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The Four Zoas: Intention and Production

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The Four Zoas: Intention and Production ARTICLE The Four Zoas: Intention and Production Robert N. Essick Blake/An Illustrated Quarterly, Volume 18, Issue 4, Spring 1985, pp. 210-220 PAGE 216 BLAKE/AS' ILLUSTRATED QUARTERLY SPRING 1985 The Four Zoas: Intention and Production BY ROBERT N. ESSICK Paul Mann's challenging theory in "The Final State of illustrations to the works of other poets, but it is difficult The Four Zoas" offers an opportunity for others to test even to imagine a late eighteenth-century sponsor for their sense of Blake's plans for his long and various an epic like Vata or The Four Zoas. This does not, of manuscript poem. Mann very kindly allowed me to read course, allow us to rule out completely the theory that his essay before publication and accepted my suggestion Blake originally planned to create a beautiful illumi- that I send to this journal a companion piece in the nated manuscript as his final product and only later hope that the two articles together will produce more allowed it to degenerate into a working draft. Yet, as light than would either in isolation. I wish merely to Mann suggests, Blake's entire career as a publisher in- pursue a few lines of speculation that support his basic dicates a consistent desire to find a wider audience for theory but evolve into a hypothesis about Blake's first his poetry than the very limited number of people who plans for his text. could see, read, and be moved by a unique manuscript. I trust it has become something of a truism that From the prospectus of October 1793 to the first chapter Blake was much concerned with the processes and ma- of Jerusalem (c. 1804-1820), Blake addressed himself terials of publication. A man trained to the book and "To the Public"2 and tried an extraordinary range of print business of his time who also invented a number media and publication methods to reach them. of unconventional ways of producing and distributing The development of Blake's publishing efforts in images could hardly avoid such interests. A corollary the mid- and late- 1790s provides some sense of the range proposition is that Blake's works are media specific— of media he had available for the publication of his that is, his images (whether pictorial or calligraphic) illustrated poetry. In 1795, Blake published The Book differ in some observable ways because of the different of Los and The Book of Ahania (illus. 4). Both have texts technologies used to produce them. Given the practical etched in intaglio, whereas the other illuminated books exigencies of image production, as well as Blake's in- were printed from letters etched in relief.* The visual sistence on the radical unity of conception and execu- differences between intaglio and relief letters are less tion,1 it is reasonable to assume that the preliminary significant than the considerable changes in production stages in the development of an image may reveal the procedures. It is not at all clear why Blake abandoned medium in which Blake intended to produce the final his own invention, relief etching, which he trumpeted form of that image. I take this to be the perspective, as both a practical and beautiful method of self-publi- as well as the context in which we are to understand cation in his 1793 prospectus, and returned to a far the meaning of "intention," implicit in Mann's essay. I more conventional medium.4 The Books of Los and Ahania share that perspective and usage, and thus I will also are also notable for their paucity of interlinear decora- view The Four Zoas manuscript not only as the "text" of tion, as in letterpress, even though the intaglio medium a "poem" (i.e., the physical embodiment of an aesthetic would not in itself prohibit the root and vine motifs experience) but also as a preliminary—perhaps even a punctuating The Book ofUrizen or even larger and more mockup—for a subsequent work never executed. elaborate designs set anywhere on the page. Clearly, Is The Four Zoas manuscript the signifier of an Richard Edwards' 1797 edition of Young's Night Thoughts, unrealized intention to produce the poem in some other with a typographic text surrounded by intaglio designs form? The physical condition of the work as we know on slightly less than half the printed pages, bears a it, with its deletions, erasures, marginal insertions, and special relationship to The Four Zoas. But we should also designs rendered as pencil sketches, immediately sug- keep in mind The Book of Los and The Book of Ahania, gests as much. Mann has argued cogently that Blake for they indicate the medium Blake chose for the pro- did not intend to create a single illuminated manu- duction of his own poetry published closest in time to script—either the one we have or another never exe- the beginning of his labors on Va/a or The Four Zoas." cuted—as an end in itself. Such works are generally Turning to the manuscript itself, we can imme- produced on commission only, much as Blake was hired diately see that some pages are written in what Bentley by Flaxman, Butts and others to make watercolored calls a "Copperplate Hand" (illus. 1), others in a related PAGE 210 BLAKE/AS' ILLUSTRATED QUARTERLY SPRING 1985 /J/ln. f. 7H4- tu~ vUt—JiLv^ */4/c 743* Av^tumM. A+? j/e*J- , £/ //n '/Utm m*4u ..«**"'<* &, %*.** /C*. jf'Avu 0*M#n ru*u* fc, "** fa*' Sttyf m JeuAtS *~*f»r raMMy 1. Blake. Vala, or The Four Zoas, page 23. Pen & ink manuscript with ink and pencil drawing, c. 1797-1800? Sheet approx. 42 X 32.5 cm. Courtesy of the British Library. SPRING 1985 BLAKE/AS 1LLUSTK\TED QUARTERLY PAGE 211 f I 1) ' f :*- 3L U>>//3<^ fiJ>f*ft" *«*•*/£ ',* Q ■1 2. Blake. Vala, or T/>e fW Zoas, page 43. Pen & ink manuscript (c. 1800-1804?) on a published-state impression of Blake's Night Thoughts etching/engraving, page 63 in the 1797 edition. Sheet approx. 42 X 35.2 cm. Courtesy of the British Library. PAGE 212 BLAKE/AS ILLUSTRATED QUARTERLY SPRING 1985 %t m,, iflttB jL MTK Jcy */~~ £jJj y£j££&fJjJL ji(j tml& &~~~r jivJ^ & W^/^^ \Zttit> bfo M.**- S***- h t4>~*>6w:. ^*^> Cta^c*** rftim* /„J£ l&A* <Z.JL LU, JJ» >y4 &/•? ^b r*ry<_ Cjr%**4&**.**. ^7 ♦r'rj^i /^ JuJ^ XJtL*, tf/rrvyx. 7 ' r/: /, 3. Blake. VW*, or TAe Fowr Zfc«, page 59. Pen & ink manuscript (c. 1800-1804?) on a second-state proof impression of Blake's Night Thoughts etching/engraving, page 73 in the 1797 edition. Sheet approx. 42 X 35.2 cm. Courtesy of the British Library. SPRING 1985 BUKE/AS ILLUSTRATED QUARTERLY PAGE 213 Cltaf) • I unrcmittuig endurd the cold hammer. -herd J : Tuxon,. on a, chariot iron-v/wgd, G. But the strong arm. that Sent it. rement- On spilced Awies rose; his hot visoge^ Uke sounding beam,; laughing it tore through, '\^LOJTUL durious; sparkles kls hair 4" heard That beateit mals. keepuig its direction. •sShot down, tus Wide boSom. ano sn&dders On clouds of smoke rages his charwt The. cold loins of {/rtjen cujnding . Jirui fas' rtgni Land, burns' red m its . cloud -->i-^--w^^^-^--"\^<^N "J. Dir> shrudtd Jus uvoisible Lust ^_ t .Moulding utto a Vast glebe. his wrafh }&up Jxvand llnye/i! stretching kiS awful knao J{s die thunder-stone is -moulded Anania, (so name his' parted soul J nSon, oftysiyenJ Silent burnings' ffle steyd on, his mountains' of Jealousy. H". groovtd, aiiteutshd Sy called, hzr Sut,, X: ■ mall We Worship this Demon of smoke.Iu/stn& her afvf weeping over her. *SCLU) Fujo/i. this abstract no*-entity jken fwd fitr ut. dartcneft in sdence ■. r J/uS doudy God seated on Outers' Jealous' tho' she H*ZS invisible . /['o~w s'een . noil obsaifd, Jung or sorrow r 8- She. Fell, down a, Joint shadow Wandnn^ 3: So he spokepoke m a.a Jvery JtuvFlame Jn. chaos' and circling dark, Mrtyen. On. Hir'wen, froWnmgfro Wnmg inoQ&ruxnt.uidi&nwtt. JLs the moon an^uishd. circles the earth-. The Globe of wraA .shaJUnf.jKokinf onc high, (fiopeleJs.'aLbkorrd! a. Jjeath-shadow. 'flooringflooring wdkFiry.favfctk Ary. he. threw>threw? ,, Unseen, unbodied, unhwWn. \Jhe howling Globe: burning it ^Jve kowlu%. GU&e: burning it fU« s%^> mother of flestilejixx. LenghnwgF *„ >,//,„! nh intoirt+n a nhungry hnnterr beam.Swiftlybean Q\Jjti£ the fiery beam, af Fuyjon, : Opposd to ike. exukuty flamd oeum. 4 'Wets a, pillar oF Tire to JLgypt Tie 'broad L)isk ofllrljen. upkeavd 'J'IVC Sumdred, years Wand/'inS on -fjcirth, Acrolk the Moid nwny a, rrule Tdl TJOS siejd it and. beat' en- a. mcTs rrctk. bli& body of tfte sort. ,) .ft was /drpd in nulls where /&? Winter ffieate lacesyant; Ml Winters HIM diaA 4. Blake. The Book of Ahania. 1795. Copy A, plate 3. Intaglio etching 13.6 X 9.8 cm. Courtesy of the Library of Congress, Washington, D.C. PAGE 214 BLAKE/AS ILLUSTRATED QUARTERLY SPRING 1985 J! J,^ . AUrw 1/L.S S*#r 6^ fc*lZJi , Ct^ mm ,&/ ^ife —a 0JL~u~qL.Jb3Z*£ >~u/^ ml ^2 ^»»fc» sfj>lim£*—~4**~+A ■i+MttO <&«/>. tft~/**4 M. v££.Ow . A/yU *JL XL £L2> ^* .^U «£> v^C* AA~, £j A tS& Jn* k~.JL SLJL. jf(Jr^ + £/4^ , flfifs(to>~i~ ^~ *>& M»** 4"~*y ?*** ^y s^—-**. x**.*^. atw* «*>-^-. y~x ^Uw. -^ uju '~*ALt 5. Blake. Vala, or The Four Zoas, page 115.
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