Blake the Complete Poems

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Blake The Complete Poems Edited by W. H. Stevenson Third Edition c »?» Ill PEARSON Harlow, England • London • New York • Boston • San Francisco • Toronto Sydney • Tokyo • Singapore • Hong Kong • Seoul • Taipei • New Delhi Cape Town • Madrid • Mexico City • Amsterdam • Munich • Paris • Milan Contents List of Illustrations ix Note by the General Editors X Acknowledgements xii Preface xiii Chronological Table of the Life and Work of William Blake xvii Abbreviations xxiv THE POEMS I Poetical Sketches 3 2 Poems written in a copy of Poetical Sketches 41 3 Songs from An Island in the Moon 43 4 All Religions are One and There is No Natural Religion 55 5 Songs of Innocence 58 6 Tiriel 79 7 Thel 99 8 The Marriage of Heaven and Hell 106 9 The French Revolution 130 10 A Divine Image 149 II Poems from the Notebook, c. 1791-2 149 12 Visions of the Daughters of Albion 179 13 America 193 14 Songs of Experience 214 15 Europe 229 16 The Song of Los 246 17 The First Book of Urizen 252 18 The Book of Ahania 274 19 The Book of Los 284 20 Verses written with illustrations to Gray's Poems 291 21 Verses written c. 1798-1802 292 22 Vala, or The Four Zoas 293 23 'When Klopstock England defied' 482 Vll viii CONTENTS 24 Poems in letters (1800) 484 25 On the Virginity of the Virgin Mary and Joanna Southcott 488 26 Poems to Mr & Mrs Butts 488 27 'He is a cock would' 492 28 Notebook drafts, c. 1804 492 29a Preface to Milton 501 29 Milton 503 30 The 'Pickering Manuscript' 602 31 To Tirzah 617 32 'A fain' skip'd' 618 33 To the Queen 619 34 Miscellaneous Verses, c. 1807-9 620 35 Miscellaneous Verses, 1809-12 634 36 Jerusalem, the Emanation of the Giant Albion 648 37 For the Sexes: The Gates of Paradise 890 38 The Everlasting Gospel 895 39 The Ghost of Abel 910 Appendix: Doubtful and Spurious Attributions 914 Index of Titles and First Lines 916 Index to Notes and Relevant Passages 927 Index to Prose Quotations 928 .

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William Blake's Songs of Innocence and of Experience: from Innocence to Experience to Wise Innocence Robert W
Eastern Illinois University The Keep Masters Theses Student Theses & Publications 1977 William Blake's Songs of Innocence and of Experience: From Innocence to Experience to Wise Innocence Robert W. Winkleblack Eastern Illinois University This research is a product of the graduate program in English at Eastern Illinois University. Find out more about the program. Recommended Citation Winkleblack, Robert W., "William Blake's Songs of Innocence and of Experience: From Innocence to Experience to Wise Innocence" (1977). Masters Theses. 3328. https://thekeep.eiu.edu/theses/3328 This is brought to you for free and open access by the Student Theses & Publications at The Keep. It has been accepted for inclusion in Masters Theses by an authorized administrator of The Keep. For more information, please contact [email protected]. PAPER CERTIFICATE #2 TO: Graduate Degree Candidates who have written formal theses. SUBJECT: Permission to reproduce theses. The University Library is receiving a number of requests from other institutions asking permission to reproduce dissertations for inclusion in their library holdings. Although no copyright laws are involved, we feel that professional courtesy demands that permission be obtained from the author before we allow theses to be copied. Please sign one of the following statements: Booth Library of Eastern Illinois University has my permission to lend my thesis to a reputable college or university for the purpose of copying it for inclusion in that institution's library or research holdings. �S"Date J /_'117 Author I respectfully request Booth Library of Eastern Illinois University not allow my thesis be reproduced because ��--��- Date Author pdm WILLIAM BLAKE'S SONGS OF INNOCENCE AND OF EXPERIENCE: - FROM INNOCENCE TO EXPERIENCE TO WISE INNOCENCE (TITLE) BY Robert W .
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Issues) and Begin (Cambridge UP, 1995), Has Recently Retired from Mcgill with the Summer Issue
AN ILLUSTRATED QUARTERLY VOLUME 31 NUMBER 1 SUMMER 1997 s-Sola/ce AN ILLUSTRATED QUARTERLY VOLUME 31 NUMBER 1 SUMMER 1997 CONTENTS Articles Angela Esterhammer, Creating States: Studies in the Performative Language of John Milton Blake, Wollstonecraft, and the and William Blake Inconsistency of Oothoon Reviewed by David L. Clark 24 by Wes Chapman 4 Andrew Lincoln, Spiritual History: A Reading of Not from Troy, But Jerusalem: Blake's William Blake's Vala, or The Four Zoas Canon Revision Reviewed by John B. Pierce 29 by R. Paul Yoder \7 20/20 Blake, written and directed by George Coates Lorenz Becher: An Artist in Berne, Reviewed by James McKusick 35 Switzerland by Lorenz Becher 22 Correction Reviews Deborah McCollister 39 Frank Vaughan, Again to the Life of Eternity: William Blake's Illustrations to the Poems of Newsletter Thomas Gray Tyger and ()//;<•/ Tales, Blake Society Web Site, Reviewed by Christopher Heppner 24 Blake Society Program for 1997 39 CONTRIBUTORS Morton D. Paley, Department of English, University of Cali• fornia, Berkeley CA 94720-1030 Email: [email protected] LORENZ BECHER lives and works in Berne, Switzerland as artist, English teacher, and househusband. G. E. Bentley, Jr., 246 MacPherson Avenue, Toronto, Ontario M4V 1A2. The University of Toronto declines to forward mail. WES CHAPMAN teaches in the Department of English at Illi• nois Wesleyan University. He has published a study of gen• Nelson Hilton, Department of English, University of Geor• der anxiety in Thomas Pynchon's Gravity's Rainbow and gia, Athens, GA 30602 has a hypertext fiction and a hypertext poem forthcoming Email: [email protected] from Eastgate Systems.
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Introduction
Introduction The notes which follow are intended for study and revision of a selection of Blake's poems. About the poet William Blake was born on 28 November 1757, and died on 12 August 1827. He spent his life largely in London, save for the years 1800 to 1803, when he lived in a cottage at Felpham, near the seaside town of Bognor, in Sussex. In 1767 he began to attend Henry Pars's drawing school in the Strand. At the age of fifteen, Blake was apprenticed to an engraver, making plates from which pictures for books were printed. He later went to the Royal Academy, and at 22, he was employed as an engraver to a bookseller and publisher. When he was nearly 25, Blake married Catherine Bouchier. They had no children but were happily married for almost 45 years. In 1784, a year after he published his first volume of poems, Blake set up his own engraving business. Many of Blake's best poems are found in two collections: Songs of Innocence (1789) to which was added, in 1794, the Songs of Experience (unlike the earlier work, never published on its own). The complete 1794 collection was called Songs of Innocence and Experience Shewing the Two Contrary States of the Human Soul. Broadly speaking the collections look at human nature and society in optimistic and pessimistic terms, respectively - and Blake thinks that you need both sides to see the whole truth. Blake had very firm ideas about how his poems should appear. Although spelling was not as standardised in print as it is today, Blake was writing some time after the publication of Dr.
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The Symbol of Christ in the Poetry of William Blake
The symbol of Christ in the poetry of William Blake Item Type text; Thesis-Reproduction (electronic) Authors Nemanic, Gerald, 1941- Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 01/10/2021 18:11:13 Link to Item http://hdl.handle.net/10150/317898 THE SYMBOL OF CHRIST IN THE POETRY OF WILLIAM BLAKE Gerald Carl Neman!e A Thesis Submitted to the Faculty of the 3 DEPARTMENT OF ENGLISH In Partial Fulfillment of the Requirements For the Degree of MASTER OF ARTS In the Graduate College THE UNIVERSITY OF ARIZONA 1965 STATEMENT BY AUTHOR This thesis has been submitted in partial fulfillment of requirements for an advanced degree at The University of Arizona and is deposited in the University Library to be made available to borrowers under rules of the Library. Brief quotations from this thesis are allowable without special permission, provided that accurate acknowledgment of source is made. Requests for permission for extended quotation from or reproduction of this manuscript in whole or in part may be granted by the head of the major department or the. Dean of the Graduate College when in his judgment the proposed use of the material is in the interests of scholarship. In all other instances, however, permission must be obtained from the author. APPROVAL. BY THESIS DIRECTOR This thesis has been approved on the date shown below: TABLE OF COITENTS INTRODUCTION.
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Eibeibunka 47
1 『英米文化』47, 1–12 (2017) ISSN: 0917–3536 The Unity of Contraries in William Blake’s World of Vegetation NAKAYAMA Fumi Abstract William Blake, English-romantic poet and copperplate engraving artist, often compares human to vegetable organism in his late prophetic books. This paper is an attempt to ana- lyze the unity of ‘contraries’ through the association between Blake’s world of vegetation and the Bible, especially, The Book of the Prophet Ezekiel. First, I trace the sources of inspi- ration for Blake in Celtic culture, Christianity and philosophy. And next, I discuss the unity of contraries into ‘the Poetic Genius’ as Blake’s dialectic in his world of vegetation. Around the time when Blake wrote “To the Muses” in his first work, Poetical Sketches, muses were the very existence of scholarship. But gradually his confidence in muses began to waver. Muses are the daughters of ‘Mnemosyne’ and so Blake regarded the works inspired by muses as not exactly a good art. For Blake, ‘the Poetic Genius’ is the most important existence. As for the common terms between Blake’s prophecy and The Book of Ezekiel, I deal with two specific examples, the analogy of human likened to vegetable and ‘four.’ Both also have the similar plot, the division and unity of the personified ‘Jerusalem,’ and the process in which Jerusalem went to ruin, and later it was rebuilt as a theocracy. 1. Introduction William Blake (1757–1827) is an English-romantic poet and copperplate engraving artist, and in his works, human is often compared to vegetable organism. This imagery is read par- ticularly in his late prophetic books, The Four Zoas (1795–1804), Milton (1804–08) and Jerusalem (1804–20).
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William Blake's Role As English Prophet Michelle Lynn Jackson Southern Illinois University Carbondale
Southern Illinois University Carbondale OpenSIUC Honors Theses University Honors Program 5-2004 The oiceV of One Crying in a Wilderness of Error: William Blake's Role as English Prophet Michelle Lynn Jackson Southern Illinois University Carbondale Follow this and additional works at: http://opensiuc.lib.siu.edu/uhp_theses Recommended Citation Jackson, Michelle Lynn, "The oV ice of One Crying in a Wilderness of Error: William Blake's Role as English Prophet" (2004). Honors Theses. Paper 140. This Dissertation/Thesis is brought to you for free and open access by the University Honors Program at OpenSIUC. It has been accepted for inclusion in Honors Theses by an authorized administrator of OpenSIUC. For more information, please contact [email protected]. I I I The Voice of One Crying in a Wilderness of Brror: I William Blake's Role as Bnglish Prophet I I I I I Michelle L. Jackson I I I I I I I A thesis presented in fulfillment of the University Honors I Graduation Option at Southern Illinois University Carbondale May 7, 2004 I I I 1 I The Voice of One Crying in a Wilderness of Error: William Blake's Role as English Prophet I William Blake's radically revisionist perception of the I Bible led him to denounce orthodox religion. For Blake, the I ancient prophets were nothing less than masters of Poetic Genius and believed their unadulterated imaginative visions, not the I rigid rules of orthodoxy, to be the true source of religion. To I save the Poetic Genius conceptually from the abuse of established religion, Blake formulated his theory of Contraries, I which unites ftHeaven" and ftHell," human Reason and Energy.
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The Prophetic Books of William Blake : Milton
W. BLAKE'S MILTON TED I3Y A. G.B.RUSSELL and E.R.D. MACLAGAN J MILTON UNIFORM WirH THIS BOOK The Prophetic Books of W. Blake JERUSALEM Edited by E. R. D. Maclagan and A. G. B. Russell 6s. net : THE PROPHETIC BOOKS OF WILLIAM BLAKE MILTON Edited by E. R. D. MACLAGAN and A. G. B. RUSSELL LONDON A. H. BULLEN 47, GREAT RUSSELL STREET 1907 CHISWICK PRESS : CHARLES WHITTINGHAM AND CO. TOOKS COURT, CHANCERY LANE, LONDON. INTRODUCTION. WHEN, in a letter to his friend George Cumberland, written just a year before his departure to Felpham, Blake lightly mentions that he had passed " nearly twenty years in ups and downs " since his first embarkation upon " the ocean of business," he is simply referring to the anxiety with which he had been continually harassed in regard to the means of life. He gives no hint of the terrible mental conflict with which his life was at that time darkened. It was more actually then a question of the exist- ence of his body than of the state of his soul. It is not until several years later that he permits us to realize the full significance of this sombre period in the process of his spiritual development. The new burst of intelle6tual vision, accompanying his visit to the Truchsessian Pi6lure Gallery in 1804, when all the joy and enthusiasm which had inspired the creations of his youth once more returned to him, gave him courage for the first time to face the past and to refledl upon the course of his deadly struggle with " that spe6lrous fiend " who had formerly waged war upon his imagination.
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Blake and Kierkegaard
Blake and Kierkegaard JJRovira_FM_Rev.inddRovira_FM_Rev.indd i 22/19/2010/19/2010 111:51:101:51:10 AAMM Related Titles in the Continuum Literary Studies series: Coleridge and German Philosophy Paul Hamilton Blake, Deleuzian Aesthetics and the Digital Claire Colebrook JJRovira_FM_Rev.inddRovira_FM_Rev.indd iiii 22/19/2010/19/2010 111:51:111:51:11 AAMM Blake and Kierkegaard: Creation and Anxiety By James Rovira JJRovira_FM_Rev.inddRovira_FM_Rev.indd iiiiii 22/19/2010/19/2010 111:51:111:51:11 AAMM Continuum International Publishing Group The Tower Building 80 Maiden Lane 11 York Road Suite 704, New York London SE1 7NX NY 10038 © James Rovira 2010 James Rovira has asserted his right under the Copyright, Designs and Patents Act, 1988, to be identi4 ed as the Author of this work. All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording, or any information storage or retrieval system, without prior permission in writing from the publishers. British Library Cataloguing-in-Publication Data A catalogue record for this book is available from the British Library. ISBN: 978-1-4411-3559-9 (hardcover) Library of Congress Cataloging-in-Publication Data [To come] Typeset by Newgen Imaging Systems Pvt Ltd, Chennai, India Printed and bound in Great Britain by XXXXX JJRovira_FM_Rev.inddRovira_FM_Rev.indd iivv 22/19/2010/19/2010 111:51:111:51:11 AAMM For Sheridan, Thwarted goddess of commas. JJRovira_FM_Rev.inddRovira_FM_Rev.indd v 22/19/2010/19/2010
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The Ambiguity of “Weeping” in William Blake's Poetry
Central Washington University ScholarWorks@CWU All Master's Theses Master's Theses 1968 The Ambiguity of “Weeping” in William Blake’s Poetry Audrey F. Lytle Central Washington University Follow this and additional works at: https://digitalcommons.cwu.edu/etd Part of the Liberal Studies Commons, and the Scholarship of Teaching and Learning Commons Recommended Citation Lytle, Audrey F., "The Ambiguity of “Weeping” in William Blake’s Poetry" (1968). All Master's Theses. 1026. https://digitalcommons.cwu.edu/etd/1026 This Thesis is brought to you for free and open access by the Master's Theses at ScholarWorks@CWU. It has been accepted for inclusion in All Master's Theses by an authorized administrator of ScholarWorks@CWU. For more information, please contact [email protected]. ~~ THE AMBIGUITY OF "WEEPING" IN WILLIAM BLAKE'S POETRY A Thesis Presented to the Graduate Faculty Central Washington State College In Partial Fulfillment of the Requirements for the Degree Master of Education by Audrey F. Lytle August, 1968 LD S77/3 I <j-Ci( I-. I>::>~ SPECIAL COLL£crtoN 172428 Library Central W ashingtoft State Conege Ellensburg, Washington APPROVED FOR THE GRADUATE FACULTY ________________________________ H. L. Anshutz, COMMITTEE CHAIRMAN _________________________________ Robert Benton _________________________________ John N. Terrey TABLE OF CONTENTS CHAPTER PAGE I. INTRODUCTION 1 Method 1 Review of the Literature 4 II. "WEEPING" IMAGERY IN SELECTED WORKS 10 The Marriage of Heaven and Hell 10 Songs of Innocence 11 --------The Book of Thel 21 Songs of Experience 22 Poems from the Pickering Manuscript 30 Jerusalem . 39 III. CONCLUSION 55 BIBLIOGRAPHY 57 APPENDIX 58 CHAPTER I INTRODUCTION I.
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William Blake and Sexuality
ARTICLE Desire Gratified aed Uegratified: William Blake aed Sexuality Alicia Ostriker Blake/Ae Illustrated Quarterly, Volume 16, Issue 3, Wieter 1982/1983, pp. 156-165 PAGH 156 BLAKE AS lLLUSTHMLD QUARTERLY WINTER 1982-83 Desire Gratified and Ungratified: William Blake and Sexuality BY ALICIA OSTRIKEK To examine Blake on sexuality is to deal with a many-layered But Desire Gratified thing. Although we like to suppose that everything in the Plants fruits of life & beauty there (E 465) canon "not only belongs in a unified scheme but is in accord What is it men in women do require? with a permanent structure of ideas,"1 some of Blake's ideas The lineaments of Gratified Desire clearly change during the course of his career, and some What is it Women do in men require? others may constitute internal inconsistencies powerfully at The lineaments of Gratified Desire (E 466) work in, and not resolved by, the poet and his poetry. What It was probably these lines that convened me to Blake I will sketch here is four sets of Blakean attitudes toward sex- when I was twenty. They seemed obviously true, splendidly ual experience and gender relations, each of them coherent symmetrical, charmingly cheeky —and nothing else I had read and persuasive if not ultimately "systematic;" for conven- approached them, although I thought Yeats must have pick- ience, and in emulation of the poet's own method of per- ed up a brave tone or two here. Only later did I notice that the sonifying ideas and feelings, I will call them four Blakes.
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Night Thoughts
DISCUSSION A Re-View of Some Problems in Understanding Blake’s Night Thoughts John E. Grant Blake/An Illustrated Quarterly, Volume 18, Issue 3, Winter 1984-85, pp. 155- 181 PAGE 155 WINTER 1984-85 BLAKE/AS ILLUSTRATED QUARTERLY prehensive project which seeks to explain and restore an but does not, however, achieve it. historical methodology to literary studies" (ix). Much of The Romantic Ideology, in fact, reads like an introduction reliant on generalizations that one hopes the author will 1 substantiate and perhaps qualify. I say this not to dismiss All of these critics, like McGann, regard Natural Superna- turalism as a canonical text. In "Rationality and Imagination in the book, only to indicate its limits. I sympathize with Cultural History," Critical Inquiry, 2 (Spring, 1976), 447-64—a McGann's desire to restore historical self-consciousness discussion of Natural Supernaturalism that McGann should acknowl- to Romantic scholarship and, more generally, to aca- edge—Abrams answers some of these critics and defends his omis- demic criticism. The Romantic Ideology affirms this goal sion of Byron. the proper forum for detailed discussion of several points I shall raise. Furthermore, some of the issues I shall DISCUSSION address extend beyond the specific problems of the Clar- with intellectual spears SLIODQ winged arrows of thought endon edition of Night Thoughts to larger questions of how Blake's visual works can be presented and under- stood. This re-view of the Clarendon edition should make it easier for readers to use the edition in ways that A Re-View of Some Problems in will advance scholarship on Blake's most extensive proj- ect of pictorial criticism.
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William Blake (1757-1827)
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