What Kind of Lover Are You? This William Blake Poem Might Have the Answer.

By A.O. Scott and Aliza Aufrichtig

A.O. Scott is a critic at large for the Book Review. Aliza Aufrichtig is a visual journalist.

Jan. 16, 2026

Not every poem about love is a love poem. This one, from William Blake’s “Songs of Innocence and of Experience,” first published in 1794, is more analytical than romantic. Instead of roses and violets, it offers us dirt and rocks.

William Blake (1757-1827), obscure in his own time and a hero to later generations of poets and spiritual seekers, made his living as an engraver and illustrator. He conceived and executed many of his poetic projects as works of visual as well as literary art, etching his verses and images onto copper plates and printing them in vivid color — a style designed to blur the boundary between word and picture.

“The Clod & the Pebble” is set in a rustic tableau populated by wild and domesticated animals. In the print, we can’t quite see the main characters, who are presumably somewhere beneath the hooves and the ripples. But the cows and sheep, the frogs and the duck, are nonetheless connected to the poem’s meaning.

The two sections of “Songs of Innocence and of Experience” are meant to illustrate “the contrary states of the human soul” — the purity and wonder associated with early childhood and the harder knowledge that inevitably follows.

“The Clod & the Pebble” recapitulates this fall from sweetness into disillusionment, and the plate suggests it in contrasting ways. The wild animals down below symbolize a natural condition of innocence, while the livestock above live in confinement, bound to another’s use. At the same time, though, the cows and sheep are peaceful ruminants, while the frogs and the duck are predators.

In the poem, the Clod is an avatar of innocence. As it happens, this is a recurring character in the Blakean poetic universe. In “The Book of Thel,” a fantastical meditation composed a few years before the publication of “Songs of Innocence and of Experience,” the Clod appears as a maternal figure selflessly nursing a baby worm:

“We live not for ourselves,” she tells the poem’s heroine, a young girl named Thel. But in Blake’s system self-sacrifice can never be the last word. There is no innocence without the fall into experience, and no experience without the memory of innocence. Giving gives way to wanting.