The [First] Book of Urizen
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Josephine Miles, Poetry and Change
REVIEW Josephine Miles, Poetry and Change Robert F. Gleckner Blake/An Illustrated Quarterly, Volume 9, Issue 4, Spring 1976, pp. 133-136 133 The elements of this final design, however, are often subtle, difficult to talk about, though modern linguistic study (to which Professor Miles acknowledges a major debt) helps us to discriminate Josephine Miles. Poetry and Change. Berkeley, "not merely obvious visual surfaces but auditory Los Angeles, London: University of California echoes, semantic associations, structural Press, 1974. 243 pp. $10.75. similarities which may work below the surface but are also implied in the surface richness" (9). With a sense of these, "the articulatable parts Reviewed by Robert F. Gleckner of language," we can "see and hear more, . feel more, of the poem's entity" (11). Style, then (in which Professor Miles includes not only From 1964, when she published Eras and Modes in use of language but also "style of moral judgments" English Poetry3 to her 1973 essay on "Blake's Frame and "style of attitude toward the reader"), is a of Language" Josephine Miles has been grappling product of a "number of small recurring selections with the problems facing all who wish intelligently and arrangements working together," a process of to study the language of poetry and prose. Her "creating and reshaping expectations which design work has ranged from the early Renaissance to contrives" (16). British and American writing of the twentieth- century, including a number of young poets writing The change in poetry observable through -
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 . -
John W. Ehrstine, William Blake's Poetical Sketches
REVIEW John W. Ehrstine, William Blake’s Poetical Sketches Michael J. Tolley Blake/An Illustrated Quarterly, Volume 2, Issue 3, December 15, 1968, pp. 55-57 -55- ; ' •.' • -.' ; : >• '■ * ■ REVIEW ' --; ■- - '■ :<x .■■•■■ ■ \,' oz Bweoq n#t Wi 11iam Blake's Poetical Sketches, by John W. Ehrstine. Washington State University Press (1967), pp. DO + 108 pp. '■■■><' It is a pity that the first fulllength study of the Poetical Sketched to be published since Margaret Ruth Lowery's pioneering work of 1940 should be so little worthy the serious attention of a Blake student. Ehrstine is one of the familiar new breed of academic bookproducers, whose business is not scholarship but novel thesisweaving* Having assimilated certain ideas and critical tech niques, they apply them ruthlessly to any work that has hithertobeen fortunate enough to escape such attentions. The process is simple and: the result—that of bookproduction—is infallible. If the poor little poems protest while struggling in their Procrustean bed, one covers their noise with bland asser' 1" tions and continues to mutilate them. Eventually they satisfy one's preconcep" tions. Unfortunately, they may also impose on other people. In revewing such books one must blame mainly the publishers and their advisors; secondly the universities for their incredibly lax assessment and training of postgraduate students; thirdly the authors, who are usually dupes of their own'1 processes, for rushing into print without consult!ng the best scholars In their field. Ehrstine shows his lack of scholarship on the first two pages of his book; thereafter he has an uphill tattle!1n convincing the reader that he has some special insights Which compensate foKtfris, once fashionable, disability. -
Another Source for Blake's Orc
MINUTE PARTICULAR Another Source for Blake’s trc Randel Helms Blake/An Illustrated Quarterly, Volume 15, Issue 4, Spring 1982, pp. 198-199 198 By omitting all reference to Blake's life and writings, Ballard has written a tour de force that in some ways gets closer to the heart of Blake's MINUTE vision than the more explicitly Blakean novels. [My thanks to Roberto Cuooi and Barbara Heppner for PARTICULARS drawing my attention to the last too novels.] BLAKE AND THE NOVELISTS ANOTHER SOURCE FOR BLAKE'S ORC Christopher Heppner Randel Helms recurring fascination in the reading of illiam Blake derived the name and character- Blake is to wonder how some of his statements istics of his figure Ore from a variety of A and exhortations would feel if lived out in Wsources, combining them to produce the a real life—one's own, for example. Many of the various aspects of the character in such poems as novelists who have used Blake have explored this America, The Four Zoas and The Song of Los. The question, from a variety of perspectives. Joyce hellish aspects of Ore probably come from the Latin Cary in The Horse's Mouth gave us one version of the Orcus, the abode of the dead in Roman mythology and artist as hero, living out his own interpretation of an alternate name for Dis, the god of the underworld. Blake. Colin Wilson's The Glass Cage made its hero In Tiriel, Ijim describes Uriel's house, after his a Blake critic, but an oddly reclusive one, who sons have expelled him, as "dark as vacant Orcus."1 appears a little ambivalent in his lived responses The libidinous aspect of Ore may well come, as David to the poet, and is now writing about Whitehead. -
Postgraduate English: Issue 15
Farrell Postgraduate English: Issue 15 Postgraduate English www.dur.ac.uk/postgraduate.english ISSN 1756-9761 Issue 15 March 2007 Editors: Ollie Taylor and Kostas Boyiopoulos Revolution & Revelation: William Blake and the Moral Law Michael Farrell* * University of Oxford ISSN 1756-9761 1 Farrell Postgraduate English: Issue 15 Revolution & Revelation: William Blake and the Moral Law Michael Farrell University of Oxford Postgraduate English, Issue 15, March 2007 The Marriage of Heaven and Hell, despite its parodic form and function, is Blake’s personal and politico-theological manifesto outlining his fervent opposition to institutionalised religion and the oppressive moral laws it prescribes. It ultimately concerns the opposition between the Spirit of Prophecy and religious Law. For Blake, true Christianity resides in the cultivation of human energies and in the fulfilment of human potential and desire – the cultivation for which the prophets of the past are archetypal representatives – yet the energies of which the Mosaic Decalogue inhibits. Blake believes that all religion has its provenance in the Poetic Genius which “is necessary from the confined nature of bodily sensation” (Erdman 1) to the fulfilment of human potential. Blake’s “Proverbs of Hell” demonstrate how the energies underlying the true religious and potentially revolutionary consciousness are to be cultivated. He is especially concerned with repressed sexual energies of bodily sensation, stating in The Marriage that “the whole creation will be consumed and appear infinite and holy … This will come to pass by an improvement of sexual enjoyment” (39). He subsequently exposes the relativity of moral codes and hence “the vanity of angels” who “speak of themselves as the only wise” (42) – that is, the fallacy of institutionalised Christianity and its repressive moral law or “sacred codes” which are established upon “systematic reasoning”. -
Blake's Critique of Enlightenment Reason in the Four Zoas
Colby Quarterly Volume 19 Issue 4 December Article 3 December 1983 Blake's Critique of Enlightenment Reason in The Four Zoas Michael Ackland Follow this and additional works at: https://digitalcommons.colby.edu/cq Recommended Citation Colby Library Quarterly, Volume 19, no.4, December 1983, p.173-189 This Article is brought to you for free and open access by Digital Commons @ Colby. It has been accepted for inclusion in Colby Quarterly by an authorized editor of Digital Commons @ Colby. Ackland: Blake's Critique of Enlightenment Reason in The Four Zoas Blake's Critique of Enlightenment Reason in The Four Zoas by MICHAEL ACKLAND RIZEN is at once one of Blake's most easily recognizable characters U and one of his most elusive. Pictured often as a grey, stern, hover ing eminence, his wide-outspread arms suggest oppression, stultifica tion, and limitation. He is the cruel, jealous patriarch of this world, the Nobodaddy-boogey man-god evoked to quieten the child, to still the rabble, to repress the questing intellect. At other times in Blake's evolv ing mythology he is an inferior demiurge, responsible for this botched and fallen creation. In political terms, he can project the repressive, warmongering spirit of Pitt's England, or the collective forces of social tyranny. More fundamentally, he is a personal attribute: nobody's daddy because everyone creates him. As one possible derivation of his name suggests, he is "your horizon," or those impulses in each of us which, through their falsely assumed authority, limit all man's other capabilities. Yet Urizen can, at times, earn our grudging admiration. -
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. -
Tales of Cherry Blossom Dreams Kelly Dykstra Grand Valley State University, [email protected]
Grand Valley State University ScholarWorks@GVSU Honors Projects Undergraduate Research and Creative Practice 8-2018 Tales of Cherry Blossom Dreams Kelly Dykstra Grand Valley State University, [email protected] Follow this and additional works at: https://scholarworks.gvsu.edu/honorsprojects Part of the Creative Writing Commons, and the Japanese Studies Commons Recommended Citation Dykstra, Kelly, "Tales of Cherry Blossom Dreams" (2018). Honors Projects. 700. https://scholarworks.gvsu.edu/honorsprojects/700 This Open Access is brought to you for free and open access by the Undergraduate Research and Creative Practice at ScholarWorks@GVSU. It has been accepted for inclusion in Honors Projects by an authorized administrator of ScholarWorks@GVSU. For more information, please contact [email protected]. Kelly Dykstra 1 1 In his old age the emperor was blessed with a son by one of his highest-ranking consorts. In the days of her youth she had been a favorite of the emperor, but it had been many years since she had last born him a child, and her beauty had begun to fade with age. In vain she made efforts to improve the quality of her salon, gathering many talented ladies in waiting around herself to draw the emperor’s attention. However, the emperor was seduced with the fresh beauty and childish charm of some of his younger consorts, and this lady was left to resign herself to remembrances of what had once been. There was a younger man at court who had desired this lady for years. He was generally agreed to be a highly desirable and most handsome gentleman, though this lady had stayed faithful to the emperor for years despite this man’s advances. -
Directing an Immersive Adaptation of Strindberg's a Dream Play
University of Massachusetts Amherst ScholarWorks@UMass Amherst Masters Theses Dissertations and Theses October 2018 Interpreting Dreams: Directing an Immersive Adaptation of Strindberg's A Dream Play Mary-Corinne Miller University of Massachusetts Amherst Follow this and additional works at: https://scholarworks.umass.edu/masters_theses_2 Part of the Dramatic Literature, Criticism and Theory Commons, Interactive Arts Commons, Other Theatre and Performance Studies Commons, Performance Studies Commons, and the Theatre History Commons Recommended Citation Miller, Mary-Corinne, "Interpreting Dreams: Directing an Immersive Adaptation of Strindberg's A Dream Play" (2018). Masters Theses. 730. https://doi.org/10.7275/12087874 https://scholarworks.umass.edu/masters_theses_2/730 This Open Access Thesis is brought to you for free and open access by the Dissertations and Theses at ScholarWorks@UMass Amherst. It has been accepted for inclusion in Masters Theses by an authorized administrator of ScholarWorks@UMass Amherst. For more information, please contact [email protected]. INTERPRETING DREAMS: DIRECTING AN IMMERSIVE ADAPTATION OF STRINDBERG’S A DREAM PLAY A Thesis Presented By MARY CORINNE MILLER Submitted to the Graduate School of the University of Massachusetts Amherst in partial fulfillment of the requirements for the degree of MASTER OF FINE ARTS September 2018 Department of Theater © Copyright by Mary Corinne Miller 2018 All Rights Reserved INTERPRETING DREAMS: DIRECTING AN IMMERSIVE ADAPTATION OF STRINDBERG’S A DREAM PLAY A Thesis Presented By MARY CORINNE MILLER Approved as to style and content by: ____________________________________ Gina Kaufmann, Chair ____________________________________ Harley Erdman, Member ____________________________________ Gilbert McCauley, Member ____________________________________ Amy Altadonna, Member ____________________________ Gina Kaufmann, Department Head Department of Theater DEDICATION To my son, Everett You are my dream come true. -
Rabbi Freeman, Rabbi Erlanger and Rabbi Jakubowicz Ari Aragon and Family לכבוד חברי הכולל החשובים מחברי ומלקטי החידו”ת בספר זו
לע”נ בן ציון בן אהרן משפחת היימן Dedicated by Joshua and Melissa Close in honor of their chavrusos at the Kollel In honor of all the editors, especially Rabbi Zions, Rabbi Freeman, Rabbi Erlanger and Rabbi Jakubowicz Ari Aragon and family לכבוד חברי הכולל החשובים מחברי ומלקטי החידו”ת בספר זו מאת אליעזר קראוס ומשפחתו In honor of all the lomdei Torah of the Denver Kollel Chaim and Rivky Sher Scroll K Vaad Hakashrus of Denver לע”נ ישראל יעקב בן שאול יצחק In memory of our dear friend Yisrael Yaakov ben Shaul Yitzchak In honor of Rabbi Freeman and his dedicated work on behalf of this sefer, the Kollel and the Denver Jewish Community The Robbins Family מתוך רגשי הכרת הטוב והערצה לידידי היקרים, ראשי וחברי הכולל מאז הוסדה ולתומכי הכולל במשך כל השנים. חילכם לאורייתא יחיאל ארלנגר ומשפחתו לע”נ אלישבע מרים ע”ה בת ר’ מרדכי יהודה נ”י משפחת אמזל Jewell Dental Care, PLLC Steven A. Castillo DOS 6565 W. Jewell Ave. Suite #9 Lakewood, CO 80232 303-922-1103 Providing Comprehensive Dental Care and Assistance With Snoring in Mild and Moderate Sleep Apnea לע”נ יטל בת אלעזר אליהו הכהן ע”ה Mrs. Lucy Prenzlau In honor of Rabbi Freeman and Rabbi Zions for their tireless dedication on behalf of this publication שמואל הלפרין ומשפחתו In honor of the esteemed Roshei Kollel Rav Shachne Sommers and Rav Aron Yehuda Schwab Yaakov and Chaya Meyer Sefer Al Hahar Hazeh 1 We are excited to present to you Al Hahar Hazeh, a collection of Torah thoughts from Kollel members of the past twenty years. -
Issues; Special Rate for Individuals, $4 for One Year; Overseas by Air, $8 (U.S
A HANDLIST WORKS BY WILLIAM BLAKE IN THE i DEPARTMENT OF PRINTS & DRAWINGS THE BRITISH MUSEUM S\\ ' /■ . Jc*& TABLE OF CONTENTS WITH PREFACE 223 TABLE OF ABBREVIATIONS 224 SUPPLEMENTARY LIST OF ILLUSTRATIONS 224 PARTI: MISCELLANEOUS (7 \ NOTES BY DRAWINGS AND SKETCHES 225 A PART 2: DESIGNS FOR YOUNG'S G. E. BENTLEY, JR. NIGHT THOUGHTS 229 PART 3: MISCELLANEOUS ENGRAVINGS 234 «■ PART 4: ILLUMINATED BOOKS 244 PART 5: REPRODUCTIONS 251 'rm PART 6: APPENDICES 254 INDEX 257 Copyright W 1972 by Morton D. Paley and Morris Eaves /f V / \ Tx ( BLAKE NEWSLETTER AN ILLUSTRATED QUARTERLY Volume 5, Number 4, Whole Number 20, Spring 1972. Pub• lished quarterly under the sponsorship of the Department of English of the University of New Mexico. Support for bibliographical assistance is provided by the University of California, Berkeley. Morton D. Paley, Executive Editor, University of Cali• fornia, Berkeley; Morris Eaves, Managing Editor, Univer• sity of New Mexico; Michael Phillips, Associate Editor, University of Edinburgh; Jo Ann Kottke, Editorial Assis• tant* University of New Mexico; Foster Foreman, Bibliog• rapher , University of California, Berkeley. Manuscripts are welcome. They should be typed and documented according to the forms recommended in The MLA Style Sheet, 2nd ed., rev. (1970). Send two copies with a stamped, self-addressed envelope either to Morton D. Paley, Executive Editor, Blake Newsletter, Department of English, University of California, Berkeley, California 94720, or to Morris Eaves, Managing Editor, Blake Newsletter, Department of English, University of New Mexico, Albuquerque, New Mexico 87106. Subscriptions are $5 for one year, four issues; special rate for individuals, $4 for one year; overseas by air, $8 (U.S. -
II BA ENGLISH BRITISH LITERATURE – BEN31 UNIT I – Poetry 'The Tyger' William Blake (1757-1827) Tyger,Tyger, Burning Brig
II BA ENGLISH BRITISH LITERATURE – BEN31 UNIT I – Poetry ‘The Tyger’ William Blake (1757-1827) Tyger,Tyger, burning bright, In the forests of the night; What immortal hand or eye, Could frame thy fearful symmetry? In what distant deeps or skies. Burnt the fire of thine eyes? On what wings dare he aspire? What the hand, dare seize the fire? And what shoulder, & what art, Could twist the sinews of thy heart? And when thy heart began to beat, What dread hand? & what dread feet? What the hammer? what the chain, In what furnace was thy brain? What the anvil? what dread grasp, Dare its deadly terrors clasp! When the stars threw down their spears And water‟d heaven with their tears: Did he smile his work to see? Did he who made the Lamb make thee? Tyger Tyger burning bright, In the forests of the night: What immortal hand or eye, Dare frame thy fearful symmetry? William Blake (1757 – 1827) is poet, painter and print maker. Though he was largely unrecognized during his life time, today he is chiefly remembered as a pre- romantic poet. Beginning in the 1740s pre-romanticism marked a shift from the Neo- classical “grandeur, austerity, nobility, idealization, and elevated sentiments towards simpler, more sincere, and more natural forms of expression.” The poem “Tyger” stands as the most appropriate example of pre-romantic poetry. The poem is written in six short stanzas of four lines each. Of these, the sixth stanza is a repetition of the first stanza. It follows an end rhyme pattern of aabb, ccdd..