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Alicia Ostriker, Ed., William Blake: the Complete Poems REVIEW Alicia Ostriker, ed., William Blake: The Complete Poems John Kilgore Blake/An Illustrated Quarterly, Volume 12, Issue 4, Spring 1979, pp. 268-270 268 psychological—carried by Turner's sublimely because I find myself in partial disagreement with overwhelming sun/god/king/father. And Paulson argues Arnheim's contention "that any organized entity, in that the vortex structure within which this sun order to be grasped as a whole by the mind, must be characteristically appears grows as much out of translated into the synoptic condition of space." verbal signs and ideas ("turner"'s name, his barber- Arnheim seems to believe, not only that all memory father's whorled pole) as out of Turner's early images of temporal experiences are spatial, but that sketches of vortically copulating bodies. Paulson's they are also synoptic, i.e. instantaneously psychoanalytical speculations are carried to an perceptible as a comprehensive whole. I would like extreme by R. F. Storch who argues, somewhat to suggest instead that all spatial images, however simplistically, that Shelley's and Turner's static and complete as objects, are experienced tendencies to abstraction can be equated with an temporally by the human mind. In other works, we alternation between aggression toward women and a "read" a painting or piece of sculpture or building dream-fantasy of total love. Storch then applauds in much the same way as we read a page. After Constable's and Wordsworth's "sobriety" at the isolating the object to be read, we begin at the expense of Shelley's and Turner's overly upper left, move our eyes across and down the object; dissociated object-relations, a position that many when this scanning process is complete, we return to will find controversial. Martin Meisel, in his the images of greatest density and complexity, or to concluding study of the use of John Martin's and those which the formal design emphasizes, for closer Turner's designs as theatrical scenery, speculates study. However quickly this process of framing, that Martin's designs were preferred for infernal scanning and focusing occurs, it is a process with a and apocalyptic scenes and Turner's for paradisiacal definite temporal dimension. In this sense, spatial scenes because Martin's clear outlines emphasize the and temporal artistic works have even more in common separation and insignificance of man while Turner's than Arnheim acknowledges; temporal works are re- visual blurring of all distinctions between the called as spatial structures, but those spatial human form and its environment creates an impression structures must in turn be "read" or dynamically of heavenly reconciliation. apprehended through a temporal process. I have saved the first essay, Rudolph Arnheim's "Space as an Image of Time," for final discussion WILLIAM BLAKE Th e Complete Poem HC^^M m p Alicia Ostriker, ed. William Blake: The ft Complete Poems. New York: Penguin, <T 1977. 1071 pp. $7.95. Reviewed by John Kilgore ^^p 5*A£^#L^ ^2K his new edition of Blake's poems seems more of Blake (K includes all of the prose, E all attractive enough until one starts making the except for some of the letters), more textual T inevitable comparisons to older editions- commentary, and more paper (the 7" x 4-1/3" leaves comparisons which become especially pointed in this of the new text are rather cramped and make the case because in paperback Ostriker's text will sell volume itself, at 1071 pages, somewhat unwieldy). for the same price ($7.95) as the Erdman and Keynes editions. It is easier to repeat the cry of a The new edition forms part of the Penguin mistaken soul--"More! More!"--than it must be to English Poets series, and it is in accordance with prepare a new edition of Blake in an inflationary the general policy of that series that all of Blake's economy. Still, the main defect of the new text is poetry and none of his prose has been included. simply that the old ones offer more for the money: Often the distinction itself does not suit Blake 269 very well. An Island in the Moon, for instance, from the prophecies (as in the Adams edition) or the loses most of its charm and all of whatever unity it "published" works from the manuscript poems. E can be said to possess when Ostriker prints only offers a complex and largely unchronological the songs, sometimes leaving a few shreds of prose arrangement of the poetry, one which consolidates attached. Likewise, some of the epigrams and and gives particular emphasis to the illuminated satiric verses which Blake wrote in the Annotations works which supposedly comprise Blake's "major to Reynolds and other prose works seem pointless canon" (p. xxiii). One can argue for or against and obscure once separated from their contexts. The any of these procedures. Erdman's groupings are same complaint could be made againse W. H. often useful, but they are also rather confusing, Stevenson's annotated edition of Blake [The Poems and I balk at any definition of the "major canon" of William Blake, London: Longman, 1971; New York: which excludes The Four Zoas. It is a little Norton, 1972)--another Complete Poems which forms awkward to have Milton and Jerusalem separated by part of a series—though Stevenson gives larger miscellaneous verses and epigrams in Ostriker's prose fragments from An Island in the Moon. Luckily text, or by a congeries of poetry and prose in K, both editions incorporate all of The Marriage of but is also useful. To have the prose separated Heaven and Hell, rather than trying to define and from the poetry and consolidated into relevant extract poetic "parts"; and Ostriker (unlike categories (as in E and the Adams edition) is Stevenson) even manages to smuggle in There is No convenient, but then of course one loses track of Natural Religion and All Religions are One. chronological relationships. But there are other reasons for questioning Ostriker follows Keynes in her presentation of the appropriateness of a Complete Poems in Blake's Blake's manuscript poems, making a considered case. Blake's prose is slight in volume but large decision to include variant passages as part of in its significance to the study of his thought and the main text: his symbolic system, and if a complete edition is out of the question, the needs of the classroom are For poems which exist only in manuscript form, probably better served by a text which excludes some this material is incorporated in the text poetry in order to admit some prose. In this respect through italics and brackets, reproducing as Ostriker1s edition might be compared to Hazard far as possible the condition of the texts in Adams's Rinehart edition {William Blake: Jerusalem, their 'workshop' state, with successive stages Selected Poems and Prose, New York, 1970), a of revision evident as one reads along. The selected text priced at $4.95 which gives both The assumption here is that unfinished poems should Four Zoas and Milton in excerpted form but manages, not be presented to the eye as if they were in 170 pages, to provide generous samplings from finished, and vice versa; and that the reader every category of Blake's prose. More to the point, will benefit from an opportunity to sense the Penguin edition might simply have added a Blake's verse both as working process and as section of prose without cutting anything; such a completed product, (p. 8) feature would increase the value of the book more than it increased the price. The Four Zoas is the work chiefly affected by this procedure, and many modern commentaries have So far there exists no major edition of Blake's indeed approached that poem primarily "as working writings which gives anything approaching adequate process," scrutinizing Blake's revisions and tracing representation to his visual art, and Ostriker's relationships between early and late "layers" of text will not change this situation. Except for the the manuscript. Ostriker's arrangement may be handsome cover, a color reproduction of a detail pleasing to teachers who wish to take a similar from "Death on a Pale Horse," the new edition approach in the classroom; for my own part I do not contains no illustrations of any kind--this, once like to see The Four Zoas treated in this way. The again, due to the general policies of the Penguin commentaries I speak of too often seem to practice series. K is likewise devoid of illustrations; E a reverse hermeneutics, expounding the poem's gives a slightly better sense of Blake's "composite disunities at the expense of the unity and the art" by offering several reproductions; Stevenson aesthetic success which it has largely achieved. includes some reproductions, and very usefully Likewise, a text which incorporates variants indicates the positions of designs in the illuminated inevitably does so at the expense of "the completed books by printing "Design" in brackets. But I would product"--or of a product which is at least more not think it very difficult or prohibitively complete than such a text suggests. It may be a expensive for any of these editions to include distortion to present the poem "as if it were photographic sections of, say, twenty pages, a finished," but is a greater distortion to resurrect, feature which might have considerable suggestive even in italics and brackets, passages which Blake value; if Penguin had been the first to take the himself deleted; this is to do the poet's step it would have a more competitive volume than "unfinishing" for him.
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