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For example, in ‘The Little Girl Lost’ of Innocence, the pastoral setting is that of ‘a desert wild’ that becomes ‘a garden mild’.The reference is the biblical image in Isaiah 35 of an ideal mime in which the ‘desert shall rejoice, and blossom as the rose’.(For example – ‘Introduction’ of Innocence, ‘The Shepherd’).
Stanza 8 resolves the conflict as Local’s surroundings become transformed – the desert is ‘bright’.
Local’s positive perception dominates the rest of the poem – The imperative, ‘Let’ in the line, ‘Let thy moon arise’, underlines her opposition to her parent’s.
For Lacy, there is no cause for distress, except consideration of her mother’s feelings (if my mother sleeplessly shall not weep’).
The other side of the conflict is the parent’s’ fear and concern: As far as they are concerned, there is nowhere safe; (Where can Lacy sleep? Their concern becomes more and more self- centered, until it becomes emotional blackmail (oho can Lacy sleep,/elf her mother weep? A moral prescription is then introduced – Lacy ought to be worried – and we notice that this is Justified only by the mother’s distress, not by any real danger.
Lacy, the innocent child, lives ‘In the southern clime’/Where the summer’s prime/Never fades away (distinctly pastoral! She ‘had wandered oleomargarine the wild birds’ song.
Blake brings in a contrast between Local’s trust and her parent’s’ fear (that she is lost and will come to harm).
The Songs not only Juxtapose pastoral ideal with urban reality (echoing Greenwood’s’; ‘Echoing Green/’The Garden of Love’), but within the single state of Innocence, pastoral images are Juxtaposed with a flawed urban society.
The oppositions also exist within the single states of Innocence and Experience.
By meaner of the command, ‘Then let Lacy wake’, Blake shows how fear turns into tyranny.
The parent’s’ fear of nature has made them unreasonable – They command their daughter to be unhappy, simply because they are.