Rousseau advanced the possibility of the Noble Savage. He focused on the components, for example, the significance of nature, which cultivated regular senses, rather than book-learning. Once isolated from nature, people stop to be cheerful or upright. His perspective of the condition of man in the public arena is summed up in the popular sentence 'Man is conceived free, and wherever he is in chains' (The Social Contract). Rousseau did not deny the requirement for a government but rather said that it ought to dependably mirror the desire of the general population. He restricted an overbearing government and called for equity for the underprivileged. Rousseau's accentuation on the opportunity, oneself, emotions, nature, and the supremacy of youth obviously had a gigantic effect on the Romantic and progressive development. Be that as it may, Blake assaulted him as a skeptical freethinker.
In spite of this reality, Rousseau influenced Blake, through Blake's dear companion William Godwin who was himself an adherent of Rousseau.
Then again, hypotheses that shaped the belief systems of the rising urban, contemporary Britain were reprimanded by the Romantics such as Blake, for whom industrialism and its speculations were the products of Newtonian realism, and they served just to enlarge the agony of normal individuals. From the mid-eighteenth century, the development of the Romantic sensibility, which his work so unquestionably communicated, was displayed by the presence of new subjects and inflection in both verse and fiction. His significant elements secured descriptions of normal scenes and thoughtful style; nature as good educator, medieval past, solitary contemplation on the human condition, foregrounding of the marginalized and Gothic awfulness, super-naturalism, dreams and children's stories.
Moving onto the correlation, I have picked a set-content for a clearer idea of the change in considerations between the two writers. Moreover, sufferings of children are featured in the episodes of 'The Chimney Sweeper', where Blake introduces an innocent ballad in his cosmos of Experience. The youngster in this poetry appears to have acknowledged his destiny, thus maybe does not fit absolutely with Rousseau's contemplation on inspiration, as the kid isn't propelled to change his very own misery. Be that as it may, the kid is inspired to help limit the torment of others, "Quiet Tom, don't worry about it." The utilization of the delicate explanatory 'quiet' makes a picture of the smokestack sweeper as being old and insightful, past his years and gives him a defensive, paternal quality regardless of his age. Indeed Blake himself is following the perspective of Rousseau by attracting consideration regarding the thoughts of children’s work, as he is compelled by observing their misery in the inexorably modern world he lived in.