Therefore, it would be no travesty to say that literature and society are co-extensive and symbiotic. Any form of art is cradled in and nurtured by the actualities of human experience, social and private. Whatever the Aesthetes say in favour of the autonomy of art, by flaunting the slogan ‗Art for Art's Sake', no amount of abstraction can sever art and literature from their roots in real life – life lived as a throbbing interweave of joy and sorrow, dream and actuality, hope and despair. Blake visualized a blend of lamblike meekness and mildness with the ferocity of tigers of wrath for having the human form divine perfect. The present study is an attempt to focus on this element, by delving deep into the texts and designs of the Introductions of Songs of Innocence as well as of Songs of Experience, inevitably considering the totality of Blake's works and in the special context of their marked allegiance or affinity to the themes and symbols from the Bible. Both in his complex and sophisticated prophetic works, meant for the illuminated people, and in his deceptively simple lyrics of the Songs of Innocence and of Experience, meant for the rank and file of society, Blake did keep this up.

Throughout his life of meticulous and tedious composite art Blake aimed at decoding the Bible as the Great Code of Art for helping people to be imaginative and visionary like Jesus Christ.

Although William Blake was highly eclectic and drawing from multifarious sources, religious system, philosophical thoughts and traditions, the Bible was Blake's most predominant concern.

Blake songs of innocence and experience