Never Pain to tell thy love ..
cette chanson est faite de 5 textes distincts.que l’on retrouve dans les deux manuscrits “Note Book”  1793 & “Rossetti” :  
Love's Secret - I feard the fury of my wind - The Garden of Love - I saw a Chapel all of Gold- I ask’d a Thief.

[From Blake's Notebook & Rossetti]         NoteBook: Page 23 
Poems from the Rossetti MS.: Earlier Poems Never seek to tell thy Love

Never pain (seek dans Rossetti) to tell thy Love 
Ne peine jamais pour dire à ton amour
Love that never told can be; 
Un amour qui ne peut se dire 
For the gentle wind does move 
Car la douce brise vole
Silently invisibly.(dans le note book, ces 4 vers sont rayés) 
Silencieuse, invisible

I told my love, I told my love, 
J’ai dit à mon amour, j’ai dit à mon amour
I told her all my heart, 
Je lui ai dit tout mon cœur 
Trembling cold in ghastly fears
Tremblant, glacé, en proie aux pires craintes  
Ah she doth depart. 
Ah, elle s’éloigne .

Soon as she was gone from me 
À peine m’eut-elle quitté 
A traveller came by 
Un voyageur arriva
Silently, invisibly  
Silencieux, invisible
O, was no deny .  ( He took her wit a sigh. Rosseti 
o, il n’est pas refusé .           rayé dans note book)   

Poems from the Rossetti MS.: Earlier Poems I laid me down upon a Bank       

I laid me down upon a bank 
Je m’étendis sur une berge 
Where love lay sleeping. 
Où était étendu l’amour endormi 
I heard among the rushes dank 
J’entendis parmis les roseaux 
Weeping, Weeping. 
Pleurer, pleurer.

Then I went to the heath & the wild,
Alors je partis dans la lande sauvage          
To the thistles & thorns of the waste; 
vers les chardons et les épines des terres vaines 
And they told me how they were beguil’d, 
Et ils me dire comment on les avait leurré 
Driven out, & compell’d to be chaste. 
Chassés au loin et forcés d’être chastes. 

"I feard the fury of my wind / Would blight all blossoms fair & true
And my sun it shind & shind / And my wind it never blew 
But a blossom fair or true / Was not found on any tree 
For all blossoms grew & grew / Fruitless false tho fair to see "  retiré dans Leyris

I saw a chapel all of gold
J’ai vu une chapelle toute en or 
That none did dare to enter in; 
Où personne n’osait entrer 
And many weeping stood without, 
Et beaucoup pleurant se tenaient dehors 
Weeping, mourning, worshipping. 
Pleurant menant deuil, adorant.

I saw a serpent rise between 
J’ai vu un serpent se dresser
The white pillars of the door, 
Les blanches colonnes de la porte
And he forced & forced & forced 
Et il força, força, força 
Down  the golden hinges tore; (dans NoteBook: Till he … rayé) 
Arracha les gonds dorés

And along the pavement sweet 
et sur le précieux pavement 
Set with pearls & rubies bright,  
où perles et rubis scintillaient  
All his slimy length he drew, 
Il déroula sa visqueuse longueur, 
Till upon the altar white 
jusqu’à monter sur l’autel blanc

Vomiting his poison out 
Vomissant son poison 
On the bread & on the wine. 
Sur le pain et le vin. 
So I turn’d into a sty, 
alors je m’en fus à la porcherie
And laid me down among the swine. 
Et m’étendis parmis les porcs.   

Blake here uses the example of a chapel to muse on religion in general.He questions the existence
of money and riches in the house of God,and reminds the Church of Jesus's attitude toward the rich.
After all,Jesus routinely castigated the rich, providing regular verbal lashings of their covetingof material wealth and their indifference to their less-well-off brethren.In the opening stanza, the poor are left
outside of the refuge, not even “daring” to enter. Blake argues that this is wrong.
Blake utilise ici l'exemple d'une chapelle à méditer sur la religion en général . Il remet en question l'existence de l'argent et de la richesse dans la maison de Dieu , et rappelle à l' Eglise de l'attitude de Jésus envers les riches . Après tout , Jésus régulièrement fustigé les riches , offrant saisines verbales régulières de leur convoitise des richesses matérielles et leur indifférence à leurs moins - aisés frères .
Dans la première strophe , que les pauvres restent à l'extérieur du refuge ,
pas même " audace " pour entrer . Blake soutient que cela est faux .

Analysis
There is a dual meaning to this short and simple poem.One theme to be taken away from “I saw a chapel all of gold” is the obvious commenton the falsity of religion that Blake is making. In this reading, it is the serpent that is the one strong enough to “break” in. The symbol of the serpent is not lost on any reader.
Blake almost rhetorically awards the serpent for his rebellious victory over the chapel’s elite profligacy,
despite his “slimy length” and “vomiting poison.”
Il ya un double sens à ce poème court et simple. Un thème à être enlevé
"Je vis une chapelle tout d'or » est le commentaire évident sur la fausseté de la religion que Blake est fait .
Dans cette lecture , il est le serpent qui est le seul assez fort pour «casser» .
Le symbole du serpent n'a pas échappé à tout lecteur . Blake presque rhétorique prix du serpent
pour sa victoire rebelle sur la débauche d'élite de la chapelle ,
en dépit de sa " longueur visqueuse » et « vomissements poison ».

The second meaning becomes almost as obvious as the first, once you know it is there.
The poem is stuffed full of obvious sexual images. In this analysis, the “chapel of gold”
is a representative for the temple of innocent love, the virgin body.
This holy place is soon defiled by a repressed villain who can no longer
bury his natural sexual drive. What begins with a beautiful image (line 1-2)
is turned into a metaphor of violence and ugliness as the speaker revolts.
Le deuxième sens est presque aussi évidente que la première ,
une fois que vous savez qu'il est là. Le poème est bourré d'images sexuelles évidentes .
Dans cette analyse , la « chapelle d'or " est un représentant pour le temple de l'amour innocent ,
le corps vierge . Ce lieu saint est bientôt souillé par un méchant refoulé qui ne peuvent plus
enterrer sa pulsion sexuelle naturelle . Ce qui commence avec une belle image ( ligne 1-2 )
se transforme en une métaphore de la violence et la laideur comme les révoltes de haut-parleurs

The images given to the reader become more obvious once he/she is aware of this undercurrent theme.
The speaker “stands” outside the chapel weeping and worshipping until he can take it no longer.
A “serpent rises[s]” between two “white pillars” eventually “forcing” its way inside.
After his “slimy length” is set among “the rubies” he “vomits out poison” onto the sacred bread and wine.
In the last two lines, the speaker is turned into a “sty” and “laid down among the swine” showing
a remorse and regret for the heinous intrusion just surpassed.

Les images données au lecteur deviennent plus évidentes une fois qu'il /
elle est au courant de ce thème sous-jacent . Le haut-parleur "signifie " dehors,
à pleurer de chapelle et adoration jusqu'à ce qu'il puisse prendre plus .
A «serpent hausse [ s ] » entre deux «piliers blancs " éventuellement " forcer "
son chemin à l'intérieur . Après sa " longueur visqueux " est réglé entre " les rubis " il " vomit le poison " sur le pain et le vin sacré . Dans les deux dernières lignes , le haut-parleur se transforme en une « porcherie » et « fixée entre les porcs " montrant un remords et des regrets pour l'intrusion odieux vient de dépasser .

Poems from the Rossetti MS.: Earlier Poems I askèd a Thief

I asked a thief to steal me a peach: 
J’ai demandé à un voleur de me voler une pêche :
He turned up his eyes, 
Il leva les yeux, I ask'd a lithe lady to lie her down; 
J’ai prié une souple demoiselle 
Holy & meek she cries - 
Elle s’est récrié pieusement -      

As soon as I went an angel came. 
Dés que je fus partis un ange vint 
He wink'd at the thief 
Il fit un clin d’oeil au voleur  
And smil’d at the dame. 
Et souris à la demoiselle
And without one word said 
et sans dire un mot  
Had a peach from the tree
cueillit une pêche d’un arbre
And still as a maid  
et toujours vierge
Enjoy'd the lady. 
pris la demoiselle.

Poems from the Rossetti MS.: Earlier Poems   I heard an Angel singing

I heard an Angel singing
J’ai entendu chanter une ange
When the day was springing:
tandis que jaillissait le jour:
‘Mercy, Pity, Peace
”Merci, Pitié et Paix
Is the world’s release.’
Sont la délivrance du monde”
Thus he sang all day
Ainsi chanta-t-il tout le jour
Over the new-mown hay,
sur le foin fraîchement coupé
Till the sun went down,
Jusqu’à cette heure du couchant
And haycocks looked brown.
Où les meules parures brunes.
I heard a Devil curse
J’ai entendu maudire un démon
Over the heath and the furze:
sur l’ajonc et la bruyère
"Mercy could be no more
”La Merci pourrait ne plus être
If there was nobody poor,"
S’il n’y avait personne de pauvre.

This poem is closely related to the poem in Songs of Experience called "The Human Abstract,"
which is the counterpart in experience to "The Divine Image" in Songs of Innocence.
A draft of "The Human Abstract," with the title "The Human Image," is also in the Rossetti MS.
In Blake's thought "image" and "abstract" are the units of the creative and the anti-creative attitudes respectively.

Ce poème est étroitement liée à la poésie dans Songs of Experience appelé " The Human Abstract ,
"qui est la contrepartie de l'expérience de « l'image divine " dans Songs of Innocence .
Un projet de "The Human Abstract , " avec le titre " l'image humaine , " est aussi dans le Rossetti MS .
Dans la pensée de Blake "image" et " abstrait" sont les unités de la création et les attitudes anti- créatives respectivement .
https://tspace.library.utoronto.ca/html/1807/4350/poem174.html

In William Blake’s “I Heard an Angel” he is trying to show the angel as God trying to tell us how to make the world
a better place by using MERCY, pity, and peace. Blake grew up in the time of the French Revolution where England
was “oppressed” and full of poverty. Blake was very much influenced by the bible and was said that he had visions.
In this poem, the angel was singing as he watched over the day showing that God was around and making sure
that man knew that the way to Mercy and Peace was through him. Blake used an oxymoron with a devil saying that
if everyone was happy and no one was poor then you would not need mercy, pity, peace.
This is a contradiction because even the rich are in need of Mercy, Pity, and Peace. In the Bible the devil temps man
into eating the fruit of knowledge, which is the beginning of people being of misery, wrath, and war, there is no social
division to the condemnation of the wrath of God for Adam & Eve’s mistake. William Blake put these figures in the poem
because of how they are viewed religiously showing good and evil. The haycock turning brown represents man listening
and following the angel’s advice at the end of the day. This is also showing that during the day (or in the light) things
are going good but when darkness falls doubt appears and then doubts, fears and confusions come
(hence the Devil makes his appearance). The Devil makes his curse in the time of darkness, when he finished
his curse and the heavens frown. This is showing that God is frowning on humanity for taking the devils advice
in the Garden of Eden. Then when rain is pouring down on the newly reaped grain, it is showing God is forgiving and willing to give a second chance for mercy pity and peace. Thus, God has overcome the Devil and that man has a new chance for a new beginning. Blake used the rain as the cleansing agent from God, which is Mercy or Forgiveness.

The poem The Garden of Love by William Blake
I laid me down upon a bank,
Where Love lay sleeping;
I heard among the rushes dank
Weeping, weeping.

Then I went to the heath and the wild,
To the thistles and thorns of the waste;
And they told me how they were beguiled,
Driven out, and compelled to the chaste.

And the gates of this Chapel were shut
And "Thou shalt not," writ over the door;
So I turned to the Garden of Love
That so many sweet flowers bore.

And I saw it was filled with graves,
And tombstones where flowers should be;
And priests in black gowns were walking their rounds,
And binding with briars my joys and desires.

'THE GARDEN OF LOVE' WILLIAM BLAKE
NORMAN NEASOM

William Blake, "Love's Secret"
Monday, March 6, 2006

Poems from the Rossetti MS.: Earlier Poems Never seek to tell thy Love
Love's Secret
Summary
The basic story here is of a speaker who lets his lover know of his feelings and emotions toward her, which in turn results in the lover's repudiation of him: “Trembling cold in ghastly fears / As she doth depart!” Never to be one who spends too much time in self-pity mode, Blake (as speaker?) quickly reverses his bleak situation in the last stanza by rekindling his spirits and assuming the ‘traveler’ loves him as well, because of his/her ‘invisibility’ and silence toward him as she passes. The emotional effect this plays on the reader is playful, taking him/her from one of pity to one of humor, now laughing with the speaker with whom only a few lines earlier he/she was feeling sorry for.
Analysis
A break away from Blake’s regular themes of lost innocence and political/religious restraint on the human soul, “Love’s Secret” offers the reader a refreshing look at a speaker exploring the themes of the freedoms one experiences by not being in love: freedom from jealousy, freedom from admiration and affection, freedom from desire, and freedom from want. As sardonic as it is, the poem offers up the advice that one is better off not announcing one's affection for another, but rather should remain “silent and invisible.”
As with all things Blake, there is a deeper message here and that is that there is no denying silence. The speaker decided to wear his heard on his sleeve to his beloved, telling her “all [his] heart” and gets left alone and dejected. The opening line is advising, or instructing, “Never pain to tell thy love,” which is much different from the last line which is tongue-in-cheek and a bit of ridicule.
This poem has also been interpreted as the traveler coming in the final stanza as another lover, who the speaker’s beloved turns to for refuge, and who accepts her with no “deny.” Either interpretation is valid and acceptable.