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Notes 1 Introduction: ‘The sun is gone down’ 1. Pencil-drawing of 1780, colour-printed line engraving in 1794. See B 73. For images associated with ‘Glad Day’ and ‘And did those feet’ see Blake’s pen and watercolour for Milton’s ‘L’Allegro’ lines 57–68, ‘The Sun at his Eastern Gate’ (B 543.3). The ‘bow of burning gold’ and the ‘arrows of desire’ recall the watercolour for Gray’s ‘The Progress of Poesy’ where poetry is the Sun as Apollo. The ‘Countenance Divine’ is the sun-god, recalling Blake’s illustration to Paradise Lost, ‘The Rout of the Rebel Angels’. See B 335.46, 536.7. 2. See Jeremy Dibble, C. Hubert H. Parry: His Life and Music (Oxford: Clarendon Press 1992), pp. 483–5, and Patrick French, Younghusband: The Last Great Imper- ial Adventurer (London: Harper Collins 1994), pp. 294–303. Five years after ‘Rule Britannia’, there appeared ‘God Save the King’, becoming in the early 1800s the ‘national anthem’, Linda Colley, Britons: Forging the Nation 1707– 1837 (London: Vintage 1996), p. 47, so linking patriotism and religion. See Shirley Dent and Jason Whittaker, Radical Blake: Influence and Afterlife from 1827 (London: Palgrave 2002), pp. 88–95. 3. David V. Erdman (ed.), A Concordance to the Writings of William Blake (Ithaca: Cornell University Press 1967), 2 vols. 4. David Wagenknecht, Blake’s Night: William Blake and the Idea of Pastoral (Cambridge, Mass.: Harvard University Press 1973). See Philip Brockbank, ‘ “Within the Visible Diurnal Sphere”: The Moving World of Paradise Lost’, in The Creativity of Preception: Essays in the Genesis of Literature and Art (Oxford: Basil Blackwell 1991), pp. 59–64, for day and night in Milton. (His account of Paradise Lost in C.A. Patrides (ed.), Paradise Lost 1–2, London: Macmillan 1972, pp. 13–74, excellently intersects Milton with Blake.) 5. Valentine Cunningham, Everywhere Spoken Against: Dissent in the Victorian Novel (Oxford: Clarendon Press 1975) discusses the Irvingites, reprinting Dickens’s satirical poem on them, p. 197. See also Columba Graham Flegg, ‘Gathered Under Apostles’: A Study of the Catholic Apostolic Church (Oxford: Clarendon Press 1992). 6. See BR pp. 256–347. On Linnell, see Alfred T. Story, The Life of John Linnell, 2 vols (London, Richard Bentley 1892); on Samuel Palmer, see Raymond Lister, The Paintings of Samuel Palmer (Cambridge: Cambridge University Press 1985) and Raymond Lister, Samuel Palmer and ‘The Ancients’ (Cambridge: Cambridge University Press 1984). See also Gerald E. Bentley Jr, Robert N. Essick, Shelley M. Bennett, and Morton D. Paley, Essays on the Blake Followers (San Marino: Huntington Library and Art Gallery 1983). 7. No. 10 in Colin Harrison, Samuel Palmer (Oxford: Ashmolean Museum 1997), pp. 24–5. 174 Notes 175 8. See the waning moon in ‘A Rustic Scene’, Harrison no. 5, pp. 1–15, Lister no. 7, and Lister’s commentary in Samuel Palmer and ‘The Ancients’, pp. 5–6. A full moon is in ‘The Valley Thick with Corn’, Harrison no. 9, pp. 22–3, Lister no. 9, and a waning moon in the watercolour ‘A Hilly Scene’ (1826, Lister no. 10) with a bright star shining through tree branches. A full moon against cloud appears in ‘Moonlit Scene with a Winding River’ (Lister no. 11), and a crescent moon in the watercolour ‘Cornfield by Moonlight, with the Evening Star’ (1830, Lister no. 21). There is ‘Harvest Moon, Shoreham’, c. 1830, watercolour (Lister no. 22); another harvest moon, with a constellation of huge bright stars accompanies the peasants harvesting in the oil work ‘The Harvest Moon’ (1833). In ‘The Gleaning Field’ (oil, 1833, Lister no. 26) a full moon emerges above a ridge at the back, to illuminate the women working together in the field. 9. Poem by Palmer of 1824; Lister no. 20 includes it in the commentary. 10. Ulro is Death, dehumanized thought, marked by belief in the ‘natural cause’ (Milton 26.45, E. 124, K. 513). Generation establishes the masculine and the feminine, as opposed to the hermaphroditic (Jerusalem 58.18–20, E. 207, K. 690). Beulah, from Isaiah 62.4, and, important for Palmer, also from The Pilgrim’s Progress, is the married state and comparatively feminine; Eternity is the ‘world of Imagination’ (A Vision of the Last Judgment E. 554, K. 605). 11. See John Barrell, The Dark Side of the Landscape: The Rural Poor in English Painting 1730–1840 (Cambridge: Cambridge University Press 1980), pp. 32–3, discussing Linnell’s ‘Woodcutting in Windsor Forest’ (1834–1835). See Linnell’s London illustrations, John Linnell: A Centennial Exhibition, catalogued Katharine Crouan (Cambridge: Cambridge University Press and Fitzwilliam Museum 1983). 12. On Blake’s influence, see Robert J. Bertholf and Annette S. Levitt, William Blake and the Moderns (Albany: State University of New York 1982). 13. See Reynolds, ed. Nicolas Penny (London: Weidenfeld & Nicolson 1986), pp. 251–4. 14. See Henry Fuseli, 1741–1825 (London: Tate Gallery 1975), pp. 99–104, for the impact of Reynolds and Fuseli on Gericault’s The Raft of the Medusa, see Patrick Noon (ed.), Constable to Delacroix: British Art and the French Romantics (London: Tate Publishing 2003), p. 84. 15. For Dante in English, and the material for this paragraph, see Paget Tonybee, Dante in English Literature, 2 vols, London, 1909; Werner P. Frederich, Dante’s Fame Abroad, Rome: Edizioni di Storia e Letteratura, 1950 – which includes work on German translations and plays derived from Ugolino material; Frances Yates, ‘Transformations of Dante’s Ugolino’, Journal of the Warburg and Courtauld Institutes 14 (1951), 92–117, William de Sua, Dante into English (Chapel Hill, NC: University of North Carolina Press 1964), esp. pp. 8–14, 18–20 on the Gothic horror stressed in the eighteenth-century translations, Steve Ellis, Dante and English Poetry: Shelley to T.S. Eliot (Cambridge: Cambridge University Press 1983), V. Tinkler-Villani, Visions of Dante in English Poetry (Amsterdam: Rodopi, 1989), Ralph Pite, The Circle of our Vision: Dante’s Presence in English Romantic Poetry (Oxford: Clarendon Press 1994), John Roe, ‘Dante, Ugolino and Thomas Gray’ in Nicholas Havely (ed.) Dante’s Modern Afterlife (London: Macmillan), 1998. 176 Notes 16. Compare Byron, Don Juan, Canto 2.82, on the cannibalism of Pedrillo at sea: And if Pedrillo’s fate should shocking be, Remember Ugolino condescends To eat the head of his arch-enemy The moment after he politely ends His tale: if foes be food in hell, at sea ’Tis surely fair to dine upon our friends When shipwreck’s short allowance grows too scanty, Without being much more horrible than Dante. 17. See Ricardo Quinones, Foundation Sacrifice in Dante’s Commedia (Philadelphia, PA: Pennsylvania University Press 1994), p. 29. 18. Freud connects narcissism with melancholia: see Freud, Sigmund, On Metapsychology: The Penguin Freud vol. 11 (Harmondsworth: Penguin 1977), pp. 258–9. 19. Lacan discusses this fantasy of fragmentation: the mirror-stage seems to convey wholeness to ‘inchoate desires’, gendered identity divides these again: Jacques Lacan, Ecrits: A Selection trans. Alan Sheridan (London: Tavistock 1977), pp. 4, 11; The Psychoses: The Seminar of Jacques Lacan Book III: 1955–1956 ed. Jacques Alain-Miller, trans. Russell Grigg (London: Routledge 1993), p. 39. 20. See Theodor Spencer, ‘The Story of Ugolino in Chaucer’, Speculum 9 (1934), pp. 295–301; Piero Boitani, ‘The Monk’s Tale: Chaucer and Boccaccio’, Medium Aevum 45 (1976), 50–9, and see his reading of Canto 26 in Kenelm Foster and Patrick Boyde (eds) Cambridge Readings in Dante (Cambridge: Cambridge Uni- versity Press 1981), pp. 70–89, and Boitani (ed.), Chaucer and the Trecento (Cambridge: Cambridge University Press 1983), pp. 115–40. 21. John Beer finds the 1818 revisions more ‘personally oriented’ than the earlier version: see his ‘Influence and Independence in Blake’ in Michael Phillips, Interpreting Blake (Cambridge: Cambridge University Press 1978), p. 210. In Blake’s Humanism (Manchester: Manchester University Press 1969), p. 237, he takes Ugolino and his four sons as the five senses. If Ugolino represents despair, yet in Blake’s last illustrations of Dante (1824–1827), in the pencil drawing of Ugolino and his sons, two angels hover. Albert Roe, Blake’s Illus- trations to the Divine Comedy (Princeton: Princeton University Press 1953), p. 153, links these angels with ‘Man’s Perceptions are not bounded by organs of perception; he perceives more than sense (tho’ ever so acute) can discover’ from ‘There is No Natural Religion’ (E. 2, K. 97). 22. David Erdman, The Illuminated Blake (Oxford: Oxford University Press 1975), p. 113. 23. Blake’s reading of Fuseli overturns his own reading of the text. The reaction to Ugolino is split, and involves Blake in gender-blindness. He adds: ‘The child in [Ugolino’s] arms, whether boy or girl signifies not (but the critic must be a fool who has not read Dante and does not know a boy from a girl). Whether boy or girl signifies not’ (my italics); but it does signify, especially as the figure lying in the lap of Ugolino, like Cordelia dead in Lear’s arms, with hair hanging down and falling back from the head like the woman in the Fuseli ‘Nightmare’ seems to be female, a daughter-figure. Blake’s reading of the picture and his defence of it implies a certain repression. The father in Notes 177 Fuseli’s painting cannot be considered outside the contexts of Romantic interest in incest, which, reworking the motif of technophagia, sexualizes the patriarch. Compare Fuseli’s picture with James Barry, ‘King Lear Weeping over the Body of Cordelia’ (1786–1787); see Scott Paul Gordon, ‘Reading Patriot Art: James Barry’s King Lear’, Eighteenth-Century Studies 36 (2003), 491–510. 24. Jeremy Tambling, Dante and Difference: Writing in the Commedia (Cambridge: Cambridge University Press 1988), pp.
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