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Issues) and Begin with the Summer Issue
VOLUME 22 NUMBER 3 WINTER 1988/89 ■iiB ii ••▼•• w BLAKE/AN ILLUSTRATED QUARTERLY WINTER 1988/89 REVIEWS 103 William Blake, An Island in the Moon: A Facsimile of the Manuscript Introduced, Transcribed, and Annotated by Michael Phillips, reviewed by G. E. Bentley, Jr. 105 David Bindman, ed., William Blake's Illustrations to the Book of Job, and Colour Versions of William- Blake 's Book of job Designs from the Circle of John Linnell, reviewed by Martin Butlin AN ILLUSTRATED QUARTERLY VOLUME 22 NUMBER 3 WINTER 1988/89 DISCUSSION 110 An Island in the Moon CONTENTS Michael Phillips 80 Canterbury Revisited: The Blake-Cromek Controversy by Aileen Ward CONTRIBUTORS 93 The Shifting Characterization of Tharmas and Enion in Pages 3-7 of Blake's Vala or The FourZoas G. E. BENTLEY, JR., University of Toronto, will be at by John B. Pierce the Department of English, University of Hyderabad, India, through November 1988, and at the National Li• brary of Australia, Canberra, from January-April 1989. Blake Books Supplement is forthcoming. MARTIN BUTLIN is Keeper of the Historic British Col• lection at the Tate Gallery in London and author of The Paintings and Drawings of William Blake (Yale, 1981). MICHAEL PHILLIPS teaches English literature at Edinburgh University. A monograph on the creation in J rrfHRurtfr** fW^F *rWr i*# manuscript and "Illuminated Printing" of the Songs of Innocence and Songs ofExperience is to be published in 1989 by the College de France. JOHN B. PIERCE, Assistant Professor in English at the University of Toronto, is currently at work on the manu• script of The Four Zoas. -
!V(-Q WALT WHITMAN
!v(-q v( THE LIBRARY OF CONGRESS THE ONE HUNDRED AND TWENTIETH ANNIVERSARY OF THE BIRTH OF WALT WHITMAN AN EXHIBIT FROM THE COLLECTIONS OF MRS. FRANK JULIAN SPRAGUE OF NEW YORK CITY 4 I A LIST OF MANUSCRIPTS, BOOKS, PORTRAITS, PRINTS, BROADSIDES, AND MEMORABILIA LI IN COMMEMORATION OF THE One Hundredand Twentieth Anniversary OF THE BIRTH OF WALT WHITMAN [MAY 31, 1819-19391 FROM THE WHITMAN COLLECTION OF MRS. FRANK JULIAN SPRAGUE OF NEW YORK CITY I EXHIBITED AT THE LIBRARY OF CONGRESS 1939'3 FOREWORD ti[THE YEAR 1939 marks the one hundred and twentieth anni- versary of the birth of Walt Whitman. As part of the celebration of that anniversary, the Library of Congress exhibited a collection of material from the magnificent Walt Whitman collection as- sembled over a period of twenty-five years by Mrs. Frank Julian Sprague, of New York City. This material was selected and pre- pared for exhibition by Dr. Joseph Auslander, Consultant in Poetry in the Library of Congress. The Library of Congress is unwilling that this exhibit should terminate without some record which may serve as an expression of its gratitude to Mrs. Sprague for her generosity in making the display possible and a witness to its appreciation of Mrs. Sprague's great service to American poetry and to the American tradition of which Walt Whitman is not only the poet but the symbol. Many of the books in Mrs. Sprague's collection are unique, some are in mint condition, none is unopened. The greater part of the collection, including the two paintings which were done from life, has never before been exhibited to the great American public for which Whitman wrote and by which he is remembered. -
The Mental Traveller”: Man’S Eternal Journey
ARTICLE “The Mental Traveller”: Man’s Eternal Journey Izak Bouwer, Paul McNally Blake/An Illustrated Quarterly, Volume 12, Issue 3, Winter 1978-79, pp. 184- 192 184 "THE MENTAL TRAVELLER": MAN'S ETERNAL JOURNEY The spiritual States of the Soul are all Eternal Distinguish between the man, & his present State (Jerusalem 52, El 98, K681) IZAK BOUWER & PAUL McNALLY he Mental Traveller" describes a cycle in Traveller" portrays the successive states through which two figures, one male and one female, which Man passes on his eternal journey, as deter- T grow from infancy to old age and back to mined by the complementary interplay of two prin- infancy again. Each grows younger as the other grows ciples in him: the Spiritual, expressed through his older, so that each is oldest when the other is at imaginative faculty, and the Natural, expressed 5 the point of birth. This curious round of change through his earthly nature. This theme of Man's becomes understandable when we realize that the eternal journey was of profound importance to Blake, figures personify two complementary principles. How- and inspires his entire mythology, so that the poem ever, the interpretation of these principles and of emerges as a compact counterpart to his major work, their cycle of change has proved to be puzzling and and a summary of his spiritual vision. controversial. Of two main critical traditions, the earlier represents the cycle as essentially proto- It was Blake's conviction that "Mental Things typical of cyclic process, and in particular of are alone Real" {VLJ, E555, K617), and he considered historical cycles.2 Such a generalizing approach is it his great task to "open the Eternal Worlds, to out of character for Blake, and the cyclic processes open the immortal Eyes / Of Man inwards into the of history are certainly within the grasp of "cold Worlds of Thought: into Eternity ..." {Jerusalem Earth wanderers," while this cycle is explicitly said 5:18-19, E146, K623). -
Please Click Here to Download a Review of the Bard: William Blake at Flat Time
The Bard – William Blake at Flat Time House By Henry Whaley Over the last few months, Tate Britain has loudly proclaimed William Blake ‘Rebel, Radical, Revolutionary’; the phrase accompanied posters covering the city, emblazoned with Blake’s dramatic final work. In November, the same work lit up the dome of St Paul’s Cathedral in honour of the artist’s 262nd birthday. More than ever before, the spirit of Blake has stalked the streets of London. Now, Blake has returned to his spiritual home, Peckham. Chris McCabe, curator of The Bard at Flat Time House, who has drawn extensively from Blake’s legacy in his own poetry, confesses his astonishment that Peckham is never named in any of Blake’s poems; indeed it was on the Rye that Blake had his first vision, ‘a tree filled with angels, bright angelic wings bespangling every bough like stars’.1 This is a place that forms the nucleus of Blake’s anti-rationalist thought, a turning point in a life governed by the fantastical. The works on display here are indeed fantastical. We are presented with two examples of poems by Gray illustrated by Blake, ‘The Bard’ and ‘The Fatal Sisters’, part of a larger commission totalling 116 pages undertaken in 1797 for John Flaxman. As McCabe asserts in the exhibition catalogue, to overlook these works based on their commissioned nature is a grave mistake; the rich dialogue between poetry and image that unfolds on these pages is an extension of an exchange taking place well beyond their borders, with Gray’s mythic imagery quoted directly in Blake’s work up to a decade either side of the examples presented.2 1 Alexander Gilchrist, The Life of William Blake, ‘Pictor ignotus’ (London, 1863) p.7 2 Chris McCabe, ‘The Commission as Vision’, The Bard – William Blake at Flat Time House, ed. -
By William Shakespeare
BEYOND THE POINT OF CHILDISHNESS (Volume II) THE ANNOTATED BIBLIOGRAPHY OF PROSE NARRATIVES ADAPTED FOR CHILDREN FROM SHAKESPEARE' S PLAYS 1807-1998 by (WINIFRED) WEI-FANG YIN A thesis submitted to the Faculty of Arts of the University of Birmingham for the degree of DOCTOR OF PHILOSOPHY Department of English School of Humanities The University of Birmingham June 1999 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. r\> ^ s to cO <i- cr 6 2. Guidelines for Using the Annotated Bibliography of Prose Narratives Adapted for Children from Shakespeare' s Plays 1807-1998 Scope of Bibliography: The Annotated Bibliography seeks to document different English versions of prose stories, retold from Shakespeare' s plays for the purpose of introducing children to Shakespeare, and published as children' s literature, including the nineteenth century chapbooks and penny-dreadful magazines. Anything that falls out of this category, i.e. text-books, theatre-guides and adult-books, will not be included. However, Lambs' tales were originally written for children. Although some editions of Lambs' tales were published as adults' books, they have been treated as children' s books, simply because they contain illustrations. -
Gilchrist Family Papers Ms
Gilchrist Family papers Ms. Coll. 116 Finding aid prepared by Donna Brandolisio. Last updated on April 15, 2020. University of Pennsylvania, Kislak Center for Special Collections, Rare Books and Manuscripts 1992 Gilchrist Family papers Table of Contents Summary Information....................................................................................................................................3 Biography/History..........................................................................................................................................4 Scope and Contents....................................................................................................................................... 8 Administrative Information........................................................................................................................... 8 Controlled Access Headings..........................................................................................................................9 Collection Inventory.................................................................................................................................... 10 Correspondence and writings................................................................................................................ 10 Miscellaneous memorabilia................................................................................................................... 14 Diaries of Grace Gilchrist.................................................................................................................... -
New Risen from the Grave: Nineteen Unknown Watercolors by William Blake
ARTICLE New Risen from the Grave: Nineteen Unknown Watercolors by William Blake Martin Butlin Blake/An Illustrated Quarterly, Volume 35, Issue 3, Winter 2002, pp. 68-73 Cromek. Suffice it to say that John Flaxman, in a letter of 18 ARTICLES October 1805, wrote that "Mr. Cromak has employed Blake to make a set of 40 drawings from Blair's poem of the Grave New Risen from the Grave: 20 of which he proposes [to] have engraved by the Designer ..." (Bentley (2001) 279). Blake himself, in a letter to Will- Nineteen Unknown Watercolors iam Hayley of 27 November 1805, wrote that about two by William Blake months earlier "my Friend Cromek" had come "to me de- siring to have some of my Designs, he namd his Price & wishd me to Produce him Illustrations to The Grave A Poem BY MARTIN BUTLIN by Robert Blair, in consequence of this I produced about twenty Designs which pleasd so well that he with the same hat is certainly the most exciting Blake discovery since liberality with which he set me about the Drawings, has now WI began work on the artist, and arguably the most set me to Engrave them."2 Cromek, in the first version of important since Blake began to be appreciated in the sec- his Prospectus, dated November 1805, advertised "A NEW AND ond half of the nineteenth century, started in a deceptively ELEGANT EDITION OF BLAIR'S GRAVE, ILLUSTRATED WITH FIFTEEN low-key way. A finished watercolor for the engraving of "The PRINTS FROM DESIGNS INVENTED AND TO BE ENGAVED BY WILLIAM Soul Hovering over the Body," published in Robert Cromek's BLAKE .. -
William Blake 1 William Blake
William Blake 1 William Blake William Blake William Blake in a portrait by Thomas Phillips (1807) Born 28 November 1757 London, England Died 12 August 1827 (aged 69) London, England Occupation Poet, painter, printmaker Genres Visionary, poetry Literary Romanticism movement Notable work(s) Songs of Innocence and of Experience, The Marriage of Heaven and Hell, The Four Zoas, Jerusalem, Milton a Poem, And did those feet in ancient time Spouse(s) Catherine Blake (1782–1827) Signature William Blake (28 November 1757 – 12 August 1827) was an English poet, painter, and printmaker. Largely unrecognised during his lifetime, Blake is now considered a seminal figure in the history of the poetry and visual arts of the Romantic Age. His prophetic poetry has been said to form "what is in proportion to its merits the least read body of poetry in the English language".[1] His visual artistry led one contemporary art critic to proclaim him "far and away the greatest artist Britain has ever produced".[2] In 2002, Blake was placed at number 38 in the BBC's poll of the 100 Greatest Britons.[3] Although he lived in London his entire life except for three years spent in Felpham[4] he produced a diverse and symbolically rich corpus, which embraced the imagination as "the body of God",[5] or "Human existence itself".[6] Considered mad by contemporaries for his idiosyncratic views, Blake is held in high regard by later critics for his expressiveness and creativity, and for the philosophical and mystical undercurrents within his work. His paintings William Blake 2 and poetry have been characterised as part of the Romantic movement and "Pre-Romantic",[7] for its large appearance in the 18th century. -
Nervous Sympathy in the Familial Collaborations of the Wordsworth
The Mediated Self: Nervous Sympathy in the Familial Collaborations of the Wordsworth- Lamb-Coleridge Circle, 1799-1852 Katherine Olivia Ingle MA (University of Edinburgh) MScR (University of Edinburgh) English & Creative Writing Lancaster University November 2018 This thesis is submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy in English Literature. Katherine Olivia Ingle ii I declare that this thesis was composed by myself, that the work contained herein is my own except where explicitly stated otherwise in the text, and that this work has not been submitted for any other degree or professional qualification. November 2018 Katherine Olivia Ingle iii This thesis is dedicated with love to my grandmothers, Cynthia Ingle and Doreen France & in loving memory of my grandfathers, Thomas Ian Ingle, 1925-2014 & Joseph Lees France, 1929-2017 There is a comfort in the strength of love; ‘Twill make a thing endurable, which else Would overset the brain, or break the heart. Wordsworth, “Michael” Katherine Olivia Ingle iv Acknowledgements This thesis could not have taken shape without the attention, patience and encouragement of my supervisor Sally Bushell. I am deeply grateful to her for helping me to clarify ideas and for teaching me that problems are good things. I thank Sally in her numerous capacities as a Wordsworthian scholar, reader, teacher and friend. I am grateful to the Department of English & Creative Writing at Lancaster for a bursary towards an archival visit to the Jerwood Centre at The Wordsworth Trust. I thank the Curator, Jeff Cowton, for his generosity, insights and valuable suggestions. -
Lord Tennyson's Copy of Blake's Illustrations of the Book Of
ARTICLE at the time: “He [Tennyson] came, and the poet and ‘philosopher’ were charmed with each other” (Abbott and Campbell 1: 198). After Tennyson moved to Farringford, he regularly invited Jowett to stay with him and his family Lord Tennyson’s Copy of Blake’s over Christmas. Jowett would visit during the year as well, but stay in lodgings nearby (Abbott and Campbell 1: 339). Illustrations of the Book of Job (1826) Since he took an interest in the controversies about the Bible, Jowett had gone to Germany in the 1840s and famil- iarized himself with higher criticism, which laid the foun- By Sibylle Erle dation for his The Epistles of St. Paul (1855). He acquired his copy of Job (possibly from John Linnell) before Febru- Sibylle Erle ([email protected]), FRSA, is ary 1845, when he is known to have shown it in Oxford senior lecturer in English at Bishop Grosseteste Univer- to the poet and critic Francis Turner Palgrave (1824–97), sity Lincoln, author of Blake, Lavater and Physiognomy who summarized his impressions in a letter to his mother: (Legenda, 2010), co-editor of Science, Technology and “I have seen nothing so extraordinary for a long time. Some the Senses (special issue for RaVoN, 2008), and volume [engravings], as of Job in misery and of the Morning Stars editor of Panoramas, 1787–1900: Texts and Contexts (5 singing for joy, are beautiful, some, as of a man tormented vols., Pickering & Chatto, 2012). With Morton D. Paley by dreams and The Vision of the Night, are most awful” she is now co-editing The Reception of Blake in Europe (quoted in Bryant 138). -
William Blake in Context Edited by Sarah Haggarty Frontmatter More Information
Cambridge University Press 978-1-107-14491-0 — William Blake in Context Edited by Sarah Haggarty Frontmatter More Information WILLIAM BLAKE IN CONTEXT William Blake, poet and artist, is a figure often understood to have ‘created his own system’. Combining close readings and detailed analysis of a range of Blake’s work, from lyrical songs to later myth, from writing to visual art, this collection of thirty-eight lively and authoritative essays examines what Blake had in common with his contemporaries, the writers who influenced him, and those he influ- enced in turn. Chapters from an international team of leading scho- lars also attend to his wider contexts: material, formal, cultural, and historical, to enrich our understanding of, and engagement with, Blake’s work. Accessibly written, incisive, and informed by original research, William Blake in Context enables readers to appreciate Blake anew, from both within and outside of his own idiom. sarah haggarty is Lecturer in the Faculty of English and Fellow of Queens’ College, at the University of Cambridge. She has published three previous books about Blake: Blake’s Gifts: Poetry and the Politics of Exchange (Cambridge, 2010); William Blake: Songs of Innocence and of Experience (1794) (with Jon Mee, 2013); and Blake and Conflict (with Jon Mee, 2009). © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-1-107-14491-0 — William Blake in Context Edited by Sarah Haggarty Frontmatter More Information © in this web service Cambridge University Press www.cambridge.org -
Mark and Eleanor Martin, the Blakes' French Fellow Inhabitants at 17 South Molton Street, 1805-21
ARTICLE Mark and Eleanor Martin, the Blakes’ French Fellow Inhabitants at 17 South Molton Street, 1805-21 Angus Whitehead Blake/An Illustrated Quarterly, Volume 43, Issue 3, Winter 2009-10, pp. 81, 84-95 A R T I c L E tin or identified the business he must have left off in order to retire. Ruthven Todd observed that "it is not known whether the ground floor [of no. 17] was then used commercially as it has been for at least a centurY:'6 However, Peter Ackroyd first Mark and Eleanor Martin, suggested that the Blakes' two rooms would have been situat- ed "no doubt above some kind of commercial establishmenf'7 the Blakes' French Fellow Inhabitants In this essay I demonstrate that both Miner and Ackroyd were at 17 South Molton Street, 1805-21 correct. The Blakes' Previous Landlord(s?) at South Molton Street: BY ANGUS WHITEHEAD John Lytrott However, Miner is mistaken in some details. Martin was not ratepayer (and consequently not landlord) at 17 South Molton S the first major Paris exhibition of the poet-artist's Street between 1803 and 1804, when William and Catherine A works in over sixty years has recently taken place, 1 it Blake first lodged there; he was their second or perhaps third seems fitting to discuss William and Catherine Blake's sixteen- landlord at this residence. The ratepayer in March 1803 is re- year association with a Parisian: their landlord at 17 South corded as John Lytrott,8 and the residential section of Holden's Molton Street, Mark Martin. In this paper, after a brief discus- Triennial Directory lists a Captain John Lytrott.9 It is there- sion of his predecessors, I present new information concern- fore possible that the Blakes initially corresponded with, met, ing Martin, his wife, his nationality, and his trade.