God-as-blacksmith is a potent and complicated image. On one hand, there is a sense that Blake is admiring the terrible handiwork of God as master craftsman. On the other, the potent sensory details here, of God's hammer pounding out the tiger's body on a divine anvil, or God forging the tiger's brain in a divine "furnace," suggest a kind of hellish scene, even though God is supposed to be the king of heaven! Critics have also remarked on how these industrial images suggest an indictment of the Industrial Revolution, which was transforming England at the time of this poem's publication. Seen in this light, the tiger might mean England's terrible economic might. This surprising image of a hellish God making terrible creatures is explicitly called out in the next stanza:
What is certain is that “The Tyger,” being one of his Songs of Experience , represents one of two “contrary states of the human soul” -- “experience” perhaps in the sense of disillusionment being contrary to “innocence” or the naivete of a child. In the penultimate stanza, Blake brings the tyger round to face his counterpart in Songs of Innocence , “ The Lamb ,” asking “Did he smile his work to see? / Did he who made the Lamb make thee?” The tyger is fierce, frightening and wild, yet part of the same creation as the lamb, docile and endearing. In the final stanza, Blake repeats the original burning question, creating a more powerful awe by substituting the word “dare” for “could”:
Other important figures in Elizabethan theatre include Christopher Marlowe (1564–1593), Thomas Dekker (c. 1572 – 1632), John Fletcher (1579–1625) and Francis Beaumont (1584–1616). Marlowe's subject matter is different from Shakespeare's as it focuses more on the moral drama of the renaissance man than any other thing. His play Doctor Faustus (c. 1592), is about a scientist and magician who sells his soul to the Devil. Beaumont and Fletcher are less-known, but they may have helped Shakespeare write some of his best dramas, and were popular at the time. Beaumont's comedy, The Knight of the Burning Pestle (1607), satirises the rising middle class and especially the nouveaux riches .