summon up the blood,
Disguise fair nature with hard-favored rage;
Then lend the eye a terrible aspect:
Let it cry through the portage of the head
Like the brass cannon; let the brow o'erwhelm it
As fearfully as doth a galled rock
O'erhang and jutty his confounded base,
Swilled with the wild and wasteful ocean.
How would an ideal contemporary reader of Blake—one of those “Young Men of the New Age” whom he addressed in
Milton—have regarded “The Tyger”? To such a reader certain aspects of the poem which modern critics have ignored would be obvious. In the rhetoric and imagery of the poem he would recognize an example of the sublime, appropriately Hebrew and terrifying. He would recollect analogues to the wrath of the Tyger in the Old Testament Prophets and in Revelation, and being an ideal reader, he would not need to be reminded that Blake elsewhere views the French Revolution as an eschatological event. He would also know that Blake characteristically thought of divine wrath as an expression of what Jakob Boehme calls the First Principle. His understanding of the poem would thus be affected by his connecting it with the sublime, the Bible, and Boehme. We later readers may also discover something about the meaning of “The Tyger” by considering it in relation to these traditions. That such an approach has something new and valuable to offer will be seen if we begin with what has previously been said about the poem.