Mythological Transformations in 
the Poem “The Tyger” by William 
Blake and the Cycle “There Was a 
Tiger Here” by Gregor Strniša
Dušan Živković
University of Kragujevac, Faculty of Philology and Arts, Department of Serbian Literature, Jovana 
Cvijića b.b., 34000 Kragujevac, Serbia
https://orcid.org/0000-0002-9599-3687
dusan.zivkovic@filum.kg.ac.rs
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Primerjalna književnost (Ljubljana) 43.2 (2020)
This article provides an analysis of the background, processes, and functions of 
mythological transformations found in the poem “The Tyger” by William Blake 
and the cycle of poems “There Was a Tiger Here” (“Tu je bil tiger”) by Gregor 
Strniša. It elaborates on the various levels of analogies between the poetic and 
semantic aspects on the creation of mythopoetic world, along with the specificities 
revealed in the relations between Blake’s romantic visions and Strniša’s modern 
perspectives, in the domains for the following aspects: 1. General poetic features; 2. 
The analysis of symbolic systems; 3. The nature and functions of spatio-temporal 
relations; 4. The significance of an image of a tiger in the quest for gaining 
knowledge of divine thought, eternity, transience and death. Therefore, apart from 
placing emphasis on the significance of Blake’s mystical tendencies, the purpose 
of this work is to demonstrate that the poetry of Gregor Strniša is ranked among the 
world’s greatest literature, considering the fact that it is perceived as an original 
poetic vision which has contributed to the creation of innovations in the context of 
modern mythological transformations.
Keywords: English poetry / Blake, William / Slovenian poetry / Strniša, Gregor / 
mythopoetics / animal characters / tiger / mythological transformations
The metaphysical poetry of William Blake (1757‒1827) had its own 
influence upon the mystical courses of romanticism, and its influence 
was reflected, in a wider context, within the innovativeness of mytho-
poetic perspectives of the entire world’s poetry archives. Blake’s vision-
ary poetry represents the anticipation of “embodiment of the romantic 
vision” (Albert 251) by means of eccentricity and erudition of poetic 
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imagination, the mission of which was continued by the following 
poets: Byron, Wordsworth, Keats and Shelley (see Albert 307).1
In addition, it was in the modernist epoch that the innovativeness 
of Blake’s mythological transformations was acknowledged by Thomas 
Stearns Eliot (1888‒1965) as the key aspect of Blake’s “poetic develop-
ment” (317) and was also directed by Blake’s sign posts paved deeply 
into his consciousness and associated with all these possibilities of cre-
ating an authentic world of poetry by means of diverse myths’ upgrad-
ing and interference.
However, the relations between Blake’s poetry and the modern 
poetic courses of the Slovenian literature have not been given sufficient 
attention within the study of literature. On the other hand, not enough 
attention has been given to the contributions made by the Slovenian 
literature while constructing modern perspectives of the world’s litera-
ture as well.
In this context, our scientific contribution shall be made within 
a comparative analysis of the mystical poetry of William Blake and 
Gregor Strniša (1930–1987) ‒ “a metaphysical poet” (Ferluga Petronio 
661) who created some innovations in the context of modern mythological 
transformations in the Slovenian literature (see Snoj 286–287).
What can be discerned in Strniša’s poetic vision is the presence of 
the following relations of “the relativity of time and space, i.e. tempo-
rality and timelessness, spatiality and spacelessness, which are nothing 
other than synonyms for the concepts of human and divine” (Ferluga 
Petronio 661). A significant dimension of Strniša’s poetry consists 
of the relations of parallelism, synchronicity, cyclicity, diffusion and 
interference of time as well” (Živković and Nikolić 607).
The abovementioned viewpoints shall be presented by making 
comparisons between the mythological transformations in Blake’s 
poem entitled “The Tyger” (published in 1794 as part of the Songs of 
Experience collection)2 and Strniša’s cycle of poems named “There Was 
a Tiger Here” (“Tu je bil tiger,” Perspektive 2.19 (1962): 1037‒1038), 
which became an integral part of the collection of poems named 
Odysseus (1963).
On the one hand, we shall analyze poetic analogies between Blake 
and Strniša’s mythopoetic images of the tiger and the mutual mytho-
logical sources; on the other, we shall analyze ‒ specificities, original 
1 The paper was translated from Serbian by Natalija Živković.
2 “Songs of Experience was Blake’s last considerable work as a lyric poet” (Albert 
253).
Dušan Živković:     Mythological Transformations in the Poem “The Tyger” by William Blake and …
235
mythical modifications and poetic creations in the modern perspectives 
of Strniša’s poetic and semantic aspects, complete with the specificities 
found within the relations between Blake’s poetic visions and Strniša’s 
poetic innovations discerned while creating a mythopoetic image of 
the tiger. Therefore, apart from placing emphasis on the significance 
that Blake’s poetic world has for shaping up mystical Romantic ten-
dencies, the purpose of this paper is to demonstrate the fact that the 
poetry of Gregor Strniša belongs to the best-rated works of the world 
literature, as it is considered to be an original poetic vision, the innova-
tions of which are accomplished in the context of modern mythologi-
cal transformations.
General poetic aspects in the context of figuration of the tiger
As regards Blake’s poem entitled “The Tyger,”3 “Alfred Kazin calls it 
“the most famous of his poems” and The Cambridge Companion to 
William Blake says it is “the most anthologized poem in English.”4
In the poem itself Blake directly addresses the tiger with apostrophe, 
in the spirit of admiration of his divine being, in that multilayered 
unification ‒ from the ancient totemistic symbol of power (cf. Strauss 
74), to the metaphysical characteristic of poetic imagination: “Tiger, 
tiger, burning bright” (Blake, Collected 73). “What can be recognized 
in that combination of beauty and destruction is a mutual relationship 
between innocence and experience, the same one that brought such 
a being into existence in the first place – the monumental tiger from 
Blake’s poem”5 (Matović 28).
3 “It is one of Blake’s most reinterpreted and arranged works. “The Tiger”, origi-
nally called “The Tyger”, is a lyric poem focusing on the nature of God and his cre-
ations”. Available on ddceutkal.ac.in. 
4 Available on ddceutkal.ac.in.
5 “Modern anthologies often print “The Tiger” alongside an earlier Blake poem, 
“The Lamb”, published in 1789 in a collection entitled Songs of Innocence”. Available 
on ddceutkal.ac.in. “The Lamb” and “The Tyger” represent creations designed by 
the wonderful divine providence – from the demonstration of the purity of nature 
in the first stage of the quest for truth (in the poem Lamb), and the author’s 
questioning himself about the dialectics of innocence and experience in: “The 
Tyger” ‒ “Did He who made the lamb make thee?” (Blake, Collected 74), to the 
point of the unification of innocence and experience in the “fearful symmetry” 
(Blake, Collected 73) ‒ the enlightenment achieved in the cognition of the unity 
in diversity (see Frye 20). 
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Anita Kontrec emphasizes the following point of view: “The tiger is 
the one being close to the Good and Evil and his energy can bring into 
existence or lead to destruction, therefore he is the one who spreads 
hope and fear, but perhaps above all that we are the ones who remain 
fascinated with his strength and beauty” (78).
Through the energy he possesses, the tiger overcame the state of 
innocence and experience and what he announces is an utterly different 
way of existence” (Kontrec 78). This higher state of poetic conscious-
ness is evoked by means of “overcoming the limitations of models of 
binary oppositions” (Arsenijević Mitrić 27). Namely, in this context, 
the idea of poetic imagination, embodied in Blake’s divine Los6 was 
accomplished through the sense of admiration of the divine strength of 
the Tiger’s nature. In a wider sense, the totality of meanings of Blake’s 
opus is determined by the idea of Los. In A Blake Dictionary, S. Foster 
Damon provides an explanation of Los’s character in the following 
manner: “LOS is Poetry, the expression in this world of the Creative 
Imagination. His planet is the (spiritual) sun; and he creates the mate-
rial sun. It is reasonable to suppose that his name is an anagram of Sol” 
(Damon 459).
Actually, the key question posing itself in Blake’s poem (which 
would additionally clarify the nature of the tiger as a royal piece of 
art7) is the following: Who is to be considered the designer of such a 
magnificent creature, the Creator ruling over life and death, the good 
and evil? Is the Creator who brought to life such a powerful creature 
just like the tiger, was also the same one who created such an innocent 
being just like the Lamb? Did the Creator achieve the highest degree of 
congruity along with creating innocence as well:
Did He smile His work to see?
Did He who made the lamb make thee? (Blake, Collected 74)
During this ongoing communication process with the universal deity 
that represents “all-penetrating life force” (Schlieper 3), the poet creates 
new poetic worlds of his own.
The abovementioned Blake’s innovative system of unifying various 
mythological systems, turning them into the universal divine principle, 
complete with representing the tiger as a symbol of the poetic imagina-
tion – proved to be a fertile ground for numerous incentives and efforts 
6 Los holds a dominant place in Blake’s late illuminated works.
7 For instance, in The Mahabharata, a tiger is a symbol of the royal dignity (see 
Vyasa 54).
Dušan Živković:     Mythological Transformations in the Poem “The Tyger” by William Blake and …
237
made while constructing a figuration of the tiger in the cycle of poems 
entitled “There Was a Tiger Here” (“Tu je bil tiger”) by Gregor Strniša, 
a significant Slovenian poet. Strniša addresses Blake, using diffuse phe-
nomena of intertextuality (see Juvan, History 11) and in this manner 
he commences creating a mythopoetic image of the tiger not only as a 
symbol of power but as an indication of the divine principle that is to 
be used while integrating the concepts of life and death cognition.
In this context of life and death cyclicity, the emphasis should be 
placed on the relations towards the concept of “fearful symmetry” of 
the tiger (Blake, Collected 73). This general idea in Blake’s poem is 
being accomplished by means of a cyclic composition, considering 
the fact that the first and the last verse in Blake’s poem “The Tyger” 
are identical. The unity of content and form is thus accomplished in 
Blake’s poetic structure, which symbolizes Blake’s cognition of the 
providence of the cyclicity of nature found in the metaphysical vision 
of the tiger. On the other hand, Strniša expresses the concept of cyclic-
ity in a significantly more complex form of the poetic cycle with a 
“fractal composition” (Juvan, Peripheral 186), in the dynamism of the 
context as the unity in diversity ‒ by means of depicting the relations 
of the cyclicity of the rhythm of nature and the journey motifs of the 
lyrical subject as well, concerning the fact that it is the journey itself 
that presents nothing else but the quest for cognition shaped inside the 
premonition of future encounters with the tiger.
Apart from the abovementioned specificities discerned in the ideas 
of cyclicity and  all-pervasive, universal divine energy, the aspect affirm-
ing the connection between Blake and Strniša’s poetry is the mutual 
attitude which they have when it comes to one significant aspect of an 
antique myth in the mythopoetic upgrading of the antique tradition, 
which means that: the tiger is no longer considered to be a peaceful, 
Apollo-like congruity of parts to their whole, but is considered to be the 
wild imagination, enthusiastic, Dionysus-like principle (see Nietzsche 
2), for Dionysus is the one showing all his power through his ability to 
transform himself into a tiger. Therefore, the tiger’s energy represents 
one of Dionysus’s immanent attributes.8
8 A dominant belief in the antique mythology was related to the fact that the 
gods can transform themselves into other forms by their own free will. The tiger was 
typically associated with the god Dionysus: “One Greek legend narrated by Plutarch, 
provided an explanation of why the Mesopotamian river was named after the Tiger, 
although its previous name had been Sollax. In order to seduce Alphesiboea, an Asian 
nymph he was in love with, Dionysus turned himself into a tiger. Having reached 
the river and not being able to cross it, she let the beast help her reach the other side 
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In addition, we should emphasize the innovativeness of Strniša’s 
poetic world as well. Namely, the title of Blake’s poem (“The Tyger”) 
refers to compendiousness and universality of the poetic symbol in 
the quest for the omnipotent poetic definition, whereas, on the other 
hand – the title of Strniša’s cycle of poems (“There Was a Tiger Here”) 
has a much higher degree of narrativity in comparison with Blake’s 
poetic expression,9 indicating the beginning of a legend ‒ in the uni-
fication of archetypal consciousness, as “primordial images” (Jung 67) 
and modern poetic expression:
You still remember well the day
when first you saw the tiger’s trail. (“II,” Strniša 275)10
Blake expresses his fascination with the tiger in the direct encounter, 
which is shown in the form of a question, by means of apostrophe:
And what shoulder and what art
Could twist the sinews of thy heart? (Blake, Collected 73)
On the other hand, Strniša’s cycle of poems contains an indication of 
the tiger’s nature, without having a direct encounter, whereas the sug-
gestion of its power is being intensified by means of gradation:
Just then you spot in the wet ground before you
the wide, the clear, the deep impressions. (“I,” Strniša 275)11
of the river. Their son, Medus, was the hero who gave his name to the Medes, and 
the river Tigris was named after the nymph and god who united on its banks” (Grid 
29; Chevalier and Gheerbrant 969). “Tigers, leopards, lynxes and panthers are Bach’s 
animals, harnessed to his vehicle” (Živković and Nikolić 613). Under the influence of 
the Greek mythology, a figure of the tiger appears in the Roman art as well (the fact is 
confirmed in The Aeneid, an epic poem written by Vergil, at the point of demonstrating 
the power of its characters (see Virgil 96, 154, 221, 228, 261). In addition, “Dionysus 
wears a tiger skin in Claudian (Rape of Proserpine 1.17–18). The point here is surely that 
Bacchus/Dionysus represents the power to tame what is wild or fierce” (Ferber 217). 
9 Blake shaped the poetic image of the tiger in the form of a linked verse (as hypno-
tizing, obsessive rhythm, made of six quatrains; double rhyme is characteristic of the 
second to the fifth quatrains, but in the first and sixth quatrains ‒ the rhyme scheme 
is aabc), whereas Strniša’s poetic cycle of poems contains a modernist suggestion of the 
tiger’s nature presented in a free verse. 
10 In original: “Še zmeraj se spominjaš tistega dneva, / ko si prvič videl tigrovo 
sled” (274).
11 “Takrat zagledaš pred sabo v mokrih tleh / široke, ostre in globoke odtise” (274).
Dušan Živković:     Mythological Transformations in the Poem “The Tyger” by William Blake and …
239
Nevertheless, whereas Blake is the one calling upon the principle of 
ancient origins and simultaneously aspiring towards forming an ex-
pression of the tiger’s rhythm of universality of space-time perspectives 
where the present tense is prevailing, as well as the unity of contrasts; 
on the other hand, Strniša’s cycle of poems is structured by virtue of the 
past times’ systems perceived from the perspective of travellers them-
selves, entangled in an incessant metamorphosis of space-time perspec-
tives, with the four seasons quickly shifting one after the other:
A bright spring rain fell the day through. (“I,” Strniša 275)12
Soon after that morning, autumn came;
then we had the long, damp winter,
and wet snow covered a dark city. (“II,” Strniša 275)13
Due to the dynamism of spatio-temporal aspects, Strniša gives an in-
dication of the tiger’s clues, as remaining parts of the irrefutable signs 
of his power, whereas the lyrical subject keeps on questioning his 
own perception, in the spirit of a metaperspective of modern litera-
ture; which is why the path towards the cognition of divine universal 
time remains to be uncertain, with all that tension arising between the 
subject’s alienation and contours of the moments of surmising divine 
providence, and all those shadows and lights playing around. Due to 
Strniša’s slight indication of the tiger’s presence in different locations, 
a labyrinth of mystical paths is being shaped up, the same one that the 
very labyrinth of the lyrical subject’s life also depends on, while await-
ing with anticipation for the final encounter with the tiger.14
Therefore, the abovementioned principles of contrasts between the 
mystical power of ancient mythical world and modern man’s alien-
ation, an endless quest for cognition, complete with the impossibility 
of finding one’s own Self in the modern world – are accomplished 
within Strniša’s journey motif. What is created in this manner is a con-
12 “Svetel pomladni dež je padal ves dan” (274).
13 “Kmalu po tistem jutru je prišla jesen, / potem smo imeli dolgo, vlažno zimo, / 
po temnem mestu je ležal moker sneg” (274).
14 While aspiring towards the transformation into the shape of the tiger, but still, 
not being able to accomplish the entire mystical process, Strniša’s cycle of poems enti-
tled “There Was a Tiger Here” corresponds with the cycle of poems “Odysseus” in 
his own collection of poems bearing the same name: in the first poem from the cycle 
named “Odysseus” Strniša transforms the figure of the tiger, which does not appear 
literally in a form of an animal, but it converts into a metonymic designation of the 
heart of the lyrical subject (see Živković and Nikolić 619).
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trast between the modern melancholic world and the heroic world of 
Homer’s Odyssey: his suggestion centers on the tragic conscience of the 
modern subject that is found to be alienated from its own identity 
while being on the journey that eventually leads to its being deprived 
of the divine protection, in “a delirious horror of nothingness” (Juvan, 
Peripheral 186):
So you live, you’re always off to distant places,
down foggy seas, up snowy mountain ranges. (“V,” Strniša 279)15
Therefore, based on the analysis of the abovementioned aspects, we 
come to the conclusion that Blake’s lyrical subject is obsessed, as if hyp-
notized, with his/her own perception of the tiger, presenting it through 
the fascination with beauty, power and creative freedom, whereas in 
Strniša’s poetic vision, on the one hand – there is a similarity with 
Blake’s shaping the image of the tiger to the point of transforming it 
into the universal, poetic symbol of all-pervasive divine energy, but on 
the other – it is in the modernistic perspective that Strniša is coming 
up with an innovation in terms of shaping the theme of anticipation, in 
the drama created among the feelings of alienation, fear and simultane-
ously awoken feelings of yearning for an encounter with the tiger, as a 
being who is about to initiate major life changes and ultimately leave 
its mark on the cognition of death as well.
A hint of death cognition
The dominant images found not only in Blake’s poem “The Tyger,” 
but in Strniša’s cycle of poems entitled “There Was a Tiger Here” as 
well – are the ones depicting the mystery of sublime power the tiger 
embodies, just like the metaphysical themes of death cognition found 
in Blake’s poem.
Namely, what is presented at the very beginning of Blake’s poem is 
a contrast between the tiger’s light and “the forests of the night” (73).16 
15 “Tako živiš, odhajaš daleč v svet, / po meglenih morjih, po zasneženih gorskih 
hrbtih” (278).
16 What is accomplished in this particular verse is giving an indication of the 
synthesis of various mythological systems: 1. The images of forest of sins in “Canto 
I” of Dante’s Inferno, of the same dark forest that Dante himself, just like the reader, 
are supposed to come out (see Dante 1), purified of all the earthly passions, on their 
journey towards Purgatorio and Paradiso; 2. additionally, the tiger’s “strength symbol-
Dušan Živković:     Mythological Transformations in the Poem “The Tyger” by William Blake and …
241
The Creator of the tiger designed the principle of all-originating life, 
simultaneously igniting the sparkle of life into his body and in this 
manner did everything so that his “heart began to beat” (73), but it is 
the Creator himself who rules over the mysterious darkness as well. The 
symbolism of the forest suggests the quest for the cognition of unity 
of opposites that Blake, being only a mortal, can nevertheless become 
aware of, in a close encounter with death, since it is the tiger who has 
the experience of the other world (thence the name Songs of Experience 
is derived) and knows the principles of the hierarchical order of the 
universe (see Langer 427). In other words, the one who gets to know 
the tiger’s nature is the one who shall get to know the secret of life and 
death as well. “The tiger is a creature of beauty; but the same one that 
also inspires fear” (Gilroy 88). The duality presented by Blake in inter-
twining the experience of beauty and fear, as the “quest for the Last 
Truth” (Ferluga Petronio 661) plays a significant role in Strniša’s cycle 
of poems entitled “There Was a Tiger Here.” Due to his mortal nature, 
Strniša’s poetic subject can only surmise the glowing providence of the 
tiger’s nature:
But him himself you haven’t met yet.
Whomever the tiger looks at soon dies. (“V,” 279)17
Therefore, it is one glimpse of the tiger that hinted at the cognition of 
the relation between this earthly world and the world beyond, at the 
moment of death, which simultaneously means a path leading to the 
mystical enlightenment, from the point of searching throughout the 
darkness to the point of uniting with the divine light.18
izes, in Buddhism, the power of faith, the spiritual effort, going through the jungle of 
sins presented by the bamboo woods” (Chevalier and  Gheerbrant 968). – Therefore, 
in such dreadful areas of darkness such as “the forests of the night” (Blake, Collected 
73), the lyrical subject wishes to feel the light of the tiger’s being, so that he could 
achieve a higher level of human consciousness – the cognition of all-pervasiveness of 
divine providence. 
17 “Vendar pa njega samega še nisi srečal. / Kogar pogleda tiger, kmalu umre” (278). 
18 With regard to the light of knowledge, death and metamorphosis of the tiger’s 
nature, both Blake and Strniša keep in mind the following hidden meaning of Eastern 
words of wisdom: “In Malesia a healer has the power to turn himself into a tiger. One 
should not forget that the entire Asian South-East perceives a Tiger – An Ancestor as 
a ressurector. It is the tiger who makes neophytes follow him into the jungle so that 
he could ressurect them, actually to kill them and perform the ritual of ressurection” 
(Chevalier and Gheerbrant 968). 
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Conclusion
In our analysis of the relations between Blake’s and Strniša’s poetic 
figurations of the tiger, we have determined not only the similari-
ties, but the specificities of general poetic and semantic aspects, along 
with the metaphysical elements at the point of hinting at the cogni-
tion of death.
In the context of general poetic dimensions, we emphasized Blake’s 
mystical fascination with the tiger’s nature, just like the idea of divine 
force of the poetic imagination. In addition, we placed an emphasis 
upon the relations between Blake’s notion of poetic creation and unity 
of diversity in Strniša’s cycle of poems entitled “There Was a Tiger 
Here”; on the other hand ‒ we determined the innovative character-
istics of the poetics of Gregor Strniša, in the form of giving our own 
contribution to this mystical theme in the world’s poetry: by means of 
the unification of archetypal consciousness and narrativity of a modern 
metaperspective – in the drama existing between indications of beauty, 
alienation, fear and a simultaneous desire to have an encounter with 
the tiger.
However, instead of an antique blessing of a heroic spirit in the 
ancient epic world, what can be observed in Strniša’s cycle of poems 
entitled “There Was a Tiger Here” – is a premonition of modernism 
that, at one point, the lyrical subject is deprived of his divine protec-
tion on his journey, in a drama of the modern quest for identity. Using 
the alienation and journey motifs, Strniša was able to universalize and 
give a poetically innovative shape to the experiences gained by the 
lyrical subject of the modernist epoch in the domains of mythological 
transformations.
In addition, in the following chapter – dedicated to the theme of 
death, we placed emphasis upon the closeness noticed between Blake 
and Strniša while intertwining beauty and destruction, and we also 
gave a hint of the cognition of death that was about to reveal the secret 
of the Universe creation.
However, whereas Blake’s encouragement lies in the enlightening 
vision of the tiger, that remains to be something he is eternally fasci-
nated with; on the other hand – Strniša addresses the lyrical subject – 
a passenger, in the second-person singular, during the entire cycle of 
poems. In this manner, Strniša unifies all of his experiences gained 
while searching for the divine cognition of the tiger, demonstrating his 
double – his alter ego, and at the same time he addresses all of his previ-
ous, present and future readers as being his fellow sufferers in the gnos-
Dušan Živković:     Mythological Transformations in the Poem “The Tyger” by William Blake and …
243
tic quest. That is how Strniša addresses Blake through the centuries that 
are yet to come: in his premonition of a future encounter with the tiger 
he meets both Blake and the Creator ruling over death, and he gets to 
know the “fearful symmetry” (Blake, Collected 73) while depicting the 
life cycle – as the circle joining life and death together.
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Mitološke transformacije v pesmi »The Tyger« 
Williama Blaka in v ciklu »Tu je bil tiger« Gregorja 
Strniše
Ključne besede: angleška poezija / Blake, William / slovenska poezija / Strniša, Gregor 
/ mitopoetika / živalski liki / tiger / mitološke preobrazbe
V članku so analizirane osnove, procesi in funkcije mitoloških transformacij 
v pesmi »The Tyger« Williama Blaka in v ciklusu pesmi »Tu je bil tiger« Gre-
gorja Strniše. Preučene so podobnosti in posebnosti Blakovih poetičnih zna-
čilnosti v primerjavi z zgradbo Strniševega mitopoetskega sveta, njuni skupni 
mitološki viri, pa tudi specifičen odnos med romantičnimi vizijami Williama 
Blaka in Strniševo moderno perspektivo. Obravnavani so naslednji vidiki: 1. 
splošne poetske odlike; 2. analiza simbolnih sistemov; 3. narava in funkcija 
prostorsko-časovnih odnosov; in 4. značaj mitopoetske slike tigra v iskanju 
spoznanj božanskega smisla, večnosti, minljivosti in smrti. Poleg poudarjanja 
pomena mističnih tendenc Williama Blaka je cilj tega prispevka pokazati, da 
Dušan Živković:     Mythological Transformations in the Poem “The Tyger” by William Blake and …
245
tudi poezija Gregorja Strniše pripada vrhovom svetovne književnosti, in sicer 
kot originalna poetska vizija, ki je ustvarila inovacije v kontekstu modernih 
mitoloških transformacij.
1.01 Izvirni znanstveni članek / Original scientific article
UDK  82.091-1:2-169 
821.111.09-1Blake W. 
821.163.6.09-1Strniša G.
DOI: https://doi.org/10.3986/pkn.v43.i2.11