William Blake lived in London and was qualified as an engraver. He went to the Royal Academy Schools for a short period before dropping out to practice more creative endeavors. Blake produced "illuminated printing" which he used to illustrate his poetry. His ideas often reflected the themes in his writing, usually his own peculiar and complicated mythology.
Even though many critics did not fully understand Blake's work, he inclined many future artists such as the Ancients and the Neoclassicists. Blake was observed in his time as very strange, but many of his thoughts make sense to the contemporary reader. When this poem was written it was most strange for writers to show attention in wild animals. People did not have access to wildlife documentaries on television, as we do today: exotic animals may be seen in circuses and zoos, but tigers would be a shortage, possibly turning up stuffed or as rugs (this was to become very common in the 19th century). Just as at present the tiger is a symbol of (endangered) animals, so for Blake, the animal is significant as a symbol but of what? One sign is to be found in the contrast with The Lamb.
Blake's imagery challenge straightforward clarification: we cannot be convinced what he wants us to think the tiger signifies, but something of the majesty and power of God's formation in the natural world seems to be here. Blake's spelling in the title at once proposes the foreign or unfamiliar quality of the beast. The unforgettable opening couplet (pair of rhyming lines) points to the distinction of the dark "forest of the night" (which proposes an unidentified and aggressive place) and the powerful "burning" brightness of the tiger's coloring: Blake writes here with a painter's eye.
Blake's poems and pictures had opinionated messages, but, as it became more treacherous to voice such ideas, he masked his ideas in mythology and fantasy.
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