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Blake's Re-Vision of Sentimentalism in the Four Zoas
ARTICLE “Tenderness & Love Not Uninspird”: Blake’s Re- Vision of Sentimentalism in The Four Zoas Justin Van Kleeck Blake/An Illustrated Quarterly, Volume 39, Issue 2, Fall 2005, pp. 60-77 ARTICLES tion. Their attack often took a gendered form, for critics saw sentimentalism as a dividing force between the sexes that also created weak victims or crafty tyrants within the sexes. Blake points out these negative characteristics of sentimen "Tenderness & Love Not Uninspird": talism in mythological terms with his vision of the fragmen tation and fall of the Universal Man Albion into male and fe Blake's ReVision of Sentimentalism male parts, Zoas and Emanations. In the chaotic universe that in The Four Zoas results, sentimentalism is part of a "system" that perpetuates suffering in the fallen world, further dividing the sexes into their stereotypical roles. Although "feminine" sentimentality BY JUSTIN VAN KLEECK serves as a force for reunion and harmony, its connection with fallen nature and "vegetated" life in Blake's mythology turns it into a trap, at best a BandAid on the mortal wound of the fall. For Mercy has a human heart Pity would be no more, For Blake, mutual sympathy in the fallen world requires the Pity, a human face If we did not make somebody Poor: additional strength and guidance of inspired vision (initiating And Love, the human form divine, And Mercy no more could be, And Peace, the human dress. If all were as happy as we; a fiery Last Judgment) in order to become truly redemptive, William Blake, "The Divine Image" Blake, "The Human Abstract" effective rather than merely affective. -
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 . -
The Bible in Music
The Bible in Music 115_320-Long.indb5_320-Long.indb i 88/3/15/3/15 66:40:40 AAMM 115_320-Long.indb5_320-Long.indb iiii 88/3/15/3/15 66:40:40 AAMM The Bible in Music A Dictionary of Songs, Works, and More Siobhán Dowling Long John F. A. Sawyer ROWMAN & LITTLEFIELD Lanham • Boulder • New York • London 115_320-Long.indb5_320-Long.indb iiiiii 88/3/15/3/15 66:40:40 AAMM Published by Rowman & Littlefield A wholly owned subsidiary of The Rowman & Littlefield Publishing Group, Inc. 4501 Forbes Boulevard, Suite 200, Lanham, Maryland 20706 www.rowman.com Unit A, Whitacre Mews, 26-34 Stannary Street, London SE11 4AB Copyright © 2015 by Siobhán Dowling Long and John F. A. Sawyer All rights reserved. No part of this book may be reproduced in any form or by any electronic or mechanical means, including information storage and retrieval systems, without written permission from the publisher, except by a reviewer who may quote passages in a review. British Library Cataloguing in Publication Information Available Library of Congress Cataloging-in-Publication Data Dowling Long, Siobhán. The Bible in music : a dictionary of songs, works, and more / Siobhán Dowling Long, John F. A. Sawyer. pages cm Includes bibliographical references and index. ISBN 978-0-8108-8451-9 (cloth : alk. paper) — ISBN 978-0-8108-8452-6 (ebook) 1. Bible in music—Dictionaries. 2. Bible—Songs and music–Dictionaries. I. Sawyer, John F. A. II. Title. ML102.C5L66 2015 781.5'9–dc23 2015012867 ™ The paper used in this publication meets the minimum requirements of American National Standard for Information Sciences—Permanence of Paper for Printed Library Materials, ANSI/NISO Z39.48-1992. -
Learner Resource 7 “The Divine Image” and “The Human Abstract” – a Comparison
William Blake Learner Resource 7 “The Divine Image” and “The Human Abstract” – a comparison In the exam you are asked to compare two poems. This activity poses the following exam-type question: • Explore how Blake presents religion in “The Divine Image” and “The Human Abstract”. You should consider his use of stylistic techniques, as well as any other relevant contexts. Below are two tables to help you to find ideas for your essay. Divide yourselves into pairs: one of you is responsible for completing table one and the other is responsible for completing table two. Once you have completed your half of the table, you can either take it in turns to give feedback to the class, or swap one of your completed tables with another pair, so that you have the two halves to refer to when you write your essay. Table one: “The Human Abstract” “The Divine Image” “The Human Abstract” Context: In the Songs of Innocence – rhetorical praise of God and man and the connections between them. Reference to the ballad form, and the common hymn metre. Possible links to “The Human Abstract”, “The Divine Image”. Structure: Introduction (human interaction with the abstract qualities of Mercy, Pity etc.), development (qualities seen in human behaviour and form), elaboration (unity of those qualities and God), conclusion (man, these qualities and God are one and the same – if we live by these qualities then we are close to God). Voice: First person plural, with the possessive pronoun “our” presuming a shared belief “our father dear”. Nature of the voice – declarative sentences suggest a confidence, that this is a statement of an accepted truth about the connection between man and God. -
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. -
The Death of God: William Blake's Version
ll' illiam Wailing THE DEATH OF GOD: WILLIAM BLAKE'S VERSION I ~ I,!,. A LI'ITLE oVER a hundred and forty years ago, on December 17, 1825, a London lawyer named Henry Crabb Robinson paid a call on an obscure engraver who, despite a lifetime of unremitting toil, was living, in his sixty-eighth year, in abject poverty. "I found him", Robinson tells us, "in a small room which seems to be both a working-room and a bed-room. Nothing could exceed the squalid air both of the apartment and his dress; but in spite of dirt-I might say filth-an air of natural gentility is diffused over him; and his wife, not withstanding the same offensive character of her dress and appearance, has a good expression of countenance." Looking around for a chair, Robinson was rather dismayed to discover that the only one available seemed ready to fall apart when he touched it, and he extemporized by sitting on the bed. More disturbingly, the conversation which ensued struck him as so strange that when he had returned home he decided that the engraver was hopelessly dis ordered in his thinking-disordered, in fact, to the point of madness. And so, in a gesture of dismissal of the whole experience, the London lawyer wrote in his diary: "I fear I shall not make any progress in ascertaining his opinions and feelings,-but there being really no system or connection in his mind, all his future conversation will be but varieties of wildness and incongruity." Less than two years later the engraver died, singing on his deathbed a hymn of joy of his own composing. -
Odysseia Ensemble 15.00 Kamermuziekzaal 14.15 Inleiding Door Speechless Song Pauline Driesen Or Biografieën Uitvoerders En Programma
zondag 08.02.2015 Odysseia Ensemble 15.00 Kamermuziekzaal 14.15 Inleiding door Speechless Song Pauline Driesen or Biografieën Uitvoerders en programma Liefde voor kamermuziek. Deze gedeelde Bart Bouckaert (BE) studeerde aan Odysseia Ensemble: Ralph Vaughan Williams passie zorgde ervoor dat enkele alumni het Koninklijk Conservatorium Brussel Emilie De Voght: sopraan Uit Ten Blake Songs van het Koninklijk Conservatorium Brussel waar hij Eerste Prijzen behaalde voor Veerle Houbraken: viool - The Shepherd hun krachten bundelden. Zo zag het geschreven harmonie, contrapunt, fuga, Katelijne Onsia: altviool - Eternity Odysseia Ensemble (BE) officieel in 2009 muziekgeschiedenis en hogere diploma’s voor Liesemarie Beelaerts: cello het levenslicht. Muzikanten uit onder kamermuziek en slagwerk. Hij vervolmaakte Ludovic Van Hellemont: piano Frank Bridge (1879-1941) meer het Nationaal Orkest van België, zich ook in orkestdirectie. Bouckaert Katrien Gaelens: fluit Phantasy Piano Quartet in fis (1910) Symfonieorkest van Vlaanderen, Opéra de dirigeerde verschillende orkesten en Dymphna Vandenabeele: hobo - Andante con moto Wallonie en Collegium Vocale Gent vinden ensembles in binnen- en buitenland in werk Dries Tack: klarinet - Allegro vivace elkaar hier terug op minder bewandelde van Mozart, Debussy, Holliger, Kurtág, Boulez, Anthony Devriendt: hoorn - Andante con moto paden van het muziekrepertoire. Originaliteit Bartók, Prokofiev, Defoort, Swinnen, Van en dynamiek: daar staat het collectief voor. Hecke, Wissels en vele anderen. Momenteel Bart Bouckaert: dirigent Claude Debussy (1862-1918) Origineel omdat het strijkers, blazers, piano is Bart Bouckaert artistiek assistent Prélude nr. 9 ‘Hommage à S. Pickwick Esq. en stem combineert. Dynamisch omdat hedendaagse muziek aan het Koninklijk — P.P.M.P.C.’ (1909-10) het nooit blijft stilstaan en het steeds Conservatorium Brussel. -
Songs of Innocence & Experience
Image: William Blake Image: William An evening at Westminster Abbey The Ancient of Days SONGS OF INNOCENCE & (1794) EXPERIENCE 2007 sees the 250th anniversary of the birth of the visionary artist and poet, William Blake. As part of the celebrations, Westminster Abbey is mounting a special evening of music and poetry on Tuesday 10 July at 1900. The programme is based around award-winning British Tickets: actor Simon Callow’s personal selection of poetry by * £40,* £20, £16, £12 Blake and ends with an opportunity for all present to VIP ticket which includes post- sing Parry’s rousing setting of Blake’s Jerusalem to the concert champagne reception accompaniment of the magnificent Abbey organ. in the Abbey Cloisters – limited availability The music also includes John Tavener’s beautiful The Lamb, the world première of Stephen Hough’s Mass of Innocence Box Office: and Experience (combining the words of the Mass with the St. John’s, Smith Square, poetry of Blake) for choir and organ, and a new Blake London SW1P 3HA setting,�Holy Thursday, by the young American composer Online: www.sjss.org.uk James Lavino. Tel: 020 7222 1061 Mastercard, Visa and The leading British tenor James Gilchrist, together with Maestro accepted Nicholas Daniel (oboe), will perform Vaughan Williams’ Tickets also available from haunting Ten Blake Songs. Westminster Abbey Shop and on For holders of VIP tickets, the concert is followed by a the door (doors open at 1815) champagne and canapé reception in the Abbey’s historic East Cloister. In association with: CMYK Logo with strapline CMYK Logo white www.westminster-abbey.org with strapline CMYK Logo No strapline CMYK Logo White CMYK Logo with strapline CMYK Logo white with strapline CMYK Logo No strapline CMYK Logo White SONGS OF INNOCENCE & EXPERIENCE A celebration of William Blake in words and music Tuesday 10 July at 1900 Simon Callow reader James Gilchrist tenor Nicholas Daniel oboe The Choir of Westminster Abbey Robert Quinney organ James O’Donnell director Supported by RBS: www.westminster-abbey.org. -
“Did He Who Made the Lamb Make The… Tyger”?)
ARTICLE Blake actually identifies the question’s “thee” and indicates its addressee: it is not a tyger or, worse, a tiger,2 but “Tyger Tyger burning bright, / In the forests of the night.” In other words, he emphasizes his experienced poem’s self-referen- “Did he who made the Lamb tial character and, in effect, suggests the answer (or at least an answer) to its climactic question. Did he who made “The make the… Tyger”? Lamb” also make “Tyger Tyger burning bright”? Of course he did, because there is one and the same maker behind the two works—William Blake, who was perfectly aware of the By Eliza Borkowska provocation his work offered and who made it part of his artistic program aimed at “rouz[ing] the faculties to act.”3 Eliza Borkowska ([email protected]) is assis- Without doubt the self-referential element of “The Tyger” tant professor of English at the University of Social Sci- is Blake’s way to add more fuel to the fires of experience to ences and Humanities in Warsaw. She is the author of let them burn all the brighter. However, this self-referential But He Talked of the Temple of Man’s Body. Blake’s Rev- turn is not an independent act but a part of the program elation Un-Locked (2009), which studies Blake’s idiom as a whole, and it cannot be effectively performed before against rationalist philosophy of language. She is cur- an unprepared audience, on an unprepared stage. Let me rently working on her contribution to The Reception therefore return to it later, at a more mature stage of this of William Blake in Europe, writing her second book reflection, after I explain how I understand the idea of this (The Presence of the Absence: Wordsworth’s Discourses on performance. -
The Divine Image Jocelyn Hagen Pdf - $1.75 Treble Choir, SSATB, Oboe, Piano Printed - $3.25 JH - C002
The Divine Image Jocelyn Hagen pdf - $1.75 treble choir, SSATB, oboe, piano printed - $3.25 JH - C002 The Divine Image Treble choir, SSATB choir, oboe and piano The Divine Image by William Blake _________________________________________ To Mercy, Pity, Peace, and Love, All pray in their distress, And to these virtues of delight Return their thankfulness. For Mercy, Pity, Peace, and Love, Is God our Father dear; And Mercy, Pity, Peace, and Love, Is man, his child and care. For Mercy has a human heart Pity, a human face; And Love, the human form divine; And Peace, the human dress. Then every man, of every clime, That prays in his distress, Prays to the human form divine: Love, Mercy, Pity, Peace. And all must love the human form, In heathen, Turk, or Jew. Where Mercy, Love, and Pity dwell, There God is dwelling too. JH - C002 Commissioned for Amy & Ted on their wedding day, August 10, 2007. pdf download $1.75 Divine Image printed $3.25 treble choir, SSATB choir, oboe, & piano William Blake Jocelyn Hagen Andante = 92 q P Treble # # # # 3 ∑ ∑ ∑ ŒŒ Œ Choir & 4 œ œ œ ˙ œ œ ˙ œ œ œ œ œ ˙ T o Merœ --c y , Piœ t y , Peace,œ and Love,œ Oboe #### 3 & 4 ∑ ∑ ∑ ∑ ∑ ∑ ∑ Œ ˙ molto p # ## # 3 . & 4 Œ œ j œ ˙. ˙ Œ œ j œ ˙. ˙. œ œ. œ œ œ. œ P ˙. ˙. ? # # 3 ˙. ˙. ˙. ˙. ˙. ˙. # # 4 ˙. ˙. ˙. ˙. ˙. ˙. ˙. ˙. ˙. ˙. ˙. ˙. ˙. ˙. ˙. ˙. pedal chordally 9 Tr. # # # # ∑ ŒŒ Œ & ∑ ∑ ˙ œ œ ˙ œ ˙. œ œ œ Allœ pray in their dis - tress, And 9 # Oboe ## # œ & ˙ œ œ œ ˙. œ œ ˙. -
Romantic Transformation : Visions of Difference in Blake and Wordsworth
ROMANTIC TRANSFORMATION: VISIONS OF DIFFERENCE IN BLAKE AND WORDSWORTH By RONALD BROGLIO A DISSERTATION PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY UNIVERSITY OF FLORIDA 1999 ACKNOWLEDGEMENTS I would like to thank Donald Ault for his visionary difference. Also thanks go out to my other committee members including John Leavey for his patience and kind advice, John Murchek for his insightful and exacting readings of my work, and Gayle Zachmann for her generosity in serving on my committee. For many, many hours in our collective construction of Romantic monstrosities, I thank my colleague and collaborator Bill Ruegg. For their friendship along the way, I thank Tom, Steph, and Trish. For all their support through my graduate career, I would like thank to my family. And I would like to thank Theresa for her loving companionship. For his inspirational indifference to my turmoils, I thank Bad Badtz-Maru. 11 TABLE OF CONTENTS page ACKNOWLEDGEMENTS ii LIST OF FIGURES v ABSTRACT vii CHAPTERS 1 THERMODYNAMIC TRANSFORMATION COUTNERING ORGANIC GROWTH 1 Metaphor and the First Law of Thermodynamies 4 The Gothic Church Meets the Second Law of Thermodynamics 16 Transformational Relations and Implications of Entropy 24 Notes 29 2 VECTORS OF READING AND TOPOGRAPHIES OF DEFIANCE IN WORDSWORTH'S LANDSCAPES 33 Reading for Time 34 The Simplon Pass: from the Sublime to the Transformational 37 The Penrith Beacon: The Collapse of an Architecture 53 Other Poems of -
Songs of Innocence Is a Publication of the Pennsylvania State University
This publication of William Blake’s Songs of Innocence is a publication of the Pennsylvania State University. This Portable Document file is furnished free and without any charge of any kind. Any person using this document file, for any purpose, and in any way does so at his or her own risk. Neither the Pennsylvania State University nor Jim Manis, Faculty Editor, nor anyone associated with the Pennsylvania State University assumes any responsibility for the material contained within the document or for the file as an electronic transmission, in any way. William Blake’s Songs of Innocence, the Pennsylvania State University, Jim Manis, Faculty Editor, Hazleton, PA 18201-1291 is a Portable Document File produced as part of an ongoing student publication project to bring classical works of literature, in English, to free and easy access of those wishing to make use of them, and as such is a part of the Pennsylvania State University’s Elec- tronic Classics Series. Cover design: Jim Manis; Cover art: William Blake Copyright © 1998 The Pennsylvania State University Songs of Innocence by William Blake Songs of Innocence was the first of Blake’s illuminated books published in 1789. The poems and artwork were reproduced by copperplate engraving and colored with washes by hand. In 1794 he expanded the book to in- clude Songs of Experience. Frontispiece 3 Songs of Innocence by William Blake Table of Contents 5 …Introduction 17 …A Dream 6 …The Shepherd The images contained 19 …The Little Girl Lost 7 …Infant Joy in this publication are 20 …The Little Girl Found 7 …On Another’s Sorrow copies of William 22 …The Little Boy Lost 8 …The School Boy Blakes originals for 22 …The Little Boy Found 10 …Holy Thursday his first publication.