P O E TR ! 8 L IF E S ERIE S

GeneralEdttor WIL L IAM H EN R ! H UD S O N T ET H KE . . n 1. A S AND HIS PO RY By W H udso OHNSON GOLDSMITH T E ET 2 . J AND AND H IR PO RY Hu By W. H. dson G OET Hudson 3. RAY AND HIS P RY By W. H. E E AND ET E E ds M dmun A. 4 . SH LL Y HIS PO RY By . W. , O E DGE OET 5. C L RI AND HIS P RY K th een Ro By a l E. yds 6 M TT E ARNOLD AND OET . A H W HIS P RY By Francis Bickl ey AND OET H E . . n 7. LOW LL HIS P RY By W H udso B RNS ET Ke w M 8. U . . A. AND HIS PO RY By H A llo , E E ET B E m t M . . . A. 9 SP NS R AND HIS PO RY y S ol , 0 MRS BROWNING E ET 1 . AND H R PO RY B K th een E Ro d y a l . y s M T OET 1 1 . IL ON AND HIS P RY

TT ET A. E M B . A. 12. B . n SCO AND HIS PO RY y orga , 1 E Z ET T T E ET 3. LI AB HAN LYRIS S AND H IR PO RY By Amy Cruse TE O OET 14. NNYS N AND HIS P RY

. B n B e A. n . By R riml y Joh so , ET lh D 1 . arn c MA. 5 BYRON AND HIS PO RY By i k, O GFE HIS ET 16. L N LLOW AND PO RY B h nt S MA F S e ton . . A. y t a m a , , OE OET B h Lewza . C e 17. P AND HIS P RY y N as E ET B C M 18. . . h n A. HORAC AND HIS PO RY By J apma , O E AND OET E E mun M 1 . . . d ds 9 P P HIS P RY By W , A. BROWNING ET E t Rh 20 . AND HIS PO RY By rnes ys OR O T ET 2 1 . W DSW R H AND HIS PO RY H H . u By W. dson E AND ms ET w H S H. u 23 . CHILL R PO RY By . dson ETT AND ms ET Mrs. P . s Bo 23. ROSS I PO RY By . a E AND 1115 OET Ro u COWP R P RY By 1mmA. y M E ET n . In 3 5. ARLOW AND HIS PO RY By Joh H gram U E OET 26. CHA C R AND HIS P RY E E mun By . W. d ds MA. , WALT WHITMAN ET 3 . 37 . AND HIS PO RY By H. 8mm 8 TTERTO AND HIS OET 2 . CHA N P RY n In By Joh H. gram TT E OET H H . 29. W I I R AND HIS P RY By W. H udson V T UGO ET H 30 . IC OR H AND HIS PO RY By W. H. udson WILLIAMBLAKE ET 3 1. AND HIS PO RY A ce N M c A. By llardy i oll, Other Volume: as acti ve preparati on B!

A. AL L ARD! C E N IC OL L M. lh L an ua e and L it e tu e L eet urer in Eng is g g ra r ’ it o f L ondon i n King s C olleg e U niv ers y

A AND S! DN ! (Sr AT CALCUTT E Fi rs t p u blis h ed Ma y 7922

b GEO RG E G . H AR RAP <5 C o . L TD y _ ’ 6 o r t mou th S t reet Ki n wa L n d on W. O. Z 2 3 P s . gs y , o . G EN ERAL PREFAC E

GLANCE through the pages of this little book will suffice to discl ose the general plan o f the series of which it forms a f o s o f e a a o e e part . Only a ew w rd xpl n ti n , th r

e e essa . fore, Will b n c ry The point of departure is the undeniable fact that with the vast maj ority Of yo ung students o f literature a living interest in th e wo rk of any o se an d an e e p oet can best be ar u d , int llig nt i e a e appreciatio n of it secured , when it s imm di t ly asso ciated with the character and career o f the nd far p oet himself . The cases are indeed few a between in which much fresh light will not be thrown upo n a p oem by some knowledge of the

e so a of th e e e will» often be p r n lity writ r , w—hil it foun—d that the most direct p erhaps even the only way to the heart of its meaning lies through a c onsideratio n o f the circumstances Th e sthetic in which it had its birth . e pur ly a critic may p ossibly o bj ect that a p o em should be regarded simply as a self-contained an d e a o f a n o e so a d t ched piece art , h ving p r n l af s the al of s filiatio ns or bearing . Of v idity thi as an abstract principle nothing need n ow be m h a e said . The fact re ains that , in t e e rli r es o f a an a e o is os a e stag study t y r t , p etry m t v lu d and l o ved when it is made to seem m ost human and vital ; and the human an d vital interest of poetry can be most surely br ought h ome 5 G E N E R A L P R E F A C E to the reader by the bi ographical meth o d of interpretation . This is t o some extent rec ognized by writers Of is o es an d e - oo s o f h t ri t xt b k literature, and by editors o f selections fr om the works o f our p oets ; fo r place is always given by them to a e a a o o f o a a c rt in m unt bi gr phic l material . But in the histories an d text-b o oks the bio graphy o f a e e s a s i se an d i o giv n writ r t nd by t lf , h s w rk has to be s e se ought l where, the student being left to make the co nnexio n for himself ; while even in our current editions o f selectio ns there m o is little systematic atte pt t link bio graphy , e e o o st p by st p , with pr ducti n . This brings us at o nce to the chief purpose o th e e e es o a f e pr s nt s ri . In this, bi gr phy and pro ducti on will be considered t ogether an d in i m as o a e n n nti ate s ci tion . In oth r wo rds, a e , deavour will be made to interest the reader in the lives and personalities of the poets dealt i and at the sa e e to use o a w th , m ktim bi gr phy as an intro ductio n and ey to their writings. Each volume will therefo re c ontain the life

h o o s ts s e . s story o f the p oet w f rm i ubj ct In thi , attentio n will be Specially directed to his per son lit as e esse e his oe and a y it xpr d its lf in p try , t o the influences and conditio ns which c o unted m ost as formative factors in the growth o f his a a s be se genius. This bi o gr phic l tudy will u d a as a e as a setting for a sel ection , as l rge Sp c

se a e oe s. will permit , Of his repre nt tiv p m Such o i be e o e in l poems, where p ssible, w ll r pr duc d fu l , 6 W IL L IAM BLAKE

<9" H IS P O ET R !

R CHESTERTON h as said that if o ne Mwished to pen aright a nar rative o f the life o f William Blake one would have f to start with chaos an d the creation o the world . o n d e s e i If s mewhat exaggerated a bizarr , thi p a a s o a s a ea ea gr m , like m ost epigr m , c nt in gr t d l o f e m n f r se ms to e as e le ental truth i it , o it e mph iz a p oint that o nly too Often is o verlo oked ’ Blake s cl ose and intimate relati o ns with the o o imhis e e o the as and w rld ar und h , r fl cti n Of p t his s o o e wa vi i on o f the future. All p ets, in s m y or a o e are o s ei a e e e n th r , symb l Of th r g , but th r are some who stand in much closer relations r with th eir surro undings than o thers. There a e p oets who maintain a distant aloo fness : there are poets who react rather than reflect : there are o n f e a i o ne o f the mos thers, a d o th se Bl ke s t o ea ho a n tic ble, w c tch

o o r O c mm nly , y f oe th a a e who o s p ts e peculi r paradox th t th y , m t e e an d r o f r fl ct prophesy , a e the greatest indi

vidu li the mos a es e s a . a ty, Of t rr ting p r on lity In e a o n O ese ma am Italy P tr rca was e f th , a n st ping his imagery on three centuries o f p oetic en d a our a ne o f an s v , anticip ting the w spirit hum i m f n ° B L A K E 69 H I S P O E T R Y to the extent Of p oring o ver a Greek volume whose characters even h e could barely under s tand . In England Milto n was another , a very m hi irror Of s age, and yet with a character an d indomitability o f temper hard to equal e els where. m r This fact is i portant , fo the obstinacy an d lack o f flexibility in the character o f William Blake have led many to regard him as a stray o e o m v ic crying in the wilderness, unrelated t ti e or o a i m t pl ce. H s life was a co paratively l onely one a o e a s n ot e so o e as m , lth ugh p rh p quit l n ly any biographers have made out . He was, at an y rate, member of no clique or schoo l . Living o n to 1 82 an d th e o f e e ea s and 7 e adv nt Sh ll y , K t , o h h d n o o e o se the Byr n , e a pers nal int rc ur with a e o o r r r a o f the L k p ets , Scott , o Lamb , o m ny numero us men of letters with whomthe last years Of the eighteenth century and the early W years o f the nineteenth seemed sto cked . e e a o e a ar pt t pictur him in his g rret,

Si i ms e ng ng hy n unbidd n, Till th e world is wrought ma d ar e no To sy p thy with hopes an fe s it heed d t.

’ In Pro fessor H erford s magnificent study Of e o f o a e is a e men th age Wordsw rth , Bl k b r ly i n an d a o o esso t o ed a c ouple Of times, , lth ugh Pr f r Herford does co nnect him with th e Rena ” lie e mos scence Of Wo nder , we feel that , lik t s e as o e his a e as an critic , regards Blak utsid g , a i e of o e ea o f individu l s ng r und ubt d b uty , but I 1 2 ’ B L A K E C‘J H I S P O E T R Y small interest when the trends and the tendencies o o f his age are to be c nsidered . It is true that Blake had but small influence His e on writers co ntemporary with him . tru worth h as n ot been reco gnized until toward the i a influ end o f the nineteenth century . H s re l ence canno t be said to have begun befo re the enthusiastic admirati o n o f Swinburne an d of h n o e ea e m a R ossetti . It as t y t r ch d its cul in i o o s the e so e ti o n . H s ass ciati n with cultur d ci ty i n o o e e e for o f h s time, however , are t t be n gl ct d , they are deeper an d broader than is generally e o e alo mos on e to the r c gniz d , th ugh tly c fin d O art and n o o f a e a e world f , t p oetry . S mu l P lm r , o e s m ma s e a e a he wh s te ti ony we y tru t , d cl r d th t never l o oked on himas an unfortu nate man f m o f his o genius. He knew every great an ” mn day and had enough . By great e m 2 h Pal er meant p ainters . In 1 8 5 t e R oyal Academy m ade him a gift o f twenty -five p ounds in reco gnitio n o f the beauty of his designs for ’ a o f h Bl ir s Grave. He was fered t e p ost Of art as o th o a e an of h e m ter t e r y l childr n , fer

m. T “rej ected in o rder to keep his freedo he e a a e e o f 1 82 o his Lit r ry G z tt “ 7 , in n ticing ea f f d th , declared that ew persons o taste e i w re unacquainted with h s designs. Several o f the finest artists o f his time were unstinted in their praise b oth o f his imaginati o n and Of his e t chnique. We know to o that Wo rdsworth was intro ’ duced o e o t Blak s writings by Crabb R binson , I 3 ° B L A K E 69 H I S P O E T R Y

’ and is rep orted to have stated his belief in Blake s ” a ess. ! et he a e e m dn , dd d , y t there is something in the madness o f this man which interests me m o re than the sanity o f L o rd Byron an d a e o Th W lt r Sc tt . e young Germ an painter

' Gcitzenberger announced that he h ad seen in a ma men of e Engl nd ny tal nt , but o nly three men o f e s— o e e a ma n g niu C l ridg , Fl x n , a d Blake —and o f ese ee a a h th thr Bl ke w s t e gr eatest . Lamb was delighted with the catalo gue of ’ a e s a a Bl k p intings t Carnaby Street , especially with the critical examinati o n of th e Canterbury h Pilgrims . H azlitt saw n o merit in t e ’ s s o o ” d de ign t Y ung s Night Thoughts , but a s i h o ms e mired inten ely several O t e p e , whil in i h O m s a e has e Wa ewr g t , f wh o O c r Wild writt n ” his P en e and o so was on e o f the in , P ncil , P i n , few men Of his own or Of any o ther day brave enough to praise Op enly the J erusalem and F urge it on the public . or him Blake executed what is pro bably the finest c opy in existence o f ” e the S ongs Of Inno cence and o f Experienc . ’ Such were Blake s actu al relations with the littérateurs an d the a s s of his da o e rti t y, n tic able enough when we c onsider his uncompromis - ! et on ing treatm ent of would be superi o rs. o s e e this rests n ot a whit o f his title to be c n id r d , o as a e e s o not o nly as a precurs r , but p rf ct ymb l o f the R omantic Revival in England: H owever much h e may seem isolated from the Lake mhe neo - e a o e o f o p oets, or fro t Gr ci n s ci ty Byr n , n e e he ma ee Shelley , a d Keats , how v r much y s m 14 " B L A K E C9 H I S P O E T R Y buried in his Bo gno r c ottage or in his petty s a e s a e e se the Londo n lo dging , Bl k h r d int n ly in ma milieu the a e. a e o a e as he Of g Bl k , is l t d y have been when we compare him with o ther is e e e the o a i e a po ets , a p rf ct typ Of R m nt c R viv l

so a and a s e e o e . in its literary , ci l , rti tic d v l pm nts Two things peri o ds o f rev olt adduckindi n viduality an d what we may call phiIOS Ophic o o a s ea anarchism . It was th ose tw f rces th t pr d the greater gl ories of the Renascence : it was n the same fo rces that inspired the revival . Me reached a new co nception of their own value s as reasoning being . They realized their own o and the o e o o o s as w rth , w rth Of th ir wn em ti n apart from allexternal rules and co mmand e o ne m o f o ments . Th y s ught w eans expressi n , d l an , recreating, they shattered the o d. They ea e for an d o es e e s rch d , f und , fr h w t nd n cies in literature and in life. They demanded e an d th ee f lib rty e fr expressio n o individuality , and they wo n them in the swift heat of revolu V ion r t a y ardour . As we shall see when we c ome to trace the actual facts o f his life and th e development of his i nner consciousness , Blake was o f this individualism and antinomianism an extreme e o e d xp n nt an example . B esides the revival of individualistic thought which characteriz ed the Romantic Revival as it a a e e the e as ch r ct riz d R n cence, there aro se to ward the close of the eighteenth century a m o ve men ana o o i h it of t l g us w t , but a more religi ous 1 5 ° B L A K E 69 H I S P O E T R Y

n character . This ew type of religious enthusiasm was m arked by a p eculiar mysticism which fo und expressi on in forms as diverse as Wo rds ’ o s a e smthe w rth p nth i , ritualism Of the Oxford o eme and a e h M v nt , , l t r , t e Neoplato nism o f a man e a e ae e lik M uric M t rlinck . It swept the deistic attitude of Pop e an d of his confreres into a limbo of neglect . It so ught deeper an d purer s o th e s truth f e univ r e. It allied itself m ore — with literary and phil osophic thought becom in g creative and inspired as in ages o f Grecian go ds and o f the N o rthern sagas o f divine adven n o o f o ture. In this ew devel pment religi n a os o H is Bl ke must assume a capital p iti n . e linked with Shelley in many of his ideas. He expresses mystical truths th e exact c ounterpart ’ Of Wo rdsworth s m ore inspired pro nouncements . With Blake the myth -weaving power w as revived a o a his oems e o me eo e ag in , s th t p b c p pl d with a number o f figures as fully delineated an d as clear - cut in form an d idea as ever were Aphro dite d an Zeus. This n ew religious idealisml o oked out up on o e on e of the world with changed visi n . Ev ry the R omantic p oets saw nature in a fresh light — a e sa e a light never reveal ed to th e nci nts , v in ma s a s an d a e e the rar e gic in t nt , b r ly divin d by p oets o f the Cinquecento in Italy or o f th e s new s o O Elizabethan age in England . Thi vi i n f nature to o k the fo rmat o nce o f wider divinatio n and o f characteristic emb o diment of natural o s o e e and presences . In this W rd w rth , Sh ll y , 1 6 ’ B L A K E 69 H I S P O E T R Y

Blake stand side by m anifesting different o e o s ee all e a c nc pti n ind d , three r ve ling a n s a e ew pirit in n tur , pr o m s o f h with glori us triu ph t e p o etic imaginatio n . The first fact to be grasped in o u r study o f a e an d e a an s o f o s Bl k , incid nt lly in y tudy W rd o an d O e e is a h e e em is w rth f Sh ll y , th t , lik th , a so e s e e his a the ma o b lut ly inc r in f ith in i ginati n , an d o e a w as ese e e o e him m r , in wh t pr nt d b f r o i e thr ugh the mediumo f h s imaginati o n . Wh n Wo rdswo rth assures u s that

One impulse froma vern al wo od a a h u mo e f man M y te c yo r o ,

O mo a e i and . o f o o f r l v l g d, ha allthe sa es can T n g ,

i n o a e a o s a is he s t , s som h ve th ught , tr ining h as to an a a a e e e o r exa erat ide unw rr nt bl xt nt , gg ing because he saw what evil the meddling intellect h ad created in th e past century : h e ss an emo o a a as ee as is expre ing ti n l f ith d p , “ a an o f the e a es o f th mo sincere, s y utt r nc e st c o nvinced of religi ous preachers . In exactly ’ m o o m the sa e way Blake s visi nary f r s, created omhis own ma a o o r see o either fr i gin ti n , n thr ugh a o ms o f a e e e mo e ea to the extern l f r n tur , w r r r l himthan the men an d women he met in daily ” Hi s o w as o o a a s as he life . s vi i n tw f ld lw y , says in a letter to Th omas Butts dated 1 80 2 ; sometimes it became fo urfold

May God us keep ’ m e s o and to Fro singl vi i n , New n s sleep ! B ° B L A K E 89 H I S P O E T R Y

’ n By single vision , a d Newt o n s sleep Blake meant the pure unimaginative use o f the e e e e a ose i int ll ct , wh r primr s nothing but a mo se o r o se s a o a a pri r , , w r till , but b t nic l speci f r s a o e o men o cientific an lysis . By d ubl visi n he meant th at quality o f seeing past an d through the o utward manifestations o f nature into the soul that lies within

e a or in a a of san To se W ld gr in d, ea e a i o e And a H v n in w ld fl w r, o t in th e a mo f o r a H ld Infini y p l y u h nd, 1 And Eternity in an h our .

Under the d oubl e visi o n everything to ok o n fo r himhuman semblance

a ra o f san E ch g in d, r to o n the a Eve y s ne l nd , a o an d ea i E ch r ck ch h ll , ta and Each foun in rill , r an d ea tree Each he b ch ,

tai ear h and sea. Moun n , hill , t , 2 a Are men seen far .

r e the s o m e es do see Fo doubl vi i n y y , a wa s it And a double vision is l y w h me. ’ m ar e e tis an O Man re With y inw d y , ld g y, 8 m o t a a st e a ross m wa With y u w rd, Thi l c y y.

e es o e h e What it will b qu ti n d , writes i The as me in his note on h s picture L t Judg nt . When th e sun rises do you n ot see a round disk o f fire something like a guinea P Oh !

I Augu ries of Inn ocence (from the P ickering

Lette to Th m B tt Oct be 2 1 800 . r o as u s, o r , ' Th B N v mbe 22 1 802 Lette to tt e . r omas u s , o r , ° B L A K E 69 H I S P O E T R Y n o ! n o ! I see an innumerable c ompany o f the ea e os o o o i h v nly h t crying H ly , h ly , h ly , s the Lo rd God Almighty ! o s o and e e With W rd w rth Sh ll y , then , Blake s a s as an o e as th e t nd uph ld r , e chi f uph older , o f

h o e o f the ea m . t e p w r cr tive i aginati o n . This o f his led him belief , like Wo rdswo rth , away omthe a s o f easo and a se him o fr p th r n , c u d t write p o ems which might appear t o mo re o rdi and m a e eo e as e a e a e n o nary und n p pl x gg r t d , if t the ee oe s a e is the mo insane . Of thr p t Bl k st mse to extreme . Shelley never gave hi lf such a mystic world as the p oet o f J erusalem created for himself : Wo rdswo rth always retained con tact with the kindred p o ints o f h eaven and h ome Blake al o ne swept cl early away to a wo rld o f his is a a a th own devi—sing . It this th t p rtly expl ins e difficulty alth o ugh that difficulty is o ften exag ’ ‘ — i a o e oem Th gerated o Bl ke s pr ph tic p s. e full depth o f meaning in Tintern Abbey may o n ot be appreciated in an rdinary reading , but it will be mo re appreciated than even such a ” i s a a e simple work as Thel . It s thu th t Bl k , by the very fact that he expresses m o re com pletely th an Wo rdsworth the ideas an d faith which were c ommo n to nearly allthe R omantic h h e at an ea e a e writers, by t e fact that rli r d t an d much mo re enthusiastically expresses th e n ew a mos e e of his a e has mse o ff t ph r g , cut hi lf froma great deal o f the appreciative attentio n i which wo uld o therwise have been h s. o f e s Finally , as fully representative th Engli h 1 9 ° B L A K E 59 H I S P O E T R Y

a a Revival , Bl ke st nds fo rth to u s in his literary me m m m diu , a ediu as char acteristic as was th at o f e K ats . Blake was undo ubtedly o n e o f the first of our eighteenth - century p o ets to become c o nscio us o f the beauties of our sixteenth an d se e ee - e e se an d all o hi v nt nth c ntury v r , thr ugh s Llife his denunciatio n o f pseudo - classical precepts and e es m xampl was unre itting an d severe . In his first v o lume we find himadmirou s o f pre cisely allth o se things which were rising t o the surface in the transiti o nal y ears ab out 1 770 and 1 8 7 0 . Th ese w e sh all indicate in mo re detail e ea e an d ese re the o e e h r ft r , if th a nly v ry dir ct em s e es o f ea e o e s his o r ini c nc rli r p t in w rk , they pro ve c o nclusively at l east what it was that fed his o a e s a a the o a o o f y uthful t l nt , wh t l id f und ti n ’ his ar e w him s a Yo t . Lat r e find illu tr ting ung s ’ ” o n d a s a e Night Th ughts a Bl ir Gr v , two o f th e gl o omy p oems which make up part o f a transiti o nal sch o o l midway between the urbanity o f Po p e an d the romantic strangeness o f We him s the later writers . find illu trating m e W a e o e o f e e a . e all D nt , l ast fl w r di v l lif find thro ugh his wo rk the prevailing influence o f Ossian an d o f the revival o f Celtic mytho o d om s to as a e was l gy an ideas . Fr fir t l t Bl k i m o o f o ar dominated by h s ad ir ati n G thic t . On e o f his earliest bi o graphers an d friends decl ar ed that h e had almost b ec ome a G othic mo me mse an d\ this o s e a o nu nt hi lf , , in c n id r ti n ’ m s an d o f hi o f Blake s ow n pr o n ounce ent m s own rt is e me e e o s. os a , a t r ntir ly f licit u Al t 2 0 ° B L A K E €9 H I S P O E T R Y — — the first o bj ects save nature itself which mo ulded his fancy were the antique tombs o f 1/ m e da a e da h West inster Abb y , which , y ft r y, e o his m e s h was sent t copy by ast r , B a ire, t e s o ms m e e ms e n engraver . The e t b i pr ss d th e elv s o his m an d o a e e the s o e ind , pr b bly w r in piring f rc ” f r i the o h s King Edward th e Third . Within as and e e a e a e e o n a scaf v t fr tt d c th dr l , p rch d o mo its o e s he s a f lding high a ng w nd r , mu t h ve felt the spirit o f the Middle Ages p enetrating himso a alla was o an d e se within , th t th t c ld pr ci ’ an d a he a e to es se as e a h rd c m d pi Gr ci n , thus cutting himself o ff fro mo ne branch o f r omantic — inspiratio n that which led Shelley an d Keats an d Byron to a study o f the life an d literature

o f e s . The o s o f ee e an d o f Ath n g d Gr c Egypt , he e a e an e se o e e d cl r d in inc n d m m nt , w re ” a em a a ams o e o r n M th atic l Di gr , f rg tting , ot o f h ea ma es of s h kn wing o , t e b utiful i g Osiri , t e o o f om e or th pro f und tal e Pr eth us, e delicate ” m Br n d i agery o f os a Psych e. G othic , he ” a o e a a is o m an d a o nn unc d g in , Living F r , th t , f r o him w e a s e e . , as Et rn l Exi t nc In that pro nouncement is the most precise and succinct a o f i ar critic l decl arati n o h s principle in t . His s o e n o o ma ema vi i ns w re living , t c ld th tical things. The ages o f rev o lt are always Go thic in their e e o f e and o f o m a e e s o ngl ct rul f r ul t d pr ci i n , ‘ Gothic in their insistence o n the inherent ; unity an d l o veliness o f each sep arate art pro duct as distinct fr om extraneous rules or fixed meth o ds ’ o f me judg nt . Blake s insistence o n G othic as 2 1

’ B L A K E 69 H I S P O E T R Y

II

IKE so many o thers o f our p oets and ose- e s a e is to e o e e pr writ r , Bl k b c nn ct d , a an d emo e he if but h zily r t ly , with t Hi a es. s a e was a o o os Celtic r c f th r L nd n h ier, a s o at 2 8 o a ee o e a with h p Br d Str t , G ld n Squ re, o n ames a e ame a a e a s o e J Bl k by n , pp r ntly ci n ’ o f the amo s s am o f th e O Neils an d f u Iri h f ily , just p ossibly the illegitimate son o f the p o litical ’ il om a w revo luti o nary J o hn O Ne . Fr wh t e ’ know o f the p o et s l ater mysticisman d o f h is o s e e e i o his rebelli u t nd nci s, there s n thing in o e s o am character t b lie thi supp sitio n . Willi a e o o n o eme 2 8 1 was the Bl k , b rn N v b r , 757 , f fi h e f m seco nd o ve children , t e eld st o wh o be came a successful merchant an d in later life e s a e as was a a o mhis gr w e tr ng d , but n tur l , fr h o n genius br other . Of t e thers, J o hn , who e s in he a and e at an ea a e li ted t rmy di d rly g , appears to h ave turned out badly an d devel oped ’ ” a o o he On e in Blake s l ter visi ns int t Evil , whil e Robert was the o ne mo st akin to the p oet m n d a s mo a in te per a in spirit , ppearing y b lic lly o o o h in the Pr phetic B ks . Of C atherine, t e

w o e e. o nly daughter , e kn w v ry littl N ot many facts have been preserved to us o f ’ a a a w e do Bl ke s e rly life, but wh t know well e ea he mn wh a t r v ls to us t a o w s o be . Never was there a more prono unced illustratio n o f the ’ truth o f Wordsworth s dictumth at the child is 23 ° B L A K E 69 H I S P O E T R Y

a e o f the man ” th e a e o f o we are f th r At g f ur , o so to ld by Crabb R bin n , the boy declared that

h e saw Go d put His fo rehead in at the window, n d e h e w as se e mR e a a wh n v n , at Peckha y , tree full o f angels appeared before his wondering F or ese s o his sight . th vi i ns he was beaten by o o o ms a e as h e i o e N nc nf r i t f th r , was by h s m th r , so a am e u s for d he T th t lls , running in an saying h ad seen the prophet Ezekiel under a tree in th a e o o o ose e fields. Bl k pr bably never f rg t th as seme s Th s s o f his o o e e ch ti nt . e vi i on childh d w r so o himas ea e he s o s o f his real t , r l as w re t vi i n a e ea and hi a e o f O ss o was so l t r y rs, s h tr d ppre i n ea a o e ee o e gr t , th t it w uld ind ed have b n a w nd r w as o a due t o s if he had fo rgiven . It pr b bly thi that h e disco vered very early in his life that he had in hima Spiritual fo rce which owed n o allegiance 0 the a e o f an a e o r of an mo e U dict t s y f th r y th r . No earthly parents I co nfess ’ am oi m at er s si ess I d ng y F h bu n ,

h e makes Christ exclaimin The Everlasting os e an d w e can ea e h G p l , r d b hind t e lines to see a he w as to o o f hi o n th t thinking s w case. His mo e e 1 2 an d the e o f th r di d in 79 , r c rd o the ’ so n s emoti ons is c o ntained in that p o em To Tirzah in the S o ngs o f Experience

TO TIRZAH

’ Whate er is bo rn o f mortal birth s be o s me wit th e ea th Mu t c n u d h r , To rise fromgeneration free Then what have I to do with th ee 2 4 ’ L A K E 89 H I S P O E T R Y

ms ame and r e The sexes sprung fro h p id , ’ Blow d in the mom: in evening died ’ But Mercy ch ang d death into Sleep ; e Th e sexes rose to work an d we p .

o o er o f m mo rta ar Th u , M th y l p t, mo m ea With cruelty didst uld y h rt , And with false self- deceiving tears m ostri s e es an d ears Didst bind y n l , y ,

m o ue se se ess a Didst close y t ng in n l cl y , And me to mortal life betray Th e death o f J esus set me free Th en what have I to do with thee ?

’ There is much o f Bl ake s l ater symb olismin s oem we can see ea e o a thi p , but cl rly n ugh wh t

he oe o sa . ! o u me e he o t p t w uld y r ly , w uld o me t o e s o : declare , br ught lif in thi w rld it ea a a e me s o s and e e was h ven th t g v vi i n , v n o m eA ime tho se yo u stro ve t o restrain . Fr th that he grew to manh o o d William Blake drifted is a o m away fromh p rental h e . ’ his o o an d o o o o o a e s In childh d b yh d , t , Bl k eager u se o f pen an d o f p encil seemed t o denote a he w as es e fo r th e o a a s an d th t d tin d pict ri l rt , indeed to the en d o f his life his inc ome w as a e e e omhis e a He was l rg ly d riv d fr ngr ving . a e to be a a e n ot a man o f e e s : tr in d p int r , l tt r an d we must always remember in dealing with his art that he is to be regarded as a n ew an d

dominant fo rce as much in design as in p o etry . His fi s mas e was a e a h o h ad r t t r c rt in Mr Pars, w a a s o o h h imhe dr wing ch l in t e Strand . With 25 ° B L A K E 59 H I S P O E T R Y

s e for a ea or tw o an d e a a tudi d y r , th n , t t he ge o f 1 1 h e w fourteen , in 77 , as apprenticed to as e the e a e o f ea ee ee B ir , ngr v r , Gr t Qu n Str t , ’ o s e s l Linc ln Inn Fi ld . During a lthis time Blake w as l ab ouring at perfecting his technical o a an d ability b th in dr wing engraving , an d, as w o o mhis o ems i e kn w fr p , h s leisure h ours must have been devoted to devouring allthe h o om o b ooks which e c uld c e acr ss. The literary reminiscences in his first p oems pro ve con clusively that he must have been an o mnivo ro us n d t e e e mes all a ye tast ful r ad r , a fact that beco the mo re surprising when we c o nsider that he h ad n o o ne to guide himan d that he was daily

to iling at an other art . He must have spent much time over Milto n : he must h ave studied Shakesp eare carefully : h e must h ave read many pl ays an d lyrics o f the o ther Elizabethan o a a o and J ac be n st rs, fr m J o nso n an d Fletcher

o e s e an d o e . He ea a is to t W b t r T urn ur r d , th t a all ose o s e e to a s s y, th w rk which w r pl y uch an eno rmo us part in fo rming the minds an d me s of th e a s o a and oma e te p r tr n iti n l R ntic p o ts . Nor did his preferences differ when h e came t o

o e mo e o s . He e ohnson e m r d rn w rk l ft Dr [ , th n a e e a o o f e t e s se e e the unch ll ng d dict t r l t r , v r ly o e an d e ea e to the e a s o f the al n , turn d g rly h r ld ’ e e as et o . He ea a e o s new r ag , y unb rn r d Ch tt rt n ’ “ ” R owley p oems (issued Percy s Reliques ’ an d a o e allo e s a e so s , b v th r , M cph r n ” a o Ossian . In Ch ttert n he got the pseudo Gothic atmosphere an d the exquisite verbal \ 2 6 ° B L A K E 69 H I S P O E T R Y

’ mel o dies b o rrowed largely fr omMilton s early p oems and fromthe Elizabeth ans : in Percy he got the free emotio nal expressio n o f fo lk- so rrows an d folk-j oys : in Ossian he got the spirit of h a n w ose-ms nd s o f t e C elt , e pr u ic , a a vastnes atmo sphere unknown to J ohnso n an d his clique . " i n o o a Ossian s w derided . It h as been pr ved m e forgery , but we ust beware against l tting ou r knowledge o f its m o dern an d spurious o rigin

influence o ur critical appreciation o f its merits. Had ss a ee me e a o e an d O i n b n r ly f rg ry , mo o n o s nothing re, it w uld t have gripped uch o e o f ro i e minds as th s C esa tt in Italy , Go the in

ma a e an d o e s a . Ger ny , Bl k th r in Engl nd It wo uld n ot have penetrated into th e m ost dist ant o f a s an d se e as o a t o a a e l nd , rv d , in P l nd , w k

r omantic feelings for a l o ng time dead . While we reco gnize that H azlitt is o verstating the case wh en he pl aces Ossi an al o ngside o f H omer n f e ms m a a o a d o D ant , we u t ad it th t , if it c nn t m n m a e take the highest , it ay take a inter edi t a e ss a h as o ma e : a es pl c . O i n r nc in pl c it h a e is mo o o o s h its as gr nd ur : if it n t n u , it as in initial c oncepti o n just such a sublimity as a young ’ f a a p oet o Bl ke s calibre required . Ossi n s e o a es ea e th e a fir t , th n , with Milt n , Sh k p r , Eliz bethan s a e o an d e e e the ma , Ch tt rt n , P rcy , w r in literary fo rces that were m oulding the child f o o o a a e . ea as we a e h d Willi m Bl k Alr dy , h v see the s s e art he h ad s e th e n , in i t r di co ver d o o omo es s m G thic gl f W tmin ter Abbey , the ighty e o f a o f forc Michel ngel o , the p erfect precisi on 27 ° B L A K E 69 H I S P O E T R Y

the o ne S e h o e Raphael . On id e ign r d Po pe and o n the o e e n J o hnson , th r Rub ns a d B arto l o zzi . oe o r a a e o e e is n ot ea e A p t p int r , h w v r , cr t d n f d o n e r mo e s a o e by a d e lit rary o artistic d l l n . The temperament of a genius is always full of emo o o e e o o s em o an d ti n , ft n pr c ci u oti n , in ’ ms o th —h was Blake s early tra p int e —country e ever an indefatigable walker he came U p o n a n d o o o o two things, n ture a l ve. B rn in L nd n h a a as e was , Bl ke was lways a passio nate l o ver n d n d i o f the c o untry , a early a late h s p oems make c o nstant app eal fo r a n ew co nceptio n o f leaf and fl ower and bird .

AUGURIES OF INNOCENCE

A robin redbreast in a cage ts allea e a ra Pu H v n in ge. ’ A dove-house filld with doves an d pigeons ’ Sh ers e ro allits e io s udd H ll th r g n . ’ ’ A do g starv d at his master s gate red ts the r o f the S a e P ic uin t t .

’ A horse misus d upon the road a s to ea e for a C ll H v n humn blood.

Each outcry of the hunted hare A fibre fromthe brain do es tear ; S ar o e the i A kyl k w und d in w ng, e m oes ease to s A ch rubi d c ing.

He wh o shall hurt the little wren ’ S a e e be belov d men h ll n v r by . ° B L A K E 69 H I S P O E T R Y

The wanto n boy that kills the fly ’ S a e th s e s enm h ll f el e pid r ity .

The caterpillar on the leaf ’ Repeats to thee thy mother s grief . lnot the mot n or er Ki l h butt fly , e Fo r the Last Judg ment draweth nigh .

With his tendency t o view allthings in the f so h e was as on light o eternity , al , , e critic o a e o e the a says , passi n t ly in l v with etern l m o an a o f e e o fe inine, int which y p ir y s w uld Th a a o serve as windows. e p rticul r pair f bright eyes th at captivated himbel onged t o a lively

a a e a e o o o . little girl , a flirt pp r ntly , c ll d P lly W d o f s o o o eem We know litt le thi P lly W d , but s ingly himoff an d the bo s to th e ea she cast , y, tung h rt ss an d fli an c by this faithlessne pp y, fell into

es o e . oss e a se o f his es a d p nd ncy P ibly b c u d p ir, an d was se t o a a e - a e he grew ill , nt m rk t g rd n h m at Richm o nd to recup erate . Th ere e et ’ ma e - a e e s a e one a e e the rk t g rd n r d ught r , C th rin o an e a e s ma e to B ucher , un duc t d , y p th tic girl , i “ wh om he to ld h s story . I pity you fro m h e h h d my heart , s e cried wh n e a finished . ’ me as h o Do you pity ? w t e p et s answer . fo r Then I l o ve you that. Willi am Blake and Catherine B o ucher were married o n Augu st n d e e to ema ose oma s 1 8 1 82 , a w r r in cl c r de , 7 — there is n o other wo rd for it till death too k 1 2 the p oet away in 8 7 . After their marriage o a 2 e e they settled d wn t 3 Gre n Street , Leicest r

Fields. 29

° B L A K E 69 H I S P O E T R Y gold as a metal o f meaning may be paralleled in many a l ater passage. ’ Of the exact date o f Blake s other early songs o o all o we kn w n thing , but in pr bability every one o f the p oems c o ntained in the volume call ed “ ” e a es e 1 Po tic l Sketch , print d in 783 , was e e o e 1 at a e a e was writt n b f r 777 , which d t Bl k

e . 1 h e had e a e his a e but tw nty By 773 ngr v d pl t , J o seph o f Arimathea amo ng the R o cks o f o s o a a ea he had o a e Albi n , h wing th t lr dy f rmul t d 1 8 at l east part o f his symb olic system. By 7 0 he had met an d ma e s o a de fri nd with St th rd , an d an d h d a h Fl axman , Fuseli , a exhibited t t e o a m h o se o f 1 2 R y l Acade y . Towar d t e cl 78 he had been intr o duced by Flaxman to on e of the ‘ ’ h - - chiefs o f t e so called Blue sto ckings, Mrs a e o f 2 o a M th w , 7 Rathb ne Pl ce. This Mrs Mathew w as the wife o f a clergy man and w so o f a lon , as the pr oud p o sses r sa where art an d literature were discussed deco ro l m f h d us y over innu erabl e cups o tea. S e an her husband would seemto have welcomed the - W ea o f young p oet artist an d his wife . e h r Blake Singing h is own so ngs there to an en a e oma an d was a the e e se r ptur d c p ny , it t xp n o f Mathew an d o f Fuseli that the v olume o f h Poetical Sketches w as printed . Of t e exact

e a s of a a e e a a w e are o a . d t il wh t h pp n d , g in ign r nt Perhaps Blake in his pride o bj ected generally ’ to e a being patronized , p rh ps Mr Mathew s kindly meant but unfo rtunately worded pre ’ a e a o se he i T o o f c r u d t artist s re. he f ll wing 3 1 ° B L A K E 69 H I S P O E T R Y

e es sa s a e Sk tch , y M th w , were the pro ductio n o f o e o omm untut r d y uth , c enced in his twelfth an d o ccasi o nally resumed by the auth o r till his twentieth year . C onscious of the irregu larities and defects to be f ound in almost every a e i r en a e llbele ed a e p g , h s f i ds h v sti i v th t th y ossessed a oeticalori inali mer ed p p g ty , which it ” e e The a e som r spite from oblivion . it liciz d phrases (which were o f c o urse n ot so italiciz ed in the o riginal) were exactly of the type to o e ee the so o f a a ff nd d ply ul Bl ke . Bl ke was e e o s o s o f his e s ma e o f re v r c n ci u g niu , i p ti nt s a o em o s o f a me o s a e tr int , c nt ptu u th t ticul u c r and o s a a s the e se o f o e p li h th t m rk v r P p . m o eme a es s a o a s o e I pr v nt m k tr ight r d , h e wr t ” Th a a e o f ea an d l ater in e M rri g H ven H ell , but the cro oked r oads with out improvement ” are the r o ads o f Genius . N owadays we can easily picture the scene o hi e an d a th o t he p et , s prid hurt ngry , e patr n , c o nscious o f his beneficen ce and o ffended at what he must have regarded as the o verweening co n ’ We to o can e e the fiden ce o f his protegé . d t ct n irregularities a d defects that irritated Mathew . We can see that Bl ake h as repetitio ns which a ’ minute s care would have put right In o n e so ng th e j oys are Singing sweet sweet the b oughs perfume the air sweet h e hears a m ournful so ng in another (the o n e already o e s ee he o ams o m e to e qu t d) w t r fr fi ld fi ld , his wings wet with sweet May dews in ” i s ee a e e ea e e another s a w t vill g , r p t d in y t 32 ° B L A K E 69 H I S P O E T R Y a o e as a s e e e n th r th t w et villag , wher my a - e e ma o o a m s bl ck y d id d th dr p a te r . Fr o the e few e am s a n x ple , culled t random a d o ccurring o f n of in but three pages print , we ca see a lack

e a os . a we are e a e to see v rb l curi ity Wh t n bl d , o e e o e ea a e o h w v r , m r cl rly th n Mr Math w c uld i men see, s th at Blake was n ot o n e of th ose wh o ea he s nd e r ch t height by writing a r writing , but th at when he gained p erfect felicity o f dictio n it was fr om his first o riginal inspiratio n . In a number o f his works he altered wo rds here and e e as i e e w e a e at the th r , s vid nt if gl nc apparatus criticus o f the Oxford editio n o f the o m h a e e omth e p e s, but e r r ly d viated fr o m i as f r of h s first initial phr ing , quite clearly h t e result o f sudden inspirati o n . o f a s a o fed om as e a mAnd th t in pir ti n , fr p t lit r ry o e s o me is . The w a d l , this tiny v lu full y in which this yo ung p oet of under twenty h as taken mel o dies and reminiscences fr om earlier writers and transfused them‘ with his own tho ught is “ ” e - Th um w ll nigh marvellous. e Spring , S ” mer so e o e o f ea s an d , Autumn ( r d l nt K t ) , e e s e se Wint r have be n in pired by Sp n r , with o o m ther echo es from Th omso n . Akin t the are ” To th a and To o e Evening St r M rning , es h ma f b ides t e m o re definite I it tion o Spenser . a f F ir Eleno r and Gwin , King o N o rway are a a s n ow the s e o f the b ll d , in tyl graveyard s oo n ow a o f th s o o o f ch l , in th t e ch l barbaric e o sm s m h r i . There are ongs which ight h ave come from plays about the beginning o f the C 33 ° B L A K E 69 H I S P O E T R Y

’ a s seventeenth century . Blind M n Buff is a realistic genre subj ect almost in the style of

s. e e is a a e o f a a a Burn Th r fr gm nt dr m , King ” e Edward the Third , clearly influ nced by Shake ea and a e s o f o se e S p re, s rie pr xtracts derived ” from a keen study of Ossian . e a o e s o e e o Lit r ry m d l , h w ver , hav little t do h e o f a o m d with t e intrinsic b auty p e , an in ’ any case this first v olume is unique in Blake s ’ o as e th o on e w rk , b ing e nly e much influ nced e o is e e r by prec ding p ets . It vid ntly the app en o f tice w rk o the poet , writt en before he had quite fo rmulated his own individual style and e ! m he e utt rance. et , fro t v ry first , Blake was

an abso lute master o f his craft . N othing c ould perfect or better that magnificent invo cation ” To h s s ee e o o t e Mu e , d m d w rthy f inclusio n in ” our Golden Treasury .

TO THE MUSES

’ e on da s s ad Wheth r I h y brow, O e ame s of the as r in th ch b r E t, The ame s of the sun a w ch b r , th t no ’ FrOman cient melody have ceas d ;

h e e ea e e a a r W th r in H v n y w nder f i , O ree o e s of r the g n c rn r the earth, Or the blue regions of the air Where the melodious winds have birth

he he on r s a o s e o e W t r c y t l r ck y r v , Benea the bo somo f the sea th , ’ Wan d ring in many a coral grove ; o Fair Nine, f rsaking Poetry ! 34 ’ B L A K E 69 H I S P O E T R Y

How have you left the ancient love ’ That bards of o ld enj oy d in you ! The languid strings do scarcely move ! ’ The so is forc d e o es ar few und , th n t e !

’ From this we see Blake s idea of c ontemporary l and verse, as from the song My Si ks Fine Array we can trace one o f the ways by which h e would recall it to life again . SONG

s and fine ar a My ilks r y, ’ mles and lan uish d air My s i g , ’ By l ove are driv n away ; And mourn ful lean Despair Brings me yew to deck my grave ; S end e e s a e uch tru lov r h v .

’ His face is fair as heav n When springing buds unfold ; ’ ’ o him as iv n 0 why t w t g , Wh ose heart is wintry cold? ’ ’ ll-w hi His bremast is love s a ors pp d to b, ’ o e ms om Where alll v s pilgri c e.

B me an and a e ring axe sp d , Bring me a winding-sheet ; e m a e a e ma e Wh n I y gr v h v d ,

’ lllie as o as a Then down I , c ld cl y . True love doth pass away !

e e ar a Failures th re are, as th re e f ilures in f llo s the work o a p ets , but in thi , the first fruits ’ f of Blake s genius, there is a little galaxy o 35 ’ B L A K E 69 H I S P O E T R Y

o ms e a so e s o r p e , writt n with b lut preci i n , p e fi rin at o e the e e so s o f o e e gu g nc g ntl r ng inn c nc , d e e e a s s T an th ir t rribl n wer o f exp erience . he ‘ oe e is e e the es as w e saw p tic f licity h r , r ult , , f s a o T ma e o f a as o sudden in pir ti n . he i g ry th t l t stanza o f Gwin

’ ’ m o to o the at hme Fro t w r t w r w c n cry, O the son of o e , Gwin, N r , r s se the at o s a A ou e thy lf l n i n , bl ck ’ As o ds ome o n o er ! cl u , c r lli g

o e e e e . he M d o c uld hardly b b tt r d Of t a S ng, Pr o fesso r S aintsbury excl aims th at fo r pure verse effect there are few pieces in English or in any other l anguage to beat this marvell o us ” o ea e are he i thing . N tic bl in it t skilful subst f e an d the o mo o o f tution o fe t , m o d , pre nit ry ’ m Blake s later visio nary te p er .

MAD SONG

Th e s ee wild wind w p, And the night is a-cold ome h t e S ee C i h r, l p , And my griefs unfold But 10 l the morning peeps O e e eas e s ee s v r th t rn t p , And th e rustling beds o f dawn Th e eart r h do sco n .

Lo to the vault O a e ea e f p v d h v n , With sorrow fraught My notes are driven : ° A K E 69 H I S P O E T R

h i e th ear f T ey str k e o night, Make weep the eyes of day ; ma mad h ar i s Th ey ke t e ro ing w nd , An d th emests a wi t p pl y .

e a e a Lik fi nd in cloud, With howling woe After night I do crowd And with night will go ; I tu rn my back to the east ’ Fromwhence comforts have in creas d ; For light doth seize my brain a ai With fr ntic p n .

Even the weaker an d more imitative f as an d Seaso ns betray excellency o phr e, ’ o ne may realize h ow far Blake s genius for e- e o n e a es s a vers ffect extends, when pl c uch comparatively insignificant fragment as that To the Evening Star beside Mr Ro bert ’ Bridges rendering o f it into somewhat artifici al a a lc ics.

’ O er bloomthe frowning front o f awful a a f n eart e Night to gl nce o u hly silv r,

’ s e s a e s ex Mr Bridge writes , rend ring thu Bl k qu isite and unfo rgettable

S ea si e ce t th mme e es p k l n wi h y gli ring y , An as h t s e d w h t e dusk wi h ilv r .

T n s a o a s he o e has p oetic in pir ti n , c rel e s but e e the o e a s e s a a o o f g nuin , th r t“udi d cry t lliz ti n ase o f o e as etrific o ms phr , full th s v t p f r which Blake himself spent allhis lifetime in 37

° B L A K E 69 H I S P O E T R Y

' ’ l Blake s s o o ains gl ories. Thi v lume b th exp fi po etic devel opment an d gives us a mo re illumin ating p ortrait of him in relati o n to his agelthan o e W o w uld otherwis have been p ossible. e kn w “ ” a e from these Po etical Sketches that Bl k , as any m ore than Shakespeare or Shelley , w n ot a The a e m s o f p ure innovator . nci nt triu ph Efi glish song fed his genius and the rhythm of the o s f o e n o ess a a S ng o Inn c nce, l th n th t ” of e sa em o es ea to ea s J ru l , w its b uty rly tudy of o n i o o e as e byg ne, a d in h s age f rg tt n , m t r pieces . M eanwhile we must retu rn to the reco rd ’ his o f a e s e. two ea s a e Bl k lif In 1 784 , y r ft r e i as marriag , with h s brother R obert pupil n me e o -a e e as an d o e Parker , a fo r r f ll w ppr ntic , ’ e e e e - e e o at 2 partn r , h op n d a print s ll r s sh p 7 o a ee a e Br d Str t , a venture which , as might h v ’ ee e was a b n expected fr om o n e o f Blake s calibr , o e e a e We o ai e e c mpl t f ilur . kn w ag n v ry littl o f the details o f his life during this time. His o e o 1 a e br th r R bert died in February 787 , Bl k himself tending him in his illness and watching is so a f r o ea e the h ul , cl pping its hands o j y, l v e o nd The sa e d ad b dy a fly into the h eavens. m o e year the p artnership with Parker was br k n . s me an d f or a ea s a e a e All thi ti , m ny y r ft r , Bl k must h ave been reading heavily in Sweden i d m a o borg an an o ther sch o o ls o f ystic l th ught , the influence o f which is t o be seen in almost all ” f i s o h s works save the P o etical Sketche . A fuller acc ount o f the symbo lic and phil oso phical 39 ° B L A K E 69 H I S P O E T R Y

ideas which h e ev o lved fo r himself o ut of that a ea e a mo e study we my l v until l ter . Much r ’ imp o rtant for the moment is Bl ake s disc o very f me o f o a unique th o d printing . m we are o a the se e o f By J . T . S ith t ld th t cr t this pro cess was revealed to Blake in a visio n of his ea o e o e a o a ma d d br th r R b rt , lth ugh in nu s o f the a e o f a o 1 8 s a cript d t b ut 7 3 , An I l nd in ” h o o w e a a ea a e had e t e M n , find th t lr dy Bl k b e n o e Th r c nt mpl ating some such plan . e truth pe a s is a o e ea mes th e oe who h p th t fr m v ry rly ti p t , was a so an a s h ad ee me a som l rti t , b n dit ting e means wh ereby he might repro duce his own o s hi o wn e e o s a e w rk , by s x rti n , un id d by critical o o r o mme a s e an d a a o patr n c rci l publi h r , th t b ut 1 788 th e p articular inventio n c ame to him in a W e are o a e flash o f inspirati o n . t ld th t wh n it did c ome t o himhe an d his wife h ad but h alf a t o On e s n d cr own in he wh ole w rld . hilling a tenp ence o f that h alf - crown went to buy the

ma e a s . e a e set to o necessary t ri l Th n Bl k w rk . In simpl e wo rds th e inventi on c o nsisted in the writing ( in reversed l etters) o f the p o ems an d in the drawing o f th e illustrative sketches o n a e se e a o f a c opper plate , th ink u d b ing kind v rnish T o e e impervi ous t o acid . he wh l pl at was then e a a o s an d the a s n ot a co at d with qu f rti , p rt dr wn o r o n e o o e a a ea written w re c rr d d w y , l ving in o relief the wo rds an d th e illustrati o ns . Fr m e e e a e and these plat s prints w re th n t k n , the - o e e o f a drawings hand co l ur d by wash s p int . All ’ o f e s oems sa the o e a e e Blak p , ve P tic l Sk tch s 40 ° B L A K E 69 H I S P O E T R Y

” an d T e s ro he French Revoluti on , w re thu p

du ced. Obvi o usly this pro cess has b oth advantages and sa a a es s f an e di dv nt g . It all ow o intim at e a o s e e o n d es th o r l ti n hip b tw en w rd a d ign , e wh le f orming a p erfect an d uniqu e piece o f c ombined art me e e a a o ff- . It ans that ach s p r te print will ea t n ma f e b r i s ow rk o individuality . C rtainly ’ n o tw o c o pies o f any o f Bl ake s vo lumes are e se e e e h e o e om e pr ci ly alik . It reli v s t p t fr th necessity o f seeking p ainfully an d p erh aps in a f r f i the o e v in o a publisher o h s wares . On th r a mea s a the oe is a e t o a e h nd , it n th t p t bl lt r , a s ose or e e se a a a es o f hi oe s tr n p , d l te p r te p g s p m as he a es e n o ea the ase c r , a dang r t very gr t in c o f o n e o f ass e a a mos cl ical t ndencies, but fat l l t ’ for o o f m o n ecessi a p et Blake s i petu sity . It a es t oo a e a o th e o mes t t , , v ry sc nty pr ductivity , v lu being issued rather t o o rder than for general ’ sa le. This p artly explains Blake s iso lated p o si o amo hi e - n d a so the a ti n ng s f llow wo rkers , a l f ct that few o f his o riginal v o lumes are n ow in e s e f n d f xi t nce . Of the S o ngs o Inno cence a o Experience there are under thirty c opies known : o f J erusal em an d Ah an ia but ’ on e e o ms e e e ach . Until Bl ake s p e w r print d c o ldly in typ e there was n o h o pe th at h e would o me o r o a a o w e ms gr w in fa in p pul rity , lth ugh u t ever remember that th e c omp o site arts o f the ’ artist s o w n vo lumes bring to us finer emo ti o ns than do the p o ems as th ey are printed in o ur own e tim s. 4 1 ° B L A K E 69 H I S P O E T R Y

The lab o ur which the pro ducti o n o f these v olumes entailed is hinted at in a lett er dated 1 2 1 82 an sse o eo me April , 7 , d addre d t G rge Cu b r

a . ! o u are es o s o es l nd “ d ir u , I kn w , writ a e o Bl k , t disp ose o f some of my wo rks, but a o e m f all a e e h ving n n re aining o I h v print d , I a o e a o am c nn t print m ore exc pt at great l ss. I now painting a set o f the S o ngs o f Inno cence n a d Experience for a friend at ten guineas . The l ast wo rk I pro duced is a p oem entitled e sa e th e o o f the a o J ru l m , Emanati n Gi nt Albi n , but find th at t o print it will c ost my time the o f n s e am unt o twenty guineas . O e I h ave fini h d , but it is n ot likely I shall find a customer for A m o o a s the it . s you wish e t send y u li t with es e pric , th y are as fo ll ows

America Europe ’ s ons et c. Vi i , The! Songs of Innocence and Experi ence Urizen The first po etic fruits“o f this n ew disc overy was the o e a e o s of o e e v lum c ll d S ng Inn c nc , e 1 8 fi ea s a e a print d in 7 9, which , ve y r ft rw rd , in 1 was o o o f Ex ri 794 , f llowed by the S ngs pe ” o h o ence . Th se five years separating t e tw wo rks were truly five years o i exp erience for I a e the mes r o ose Bl k , but two little v olu a e s cl ly b ound to one another in plan and in substance 42 ° B L A K E 69 H I S P O E T R Y

e h that they must be treat d to gether . In t e main the vari o us songs c o ntained in these tw o collec e e a s ti o ns ar writt n in p ir , a so ng o f inno cence o es o to a so of e e e s c rr p nding ng xp rienc , but thi oes n ot e e e a s the e Th d ntir ly xh u t s ries. To e ’ ‘ ” Lamb c o rresp onds The Tiger to the Infant ” “ ’ o o J oy, Infant S rr w to the Nurse s S o ng ’ ’ o f o e e the se o f Ex eri Inn c nc , Nur s S ng o p ” ee llh ea f o ence. Ind d , a t e rlier so ngs o Inn n cence have been , with o e o r two excepti ons, r copied , o rather c ontrasted in the later p o ems , “, with the additi o n in the S o ngs o f Experience of a number o f verses for which there is n o co rrespo nding prototype in the vo lume o f 1 789. The p oems o f these two small vo lumes c omp are as they Sh ould with th ose o f the P o etical ” es e e n n h sa e Sketch . Th y xhibit , at o e a d t e m i e e a a a e s s of the oe e s t m , id ntic l ch r ct ri tic p tic g niu and a gradual and general devel o pment in p oetic o e e is eas e e me o es p w r . Th ir rhythm i r , th ir l di , e eas es are o e s e a ll the th ir m ur , m r ubtl th n a but es the ea e o me e e s os very b t in rli r v lu . Th r i l t lla em a a s s he mos a tt pt t tr n l atio n , ave in t t a T r n e gener l way. he wo rds a e ot eighte nth e e e are e a e a e c ntury , but n ith r th y Eliz b th n . Th y ’ re a e s own n ow a Bl k , . ’ Blake s earlier genius is here seen at its best The two c o ntrary States of the Human S oul e —for he w as n ot as e f suit d him , inde d ew lyric oe re ee s o o o f a e p ts a , a d p p ych l gist the soul . Bl k ea e eme a s o s an d ee and ro d lt in l nt l vi i n , , d p p o are a o f his e f und as m ny em oti ons, he rar ly 43 ° B L A K E 69 H I S P O E T R Y searched subtly into the rarer manifestatio ns o f He w as o o s o r ad : h the spirit . j y u s under t e rigid rule o f Urizen (law an d reason) or the an archic on e o f L o s (inspirati o n an d freedom) ’ within Val a s veils (the dec eits o f sense) o r in the tender b osom o f J erusalem(th e realmo f th e 1 S o s o f msman d so s o f ess pirit) . S ng Opti i ng P i msm e m a e ee a e —so s o f i , th y ight h v b —n c ll d ng M elanch oly an d so ngs o f J oy the o n e breathing o an o e a ess o a o f the f rth inn c nt h ppin , ign r nt n d e d evils o f the wo rld a se ing Go everywh ere, n d h o s s o e e th ea e a t e sec nd , di illu i n d , vi wing e cr t d ’ e e n o as e e as ome o f e s a univ rs , t Sh ll y s v t d lif t in h a a o f e e s a ing t e white r di nce t rnity , but a a d rk bl o t shutting off the sunlight fr o m a despairing ma hu nity .

HOL! THURSDA! F

’ as on a s a e r i e Tw Holy Thur d y, th i nnoc nt faces ea cl n, The e a i two and two red and childr n w lk ng , in , and ree blue, g n , ’ e - ea e ea les a e o e an s Gr y h d d b d w lk d b f r , with w d ite as s o as wh n w, ’ Till into th e high dome o f Paul s they like ’ at rs flo Thames w e w.

’ a m tit de e seemd these o e s o f 0 what ul u th y , fl w r Londo n t own ! Seated in comp anies they sit with radiance all r wn thei o .

’ B e 3 mb c e fi see . 0 For lak sy oli gur s , pp 7 ff . From Songs of Inn ocence ° B L A K E 69 H I S P O E T R Y

he humo f ml es was e e m tu es T u titud th r , but ulti d of ams l b , Thousands of little boys and girls raising th eir s inn ocent hand .

Now like a mighty wind they rai se to Heaven the o e of so v ic ng, Or like harmo nious th underings the seats of

Heaven among . Be eat m i a d men se a a s n h the s t the ge , wi gu rdi n of the poor e u e an an m Th n cherish pity , lest yo driv gel fro

your door.

le a a o 1 So Bl ake sang , t us s y, b ut 785. In 1 794 the s o see e e e e ame visi n , n with diff r nt y s, called o m o f e oa and of es a f rth o nly a hy n r pr ch d p ir .

HOL! THURSDA! 1

Is this a ho ly thing to see a and a In rich fruitful l nd, ’ Ba reduc d to mse bes i ry, c F ed with cold and usurous hand?

Is that trembling cry a so ng Can it be a so ng of j oy ? And so many children po or It is a lan d of poverty !

e sun o es e e S n e And th ir d n v r hi , e r e s are ea and And th i fi ld bl k bare, ’ And their ways are filld with thorns is e e al e e e It t rn wint r th r .

o Son of Ex e ience Fr m gs p r . 45

° B L A K E 69 H I S P O E T R Y

me a a So I sang the sa g in, i o Wh le he wept with j y to hear.

e sit ee o and r e Pip r, th d wn w it ” a o t a allma a In bo k, h t y re d. ' So h e van ish d frommy Sight ; ’ luckd a o o eed And I p h ll w r ,

An d ma e a a en I d rur l p , th a e lea And I stained e w t r c r, And I wro te my happy songs i a Every ch ld my j oy to hear .

I is he o e e o o f so and t t child h w v r , y uthful ul n ot necessarily yo uthful o f Bod Will0

~ _ F o r e tok ltemn, o s e e is t , d pit th ir e e a e an d e e s m n ot t nd r gr “c th ir childlik i plicity , even the S o ngs o f Inno cence will charm f t o entirely the heart o ex remest y uth . That a o es o to the o and the ch rm , c m nly y uthful s o of o ho e in se re- ea o s vi i nary s ul , w se the cr ti n of a o e A e an a e o f i o e e ma es a G ld n g , g nn c nc nif t W A “ma may repeat

e am h m e hee ? Littl L b , w o ad t D ost thou know who made thee

d gain therefrom childish pleasu re : but in ti alit the o h of the oe can be e y , full w rt p m f lt only by the aged in wisdom who return to the e a d s m emo d lic te an i ple tions , subtly enunciated , contained in that p o em and in allthe other ” oe s o f o e e p ms of the Song Inn c nc . 47 ° B L A K E 69 H I S P O E T R Y

There is this p eculiar p aradox in these S ongs ” an d o f e e e a o o f Inno cence Exp ri nc , th t , th ugh ’ e s a o o a e s hiloso o f e th y h d w f rth Bl k h lif , their rhythm an d wording are the Simplest a oss o be ma No th t p ibly c uld i gined . he vy a or o s e r 1 l den mystic w rd m et ou eyes. he ’ ases so as o e as a a e phr und inn c nt child s l ught r , f

meaning. u INFANT JOY

I have no name ; am ut o a s old I b tw d y . Wh at shall I call thee ? 1 a am h ppy . i am J oy s my n e. Sweet j oy befall thee

Pretty J oy o o a Sweet J y, but tw d ys Sweet J oy I call thee os smi e Thou d t l , I sing the while Sweet j oy befall thee

pro We e so e es a o e fo und art . ar m tim nn y d yet by ’ — ’ Bl ake s insistence o n a singl e wo—rd as sweet 3/ in this or in The Shepherd but we“fo rgive it n ow e e mo e ea a the o -f , v n r r dily th n in P etical ” e es e a se o f the e e s m ! Sk tch , b c u p rf ct i plicity o f o a ss a a ess a i / y uthful h ppine , h ppin th t s o nly int“ensified by the bitter terro r o f its c o unterpart in Experience 48 ° B L A K E 69 H I S P O E T R Y

’ INFANT SORROW

’ mothe roan d m at e e My r g , y f h r w pt, o the a e o s or ea t Int d ng r u w ld I l p , e ess a e i H lpl , n k d, pip ng loud, i e a e in a o L k fi nd hid cl ud.

’ S n in m at e s an s truggli g y f h r h d , St i a a s m s a a s riv ng g in t y w ddling b nd , Bo and e t o t es und w ary, I h ugh b t ’ o mot r s as T sulk upon my he bre t.

ese tw o a os e es the two o o s con Th tm ph r , m d , trarxfi amn u he hunw ah an d it W ives beauty an d value o k t h o o f B t 3“; w rk Q QL he One- a

f th er. ittern o o h gu t the . o a b ess l ving t gh , ean d o f o em e tiv c nd ning prid .

To e t ea e an d o e M rcy , Pi y , P c , L v Allpray in their distress ; And to these virtues o f delight 1 Re t e a ess turn h ir th nkfuln .

e n d e e e he sang in the earli r b o o k , a th n , in a fi rc o f a e and o f o o all ese e e fury h tr d h rr r , th t nd r a es se me to him o e o qu liti e d n thing but vil , hyp critical an d serpent - like in th eir luring p ower :

Pity would be n o more If we did n ot make somebody poor And M ercy no more could be z all If were as happy as we.

the o ne a is o e an d o n the On h nd purity , truth , l v , o e os sam f an d th r th e e qualities o purity , truth ,

a H 1 The D v n I e The H n Ab t ct i i e mag . uma s ra . 49 ° B L A K E 69 H I S P O E T R Y

me o a e s e e a e l o ve transf o r d int g nt dir ctly—n g tiv an d directly ant ago nistic t o themselves charity

o f mse o f o ess o . a thing b o rn i ry , pity ppr i n By understanding something o f this phil o m the so o f a e Sophy which was fo r ing in ul Bl k , we are enabled to see mo re clearly the symb o lic M oseW “ o The am an d Th e e . co llectio ns, L b Tig r e ee be a e as mo o es res ec Th y, ind d , might t k n tt p ’ tively of the two b o oks LLike most o f Blake s early e s e s e a s o f as a o s po m , th ir fini h d rti try phr ing ll w themto be read with delight even if we do n ot L care to sto p and c o nsider their expressio n o f ’ Bl ake s phil osophy ; but for a true realizatio n o f thei f o rce they must be cl o sely co nnected with the other p o ems that go al o ng with th emas well b as with the p eculiar systemo f phil o sophy an d of s mo o es as w e s B y b lic f rc which , hall see, lake at this very time was evo lving fo r himself o ut o f his ea o f the m s r ding ystic .

THE LAMB

i e am who ma e t ee ? L ttl L b , d h Dost thou know who made thee ? a e hee ife and ee G v t l , bid th feed, ’ By the streaman d o er the mead ; a e t ee c ot o f e h G v h l hing d lig t, So test othi o o r f cl ng, w lly , b ight ; a e t ee s ch a te e o G v h u nd r v ice, Making allthe vales rej oice ? tt e am who m Li l L b , ade th ee ? Dost th ou know who made thee ° B L A K E 69 H I S P O E

’ l m e ee Litt e La b , I ll t ll th ; ’ e am e ee Littl L b , I ll t ll th : lld th ame He is ca é by y n , r H e a s mse a am Fo c ll Hi lf L b . mee an d He is m He is k , ild ; am a tt He b ec e li le child. a an d o a am I child , th u l b , ar a his am We e c lled by n e. e am Go d ess t ee ! Littl L b , bl h am God ess t ee ! Little L b , bl h

THE TIGER

Tiger ! Tiger ! burning bright Inthe o es s o f t e t f r t h nigh , What immortal hand o r eye Could frame thy fearful symmetry ?

In what distant deeps o r skies Burnt the fire of th ine eyes On what wings dare h e aspire What the hand dare seize the fire ?

a s o e an d a art And wh t h uld r, wh t , Could twist the sinews o f thy heart ? e ea e a to eat And wh n thy h rt b g n b , What dread hand ?and what dread feet ?

What the hammer ?what the chain ? In what furnace was thy brain ? What the anvil ?what dread grasp D are its deadly terro rs clasp

ow e s ears When the stars threw d n th ir p , ’ a e it h e ears And water d he v n w h t ir t , Did he smile his wo rk to see Did h e who made th e Lamb make thee S I ° B L A K E 69 H I S P O E T R Y

Tiger ! Tiger ! burning bright ts of the h In the fores nig t, What immortal hand o r eye Dare frame thy fearful symmetry

Such is th e intellectual an d emoti onal c o ntent re ealin in e se a e e o f these b o oks, v g lyric v r wh t w r ’ to be the twp great c o nflicting ideas in Blake s me a o ose eas are l ater devel o p nt , lth ugh th id but i ee hazily sketched o ut at this stage in h s car r . Mr Ellis calculated that Blake fo rmed his symb olic systembetween the years 1 788 an d 1 0 just the very years that lie b etween 79 , “ e e No r oes s Inn o cence an d Experi nc . d thi first era o f definite symb o lismharm the p oetic ’

f e so s . sa s Swin c o ntent o even the lat r ng If , y e the o s of o e e a e the burn , if S ng Inn c nc h v S a e an d sme o f ea es an d o f s ese the h p ll l v bud , th [

‘ S o ngs o f Experience have in them th e light an d so o f fire or the sea — e und a sent nce which , _ _ e we EOnS ider ose ems o o wh n it cl ly , se pr f und mea th e o t o with ning . In Intr ducti o n Ex ’ perien ce an d in Earth s Answer we are first met with ideas we canno t fath omunless we h ave the key wherewith to unl o ck the fl o o d- gate o f ese ee ess a e s et a k r th p rl w t r y , h ving that ey, ou j oy and our admiratio n must be increased an e hundr dfold . In the P oetical Sketches we a e S e s : s h v pl ndid lyric lyric , h owever , n ot dis ’ tin ctively Bl ake s own in the matter o f fo rmo r wo rds . In Inn o cence we h ave his first free e ess o o f e a o e w o xpr i n lif , h rdly tr ubl d ith phil so sa e a few se e es phy , v in nt nc , in a few ideas 52 ° B L A K E 69 H I S P O E T R Y

e e o n Ex eri half hidd n in childlik th ught . I p ence his kn ow! an d his wisdomh ave Iru ft o f o e bea n p try , ri g

11 e e e t o o we o me o Exp ri nc , , c up n a ” ma e a s o e e as w e saw tur r rti t . In Inn c nc , , th oe s e a e s m t o the m e n d e p t li p d , t lk d i ply hu bl a f e e h e s ea m the childlike o heart . H r p ks o re e e e o o se old s om h d lib rat ly t th in wi d , w o h ave el e 5 as an exi e ea s f t lif rn , fo r an antique h ome o f SW o m ese tw o e o e o mes le fr th w ll kn wn littl v lu , t me quote just o ne mo re p oemfromth e S o ngs ” o f Experience.

AH SUN -FLOWER

un -flower ear o f time Ah , S ! w y , Wh o countest th e steps o f the sun ; See i a e t a s ee o e ime k ng ft r h t w t g ld n cl , ’ Where th e traveller s j ourney is done ;

e e th e o t i e a a th es Wh r Y u h p n d w y wi d ire, the a e ir i s ro de s o And p l V g n h u d in n w, ri ro mthei ra es an d as ir A se f r g v , p e re m un -flower is es to o Wh e y S w h g .

I do n o t intend at present to enter into the full mo smof a oem we ma o e a sy b li th t p , but y n t th t i o o f symbolismit is full . It s t be linked cl osely 53

° B L A K E 69 H I S P O E T R Y

o mo e o f s o a o f po litics, th ught r vi i n ry than actual c o nditi o ns in a life which he came to ea i regard as wo rse than d th , but it s refreshing im his ea e ea s an e s as to find h , in rli r y r , nthu i t who c ould leave his c o l o urs an d his plates to m e men an d s a e e so o s e ingl with h r th ir rr w , th ir s n d e es es is aspiratio n , a th ir d ir . It all owed t o th e a e t o see se s o i art e e e n ot g d k clu i n n r v ri , but h f ea or o f o to t e yo uthful o h rt b dy . William Blake was n ot the man to stand idle wh en any s e o r a he o was s inju tic , wh t th ught inju tice , was him He was to o e to m around . fi ry re ain a passive o nl o oker at any great event in pro gress h near H e was «11 w t e 1 and e French 33 1 01111101 , wh n even the Mary Wo llstonecraft an d WilliamG odwin circle h e ’ met at th e publish er J o hnso n s were afraid to o e e ea s t o o o e h e s e v ic th ir id l p nly , ri k d lynching by wearing a cap o f liberty o n his h ead an d by styling himself everywhere a son o f the Revolu o His fin e e ses Th e e Re o lu ti n . v r in Fr nch v 1 tio n were inspired an d inflamed by th e events h aw e e o o n the o e e s d v l ping C ntin nt .

THE FRENCH REVOLUTI ON Fo r the Commo ns convene in the Hall of th e i an e a s the Nat o n . Fr c Sh ke ! And heavens of Fran ce ’ P erplex d vibrate round each careful countenance Darkn ess o f old times around th em te s o es a S a o ar s h Ut r l ud d p ir, h d wing P i ; er grey o e s oa and th e Bast e trem e t w r gr n, ill bl s. 106 See p . . 55 ° B L A K E 69 H I S P O E T R Y

r th e o er o sto o ar In its terrible towe s G v n r d, in d k ’ fogs list n ing the h orror ; is so iers o ld e e ans o f a e A th ousand h ld , v t r Fr nc ,

breathing red clouds o f power and dominion . ’ S iz ith o i s es a r and a udden se d w h wl ng , d p i , bl ck ’ talkd i e a io omto e i ht h e s n g , l k l n fr w r To tower ; his h owlings were h eard in th e Louvre ; ’ fromcourt to court restless h e dragg d ’ His stro ng limbs fromcourt to court cu rs d the ’ me un u elld fierce tor nt q , H owling and giving th e dark command ; in his sto o th e r e a e soul d pu pl pl gu , ’ his ro ma ac es an d ie i t o the Tugging i n n l , p rc ng hr e e to ers ar and sic s v n w d k kly , ’ r Panting over the priso ners like a wolf go g d. ’ And the den namd H orror held a man ’ Chain d hand an d fo ot ; round his neck an iro n an o to th e imre a e a b d, b und p gn bl w ll ; ’ In his soul was th e serpent coild round in his eart rom th e as in a e t h , hid f light, cl f ro ck : ’ th e man was confin d f r a r ti And o w i ng prophetic . ’ In the tower namd D arkness was a man ’ P in ion d ow to th e sto e oo h d n n fl r, is strong ’ b ones scarce cover d with sinews ; th e iron rings ’ ’ Were forg d smaller as th e flesh decay d ; a mask o f iro n on his face h id th e lineaments O a c e t i s and the ow f f n i n K ng , fr n o the eternal o was romth e o resse e li n hid f pp d arth .

But the dens Sh o ok an d trembled : th e prisoners o o an d assa to s o t h e ste l k up y h u ; t y li n , e a h th e isma den t e ar S e Th n l ug in d l , h n e il nt ; an d a a s o ar light w lk r und the d k towers. 56 ° B L A K E 69 H I S P O E T R Y

For the Commo ns co nvene in the Hall of the Natio n like spirits o f fire in the beautiful o r hes o f the Sun to a t ea t the ese P c , pl n b u y in d rt r i a ss h e eam c av ng by , t y gl On the anxious city : allchildren new -born first e o t emtears are fled b h ld h , , eart - reathi s ms So And they nestle in h b ng b o o . h t o f ar s their i es and c i dre t e ci y P i , w v h l n, h mr i Se at and s o s o f Lo ok up to t e o n ng n e, vi i n r o a e si e streets so r w le ve p n v .

a h e e e o o h ow E arlier th n t Fr nch R v luti n , e e a e h ad ee a s e e o f o a v r , Bl k b n in c n p pul r r1sm 1 80 a s o u t o f the o o up g. In 7 , ri ing G rd n o s a as o o se o f eo e a o Ri t , v t c nc ur p pl , h wling , mob a a e the amo s so sh o uting , tt ck d inf u pri n f a e o e o its a e s and e o Newg t , br k d wn b rri r , lib 1 s e s u S rated th e c o nvicts within . Gilchri t t ll that Blake w as caught in the surging mass and carried f o rward in its fro nt rank t o wit e o o f the so N o ness the d structi n pri n . w , in h s e o ne can e e a es a e o t e fir t pl ac , g n r lly c p fr m o o n e a a a s to do o a cr wd if p rticul rly w nt s , o n e e a o es n o t ee o and, seco ndly , c rt inly d n d t stay in the vangu ard o f a triumph ant mo b unless ’ o n e o a e o ne keeps there by o ne s w xerti ns . Bl k h ad very pro bably mo re to do with the break ing o f th e great wall s o f N ewgate Stones o f L a h e a e em a e aw , as we sh ll find c ll d th l t r o ess o r e o f On e than Gilchrist will c nf kn w . mo a e om o e e o f his a a e can al st v r , fr kn wl dg ch r ct r , n o a ass e o o o e an ase that he was t p iv nl k r , in y c .

1 A G ch t The L e 1lli B W am a e. . il ris , if of l k 57 ° B L A K E 69 H I S P O E T R Y

ms a es we o h e was In particular circu t nc , kn w , 1 2 h e a e n ot inclined to remain still . In 79 w rn d wh o had s s e th e se o o me Paine, ju t publi h d c nd v lu ” f Man t o flee to a e . o f his Rights o , Fr nc Paine accepted the advice and managed t o es escap e the English p o lice by twenty minut . In the same year Bl ake defended a p o o r circus b oy - i m e a e w as e at ill treated by h s ast r . Bl k th n ee e he had emo e om 2 8Po l and Str t , whith r r v d fr ’ e -S o an d Astle s his n ow abandon d print h p , y Circus w as o ccupying an adj o ining piece o f ’ Th S a e o a e s ground . e ight th t dr w f rth Bl k indignatio n was a b oy h o bblin—g ab o ut with a log o f wo o d chained t o his leg a punishment ’ Th o me — e for misbehavi o ur . e p et s te p r n ver — s a e to o tranquil in t ntly fir d . He went o ver s a t a o the mas e a se a tr igh w y , f und t r b nt , har ngu ed a o o f s a e a s an d o h o cr wd circu tt nd nt , g t t e b y ’ o n m set l o se. In a hour s ti e Mr Astley himself ’ arrived at Blake s do o r and w as ush ered in by r T the trembling M s Blake. he tw o men almost ’ ame t o o s a s c bl w , but th nk to Blake s el o quence ma e o r — o r t o his nn—r to his co nvictio n prob ably to allthree when the time came for the proprieto r to depart he did so in allgo o dwill and e ms o f es e an d e in t r r p ct fri ndship . Blake had a e his o c rri d p int . ’ Such are the m ost n otabl e reco rds o f Blake s ” a a e e e o f the s esse ctu l d f nc di tr d , an d pr ob a the os e es o f em lla bly m t int r ting th a , lth ough the saving of TomPaine has a far greater his toricalmo a e was i p rt nc , this l atter case o f freeing 58 ° B L A K E 69 H I S P O E T R Y a bo oma s e es of s a s o e W y fr p ci l vi h t rtur . e seemnearer to Blake after reading that : we m ea e t oo to see n r r , , a true understanding o f his o ems p . ’ All thro ugh Blake s writings are scattered his e e ee omhis a e o f O e s o n f b li f in fr d , h tr d ppr s i n a d o se a a e o f e a e a e hi n mi ry c p bl b ing ll vi t d , s so cial a d the a o se se f he p olitical o utbursts. In n rr w n o t o o f o se o s n ot e es a e w rd , c ur , p litic did int r t Bl k n H a e m o e straw . e disreg rd d de ago gues as o h o s f much as he ign red t e H u es o Parliament . His e a es are alla se a o e the me e .utt r nc r i d b v r p arty partisanship which distingu ish es o rdinary

o s . e e is o n e o e e p litic Th r thing , h w v r , which must never be l o st sight o f in any examinati on ’ o f a e s eas an d a is the e a wa Bl k id , th t , p culi r y e so a so a an d s o eo es in which p r n l , ci l , vi i nary th ri e ame m e his o so he b c ingl d in phil phy . What h eld in c ontempt as a man he c ondemned in so a e an d o eme o o i s a es a ci l lif , c nd n d , t , t m nif t o s a e - o s o f hi ma a o ese ti n in ft r w rld s i gin ti n . Th ee e e s o r a es can e o se e all thr l ment , pl n , b b rv d in his eas o mth mo e e o th e os id , fr e st g n ral t m t e a e a e fo r s oso d t il d . Bl k , in tance , was a phil phic revo lutio nary : an d his revo luti o nary enthu iasmo o th e ee o ms o f e so a e ess s t k thr f r , p r n l r dr o f o s o f o a ea s nd o f mo a ing wr ng , s ci l id l , a r l ’ principl es which plunged deep into man s religious and supermundane instincts an d e e s H w an wh e an b li f . e as artist o paint d in a llmen a s individu l manner , who desired a rti ts , and who came to loo k up o n every beautiful idea 59 ° B L A K E 69 H I S P O E T R Y as a manifestati o n o f th e e sthetically creative principle o f th e universe. a a w e th e so e o f all In art , n tur lly , find urc ’ e s Blake s p ower an d strength . Ev ry ingl e fibre he ea e s o f him thrilled with t cr tiv in tinct . ' o s e e ass me f o r him Religi on , p litic , v rything u d ' f r es s the hu e and th e teno ur o a t . J u thus became fo r himth e supreme artist -typ e who received the spirit o f inspirati o n in the fo rmo f ’ i o s e e e o s . H s a s a the H o ly Gh t p tl w r , in Bl ke s ” ll s e s a a s . e own wo rd , rti t Ev n wh n h e p ainted Th e Last Judgment that event begame n ot o f s e s or o f sa s o f a thing , inn r int , but artists “ ” and o f s es. s h e sa s phili tin Thu , y , my e is a s o o f art an d s e e th e o pictur hi t ry ci nc , f unda o o f so e is ma ti n ci ty , which Hu nity itself . What are the gifts o f the Spirit but mental gifts ? When any individual rej ects err o r an d embraces as me truth , a L t Judg nt passes up o n th at in divi ” a . o a a e an d omsoe er ma du l B n p rt , v it y ” o e he em c nc rn , r inds that it is n ot the arts a o o an d a e o m e m e th t f ll w tt nd up n E pir , but E pir ” a a e s o an d o th t tt nd up n f ll ows arts . He believed that ou r public buildings sh ould be dec orated so th at Engl and might b ecome what Italy is an envied sto reh o use o f intellectu al ” es. He o e as we a e a e rich w v , h v lr ady seen , his p oems int o h armo ni es o f illustrative fo rm an d co l o ur an d seemed t o desire o u r daily life t o b e brightened by the co ntinu al o bservance o f ea s i b utiful thing . H s h ero in th e l ater mythic o e es was L os pr ph ci , the Spirit o f inspiring 60 ° B L A K E 69 H I S P O E T R Y

s as was at he and inspired p oetry , wh o e t k it t last day to ar ouse th e slumbro us form of mankind by the fires an d th e furies o f his emotio n . ’ Tw o o ther main tendencies o f Blake s mind tendencies which are also o f prime imp ortance f or an understanding b oth o f his character an d o f i — ee o e h s phil oso phy have already b n c nsider d . Th o se tw o tendencies we have called individu n m m r a a N a alisma d antino ianis o n rchy . ot th t Bl ake w as an individualist in th e l ower sense o f th e o a a e t o a man wh o es es for w rd , s ppli d d ir ' himself allthe riches o f the wo rld an d lets the

' es o a e e e af e th e e eas r t g st rv . N v r flu nt in v ry l t , wa h e e a sma o omat o a o y, di d in ll r F unt in C urt , an o e a Strand , with barely unbr k n ch ir in it , o om o a me e a es was a r , h wever , which P l r d cl r made by his geniality and his genius m o re ’ e e o o f es a e attractiv than the thr sh ld princ . Bl k ma e o for mse e and de nd d n thing hi lf but lib rty , he e o n e e e He w as n that gave freely to very ls . a a oma a s e e e es o as ntin i n , di b li v r in rul , in c ntr t ’ f e s to an ego ist who thinks o nly o himself . Blak o nly hatreds were fo r th o se wh o hindered the He a e his a e devel o pment of others . h t d l t r a o a e e a se a e h ad e t o a p tr n H yl y , b c u H yl y tri d dr g him away fromthe manifestati o ns o f his own imaginati o n an d fetter himt o th e wheel o f ma o He e e o s e a e classic i it ti n . hat d R yn ld b c us Reyno lds wo uld have fo rced y o ung students t o learn an d to f oll o w rules th at Blake despised . H e h n d e s e hat d t e works of L e Brun a Rub n , 6 1

° B L A K E 69 H I S P O E T R Y o f which they p ass to another in retrogressw n ” o ess . is to ese s a es he e s or in pr gr It th t t , t ll ” 1 e sa em a sin ms be m e us in J ru l , th t u t i put d , e o a s To m e e o o indivi n ver t individu l . i put rr r t als was for a e he e o o f a a h o du , Bl k , t rr r S t n w , e e he o f o e ess os e n gl cting t truth f rgiv n , pr crib s ; a s h o a e e a s a es com individu l w h v , in c rt in t t , i ed sin The e a u e e fo r a e is mtt . tru ttit d th n Bl k the attitude o f the man wh o ignores alto gether the failures and the Sh o rtcomings o f others, an d who all ows themto work out their own salva is n ot he e s us 1 81 0 e a se ti o n . It , t ll in , b c u angels are h o lier than men o r devils that makes ma e s e a se e do n ot e e the ng l , but b c u th y xp ct ” ess omo ne a o e o mGo d o h olin fr n th r , but fr nly . man —To th e height o f this ideal o nly o ne Christ Himself wh en He turned fr oma woman of a tho usand sins the revilings o f His com o s some me seems t mos p ani n . It ti s o us as al t marvell o us h ow Blake escaped fromthe who le-l ‘ sal e c ondemnatio n o f Christianity to which “ n m s ea is Paine a d Shelley succu bed . In t d , it o ne o f the gr eatest pro o fs o f his intellectual clarity that Blake c o uld distinguish so definitely between the Churches and the r eligi o n o f Christ . e e fo r a e at eas o n ot do so Sh ll y , tim l t , c uld , but saw o nly misery an d degradati on in the ex quisitely beautiful ideals of the greatest po et and e i f h dreamer wh o has ev r lived . Blake s o t e oma o f the os es ea e t the e a c p ny Ap tl , n r r o C ntr l e a allo f e sa e e a e o Figur th n th m , v p rch nc J hn o f the a e ose o i own a s Ev ng l . Th wh , in h s d y 63 ° B L A K E 69 H I S P O E T R Y

e e or e e him e e e and in o urs, r vil d r vil w r r viling the Spirit o f Christ . mo the m e a e was m e amo A ng hu bl , Bl k hu bl , ng ’ o He o a o n e s the pro ud , pr ud . c uld h ng childr n a os eam e e o f hi laughter , w tch with th e b ing y s s mo s e a e s a o s o f o e s the t d lic t h d w l v ly thing , but th a h e c ould rise also , in e f ce Of o pp o sitio n o r f m to the es e e s o f eo o co nte pt , high t l v l right us n f s a One o indignatio n a d o di d in . kn ws h ow h e slashed d own th e imp ertinent critic o f Fuseli in “ ” f 1 6 ma The M o nthly Review o 80 . Of Sir Th o s a e e an d allwh o o e a L wr nc , in c nfid nti l circl es, discussed himan d said wh at a pity it was he w as ’ mad h e e e me i , cri d Th y pity , but t s they are o f m th e just o bj ects pity . I p ossess y visi o ns an d m ea e e a e a e e y p c . Th y h v b rt r d their birth ” fo r a mess o f o a e right p tt g , while in on e o ther magnificent an d grandil o quent passage he o ut ero ded e o his o C H H r d in gl ry . an I sp eak with o o ea o em o f s e o s t gr t c nt pt uch f ll w he asked , s ea a a o f s o o p king g in Engli h c nn isseurs . If allthe princes in Euro pe like L o uis ! IV an d a es e e to a o e s o ea s Ch rl I w r p tr niz uch bl ckh d , I , a a e a me a e o Willi m Bl k , nt l princ , w uld dec o ll ate and hang th eir so uls as guilty o f mental high ” easo tr n . ’ Blake s ideas in p o litic s have been but little e o e and a mos he o r pr duc d , l t t nly instance o f wh at may be called internati o nal theories is t o be ’ fo und as a marginal note to the p oet s c o py o f ’ ’ a o s o s T m a a B c n w rk . he dictu th t c ught Blake s attentio n was the on e wh ere the philo so pher 64 ° B L A K E 69 H I S P O E T R Y declares that the increase o f a state must be o a o e e up n f r ign r . It was o ne o f those auth ori a y e s a eme s so e it t ti t t nt , cru l in s reasoning chill , ’ which made Blake s anger fire out o f very co n r ri His a s e a t a ness . n w r w s one we still have ” to o s e . The ease a o f c n id r incr , he s ys, a s a e as o f a man is o a m o me t t , , fr m intern l i pr ve nt or e e a a eme n i m int ll ctu l cquir nt . Ma s i pr oved no t the o f a o r not by hurt n th er . States a e improved at the exp ense o f fo reigners We may be able to pick o ut a few other s ma o a a his o s o r o e i il r p litic l dict in w rk , m r a his ma a a o a o s to o s prob bly , in rgin l nn t ti n w rk ad ea a e so as that he h r d , but Bl k knew th at cial e e e e well as p rso nal r g n rati on was to be sought , m o f s f e n ot by eans Act o Parliam nt , but by d ’ a individual an inner changes in men s he rts. ! et w h o e e a h e ea e h ow a drud b tt r th n r liz d d ily , g ing to il for a livelih o o d imp aired the m o vement o f allintellectu al an d emo tio nal th o ught He saw the tragedy written in the lives o f th o se poo r d h n o a e chil ren w o o a H ly Thursday m rch d , tw o and tw o m e sa e o ms to , in pri univ r liz d unif r , Sing trembling cries befo re th eir c o ld an d e a o H s w the o e usurous ben f ct rs . e a h rribl f men who o ea ea out existence o t il , y r in , y r , r o a da to ee ea for ten o twelve h urs y, k p br d in mo s and who a e n o me to s e their uth , h v ti tir th ir minds to anything higher than the m ost brutal o f o f pl easures. He saw the hideous luxury the rich an d their miserly charity do led ou t in pittances to the po or 65 ° B L A K E 69 H I S P O E T R Y f They compell the P o or to live upo n a crust o bread by soft mild arts : a e e t Th ey reduce th e Man to w nt, th n giv wi h

pomp and ceremony . f The praise of J ehovah is chaunted fromlips o

hunger and thirst .

Alth o ugh these lines have a mo re than half mo e e e e to e e a s as all sy b lic r f r nc t rn l thing , ’ e e e e to o to e a Blake s wo rds h av , th y r f r lit r l We s a e we a a to fact . h ll find , wh n turn g in his a e e are a o f his es actual wo rks , th t th r m ny fin t passages inspired by a realizatio n o f the misery s e e e e o f the p o o r an d th e o ppres ed , but v rywh r m e o me o he e w e shall find th e sa e ph n n n , t int r relati o n an d interdep endence o f the p erso nal ,

n d s mo mo es . Th e s o so cial , a y b lic tiv vi i n in “ ” 1 me a for e am e o f e a e s a es A ric , x pl , lib r t d l v m e e e s a e to e the ari sing fro th ir f tt r , un bl cr dit e n e o e e e ll truth o f th ir w f rtun , b li ving it a but a cruel dreamwhich will vanish when waking mes h s a s mo e e e e co , a y b lic r f r nc to a liberated ma at th e same m nkind , but ti e it canno t be disso ciated fromthe chains that Blake with his own eyes saw shattered in the fall o f Newgate in 8 is e a s o f 1 7 0 . It b c u e this that a knowledge o f ’ Blake s character and o f th e main events in his life is o f so much imp o rtance to us in studying his oe an d hi p try s phil oso phy . ’ This phil o sophy of Bl ake s we may n ow in e o s e a e m bri f w rd nunci t , but first we ust n otice that it varied slightly fr om its incepti on ab out

1 See p . 1 15. 66 ° B L A K E 69 H I S P O E T R Y “ o i s e e e o me a o 1 h 1 790 t t full r d v l p nt b ut 80 0 . T e ’ commentato rs o n Blake s symbo lic system have a mos a a s ea e as a o e o n l t lw y tr t d it f rm d wh le , u o e a e o s changed fr m d c d t decade . M es rs Ellis Y n d e e an d ea s a . e e e t , v n M B rg r , h ave d alt with his eas s wa n ot ea fo r id in thi y, r lizing that Blake, o r s the man wh o as f Ru kin , never alters his o s i e s a a e n d r pini o n s lik t nding w t r , a breeds ep ” h m om h tiles o f t e ind . Fr t e very first to the ’ very l ast th e fo rms o f Blake s symb o lic message T e were ch anging . h o nly three ideas that m ea as e e o se ee o re ained st df t w r th thr initia—l nes we saw running thro ugh allhis wo rk art/ / a o e o o an d o e o o individu lity , br th rh d ( in br th rh d we ma e the S o f ee om y includ pirit fr d ) . All else o f his ideas altered as his life altered from youth to age . A characteristic instance o f this is to be seen in the attitude h e assumes toward angels an d e s 1 0 e he was d vil . In 79 , wh n fresh from a ea of e e o h critical r ding Sw d nb rg , e devel op ed a theory that angels had t o do with r estrictive reaso n : th at H ell h ad to do with energy an d the es o f the oe e s 1 with fir p tic g niu . In 794 this his as we can ee idea was still in mind , s fro m the descripti o n in Euro p e o f the f ounding o f the serpent -temple

Image of infinite S in e e o o s and man m hut up finit r v luti n , beco e an a e ng l , H eaven a mighty circle tu rning : God a tyrant ’ crown d. 67 ° B L A K E 69 H I S P O E T R Y

e e 1 80 e s Ten years later , h ow v r , in 4 , D vil ” me alse e o s e 1 81 0 had beco F R ligi n , whil in , 1 assa e a ea o e a e s as we saw in the p g lr dy qu t d , ng l men an d e s e a se e were h o lier than d vil b c u —th y did n ot expect h o liness fromo ne an oth er that e e e the e e es o f a re en e is to say, th y w r p rf ct typ g rated humanity . Such a direct reversal o f Opinio n is to be . i e o a ma ass o traced to o in h s attitud t w rd hu n p i n . Passio n with Blake was always placed in co n e easo the a trast to the restrictiv r n , but cr ckling fires o f The Marriage o f H eaven and H ell an d o f the Visi o ns o f the D aughters o f Albio n are n ot by any means the same as the calmer flames o f his abnegati o n theo ry in the later o e pr pheci s. ’ W a o e es e e c nn t , th n , d crib Blake s symb o ls for an o n e o o f his m y e p ri d activity . Th ey ust allbe e a e to his o o o a e o r l t d chr n l gic l d vel pment . Albi o n in America has n ot the sam e specialized fo rm as has the Albi o n o f J eru ” sa em o r o s as h l Milt n , ju t t e o ther figures o o n ew eame s a n d b rr w lin nt , ch nge a alter as n ew eas a e his id fluctu t in mind . When we enter ’ Blake s symbo lic worlds we must remember that we are in a realmof infinite ebb an d flow o f e eme so e e ea me , l nts th r l that they lt o one a o e a int n th r , ch nge, and reappear as ckl o ud castles do in the azure depths o f a summer s y. ea o f his s o In tr ting ymb lism , still an other fact

1 See p . 63. 68 ° B L A K E 69 H I S P O E T R Y

s o e m an d s mu t be b rn in ind , thi system is the least part of B1 o n o f mi the and beauty . The syste s but y h s a e-se f r o e t e t g tting o greater , because m r mo a s e es and o a a s We s i p rt nt , c n p rtr y l . mu t ‘ alway s read between the lines o f the pro phecies if we are to distil the secret of their true f n message. There are vast parts o f Blake o o e s o r e e int re t t anyb o dy but there a e others wh r , e e h mo s s emo e es so b n ath t e sy b lic y t , ft ntim unin li r m o ne y iting , e beauties it is o u duty t o ake o se es s a w e o o ma e o me with ur lv , o th t t y b c dwell ers in the magic realmo f sentiment from e o o e which th y t k th ir birth . ’ Blake s symb olic systemwas n ot a thing artificially manufactured in a sho rt perio d o f e was he s o o e a o o f eas tim , but t l w c ncr tiz ti n id a o ne o e s emas a e l id up n anoth r . Thi syst , I h v a e was a ea o es a o e the indic t“d , lr dy f r h d w d in e“arly S ongs o f Inno cence ( 1 789) and in Th f T ea e B o ok o he! of the same y r . In Tiriel it devel o ps al o ng a path n ot fo llowed to an o e o e e The n or Tiriel y c mpl ti n . N ith r ! a ea s a a nd o f he e so s o f pp r g in , a m st o t p r n Tiricl vanish c ompletely after having been e o e o m om the m nti n d o nce in that p e . Fr Visio ns o f the D aughters o f Albi on ( 1 793) t o h The B o o k o f Ah ania a system , t e precurso r of that full devel opment in the three ’ o e o e e is e e its s m es l ng r pr ph ci s, nunciat d in i pl t an d The m o st eas ily understo o d phenomena. ” a e o f a a o f e sa e im g ry V l (c. J ru l m , 69

° B L A K E 69 H I S P O E T R Y

o fire of o o f easo an d p etic ; Uriz en, l rd r n of a s kthe e o mo f s l w ; Of L ava , mild r f r piri a o e an d o f T a mas th e o e a tu l l v ; h r , l v th t m omma e a s c o es fr t ri l thing . Th ese l ast fo ur e sa esse es o mthe o o as th e univ r l nc f r f ur Z , a a o r s mma e a f h a e c rdin l , u riz d , p rt o t e Bl k an system. riz n L h m r h e L o s, U e , uv a , an d Th ar as a e t ’ eternal pr otago nists in Blake s drama o f creati o n f o h and o struggling , t rtured life . It is th ey w o e he a es e a a o f or em es requir t l rg t xpl n ti n , in th li ’ e f all a e o so the secr t o Bl k s phil phy . The s of em o se ame amo fir t th , L os, wh n ng is r h n a is h s f m the Eternals U t o , t e pirit o i agin W m f e e . e a e a a s to eme e o ativ lif h v lw y r b r , he a w e a ea o e a c o urse, t f ct h ve alr dy n t d , th t ’ Blake s ideas an d creati o ns mingle ch aracteris a e omhis own e so omso a tics t k n fr p r n , fr ci l n d omme a s a e e o s s life , a fr t phy ic l r fl cti n . Thu , mo o f m a an d alth o ugh L os is the sy b l i agin ti on “ m se e e he e ome i e fie i pul in t rnity , b c s d nti d with e mo e ma e o an d o th r r t rial figures. In Milt n ” e sa em for s a e L os e omes identi J ru l , in t nc , b c fied with that p oet wh omBlake seems to h ave a me a o e allo e s as e as with th e d ir d mb v th r , w ll g auth o r hi self .

A VISION OF LOS

e Los ear i s in a a me Whil h d ndi tinct fe r, wh t ti I b ound my sandals ’ O to a o ar o e t LOS es e e n, w lk f rw d thr Et rni y, d c nd d to me 7 1 ° B L A K E 69 H I S P O E T R Y

And Lo s behind me stood : a terrible flaming Sun : j ust close Behind my back : I turned round in terror and o beh ld, Los sto od in that fierce glowing fire an d he also ’ sto op d down And bound my sandals in Udan-Adan trembling I sto od ea and e ro s an the Exceedingly with f r t r r, t ding in Vale ’ Of Lambeth : but he kissed me and wish d me al he th . And I b ecame One Man with himarising in my strength ' ’ a e now o e e Lo s Twas too l t t rec d . had enter d into my soul ’ His terrors n ow possess d me whole I arose in

fury an d strength .

I amthat Shadowy Prophet wh o Six Th ousand Years ago e omm sta on in the er a osom S F ll fr y ti Et n l b . ix Th ousand Years ’ finish d e ot im Are . I r turn b h T e and Space m wil obey y l . I in Six Th ousand Years walk up and down for not one Moment O me is os n or one e f S a f Ti l t, Ev nt o p ce unper ma e n nt, But allremain : every fabric o f Six Thousan d Years ’ Rema ns e man e : th o on th i p r nt e Earth, where Satan e and was off allh i F ll , cut , t ngs vanish and are seen n o mo e r , 72 ° B L A K E 69 H I S P O E T R Y

s not omm an d m e we Th ey vani h fr e in , guard d as themfirst an l t . The Generations of Men run on in the tide of me Ti , ’ But leave their destin d lineaments permanent ” o r e e f v r.

So spake Los as we went alo ng to his supreme 1 a e bod .

Elsewhere h e even assumed the divine form o f s a es s Wh o The e as J esu , th t J u , in Ev rl ting ” os e was e a e as th e e a s - e G p l , r g rd d tru rti “t typ , m se an d n ot acting by i pul by rule. Then ” e s a o sa s J esus appear d t nding by Albi n , y Blake,

As the Go od Shepherd B e os S ee a he a o and y th l t h p th t h th f und, Albion knew that it as the o the e sa ma and W L rd, Univ r l Hu nity , Albio n saw his Form an an e o e se o eth e as M A M , d th y c nv r d t g r an es o f e with Man , in Ag Et rnity . And the Divin e Appearance was the likeness and 2 f L s similitude o o .

This magnificent creati o n o f Blake has been c omp ared with the Earth Spirit in Faust and with the D emo go rgo n in Pr ometheus Un ” o h e h as e e a ea e af o b und , but v n gr t r finity t the ’ ardu cci s a wh o e D emo n of C f ncy , h ralded the S f o an d o f o ess o e o pirit o rev lt pr gr in m d rn Eur pe. He is the incarnatio n o f that essence am o ng u s “ “ M ton u a em. 1l . Jer s l 73 ° B L A K E 69 H I S P O E T R Y

an a e o f a s o e s t o which , in g tyr nny , till c nv y man a message o f past gl o ries an d o f faith in — ’ pro gress th e guardian o f man s best instincts even when those instincts seem o verweighed by

mse o e ess an d o ess o . L os is i ry , f rg tfuln , ppr i n n o o o f o o f con the incarnati o n , t nly p etry , but m m o a a e structive antino ianis , rev lting in f ll n e e o on e o f a ss an d e a ag , r j icing in h ppy bli lib r Therw mm fi ve e o s o f L o s as a wea s a es o f d ing it pp r in e p g — “ e In the first to ld in The B o o k o f “ ” — and in The B o o k o f L o s L h e is p o inted by the Eternals to watch o ver the self rac io n o f riz en wh o a s o m a e st t U , p s es fr ch ng to change until h e r eaches th e limit o f co n o h ma m e o is a tracti n in t e hu n Ada . This p s

tale o f terro r an d o f tragedy for the figure o f L OS . h e i m e o o r In it s er ly staying , never rev lting e o hi e e e r j icing . In s l at r app earances, h ow v r , ” e sa em and i mss o in J ru l in Milto n , h s i i n is a e e h is o f ch ng d . Th re e the very essence ma a e e His a h o s ( i gin tiv lif . nvils ring with t e bl w o f his o e s e mar pr ph tic tr ngth . He builds the — vell ons citadel of Golgon o oz a the City o f Art ’ the o me o f the o e A rizen s h G ld n ge . There U e e e a o h as ea e o h as d g n r ti n c s d , but his p wer o an d a a gr wn , g inst th at p ower it is L os al o ne wh o flings the wh o le might o f his enthusiasmin an e ea o to a se o mthe a e ass nd v ur r i fr f ll n , cr aterialism o f ma a e s at eas hu nity p tt rn , l t , mo delled up o n the divine archetypes o f which

1 S ee . 1 1 pp 7 f. ° B L A K E 69 H I S P O E T R Y

i ma a o i T h s i gin ti n s full . he acts Of the r ev ola tio nar are e e a n o ma e y n v r tr gic , tt r to what end e ome sa e o e r m th y c , v nly wh n they a e erely es e and e e a e n or hi d tructiv n ith r Bl k s essence, L o s e e es e o o n es , v r r t d wh lly d tructi o n . Crea ti o n was t o Blake the divine c o mmand given to him: an d if a e e e a e a e h h d o , in d g n r t d g , e a t clear paths ere the foundati o n o f h is city c o uld be h e e e h f h built , kn w wh n t e pulling d own o t e O s o ease an d he a o n ld h uld c t r ising f the ew begin . Whem mmmmw g w r o f LOS e ma e a i h o , Ev n in t ri l things it s he w ’ created men s physical b o dies as well as th eir m H - finest i pul ses. e is the life fo rce o f the e se e e e a n ew n d univ r . Wh r v r a beautiful thing h as t o be refo rmed o ut o f an old an d wo rthl ess on e e e on o ur ee s we ee th a o f h , th r ch k f l e fl re t e a es o f L o e he m f i furn c s, h ar t ighty swing o h s amme an d a a o r o h e h r , c tch , f int l ud , as t wind a es o u s th e e m f i c rri it t , e t rnal har o ny o h s so ng .

THE ANVILS OF LOS

1 ’ In Bowlah oola Los s Anvils stand an d his Furnaces rage ; er the amme s ea and the Be o 1 Thund ing H r b t, ll ws o o bl w l ud, se -mo mo n ame n an d Living, lf ving, urni g, l nti g, o n essa h wling i c ntly . - ’ ’ Bowlah o ola ro allits o es ee s th p rch f l , tho too as o e f t f und d,

’ 1 Bo wlahoo l h v t h B a ere e den l ed r t e w rld . It in l k e is i y us fo “o is, a s t ce n e b Tharmas whe e the H an Ve et te my hology , a pla fou d d y r um g a d ” is created Form . - 75 ° B L A K E 69 H I S P O E T R Y

Its pillars and porticoes to tremble at the force Of mortal or immortal arm; and softly lilling es flut , ma e swee Accordant with the horrid lab ours, k t 1 melody .

a the s me o e Los oo o e Terrified t ubli W nd r, st d bef r is a es h Furn c , o a o e i e a mi a o And they sto d r und, t rr fi d with d r ti n ’ at Erin s Spaces h S a es ea omth e s arr For t e p c r ch d fr t y heighth, to the starry depth And they builded Golgono oza : terrible eternal 2 labour !

’ The se o of a e s es o f e e c nd Bl k figur t rnity , as it is the sec ond of his divisi o ns o f the individual mn i h o f so e a , s t e spirit rea n , d vel oping in a o l fallen state into rigid , st ny aw an d repres s o s s is a e i n . In infinity thi pirit c ll d Urizen, in individual man h e takes the fo rm o f the ” e e a man a e Sp ctr . E ch , Bl k says, in inverted near a ma nificent es o n a e 1 3 f writing , g d ign p g 4 o ” e sa em J ru l ,

’ Each man is in his Spectre s power ti the ar a o f a o Un l riv l th t h ur, When his Humanity awake as his S e e n o th a And c t p ctr i t e l ke.

Urizen is the o o f s o L rd thi W rld , until a future a e S a set himn o o e g h ll , t v rthr own but regene a e o the e f r t d , int divin unity o which the souls o f men o the a “ f rm individu l pa“rts. M1lto n . e u a J r s lem. ’ The reference here and in similar cases later is to Blake s original en ve ed1tion gra d . 76 with whom far ess H l abstract figure. e has a dramatic personality which is lacking in */ ’ Had n n Shelley s c o ncepti o n . Blake o nly co ce trated his delineati o n o f him into a smaller an d e e s a e we less scatt r d p c , might n ow be regarding an d quoting Urizen as we do the o ther gfeat tragic characters who have “been m o f e a ne esis fat . fatal ’ Urizen s case was des this desire dro ve him rel entlessly o n t o

o . a e e e e h ti n Cl d in divin int llig nc , e ’ mmemo a a es a o o s osom har i ri l g g , in G d b , in m the o e e a s an e o ny with th r Et rn l , until , in vil he e o s o s an d o o h o ur , t g i tic d ubt l ngings began t

e his so . He s e o e o a nter ul wi h d t rul , t h ve a o f his separate being own .

a S a o of o o i Lo , h d w H rr r s risen e n t o un rolific In Et r i y unkn wn, p , ’ S -clos d all- e e m elf , r p lling. What De on ’ at formd t s a omi a e o H h hi b n bl V id, ’ Th is soul-shudd ring Vacuum Some said i rizen B n s U . o n a It ut u kn w , bstracted, B oo i se re the ar o r d ng c t, d k p wer hid.

ar e o s e a D k , r v lving in il nt ctivity , Unseen in tormenting passions o an d o An Activity unkn wn h rrible, sel- o em a S a A f c nt pl ting h dow, e o mo s a o rs o l In n r u l b u ccupied.

l The B Urizen ook of . 77

° B L A K E 69 H I S P O E T R Y

Smi e e e o n o e t e sme l wh n th y fr w , fr wn wh n h y il an d when a man looks pale a o and a sti e e sa he o s ea h With l b ur b n nc , y lo k h lt y and happy ; e his h re s e l m ie And wh n c ild n ick n, et th e d there are enough Bo r e e to o ma and our ea soo e n , v n ny , rth will n b overrun t hese a s ou l ak m e the oo Withou t rt . If y wou d P r e h eme liv wit t p r, With pomp give every crust of bread you give ; with gracious cunning Magnify small gifts reduce the man to want a f and t e e th om gi t, h n giv wi p p . Sa he smes ou ear hims ale sa y il , if y h igh if p , y

h e is ruddy . ’ ea eme an e sa he is o r r d and Pr ch t p r c y ve go g , drowns his wit ’ tho ou In stro ng drink , y know th at bread and water are all

e can af o . a e his e his c H f rd Fl tt r wif , pity hildren, till we can R e allto our i as s a s educ w ll, p niel are taught with " 1 art .

’ The four Z oas o f Blake s system are com leted the es of L uvah an d o f Tharmas p in figur , , c o rresp o nding in the individu al man to the on an d the S hado Luvah is the Emanati —w. s o f ea o e o e i pirit un rthly l v l v in ts purest , s o a e s The m least p as i n t sen e. E anatio n is ’ s e o ea he mo o f i man wif up n rth , t sy b l h s a es gentlest qu liti . When divided from the o e man o e e the Ema a o e e wh l , h w v “r , n ti n ith r I V818. 79 ° B L A K E 69 H I S P O E T R Y s a s as the e o as t o th e S e e t y dir ct c n“tr t p ctr , a e s e o o f se a a or it is ch ng d by thi rr r p r ti on , f o es a e o ea o s . Luvah an d b ec m figur j l u y , in m w a is th e oma o o f L o s n d the sa e y, c p ni n , a yet , ’ e a o f a e s o s h ea in a gr at p rt Bl k w rk , e app rs as an evil f o rce thro ugh being driven by Urizen ’ fr omhis own seat in the H eart t o U rizen s f h rej ected seat o t e Mind . This ch anging o f states is really the cause o f h alf the tragedy ’ o f e riz in Blake s drama ternity . U en is n ot evil ’ until h e tries to rule in Luvah s province Luvah is allperfecti o n until he is forced t o a regi o n he knows n ot o f an d which is alien to e s a a is a o e f his desir s. Thi g in but n th r way o ’ expressing Bl ake s p erso nal dislike o f con n ois eur an d allthe eo e w s s, p pl ho mind o a e ow n businesses ther th n th ir . A unio n o f L os an d o f Lu vah is to be found in tw a es of the a ea o gre t figur Bl k n cycle. Th ese are and s is the s f a Ore C hri t . Orc pirit o fl ming , ass o a e o e s as fo r a p i n t l v , ju t , Bl ke, Christ is . o to ea e a e e f mn B th burn cr t fin r univ rse or a . ’ B oth bear within themBlake s do ctrine o f for

se s o e . e e is m o r e giving , un lfi h l v N ith r ild t nder , but flaming an d o utwith alll aws save th ose of its own imagining . They have in them the ’ purity o f altruistic emotio n as well as the artist s ass o fo r e o and for ea o p i n r v lt cr ti n . B oth batter ’ against the mighty “gates o f Uriz en s brazen o act om citadel . B th fr impulse and n ot ” o e an d fr m rul , burn in the fires o f Eternal ” Yo uth . 80 ° B L A K E 69 H I S P O E T R Y

e e n ot for the ea e s o f Los W r it cr tiv pirit , Luy ah wo uld fo rmthe central hero o f this drama o f : as is o e a o infinity but , it , l v , lth ugh the ma e m a o e o f the ulti t ly triu ph nt f rc universe , must sub o rdinate itself t o th e creative antin o mian ismo f e o o mo r v luti n , sy b lized in the artist e e a an d L o s a a in g n r l in in p rticul r . a mas the as Z o a is a o e o o f o e Th r , l t , l w r f rm l v , the S o f e e a e e s e e o f pirit v g t tiv xi t nc , physical o es ea o e e o e an d f rc , b utiful in inn c nc , but h rribl brutal when c o nfined by restrictive law o r driven o ma in Th arm int i ginary s . as c o rresp o nds to the a o man o e e o Sh d w in , c nn ct d in th ught with the e s o f a a th e o ess o f a e T v il V l , g dd n tur . he a o is me e se se e e o n o Sh d w r n p rc pti n , t the true ’ s o o f a an d Tharma i m vi i n re lity , s s an s physical l ove. The tw o ea o e o es mn gr t c nt nding f rc in a , as e a e are th e S ectre an d mana divin d by Bl k , p E the s o f easo and the S f tion, pirit r n pirit o l o ve, b oth marred an d rendered o bn oxi o us wh en reft f m ou t o e o e ea s . o t o o ea f th ir pr p r r l S , , ch o th o se fo ur chief pro tago nists o f th e more spacial drama have themselves a divided Spectre an d ma a o e S e es s a am E n ti n , th ir p ctr u u lly n eless e a n d e ma a o b c use evil , a th ir E n ti ns, because o riginally l o vely , individually reco gniz ed . The e o f allthe ma a o s is er alem chi f E n ti n j us , into wh om the Emanati o ns o f allthings will ultimately merge an d mingl e in o ne b eautiful e a emis the a a o o f he unity . J rus l Em n ti n t ” ’ a he a man . he is n amd gi nt Albio n , t typic l S F 81 ° B L A K E 69 H I S P O E T R Y

mo the o s o f o wh o are Liberty a ng S n Albi n , men She is at o e a s mo o f e e m se . nc y b l t nd r i pul , f o o f a a s m and a o l o ving th ught , n tur l i plicity , ’ m fo r a oe s ea for a o f the symb olic na e p t id l , city Spirit which represents in itself a p erfected type f m a sh e is the a a o o f o hu anity . Fin lly , inc rn ti n Her ama i the forgiveness o f sins. dr s wr ought ’ out in the l o ngest pro phecy o f Blake s which is s f r s pre erved o u . The oth er chief Emanati ons are th ose o f the o F ur Z o as . The Ema a o o f L o s is Enitharmon e n ti n “ , divin ” as we see h er The o o o f Urizen pity , in B k . ’ “ ea ma s a e s a e she is h On rth , in n f ll n t t , t e e e a e mo a e o f L os his ma a v g t t d rt l wif , E n tio n , ” et his e the s ee o f ea is a y “ wif till l p D th p st . e sa em and a she i In J ru l in Val s, like ’ e sa em he a s s o the o e J ru l , t rti t j y, h v ring ideal s e o e man e e which flit b f r , n v r attainable, en cou ra in an d e g g d nying . The ma a o o f Urizen is Akania the E n ti n , so es a o f h is o e ft t p rt p w r , but when he descended his a sma aos sh e e a e to him in in by l ch b c m a s , never to be reunited to him until after ages s o e e e a e his a o s h uld r g n r t tyr nn u qualities. It is h er despair at his j eal ousy an d her desire fo r him that give us th e fin e lament in the fifth ch apter ” o f The o o o f Ahan i 1 B k a. It is th e reuniting o f th o se tw o that gives u s th at magnificent passage o f the Ninth Night of Vala

1 See . 1 2 p 2 . 82 ° B L A K E 69 H I S P O E T R Y

THE REUNION OF URIZEN AND AHANIA

10 i e a es m Ahani t ff And ! l k h rv t oon, a cas o her dark clothes She o e t em in are s e e and h f ld d h up c , in il nc , er brightening limbs Bathed in the clear spring o f the rock then from her darksome cave ss e rizen ose omhis I u d in maj esty divine. U r fr couch O s o f e o o a n his a s is n wing t nf ld j y, cl ppi g h nd , h radiant wings the mme se As e th e sun a es o In i n . wh n d nc up n the mo a s unt in , A shout o f jubilee in lovely notes resounds from a e to a e d ught r d ught r, omson to son as th e s a s eam innumer Fr , if t r b ing able o s o sin so ar i Thr ugh night, h uld g ft w bling, fill ng the ear h an d ea en t h v , An d bright Ah an ia took her seat by Urizen in an songs d j oy.

i m o f L h A Vala s the E anatio n uva . S J eru sa e is the o f a o e ess the l m spirit mutu l f rgiv n , e so o f ma o e o a a is the v ry ul true wo nly l v , s V l o o f he is ea ma e a b dy that l ove. S b uty , t ri l ea and h er a e s mo e allthe b uty , in Bl k y “b liz d m d a o o s o f a e . a a h e e nif ld f rm n tur V l , clared o the o s sa em a e , pr duced b die : J eru l g v ” th o s n ll o th e a e o o s e s ul , a d a thr ugh l t r b k she a ea s n ow as e e ea s mbo pp r , d c itful b uty , y liz ed h s o f a a ea e men in t e veil V l , which r v away fr o m true l ove into mere selfish unio ns 83 ° B L A K E 69 H I S P O E T R Y

man an d o f o ma n ow as a ale o o f w n , n tur r ligi n , n me se se e e o n ow as an based o re n p rc pti n , aider an d abetter o f Urizen in his laws o f false ch astity . ’ To realize Bl ake s h atred o f Val a w e must appreciate first o f allhis true an d intense l o ve o f allnatural things wh en seen in th e light o f 1 n d e o w e ms ememe his eternity , a s c ndly , u t r b r me a e e o f a b elief that physical pheno n , d priv d th t ” H a a a e o e a e ma a o . e etern l r di nc , blit r t i gin ti n s a ea an d et h e ea e a ado red phy ic l b uty , y r liz d th t mme a e o e ess o f the that b eauty di d high r l v lin m e a a h e o o e sa e . soul . By vi wing V l f rg t J ru l ” o e he e t o h er co n Why wilt th u giv , cri d e sa em o e to h er cerning J ru l , why wilt th u giv a b o dy wh ose life is but a Sh ade In th ose ’ wo rds Bl ake s phil o sophy may be seen enshrined - his hatred o f vegetative life an d his dep endence o up n it . The Emanatio n o f Th armas is a much mo re o o n e ame s mo o f e shad wy , Enion by n , y b l pur ly e e e emo o s a Th armas i o f s a g n rativ ti n , s s phy ic l

o es ! et fo r a e S he is n o t e e e . n . Bl k ntir ly vil e e Tharmas n o r o h his m N ith r Eni n as , in ind , h e e an d h f e are t subtl ty t e deceit o Vala. Th y r ather symb o ls o f that

a ear ess s a for Inf ncy , f l , lu tful, h ppy , nestling delight a s o f eas e ! e e In l p pl ur Innocenc , honest, op n, seeking The vigorous j oys o f morning light

1 1 28. V th e te b n . See p . isions of Daugh rs of Al io 84 ° B L A K E 69 H I S P O E T R Y

It is Tharmas wh o awakes America : an d in a w e o e Val find Eni n unit d with him again , b oth app earing as tw o little children playing beneath th e trees in an eternal child ” ma s — o o . Thar s es OS es as h d truggl with L y , physical emotio ns struggle with higher o nes ’ at the same me a e s o s but , ti , in Bl k phil o phy , a emo o s e e the physic l ti n , wh n unr stricted , keep an o e se o e an d m alive , in th rwi unp tic unredee ed o f ma mme sectio n hu nity , gli rings o f eternity o an d o f rev lt . To most o f the Fo ur Z o as Blake app orti o ned a pl entiful pr o geny : but th e maj o rity o f their ms are to o mo a to e e e mo na e uni p rt nt r“c iv re th an the scant menti o n here. In Visi o ns of the ” e s o f o fo r s a e me D aught r Albi n , in t nc , we c o Theo to rmo n and Bro mio n acro ss , both so ns o f L OS an d Enitharmo n an d wh o Rin r , , with t ah lambro n ma e a o e an d P a , k up n th r fo urfo ld mo f es o o and a syste W t , N rth , S uth , E st , c o rre s o n din et a o e wa t o Tharmas L o s p g in y n th r y , ,

z n an d Luvah . The s a e e Uri e , c tt r d p assages in which Bl ake c o nnects the numero us parts o f this m re ma an d e e om h e syste a ny , xt nd fr t e d sign o n page 3 2 o f Milto n to the interpretative ” o n a e 1 2 o f e sa em h passage p g J ru l . In t e design—o f Milto n Bl ake sketches o u—t the f our o o as an d e wo rlds N rth , S uth , E t, W st b el o ng o rth o n a L o s Uriz en Luvah and ing t U ( ) , , , Th rmas e e sa em h e e s s a , whil in J ru l t ll u that . fo urfo ld are the S o ns o f L o s in their divisi o ns “ , where the Fo ur Po ints are thus beheld in 85

° B L A K E 69 H I S P O E T R Y

a a e mea s t o sa e is R easo n . Wh t Bl k n y, th n , C an Wisdomb e c o mpressed into the regi o n o f mo o s an d o f o e o r can o e be a s the e ti n l v , L v tr n ferred fromits ow n realminto th e realmo f the understanding ? Unless we know at least a fragm ent o f th e systemthe full meaning o f this an d o f o ther wo rks o f Blake canno t possibly be fath omed . ’ A cl oser knowledge o f Blake s o ther shifting an d vanishing figures is quite unnecessary fo r a e ea e wh o ma he so any appreci tiv r d r , y, if S ma a assa e o f ea an d desires, kip ny p g dr ry o Th e o s o f detailed enumerati n . nly person real imp ortance are th e Z o as an d their Emana o e e th e a o and i tio ns, t g th r with gi nt Albi n h s m he m o e sa e . t s o s o f E anati n , J ru l In Vi i n o f o fo r s th e D aughters Albi n , in tance , we do n ot even need to kn ow the geneal o gy of the a es Theotormon an d Bromi n princip l figur , o . e e e are a a e s s f e Th r , th y ch r ct r u fici ntly individu alized to charmo u r intell ect with their own

e so a es. The! e a s e se an d p r n liti xpl in h r lf , so , e es e o e a inde d , d o ev ry th r ch racter o f any con sequence wh omBl ake has intro duced into this ’ am o f e sa ma dr a univ r l hu nity . There are the so s and the a e s o f L os fo r e n d ught r , xample, o f o the o s mo a are a a the a wh m m t i p rt nt R h b , h rl o t , wh o is another fo rmo f Val a in h er aspect o f law e o an d a o mw giving r ligi n , Tirz h , wh e h ave ” a ea o e the o s o f e e lr dy n t d in S ng Exp ri nce , as th e esse e o f mo e o o nc th rh d . Again , there are the so s o f Urizen asse e e a n , cl d , lik th ir f ther , 88 ° B L A K E 69 H I S P O E T R Y amo the easo e s an d the o o r the o s ng r n r pr ud , s n f es mo o f em a om o Albion , with nam , st th , t ken fr m kfi ld n men om a e se e . S o e o e wh Bl k hi lf kn w , o f the o s o f ese was the ame of a so e w r t th , n ldi r 1 m Th e a e s o f o enemy at Felph a . d ught r Albi n a so ames e a a ea s mo sm h ave l n p culi r in Bl k n y b li , these names being taken mo stly fromr omance o r es ea ea a s— o e a I n o e Go n orill Shak p r n pl y C rd ll , g g , , a a an d a a — ames o a s s S brin , R g n n nly h lf di gui ed mt e o o r a es ea ea o s fro h ir Milt nic Sh k p r n riginal . o f ese o e e are mo a r All th , h w v r , uni p rt nt , o e e e th assa es e e e o int rpr t d in e p g wh r th y ccur . Even the names o f th ose c o untries wh ere his soul ch ar acters dwelt need n ot be l earned by ’ ea Th e e o f a e s e e a h rt . e sc n Bl k t rn l dram a is , l e m f man a e al th o . e we ea / ft r , in ind Wh n h r o f L o s at his hammers we picture aro und him n o e o s Hi m sp cial surr unding . s furnace fires di all f hi ma e n o . The perso ns o s dra n eded back o n d a e a e em o e a gr und , a Bl k g v th n n . Wh t he saw h e saw e s e allhe s o , int n ifi d , t urr unding

e a s o s a S a o a e. e d t il l t in h d wy h z Wh n we r ead , e o f s a e -so es n d a th n , tr ng ly unding citi a l nds , we ms a o a a u t im gine nly spiritu l st tes, invisibl e b ecause b eing o nly mo o ds o f the infinite spirit

o f man . e the e a e o f art Go lo Ev n d t il d city , g ” n o o z a e sa em s a s a , in J ru l , t nd hung in sp ce, a es O e o n o e e with g t p ning n wh r , a city , carefully es e as are its mo s m e a a s as d crib d t inut p rticul r , ideal an d as intangible as the most visi o nary o f a his aeri l spaces.

1 See p . 1 36. 39 ° B L A K E 69 H I S P O E T R Y

o e o f ose a s ar mo a and Fo ur al n th l nd e i p rt nt , those solely because they recur fairly o ften in ’ o . ese re e Entu h on Blake s w rks Th a B ulah , t

n h on U a a an d U o . B eula is Be yt , d n Ad n , lr h ” f a es f the l and o sh d , a visi on o blessedness

\ Th ere is fromgreat Eternity a mild and pleasant rest ame Be a a so moo e se emi e N d ul h, ft ny univ r , f nin ,

lovely, 1 re m and e e. Pu , ild g ntl

Entuthon B enython is the land o f ab stract phil o Sophy

ar and n o indefin l m A d k unk wn night, ab e, i meas a e o nd ur bl , with ut e , Abstract Philo sophy warring in enmity against 2 ma ina o I g ti n.

o r on is the e f Near it , it , t rrible lake o Udan — ’ s e o f in definiten Adan, the pher ess Blake s ea for he e a e greatest dr d , , lik D nt , abh orred hazy o utlines ?It is

A lake n ot of waters but of spaces a and ea Perturbed, bl ck d dly .

Formed of the tears and sighs and death sweat of the victims ’ r en s a s to r a Of U iz L w , i rig te the roots of the 8 f s tree o My tery .

Ulro is th e space o f the terribl e starry ’ — wheels o f Albi on s sons a world of sleep and

“ “ “ " 1 1 Va . e u a e Va a. la J r s l m, l 90 ° B L A K E 69 H I S P O E T R Y

a o o f e a o o f inactivity , w rld d gr dati n an d o f o ow e e man is e o f o e an d o f s rr , wh r r ft h p light , a o s- eamo f ea ass cast as in l tu dr w ry l itu de . e are the ma o s o f his Such , th n , in p int system . ’ ma a e a a e a e s m We y tr c ch r ct r in Bl k tiniest , ost a a e s e insignificant ch r ct r , but th se are always oversh adowed by th e vast an d predominant m e a se h e o forces aro und the . B c u l ved detail so m e e e a we to a th e es uch , I b li v th t , g in full t f himms o e a e o n appreci atio n o , u t c nc ntr t central o e a a so the e a e a effect , c unt rb l ncing x gg r ted m We o f his . s a eas tendency ind mu t , t l t , endeavour to gath er to geth er fro m the scatt ered n otices th e o utstanding features o f his myth an d to do that briefly h as b een my aimin the f a es We ee n o preceding ew p g . n d t stay at the is the s o e o f a e a details . It mi f rtun Bl k th t where o e a o a e e e his oe a s he m st l b r t d , th r p try f il , but it m a so e ea do w is his triu ph th t littl in r l—ity e need to p ause o ver his fictitio us names th at we can pass so easily an d so profitably into a wo rld o f pure p o etry an d o f exalted emoti o n which dilates our Spirits an d fills o ur hearts with th e senti f ment o eternity .

V

I h me a o e e o f ED OUS as t e enu r ti n , b r ft oe ma a ea s a o the p try , y pp r , thi cc unt ’ o f Blake s main theories is made abso lutely essential by the fact that every wo rk of his a f mo m fter 1 789 has in it a m ass o sy b lic aterial . Th m e e first gr oup of these, c onnected inti at ly 9 1 ° B L A K E 69 H I S P O E T R Y with the S o ngs o f Inno cence an d o f Experi e o s s s o f ma o f the m o s enc , c n i t ny ultitudin u sh o rter p oems c o ntained in the R ossett i an d ma s s Tiriel e a o Pickering nu cript , (writt n b ut 1 788 The B o ok o f The! (engraved an d The M arriage o f H eaven and Hell (engraved Cl osely co nn ected with the l ast mentio ned wo rk is The French Revolu ti o n (set in type All this time Blake was residing at 2 8P oland mee as a e S o a me o f Street , ting , I h v h wn , nu b r phil oso phic revo lutio naries at the publish er ’ s flauntin h is red ca o f e ale J o hnson , g p lib rty , t r n ately bro o ding o ver his mystical theo ries an d o Tiriel flaring with rev luti o nary passi o n . an d The! are th e expressi o ns o f the mystical ‘ me a o s The a a e o f ea e and e dit“ti n M rri g H v n H ll , ” Th e e e o o s u th with Fr nch R v luti n , sh ow s e a s rev o luti o n ry enthu iast . ” e e a e the sam he Th l , ngr v d in e year as t ” s o f o e e is th mm a S o ng Inn c nc , e p oe ost ne rly th . m co nne—cted with e earlier gro up It is a arvel o f art a marv el o f sweetly sought wo rds and o f m meas e o f e a o o n r li pid ur , d lic te c l urs a d o f ha is mo n iou s line . It p ossibly the most purely a a e e e o b eautiful thing th t Bl k v r pr duced . o e to o for the m re It intr duc d , first ti e, if we p ” clude th e a e an d oss ri l und t d p ibly earlier Ti e , ’ — Bl ake s unique metrical measure a l ong seven o o e o s s ma f s f t lin c n i ting inly o tro chees . Thi e ame me his o ma ma h meas e b c in ti n r l e sure, t e ur a a e e o e which , with v ri ty in ev ry line, devel p d 92 ° B L A K E 69 H I S P O E T R Y

o om f or him was e e int s ething which , , ntir ly different fr omand greater than the mo n oto no us cadence like th at used by Milt o n and Shake speare derived fromthe mo dern b o ndage o f rhyming . s m e ome C o ncerning thi easure opinio ns diff r , s , s a m for e o and like Mr Elli , cl i ing it futur gl ry , o e s e o esso a s e to th r , lik Pr f r S int bury , inclin d h mo m a ose regard t e st o f it as mere rhyth ic l pr . a es e a we ms o ess a the In pl c , c rt inly , u t c nf th t e are ose an d ad o e at a et lin s pr , o ften b pr s th t , y n otwithstanding th o se arid p assages in Milto n “ ” ’ and e sa em a e s meas e as em in J ru l , Bl k ur , o e him s a s a m o ea es o f pl y d by , di pl y illi n b uti man d o f oe his a s rhyth p tic ingenuity . In h nd it betray s some o f the suppleness and adapta bility which our blank verse h as do ne in the a s o f our es oe s a e can h nd fin t p t . With Bl k it be either terribl e an d awe- inspiring o r gentle as o e s o f o m h e the fl w r inn cence . In J erusale can exclaimin lamenting to nes

O I amnothing when I enter into judgment with thee If th ou withdraw thy breath I die and van ish t a s in o H de , o dost la t a me e o If th u y hine h nd upon , b h ld I amsilent o t o an s e a a e If th u wi hh ld thine h d, I peri h lik f ll n ea l f . 0 I amnothing : and to nothing must return again : o t ra th ea B am If th u wi hd w y br th, ehold, I

oblivion . 93

° B L A K E 69 H I S P O E T R Y

8 a is th m f r mo a (ll . 5 Cl y e aterial o ou rt l o es and The! - o b di , wanders to h er own grave pl t (her b o dy to be) and listens to th e vo ice o f l am en tatio n e e i h h ow th r . It s t e poetry o f this wo rk , e e and n ot its s mo o e a a ms v r , y b lic c nt nt , th t ch r

our se se. Its ea is e i ee n b uty p rfect . It s, ind d , a e n a wh t M . B rger calls it , o e o f th e m o st be utiful e e m oe l gies in the wh o le range o f hu an p try .

THE BOOK OF THEL

’ Thels Motto

D oes th e Eagle know what is in the pit Or wilt thou go askth e Mole Can s ombe a s e rod Wi d put in ilv r , Or Love in a golden bowl

I

The daughters of the Seraphimled round their sunny flocks Allbut the youngest she in paleness sought the se e air cr t , To fade away like morning beauty fromher mortal day D own by the river of Ado na her soft voice is ea h rd, And thus h er gentle lamentation falls like morning dew

0 life o f this our spring why fades th e lotus of the water a e ese e f h Why f d th childr n o t e spring, born but to smile and fall ? 95 ° B L A K E 69 H I S P O E T R Y

’ h ! is i e a a bow and e a Ah 1 T e l k w t ry , lik parting cloud ; Like a reflectio n in a glass ; like shadows in the water ; reams o f i a s i e a sme on an Like d nf nt , l k il up ’ infant s face ; ’ Like th e dove s vo ice ; like transient day ; like s in the air mu ic . e t e ma la me o and e e es Ah g n l y I y d wn , g ntl r t m ea y h d, e ee th s e o f ea an e And gentl sl p e le p d th , d gentl hear th e voice Of Himthat walketh in the garden in the evening time

o f th e a e ea in e m The Lily V ll y , br thing th hu ble 1 3 33 £ , Answered th e lovely maid and said ’ a ee w t ry w d, am e sma and to in And I v ry ll, love dwell lowly vales ; ea th e e a he n So w k , gild d butterfly sc rce perc s o ea my h d. ! et I amvisited fromheaven an d He that smiles ll on a , a s the a e an d ea mor o e me W lk in v ll y , ch n v r s rea s His a p d h nd, Sa in Re o ce t o m ass t o n ew y g, j i , h u hu ble gr , h u or -flower b n lily , Thou gentle maid of silent valleys and of modest bro oks ; For h o s a be ot e in t and fed t u h lt cl h d ligh , with m ma a orning nn , ’ Till summer s heat melts thee beside the fountains an d the s s pring , 96 ° B L A K E 69 H I S P O E T R !

’ To o s e e a a e s fl uri h in t rn l v les. Th n why hould Th e! complain Why should th e mistress of the vales o f Her utter

a. sigh ?

’ ’ She ceas d an d smild ars e a , in te , th n s t down in h r e e silv r shrine.

’ Th e! answer d O thou little Virgin o f the ea e a e p c ful v ll y, to t ose a a o a e the o e ess Giving h th t c nn t cr v , v ic l , ’ the o ertired Thy breath doth nourish the innocent lamb ; he sm s m a me ts ell thy ilky g r n , o o s ile o s es smi He cr ps thy fl wer , wh th u itt t ling in his a e f c , Wiping his mild and meekin g mouth fromall

contagious taints. Thy wine doth purify the golden honey ; thy per ume f , Which thou dost scatter o n every little blade of r a s s g ass th t pring , h ml cow and ames the fire Revives t e i ked , t a s e bre thing te d . But Th e! is like a faint cloud kindled at the rising sun : mm ea o e and who s a I vanish fro y p rly thr n , h ll find my place

” ’ a es the an swer d ask Queen of the v l , Lily ,

the tender Cloud, And it shall tell thee why it glitters in th e morning Sk y, ’ And why it scatters its bright beauty thro the ° B L A K E 69 H I S P O E T R Y

tt e o and o e e o e th e e es Descend, 0 li l Cl ud, h v r b f r y

of Thel . es e ed an d th e o h Th e Cloud d c nd , Lily b wed er mo es ea d t h d, And went to mind her numerous charge among

the verdant grass .

” o the r i sa a 0 little Cl ud, Vi g n id, I ch rge thee tell to me mlain est not e in n Why thou co p , wh n o e hour a th ou fade aw y . a e ee n ot Then we sh ll se k th , but find. Ah The! is like to thee : e om a an d no o n I pass away : y t I c pl in, e hears e my voic .

’ Th e Cloud then show d his golden head and his ’ memer d bright for g , H overing an d glittering on the air before the face

o f Thel .

’ i kn w st ho not our s 0 o ee s Virg n , t u t d drink o f th e go lden springs ' Where Luvah doth renew his horses Lookst n m o t thou o y y u h, And eares o e ause a is an m f t th u, b c I v n h d a seen more n o , o i emai s ?O a e N th ng r n M id, I t ll thee, when I

is to te o e to o e to ea e It nf ld lif , l v , p c , to raptures

holy . e m Unseen desc nding, weigh y light wings upon a m o s b l y fl wer , 98 ° B L A K E 69 H I S P O E T R Y

o the a r- d w to a e me to her And c urt f i eyed e , t k shining tent The ee in in em n ee s e o e the w p g virg , tr bli g, kn l b f r ise un r n s , ’ we ar se in a o e a and e e Till i , link d g ld n b nd, n v r

P art. a o allour But w lk united, bearing food t tender ” o s fl wer .

os o 0 e o ea amno D t th u, littl Cl ud I f r I t i e hee l k t , ’ For a o a of ar an sm I w lk thr the v les H , d ell the s ee es o e s w t t fl w r , But I feed not the little flowers ; I hear the ar n ir s w bli g b d , But I feed not the warbling birds ; they fly and see eir k th food. B The! e ese no mo e e a s ut d lights in th r , b c u e I

An d alls a sa o a use s i h ll y, With ut this hin ng ’ oma liv d w n , Or did she only live to be at death the food of worms

’ The o cl a e Cl ud re in d upon his iry thron , and ’ answer d thus

ms 0 i of Then if thou art the food of wor , Virg n th e s es ki , How ea th use how ea ess n gr t y , gr t thy bl i g ! Everything that lives es n o a o r for ea n ot an d Liv t l ne n o itself. F r , I

The a o m om an o we k W r fr its lowly bed, d th u sha ar lt he its voice. 99 B L A K E 69 H I S P O E T R Y

me o o mof the si e a e to h Co f rth, W r l nt v ll y, t y ” pensive Queen .

’ o ma ose and sat The helpless W r r , upo n the Lily s eaf l , ’ o saild on o And the bright Cl ud , t find his partner a in the v le.

’ ’ e astonish d view d the o m Then Th l , , W r upon

a o m? ma e of ea Art thou W r I g w kness, art thou but a Worm? ’ I see thee like an infant wrapped in the Lily s a le f .

‘ ee n ot i e o e o ans not s ea Ah w p , l ttl v ic ; th u c t p k , a s e but thou c n t we p . Is this a Worm? I see thee lay helpless and a ed ee in n k , w p g, a sw e to s And none to n er, non cheri h thee with ’ ” smes mother s il .

’ The Clod of Clay heard the Worms voice and ’ rais d her pitying head ; ’ th ee n i a She bow d over e w pi g nf nt, and her life ’ exhald

’ In milky fondness : then on The! she fix d her e es humble y .

0 Beauty o f the vales o f Her ! we live n ot for

ourselves. h o seest me the mea es h an d m T u , n t t ing, so I a

indeed . mof se is o and o f My boso it lf c ld, itself is dark 1 0 0 ° B L A K E 69 H I S P O E T R Y

e a s i l o But H , th t loves the lowly, pour H s oi up n m ea y h d, me and in s His a a s aroun And kisses , b d nupti l b nd d m eas y br t, sa s o mo e o f m e a e And y Th u th r y childr n, I h v ee loved th , And I have given thee a crown that none can a a a ’ t ke w y . B h w th s is s ee a n o t and ut o i , w t M id, I k w no , I cannot know I ponder and I cannot ponder ; yet I live and

love.

’ The Daughter of Beauty -wip d her pitying tears t h te e wi h er whi v il , sa as ne not h s and o And id Al I k w t i , theref re

did I weep. a God a m and s Th t would love wor I kn ew, puni h th e evil fo ot ’ That wilful bru is d its helpless form but that h e ' ch erish d it t m an d il e an Wi h ilk o I never kn w, d therefore did I weep ’ comlain d the m air e a se a e And I p in ild , b c u I f d

la me ow d d a m And y d n in thy cold be , an le ve y ” s i in lot h n g .

’ ee of the ales h ma a r Qu n v , t e tro n Cl y answe d, ea s s I h rd thy igh , ’ all moans flew o er m oo a e And thy y r f, but I h v . ’ calld em ow th d n . ’ o 0 ee en e m o s is Wilt th u, Qu n , t r y h u e T given thee to enter to et : ea o n e e t And r urn f r n thi g, nt r wi h thy virgin ” ee f t . 1 0 1

° B L A K E 69 H I S P O E T R Y

r i a o em Why a Nost il w de inh ling terr r, tr bling, and affright Why a tender curb upon the youthful burning boy Why a little curtain of flesh on the bed of our desire

omh r s a an d a Th e Virgin started fr e e t, with shriek ’ Fled back u nhinder d till she came into the vales

of Har.

“ ” e ms o esse a After Th l , it u t be c nf d th t its ” oma o o e Tirielis as a o o f art c p ni n p m , , , w rk , a I s mo smis o se an d the a f ilure. t sy b li c nfu d meas e an d the o are osa and ea ur w rding pr ic w k . ” Th e e hel o e e e year aft r ngraving T , h w v r , a e the ess o f his e o o a enthu Bl k , in fuln r v luti n ry iasm o e the s o f ose a - o e o o s s , wr t fir t th h lf d z n b k of his which take their rise fr o m the o utbreak T a a e of civil disturbance in France . he M rri g ” n m m sa o f H eaven a d H ell is al o st , we ight y, ” T o o f e the direct antithesis to he B ok Th l , ea as oes allthe es an d the b ring within it , it d , fir o f e e i n o a e fury experi nc . It s t singl po em , but f s e an d os e a series o passage in v rse in pr e, unit d a m is a by a commo n faith an d enthusi s . It defence of that H ell (the h ome o f impulse) which ’ m is a e o s arises fro Evil , which , in Bl k s w rd , ” is the active springing from Energy . Evil ’ set here in direct c o ntrapo sitio n to Blake s hated ” W o o the ass e a o e s easo . e G d , p iv th t b y R n cannot understand this p oem at allunless we 1 0 3 ° B L A K E 69 H I S P O E T R Y understand this c o mplete to psy -turvyism o f e is ea the o ideas an d names. Lif d th ( birth int S om ea is o a e s e e piritual freed ) , d th m rt l xi t nc ’ ea o f the s e is a e s ea e (the d th pirit) , H ll Bl k h v n , a o e of Urizen the a an d H eaven is the b d , tyr nt moses his own se s es o go d wh o i p lfi h “rul up n s e a e is e a o ther . Energy , cri d Bl k , Et rn l ose wh o es a es e do so D elight . Th r tr in D ir , because theirs is weak enough to be restrained and the restrainer or Reaso n usurps its place an d The o e o o e go verns th e unwilling . wh l b k , th n , e e e is o n e o ass o a e de c lebrating n rgy , l ng p i n t f o o one o e a o fence o p etic visi n , l ng d nunci ti n s an d o f s s ema easo o f dull analytic y t tic r ning . The M emo rabl e Fancies c o ntained in it all e e mo a a e th m a r p at in sy b lic l ngu g e sam e ess ge . His e s are e s his e emes re e fri nd D vil , n i a Ang ls e ese a es o f a a o so H e (r pr nt tiv n lytic phil phy) . h as read Milto n an d fo und that he w as o f the ’ ” e s a o o o D vil p rty with ut kn wing it . Milto n to , as a o e was o n the s e o f m n p t , id i pulse, but , co s a e his a e h od f tr in d by g , put t e G o Reaso n , the e o a e e a a s o a e J h v h , wh r S t n h uld h ve b en . Besides the Memo rable Fancies which make up the ea e a o f s o mos e gr t r p rt thi w rk , the t int resting an d valuable things in it are the Proverbs o f ” e e a H ll , r t il ed by Bl ake to Sh ow the nature o f e a m” Inf rn l Wisdo . Th e r o ad o f excess l eads to the pal ace o f ” s om he e s a wi d , b gin , s an ap o l o gy for his own m ” e o s o f ea . e a e th d cr ting Exub r nc is beauty , h e es a a an d m cri g in , I pro vement makes 1 0 4 ° B L A K E 69 H I S P O E T R Y s he o o e o s o traight r oads, but t cr k d r ad with ut ” m o em are oa s o f e s ese i pr v ent r d G niu . Th epigrams or pr o verbs are in their own way marvels o f thought : they may be exaggerated e ess o f h o him b cause of the c oldn t e w rld ar o und , but th ey are the c o ncentrated essence o f years o f em o o r the otio n and f meditati n . They a e e symbo lic presentatio n o f his l arger messag . L m e so s are et us take an exa pl . Pri n built o f L aw o e s s o f with st nes o , br th l with brick ” e T a s on e se e e on e R ligio n . o expl in thi nt nc wo uld require several pages o f c ommentary to di splay h ow Blake b elieved that sin came fr o m es law e om o and e e r trictive , vil fr b unding f tt ring ” ee s. ea the o s of e e e cr d Alr dy, in S ng Exp ri nc , his Garden o f L o ve had become deso late by easo o f m o r n a Chapel built in its idst , with Th u shalt n ot written o ver its do o r

a as a s And I s w it w filled with gr ve , And tomb -stones where flowers should be And priests in black gowns were walking their o n s r u d , i wt e s m o s an d es es And b nding i h bri r y j y d ir .

F or him by this time freedomh ad bec ome the o e Law he ea e e nly v rity . , but cr t d th ft an d m e an d ess es e e o he urd r uglin , r trictiv r ligi n t brothel s that would disapp ear were liberty to om o a a o e e e a ma c e nce g in t a r g n r ted hu nity . ’ Fr o mthese pr o verbs th e critic o f Blake s wo rk ma e e e e o e o f e e a o y r c iv a pl ntiful st r int rpr t ti n . ’ ’ ” is n o r ma in d What w p ov d was o nce o nly i g , 1 0 5

° B L A K E 69 H I S P O E T R Y

n o o e e . Th su st d tr mbling in h eav n e bleat , th e o an d o h o e bark , b ll w, r ar e wr te in the Auguries o f Inn o cence Are waves that ’ ea o n ea e s s o e s e e o f b t H v n h r . Thi b li f his in the intercommunicati o n o f mo rtal an d o f spiritual essences Spread itself to his study o f o d hist ry , an in the stirring events o f the French Revo lutio n h e saw aro und himsymb o ls o f vi o l ent e a n d a o me m nt l a spiritu l devel p nt . Thus , in ” Th o h e French Revo luti n , e kept the c ourse o f s o e o e him was s o e hi t ry b f r , but it hi t ry d prived of prosaic details an d inherent with bro ader and higher significance . There is n o tr ouble here in explaining the poetic atmosphere : there are n o c o ined names wh ose meaning is to be fo und Th o nly after painfula n d lab o rio us research . e ’ am i h a o e o m dr a s t e dram a of nati n s d vel p ent , a a e e an d the de e s re resen with L f y tt Abbé Si ye , p ta ives o f h o e me nd e s t t e pe pl , ar d a reb lli ou , o i pitt ed against the M narch , aided by h s ” ’ a e e f ake nci ntest Peer , Duk o Burgundy , Bl s 1 descriptio n of wh omh as b een already qu oted . e e e i ea n B tw en th m s Orl ns, liberal but ot rev o l r - me utio na y. The scene is the c o uncil cha b r , i f mm s The but the atmo sphere s o i en ity . shadow o r radiance that arises when these acto rs s e m o r a e s h o e e p ak illu inates s dd n t e wh le univ rs . They are go ds deliberating in fiery dispute o n m me of some Oly pian m ount . This treat nt s o h as mme s o s es an d ms hi t ry i n e p s ibiliti , , it u t b s a has ma m e e c onfes ed , Bl ke de, in this er

1 Scra p 9+ 1 07 ° B L A K E 69 H I S P O E T R Y

me e e e use o f the a s e to frag nt , xc ll nt f ct giv n m a o e assa e es the hi . Th t w nd rful p g d cribing Duke o f Burgundy h as a definite air o f finality n o r oes the o e o f h A d abo ut it , d v ic t e bbe e Si eyes fail t o move ou r hearts

THE SP EEC H OF THE ABBE

ar O a e s of ra e ! the o e o f the He , he v n F nc v ic ar s om a e an d people, i ing fr v ll y hill, ’ l o e ea the e of O erc ou ded with p w r . H r voic the a e s th e o ce of mee t es v ll y , v i k ci i , i r sse o n a e an d e the Mourn ng opp e d vill g fi ld, till

village and field is a waste . For th e s a ma ee s at s of the fife hu b nd n w p blight , an d blasting o f trumpets consume The souls o f mild France ; the pale mother is c a a e nour hes her hild t o the de dly sl ught r. ’ e th e ea e s e e see t a sto e and Wh n h v n w r l d wi h n , ’ th e ter e sun clos d an orb an d the ribl in , moo n Re omthe at o s and a a nt fr n i n , e ch star ppo inted for at ers f i h w ch o n g t, Th e millions o f spirits immo rtal were bound in th e ruins of sulphur heaven ’ ’ To an e enslav d a de ress d ar w d r ; bl ck, p in d k ora e e in a ign nc , k pt we with th e whip To orshi e ors e om o f w p t rr , br d fr the blo d o revenge an d breath of desire In es a orms r more err e men i th e b ti l f , o t ibl ; t ll a o f our ea e mo r i d wn p c ful n ng, a ti mor i ti the eakn o f o s Till d wn , ll n ng, ll br i g cl ud , and s e n o f ds an d the e sa w lli g win , univ r l vo ice ; 1 0 8 ° B L A K E 69 H I S P O E T R Y

Till man raise his darkened limbs out of the caves His e es and his e o f night. y h art — e e is S a e e 0 S Expand Wh r p c wher , un, is thy ’ ? e e en O a s m dwelling wh r thy t t, f int, lu b rous Moon Then the valleys of France Shall cry to the sol o o th s o and ms dier : Thr w d wn y w rd u ket, And run and embrace the meek peasant Her es s a ea and S a ee and Nobl h ll h r h ll w p, put off

e of e o the o o f o ess o The red rob t rr r, cr wn ppr i n, o em and th e sho es of c nt pt, unbuckle ar omthe eso a e ea e The girdle o f w fr d l t rth . Th n ’ the Priest in his thund rous cloud S e n to ea t em a th hall weep, b ndi g r h, br cing e and his an to th e o valleys, putting h d pl ugh, Shall say No more I curse thee but now will I bless thee no more in deadly black Devour thy labour ; nor lift up a cloud in thy O a o o s o heavens, l b ri u pl ugh ; m o s a a e Th at th e wild raging illi n , th t w nd r in an d how! law- las e as es forests, in b t d w t , ’ S madden d i s a er o es o trength w th l v y , h n ty b und f s e s o in the dens o up r titi n, a e and s o the a es May sing in the vill g , h ut in h rv t, and wo o in pleasant gardens es now eamn o Their o nce savage lov , b i g with kn w d it e e awe ado rnéd le ge, w h g ntl w and the amme the se the And the sa , h r, chi l , the en and the inst me s pencil, p , ru nt Of heavenly song sound in the wilds once for ea the la o o s o ma bidden, to t ch b ri u pl ugh n ’ deliver d om o s of war And shepherd, fr cl ud , m es e e om - ea om fro p til nc , fr night f r, fr mr e u d r, 1 0 9

° B L A K E 69 H I S P O E T R Y

ease . o a es o Wo lf shall c With p litic l r tricti n , o s es o is e s a e e an d to o , religi u r tricti n b ing h tt r d , y o uth and impulse are rising t o their ow n o nce m ore. With the Vi si o ns o f the D aughters o f a e 1 we are a n ew Albi o n , engr v d in 793 , in mo f o e e e so me o real pr ph cy , d riv d but h w dif o s s ea ferent from the earlier w rk . In thi y r Blake r emo ved his residence to 1 3 H ercules ame th e o se o a a is Buildings, L b th , h u pr b bly th t e 2 e es o a H e ems n ow numb red 3 H rcul R d . se e o as o a fits o f e ess o for we to have f lt cc i n l d pr i n , find a n ote in o ne o f his manuscript b o o ks ’ I say I Sh an t live five years . And if I live ” As o n be a o e . we o he was e it will w nd r kn w , - He was o f to live ano ther thirty fo ur . still full e s asmfo r the e o o o e e an d nthu i R v luti n , h w v r , fo r an o ther year or two he presente d works wh o se main aimw as t o cel ebrate liberty e e o e a a e so a so a an d lib rty , b it n t d g in , p r n l , ci l , s o s th a is o p o litical . In the e w rk e ple threef ld s e so a es o a a s es o again t p r n l r tricti n , g in t r tricti n ma e s o f sex and a a s a o s o in tt r , g in t tyr nn u g vern me nt . There is a distinct pl o t in The Daughters ” o f A o as e e is mo s o f th e ea lbi n , th r in m t rly o es . Ooth oo n is a a e the pr pheci id n , so ft ” o f me a wh o o an d e o e so ul A ric , , l ving b l v d by Th rmo n h as ee se e an d o a e eoto , b n iz d vi l t d by r i n Theotormo n is a o n B omo . j e l us a d binds themback to back with fetters o f ir o n but th e daughters of Albi on gather r ound her an d Sing 1 1 1 ° B L A K E 69 H I S P O E T R Y

mo e s a o e o their songs of r piritu l l v , Sh wing that mortal stain do es n ot defile the pure inn o cence Th e o e oe is an o o f th e so ul . wh l p m utburst l n d against restrictive aw a reason . Ooth o on is at o nce the Spirit o f l o ve wh o to uches earth in e e an d is o eme e e her inno c nc , c nd n d th r fo r , and e o s the spirit o f p o try , b und in by hackling l aws me s The a e e e is o an d command nt . tr g dy h r tw r he ea o s a is o o f law n fold , fo in t j l u y th t b rn a d rmon s e s as e as Oo h o on reaso n Theoto uff r w ll t . o e a a e n ot as It is t o be n t d th t Bl k did , Mr Ellis ‘ e a e a o e o f ee o declares, nunci t d ctrin fr l ve promiscuo usly exercised but rath er sought to lay stress o n th e facts th at m o rtal l o ve did n ot so a an d a es a stain the ul f bric , th t r tr ined desire was n o l ess sinful than desires in their active m s he is the e o o f for . In thi dir ct f ll wer o Christ . He h as n othing but c ondemnati o n f or false m o desty .

THE CRY OF OOTHOON

cr o e o e o e a a I y L v L v L v h ppy, h ppy Love ! free as the mountain wind ! an a be o e a r n s an o C th t l v , th t d i k th er as a sponge a e drinks w t r, a o ds t ea o s his Th t cl u wi h j l u y nights, with weep s allthe da ing y, To s a web o f a e aro him e and o pin g und , gr y h ary , dark Till his eyes sicken at the fruit that hangs before his sight S is se - o e a e v es alla skl uch lf l v th t n i , creeping e e

ton , 1 1 2 ° B L A K E 69 H I S P O E T R Y

lik es a lam e e a o the With p y , w tching r und frozen marriage bed

o es the sun a o o s rairn ent h D w lk, in gl ri u , on t e secret flo or Where the co ld miser spreads his go ld ; or does the bright cloud drop On his sto ne threshold ? D oes his eye behold the beamthat brings Expansion to the eye of pity ?o r will h e bind himself Beside th e ox to thy hard furrow D oes n ot that mild beamblot he owlhe o e and th The bat, t , t gl wing tig r, e king o f night ’ The sea-fowl takes the wintry blast for a cov ring her ims to l b , And the wild snake the pestilence to adorn him with gems and gold ees and ds an d eas s an d men e o And tr , bir , b t , b h ld na o their eter l j y. u e a s and s o Arise, yo littl gl ncing wing , ing y ur infant j oy ri o ss for e e i a Arise, and d nk y ur bli , v ryth ng th t lives is holy

s oe th e s o s o f the a e s In thi p m , Vi i n D ught r ” o f o we are e e e at mes e e Albi n , p rpl x d ti by r f r ences to America o r t o th e v o ice of Slaves e ea the su n an d e o b n th , childr n b ught with m a - s mo a - e a e o ney h lf y b lic , h lf lit r l utt rances that c o me fromthe lips of a mystic an d so ci al “ ” me a : o m p o litician . In A ric A Pr phecy , e ame ea 1 s mo graved in the s y r , 793 , th o e sy b lic references are seen rapidly passing into mental 11 1 1 3

° B L A K E 69 H I S P O E T R Y

sa e on a e am a e of pas g p g 5 , wr ought id b vy s es incr d frightful figure , d cribing the j oy and e u l ous wo nder o f a liberated peo ple

Let the slave grinding at the millrun out in to

the field, Let himlook up into the heavens and laugh in th e bright air en a e o a ess and Let th e ch in d s ul, shut up in d rkn S in in igh g, Wh ose face has never seen a smile in thirty weary ars ye ,

Rise and lo ok out : his chains are loose, his e oo ar e dung o n d rs e op n, And let his wife and children return fromthe ’ O esso s s o r e ppr r c u g . e o o e a e an d e e e is Th y l k b hin d t every st p , b li v it a eam dr , i his a ess and S nging : The sun has left bl ckn , as mo h foun d a fresher rning, And the fair mo on rej o ices in th e clear and cloudless night : r m mo e and now the o and the Fo E pire is no r , Li n ” Wolf shall cease.

m a ee Such an i age o f regenerated hum nity , fr d o its e m o as e the fr m f tters, ust be c ntr t d with ” s o o f o e o e e a e vi i n Eur p A Pr ph cy , ngr v d in 1 an d se the o 794 , displaying in bitter wi l ng sleep of Euro p e under the o ppressive rule of th ose churches which had l ost the secret an d the messa e f is s o o f a a e g o Christ . It a vi i n wh t Bl k mos a e — o s law es a com t h t d hyp cri y , , r tr int , ’ ma me is m e e is o o f nd nt . It al ost Sh ll y s v i n 1 1 5 B L A K E H I S P O E T R Y

” me e s U o Go d the a Pro th u nb und , with tyr n n o us rul er o ver everything , o nly differing fro m ’ it in that Blake s Go d gains p ower n ot o nly es a o a se s e e an thr ough pri tcr ft , but thr ugh f l ci nc d o s oso as e o h ow err o ne u phil phy w ll . In b th , e ma es a e as a es ver , nkind li ch in d , in th t d ign ’ o f o e e e s e s e s n et the o Eur p wh r pid r w b in w rds, an d human figures lie cl asped in the clinging e ma ome a o r o f a o v ils o f terial phen n , tyr nn us o o e o th e wa w ea h p litical p w r , acc ording t y e r d t e ” “ m m e s o e o p oe . Like Pr o eth u , Eur p t o o e o f an a a e e ends in a pr ph cy w k ning , wh n strife se s he e s o f e n o me e ri s fir t in t fi ld Fran c , t r ly me a a a e i so cial strife, but th at nt l w rf r which s m an d m e e e e a se ea o re deadly ore s v r , b c u d ling a e s o f the an d n ot e a es e with m tt r mind with v n c nt , o a e m as h e w as ema e b dily things. Bl k , ild , r in d a e o he en d o f his e his a a e fight r t t lif , but w rf r was m ostly c o ncerned with the Oppressive fo rces o f the m H h ad as e so a a a e f or ind . e p r n l h tr d Urizen i o a o o f the a o s , h s pers nific ti n tyr nn u easo as n a e o e for a a r n , a y sl v c uld hav brut l as mas ‘ a h e se s ss w r o f t k ter . He bh orred t n ele a nati o ns when the God of War is drunk with o f bl o d and Ghosts glut the thro at o H ell , but h e was ever ready t o don his Spiritu al arm our

Bring me my bow o f burning gold ! B ring me my arrows o f desire ! Brin me m s ea O c o s o g y p r l ud , unf ld Bring me my chariot of fire ! 1 1 6 ° A K E 69 H I S P O E T R

ease omme ta t I will n ot c fr n l figh , S m swo s ee m a Nor hall y rd l p in y h nd, Till we have built J erusalem ’ an asan a 1 In Englan d s green d ple t l nd .

e a os o ut o f ken h Bl ake spiritualiz d , lm t , t e forces f o o rev lt . It is p o ssible that the excesses o f the French Rev o lution gradually drew Blake away fr oman mfo r the e e s o n th e o e enthusias v nt C ntin nt , but it is much mo re pr obable th at the mystical turn o f his mind was l eading himbeyond th e sym b olic presentatio n o f history t o a wo rld having n o 1 limits o f time o r o f pl ace . In 794 h e pro duced ” Th e s o o o f Uriz en 1 The (Fir t) B k , in 795 ” ” o f L o s Th e o o o f L os an d Th e S ong , B k , ” n i B o o k o f Ah a a. All these are c o nnected to gether as being sh o rter pro phecies an d as preparing th e way for the l o nger pro ph ecies o f his last years. B oo k

’ Preludium gives Bl ake s mo re mystic do c trine o f p o etic inspiratio n

er als ! ea ou al a Et n I h r y c l gl dly . a e s i e o s and a Dict t wift w ng d w rd , fe r n ot To o o ar is o s of o me unf ld y ur d k v i n t r nt .

Later o n he was to write to his friend Butts that h e had written Milto n fromimmediate

1 " P e ce to M t n See 1 8. r fa il o . p . 3 1 1 7

° B L A K E 69 H I S P O E T R Y

’ the terrible changes which c o nvul se U rizen s a ame wful fr .

the m a s of te All yri d E rnity , All the wisdomand the j oy o f Ro ll like a sea around him Except what his little orbs O s e ees o f ight by d gr unf ld , now his ete na i e And r l l f , m at i e a rea was o te ed . L k d , bli r

him s L os e and And , seeing thu , piti s, from his s s En itharmo n his ma a o pity pring , E n ti n , the m f h is o e a es E i sy b o l o s ft r qu liti . But n th a mo the e s o f o e ess ea r n , qui t pirit l v lin , b rs a man - an d L o s wh o h ad s child , , fir t succ o ured s o f ea o s it , feels the bond j l u y pressing o n his as Th e is ame an d bre t . child n d Orc , L os, hi m e and e e in s adn ss fury , influ nc d by the f riz en a im fro zen passi o ns o U , ch ins h to a o f ea o s ro ck with the Chains J l u y . The n et o f riz en h as ea His mo s o s a e U spr d . n tr u ch ng s a e s e o e allo e e e h v w pt v r , c v ring v rything with the e a a e s o f s e e an d a se e d v st ting n t ci nc f l r ligi o n . o s o f e o a s a few a e Only Puz n , pirit r v lt, c ll br v om n d a s omthe e c rades to gether a p rt fr arth . is a ama ose s e e is an d It dr wh c n infinity , who se acto rs are the giant f o rms o f p erso ni fi ed desires and p assio ns o f ideally human ’ s a a the es oems o f h pe. It h as, wh t b t p Blake s a e a o e e an d e e o e h v , pl t , d finit d finit ly c nc ived . a - o me m Euro p e is but a h lf f r d idea, i per fectl o e e The e o f ase y c nc iv d . f licity phr which 1 1 9 ° B L A K E 69 H I S P O E T R Y w as so noticeabl e in some o f the earlier o f ’ eems o a e e e e e Blake s so ngs, s t h v r turn d h r o f ea ee with a n ew radi ance. Lines b uty m t o u r gaze Voices o f terror e e s of a mn Are heard, lik thund r utu , When the cloud blazes over the harvests

t o e a ar For Eternity s o d wid p t, ar As the stars are apart fromth e e th .

We are reft suddenly to a visi o n -wo rld o f b o und less Sp ace an d time where th e smallest man ifes tation s o f earth are magnified a th o usandfo ld into th e fl ames o f eternal fury

’ ’ ’ un rin darkn in hund rin S d g, g, t g, Re t a a ith a terri e ras n w y w bl c h, ’ ter it ro lld i a a E n y w de p rt , Wide asunder ro lling o tai o s alla o M un n u , r und, e a t e a ti a t D p r ing, d p r ng, dep r ing, ea i ous r me ts o f e L ving ru n f ag n lif , a i ro nin if s an d alletwee H ng ng, f w g cl f , , b n, O ea o f o a oma e An c n v idness unf th bl .

The B o ok o f L o s an d The B o o k o f ” Ah ania o e a e 1 m a , b th ngr v d in 795, cul in ting in the ea ame f Ah n ia s b utiful l nt o a , bring thi ’ me e o o f o o o s L a b th p ri “d Blake s career t a gl ri u o s o Th e o f L c nclu i n . B ok o OS relates in different wo rds much the same sto ry as that — ’ to ld in Urizen of Urizen s separati on and of his binding , ch anges and final degradati on 1 2 0 ° B L A K E 69 H I S P O E T R Y but this time to ld with L os as the principal agent s o a o ess o f e an d in the hi t ric l pr gr vents, with ” mo e s o s o f the o ld me r vi i n ti ,

e o e an d o e e a o a Wh n L v J y w r d r tion, ’ o e m e e d em And n n i pur w re e d, o Not eyeless C vet, ’ or - li d N thin pp Envy , Nor is e ath br tl d Wr , Nor curled Wantonn ess

allo se a es o r es as e are but when th qu liti , vic th y he e o f m n ow called , in t fr e light a pri itive, a e h ad o emthe a e im aginative g , up n th full v lu es— a is t o sa e a h as o f great virtu th t y, wh n wh t b ec ome wanto nness in this wicked wo rld o f o e e e w a ours was h oly l v , wh n s lfish wrath s righteo us an d flamelike fury o f prophetically inspired p ower . The p oetry o f The B o o k o f Ab ania is at o nce more pr ofo und an d mo re gentle than that es o n the e at the ose o f of L o s. It carri hint l ft cl f rizen e e P o a o e Th e B o o k o U wh r uz n , l n , ’ a s o e a e h o withstands the tyr nt p w r . It rel t s w o f s e o th e s o f Fuzo n , the spirit in pir d rev lt , pirit ’ am o s a a s th e a ess e J esus, fl d furi u g in t ggr iv p ower o f h is fath er an d struck himso that his Ah an ia a e o an d e o so ul , , p rt d fr m him f ll d wn , ’ ” a o w an d rin aos. a faint Sh d w , g in ch It relates h ow U rizen prepared a p oiso ned arr ow F z o n an d h ow a ee o f m e he and sl ew u tr yst ry , t ee of o o an d E e a o the a e tr G d vil , gr w r und gmd mo f the a e o e e o e hi . fo r f th r , until it wh lly nv l p d 1 2 1

° L A K E 69 H I S P O E T R

d o n or ea his o o s e s an d An j y, h r f t t p My heart leap at the lovely sound ! I cann ot kiss the place Whereo n his bright feet have trod ; But I wander on the ro cks

’ a e ess With h rd n c ity .

Where is my golden palace Where my ivory bed ? Where the j oy of my morning hour he Sons of e t Where t Et rni y singing,

T a a e Urizen m o w k bright , y King, To ar se to the mo ai s o i unt n p rt, To the bliss o f eternal valleys

To a a e m the mo m w k y King in , ’ To embrace Ahan ia s j oy O e ea of his o e som n th br th p n bo , Frommy soft cloud of dew to fall In showers o f life on his harvests ?

But now alo e o e o s mo n v r r ck , untains, Cast out fromthy lovely bosom u e ea o s Se s ea Cr l J l u y, lfi h F r, Self -destroying ! h ow can delight Re e in ese ai s of ar n w th ch n d kness, Wh ere b o nes of beasts are strown akan O the e d s o mo ains n bl n wy unt , Where bo nes fromthe birth are buried Before they see the light

1 23 ° B L A K E 69 H I S P O E T R Y VI

ITH Ah an ia cl oses this perio d o f ’ o e o e es th e Bl ake s sh rt r pr ph ci , peri o d h e sp ent at Lambeth just b efo re his departure f o r Felphamunder the patro nage ” a a is e was e o f H ayley . V l , it tru , writt n e 1 6 an d 1 8 o a ea o r tw o a e b tween 79 79 , nly y r ft r Ah an ia n o t o o es e a e , but nly d it diff r l rg ly omth e S o e o e es was e se fr h rt r pr ph ci , but it “r vi d a o 1 0 2 its e a e om a a o r b ut 8 , titl ch ng d fr V l , Th e Death an d Judgement o f the Ancient Man ” eamo f e s t o The o o as A Dr Nin Night , F ur Z Th e To rments o f Lo ve an d J eal o usy o f Albio n ’ th e e Man an d ea a s o f e o e Anci nt , gr t p rt it r w rk d n is th e o em a o e f r a d rewritten . It p th t c nn cts o u s th e earli er works with th e final Milt o n ” and J erusalem. Just ab o ut the years 1 795 an d 1 796 Blake was ee mo e and mo e th e f f ling r r pinch o po verty . His o e es n o o n e e o o n d pr ph ci und rst d , a the sale for em a o a e ee e th c nn t h v b n xcessive . M ost o f his time must h ave been o ccupied in writing an d em an d oss e e o f in printing th , , p ibly b caus their s a e o man d o e e e h ema tr ng f r c nt nt , v n t e d nd for o a e a s omhim rdin ry ngr ving fr was l essening . 1 6 o e e h e seem o m In 79 , h w v r , s t have ade a determined effort to find some work or o th er of a em e a e a a e r r un r tiv ch r ct r . In that year he p o du ced three illustrati o ns for an English tran sla ” o o f Biir er s oma a a o f e o e ti n g ’ r ntic b ll d L n r , an d was c ommissi o ned by th e publisher Edwards 1 24 ° B L A K E 69 H I S P O E T R Y

to c ollab o rate in a sumptu o us v olume of ’ o Th Yo ung s Night Th ughts. e designs for o e e e e n o t o s e e this w rk , vid ntly , w r c n id r d very o n e a was satisfacto ry . Only p rt publish ed , the remainder being issued in 1 80 2 illustrated by a o Stoth ard . App rently little c uld be h o ped for

e o . a e o e e fro m this dir cti n Bl k , h w v r , when w e take into c o nsiderati o n his temperament an d i m a a ms was n o t o a e hi h s ystic l i , unf rtun t in s n d he ea 1 a n ew mn patrons, a in t y r 797 a , mas s ame o n the s e e an o f e Tho Butt , c c n with f r a ea for o o e o f a guine ch fifty c l ur d drawings . s was n ot a ms n or was h e an a Butt y tic , rtist , but he seems to h ave taken a real liking for the h w s n ow s o ea s o f a n poet , w o a ju t f rty y r ge , a d h e app ears t o h ave put n o restraint o n himeither as regards ch o ice o f subj ect -matter f or th e m F r s s o r e ea e . o e de ign th ir tr t nt thr e years, a e o e s wa h then , Bl k w rk d in thi y, with t e h o unds o f s a a o e e at his o o o f i t rv ti n v r d r , part h s rev o lutio n ar e s as o e hi o y nthu i m g n , s p etic wo rks es s o e e s e d pi ed , w nd ring p rhap wh re next h e w as 1 h e wa e to turn . In 80 0 s to be s t at rest fo r a m as fo r a ea m ti e at le t , in th t y r Fl ax an intro duced himto a e a ea o e as e and H yl y , w lthy p t t r , in S eptember h e set o ff fo r Felphamto be near his a o e o e we ome t o a e p tr n . B f r c th t F lpham visit , ’ o e an d the as w o o em f h w ver , l t t p s o Blake s w e ma a se to a e at a writing , y p u gl nc V la . 1 as we a e see s o m In 797 , h v n , thi p e was e was e e e a e a ea s e writt n (it n v r ngr v d) , in n t cur iv a o n s a s of a e e m e h nd , cr p p p r which w re o ften er 1 25

° B L A K E 69 H I S P O E T R Y

- e s o f the o fro m the heart d pth p et . One such is o that in the sec nd Night , where Enio n wails ’ forth a cry that seems Blake s own

THE P RICE OF E! P ERIENCE

What is the price of Experience Do men buy for a so it ng, Or Wisdomfor a dance in the street No it is bought with the price O all a a man a —his o se his his f th t h th h u , wife, r child en . Wisdomis sold in the desolate market where o e ome to n n c buy, ’ And in the wither d field where the farmer

ploughs for bread in vain .

’ It is an easy thing to triumph in the summer s

sun , the a e and n a And in vint g , to sing o th e w ggon loaded with corn : It is an easy thing to talk o f patience to th e affl e ict d, To speak th e laws of prudence to the houseless an e e w d r r, ’ To listen to the hungry raven s cry in wintry seaso n , ’ When the red blood is filld with wine and with th e ma ro o f ams r w l b .

It is an easy thing to laugh at wrathful elements To ear the do o at the i oo th x h g h wl w ntry d r, e o in the Slaughter-house moan To see a Go d on every wind and a blessing on every blast 1 27 ° B L A K E 69 H I S P O E T R Y

To hear sounds of Love in the thunderstormthat ’ destroys ou r enemy s house h i ht that o ers his e and To rej oice in t e bl g c v fi ld, a ff his c i e the sickness th t cuts o h ldr n , Wh ile ou r olive and vine Sing an d laugh round ur oo an d our e r u s and o d r, childr n b ing fr it

flowers.

e h oa and the o o are te o o t e Th n t e gr n d l ur qui f rg t n, h a r a he m an d t e Sl ve g inding t t ill , d h e a i e a s an d the o o th e An t c pt v in ch in , p r in r so an d th e so ie in the e p i n , ld r fi ld ’ Wh en th e S hatter d b one hath laid himgroaning amo ng the happier dead It is an easy thing to rej oice in the tents o f pros perity Thus would I sing an d thus rej oice but it is not so it me w h .

o w s n o N , it a t so with Blake. He was to r mented th e s e e o f o e o n with p ctr p v rty earth , with th e Spectre o f R easo n an d Restricti o n in he me a ea ms o f his ow n t nt l r l devising . In Vala there are so ngs o f inn o cence es e me o es o f es a an d h b id l di d p ir , t e greater p art o f emo f a s ass ea Th th urp ing b uty . e Shado w o f En itharmon goes fo rth an d returns

Now sh e was a e as s o p l n w, ’ e the mo ains and h s ar c r d Wh n unt ill e ove over, and the paths o f men shut up ’ B e h er s rit re rn d d as a mor ut, wh n pi tu , as rud y n ing wh en ’ Th e ripe fru it blushes into j oy in Heaven s eternal a h lls. 1 28 ° B L A K E 69 H I S P O E T R Y

Such l ovely visio ns as these cheer us o n our ’ way through the dark m ass o f Blake s mystic r o th ought . No d es that th o ught here Oppress us as it s ometim es does in the tw o later pro i e e are mo e ass phec es. Th r r p ages h ere o f what m a o a o e m we ight c ll rdin ry p try , un ingled with s a e s o a es and a s se ea tr ng ymb lic n m b tru id s. Such an o ne is the fine p assage which Dr S ampso n has well called the S o ng o f the Sinless S o ul

THE SONG OF THE SINLESS SOUL Whose voice is this in the voice o f the s air nouri hing , o f the mo a a n h In th e spirit rning, w ki g t e Soul fromits grassy bed os o e for is ee see an Where d t th u dw ll it th I k, d but for thee ms a e S e e e na nor a e e the dew I u t h v l pt t r lly , h v f lt

of thy morning. Look h ow th e opening dawn advances with vocal harmony Look how th e beams foreshow the rising of some glorious power The Sun is thin e ; he goeth fo rth in his maj estic

brightness . O thou creating voice that callest and wh o shall answer th ee

e 0 a One e Wh ere dost thou fle , F ir wh re dost thou seek thy happy place ? h e e as e for s e To yo nder brightness T r I h t , ur me om e e I ca fr th nc , O mus a e s e e e a nor a e e the r I t h v l pt t rn lly, h v f lt ” dew of morn ing. 1 29

° B L A K E 69 H I S P O E T R Y

a e and a o n an Th e fru it sh ll rip n f ll d w , d the s me a a flowers con u w y, se ! But thou shalt still survive. Ari 0 dry thy dewy tears

Ha ! Shall I still survive Whence came that Sweet comforting voice And whence that vo ice o f so rrow 0 Sun ! thou art nothing now to me n se e o i an d let us o e Go o thy cour r j ic ng, b th r j oice together ! I walk amo ng His fl ocks an d hear the bleating o f s His lamb . 0 ! that I could behold His face an d fo llow His pure feet he o o s e s o f His o me I walk by t f t t p fl cks. Co e te e o s ! hith r, nd r fl ck Can you co nverse with a pure Soul that seeketh for h er Maker ! ou answer n ot : then amI set your mistress in

this garden . ’ a u and a e o r oo s e I ll w tch yo tt nd y u f t t ps. ! ou are not like th e birds Th at sing an d fly in the bright air ; but you do m eet lick y f , And let me touch your woolly backs follow me as I sing ; For in my b osoma n ew Song arises to my Lo rd R 0 un ! mos o o s m ste an i ise up, S t gl ri u ini r d l ght of day o on e e e a rs and ear the o e o f m Fl w , y g ntl i , b v ic y rej oicing a e es ea a e s o aro W v fr hly , cl r w t r , fl wing und the tender grass ; t o s ee -sme o u o And h u , w t lling gr und, p t f rth thy life in fruit an d flowers 1 3 1 ° B L A K E 69 H I S P O E T R Y

me O m o s and ea me s m Follow , y fl ck , h r ing y rapturous song I will cause my vo ice to be heard on the clouds he sun that glitter in t . an d wh o S ala s e me s a I will call, h l n w r I h ll sing wh o shall reply

r omm easa s e o the Fo , fr y pl nt hill , b h ld living, ri s living sp ng , R mo m ee ast res e n unning a ng y gr n p u , d lighti g amo ng my trees mnot e e alo e : m o s ou are m I a h r n y fl ck , y y brethren ; s t a s and a o n h k u ir t e s ou And yo b d , h t ing d r y, y sters are my si .

and ou e to m so e o e an I sing, y r ply y ng ; I r j ic , d a you are gl d . me O m o s ! we now Fo llow , y fl ck will descend h e a e into t v ll y .

0 how e o s are th e ra es o r s n in , d lici u g p , fl u i hi g th e sun

a the s i o f the o c mo How cle r pr ng r k , running a ng the golden sand I How co o l the breezes o f th e valley ! An d the arms of th e branching trees Cover us fromthe sun : come an d let us sit in s a e the h d . ’ My Luvah here hath plac d me in a sweet and easa t an pl n l d, e me s and easa a And giv n fruit pl nt w ters, an d arm s and oo ale s w hill c l v l y . ’ e e mse a o se an H r will I build y lf h u , d here I ll call o n His name ; ’ e e et r e am a m H r I ll r u n , wh n I we ry, and take y ” easan es pl t r t. 1 32 ° B L A K E 69 H I S P O E T R Y

Such a visio n must have seemed a very delight n o o a e as n a was ful o e t o p r Bl k , but it w o e th t f r im i never to materialize o h in h s lifetime. What did promise to devel o p into such an Earthly Paradise turned out to be almo st a H ell o f tor me to e a the o e ment . He ca F lph m with full h p s o f o ne entering o n a n ew life : he left it with bitterness an d hate in his h eart . To understand this visit aright we must strive to ee ea our the s o k p cl rly in mind tru tful , pr ud , n d h me e independent so ul o f Blake , a at t e sa tim h t e character o f this rich p oetaster H ayley . a e e - e a e man e se co n H yl y was a w ll duc t d , int n ly ceited ea e o be e a s o , infinitely g r t r g rded a a p atr n o f the d a r arts. He h a alre dy won a name fo his ” m s o f eme a se me a Triu ph T p r , pitiful , nti nt l o o f n o o e o and was meditat pr ducti o n p tic w rth , f o n d f m ing lives o C wper a o Ro ney . Blake, o e e was - a a e to es ma e hi h w v r , ill c lcul t d ti t s true a e an d th e ea 1 80 0 h e ms m n tur , in y r u t have c o e e a o se 2 lik g d nd . On August 6 , 1 799, the p oet was to me a As to mse writing Cu b rl nd y lf, e m a e m a m I liv by ir cl . I a p inting s all u es o he F r m t e . o as to e a pict r fr m Bibl y ngr ving, in which art I c anno t repro ach myself with any e e ama a o e a n n gl ct , I l id by in c rn r s if I did ot ’ e s nd S m Y xi t , a inc e y o ung s Night Th o ughts a e ee s e e e o so n d se h v b n publi h d , v n J hn n a Fu li a e s m h v di carded y graver . But as I kno w that h e wh o o s an d has his ea a w rk h lth c nn ot starve, a a o u e and o o n n d I l ugh t f rt n , g a o n . In spite of his o ms o e es a m pti i tic n t , d p ir ust o ften have 1 33

° B L A K E 69 H I S P O E T R Y

2 rd o n m s o out at m a e th the 3 , y fir t g ing y g t e mo a e m a a an d the o o first rning ft r y rriv l , pl ughb y ‘ he o ma a e th said t o t pl ugh n , F th r , e gate is ’ o e we him o pen . In Oct b r find writing th ose verses to Butts ab out ‘ d o uble visi o n which I have already qu oted . H ayl ey is dec orating his n w es s and omm villa with e d ign , c issi o ns Bl ake to ea s of ome amo e s a o s o draw h d H r , C n , Ercill , Ari t , f r his Th - an d Spenser o study . e p oet artist is also entrusted with illustrati o ns fo r some o f ’ e seems o H ayley s ballads . Ev rything t promise well . When an d h ow the cl o uds began to gather we a a we can t - mf r canno t tell with ccur cy , but e f or o o f ose e ourselves a picture th thr e years. H ayley h e a e to ea a e a a was kind , but w nt d l d Bl k w y s H im ee mhis s o . e e to ea h fr o vi i n tri d t ch Gr k , r He a o an d to admire Greek a t . re d Kl psto ck to im He a em e to e to a e h . tt pt d induc him t k up mini ature- painting in o rder to pro vide himself e o o a a d o with a liv lih d . Outw rdly Bl ke ha t

m a e a h e me . The see gr t ful , but inw rdly fu d o f ma e o se very kindness H ayley made the tt r w r . fo r he o e o e e e o e H appily t p t , h w v r , h h ad a n t n d a h e e e o sa a b o o k , a in th t p nn d d wn in tiric l is o o o f his a o nd re verses h pini n p tr n , a p vented his rage beco ming to o evident o n the c surfa e .

en s i oft has ma m o a Thy fri d h p de y heart t che,

s o n o n e o as o h e write cc i n ,

’ be m e em—for e s s a e Do y n y fri nd hip s k . I 3S ° B L A K E 69 H I S P O E T R Y

He a o He is quite clearly exasperated . c nn t

f o r n o e ess has ee o e e to . be rude , rud n b n ff r d him At th e same time h e feels his very being is sl owly He b eco ming crushed an d fettered . abh ors miniature- painting

a 1 ds out a ou an o do When H( y e)y fin wh t y c n t , ’ That is the very thing he ll set you to ’ r not o r e tis n ot his a t If you b eak y u n ck , f ul , of sa But pecks o f poison are not peeks lt .

Again

as a ha s h e and I write th e r c l t nk , till I With thanks an d compliments are quite drawn

dry .

e ams s ee Reading thes epigr , it mu t s m quite o bvi o us that such a p ositio n c o uld n ot last for is a o e a a e l ong . Indeed , it w nd r th t Bl k did n ot l eave Felpham l o ng b efo re h e did. As it w as a a e n ot a ma e his , h e pp r ntly did fin lly k up m 1 0 an d w n ot a ind until April 8 3 , as b ck in o o e eme e h e se e o L nd n until S pt b r , wh n ttl d d wn 1 o in ro oms at 7 S uth M olto n Street . Befo re h e e am o e e o e e a o l ft Felph , h w v r , an th r v x ti us inci dent h ad o ccurred to tr o uble his mind for a few mo o m o i o nths. C ing int h s c ttage garden on e da s h e o e e a s a e y in Augu t , f und th r tr ng r named Sko fi l e d a a e the I st o a a o , priv t in R y l Dr go ns, and

e es e himto ea e . The man had r qu t d l v , with o ut ’ a e o e e ee Bl k s kn wl dg , b n invited by the gardener t o ass s the a e an d iman i t in g rd n , returned h me e a s e a a o i p rtin nt n w r . An lterc ti n ensued , o to en d e a e a h man th nly wh n Bl k , t king t e by e 1 36 ° B L A K E 69 H I S P O E T R Y

r im o the o a for a elb ows, an h d wn r d b out fifty e s w as a the so e m yards. Th re ult th t ldi r ade a m a a a s the o e a e a he h d c o pl int g in t p t , v rring th t a m a a utt ered sediti o us senti ents g inst the King . e as o e a and was a e Blak e ily pr vid d b il , cquitt d at h s o s n o m t e Chich ester ses i n , but t with out ental o me me was a e t r nt to hi s lf . It ft r this that the name Skofield became affixed to o ne o f his wo rst s m f e me y bolic figures o iniquity . Ev rything see d He e m t o have go ne wr o ng at o nce. f lt hi self o n lls es s e s o o a e s e e e a id mi und r t d , g niu f tt r d by s a oe o f s o s oo e circum t nce, a p t vi i n d m d to find m e t an d se es s his visio ns o ck d a him lf d pi ed .

TO THOMAS BUTTS O why was I born with a different face Why was I n ot b orn like the rest o f my race o a o ne s a s e Wh en I lo k, e ch t rt ; wh n I speak, I offend ; ’ m i e an d ass e an d s Th en I s l nt p iv , lo e every e fri nd .

h e m e se s o o m es es T n y v r I di h n ur, y pictur d pise, e so de a e and m eme as se My p r n gr d , y t p r ch ti An d the en i m e o m e m m p s y t rr r, y p ncil y sha e ; Allm a e s r and ea is m ame y t l nt I bu y , d d y f .

’ me t e to o low o r to o riz d I a i h r , highly p ; ’ ’ ’ e e a e I men e en mee I mdes is d 1 Wh n l t vi d wh k p .

It was in the midst o f this trouble an d misery o f three years that Blake wro te the maj o r p art ” nd e sa m of Milto n a J ru l e , works which he

1 a ette to T B tt ated Au u t 1 6 80 From l r homas u s, d g s , 1 3 . I 37

° B L A K E 69 H I S P O E T R

Bring me my bow of burning gold Bring me my arrows o f desire B me m s ear O o s o ring y p cl ud , unf ld Bring me my chariot of fire 1

n o ase omme a t I will t ce fr nt l figh , r a m s o s ee m a No sh ll y w rd l p in y h nd, Till we have built J erusalem ’ an d easa a In En gland s green pl nt l nd.

’ s is o f s a e o f Thi Bl ake s fine t utter nc , full s n d e ea a o a o e a . in pir ti n , inwr ught with t rn l b uty The questi o n o f its l oveliness can never be e a e ma o o e d b t d , but we y cast a d ubt c nc rning os o an d o dd a a o o o f th e f rty p ges th t f ll w , full n - a a e o e symb olic a d o nly h alf underst nd bl p try . Th e p assages o f gl owing wo rds are rar er th an in ” a a W ma s a e s o s o f ea V l . e y till h v vi i n b uty as o f that pleasant Sh ad ow o n p age 3 1 where

All the weak and weary Like Women and Children were taken away as on wings O e e so t an a ns f dov lik f ness, d sh adowy h bitatio e a e for em pr p r d th , an d where

Thou hearest th e nightingale begin the S o ng o f Spring : e ar s tti o his eart bed st h Th l k , i ng up n hy , ju as t e mom

ears s ens s e t e ri i m h App , li t il nt ; h n, sp ng ng fro t e a n o e o w vi g c rnfi ld, l ud — He leads the Choir o f Day trill ! trill ! trill ! trill ° B L A K E 69 H I S P O E T R Y

Mounting upo n th e wings of light into th e great a se Exp n , Re-echo ing against the lovely blue and shining heavenly Shell ; His little throat lab ours with inspiration ; every feather On throat an d breast an d wings vibrates with the i n effluen ce d vi e. lla is ens s e to himand the a S A N ture l t il nt , wful un Stan ds still upon the mountain looking on this little Bird m and o e o e an d With eyes of soft hu ility w nd r, l v ,

awe. Th en loud fromtheir green covert allthe Birds begin their song ; Th h s th e and he o Ro e T ru h, e Linn t t G ldfinch, bin, an d Wren Awake the Sun fromhis sweet reverie upon the mountain : ’ Th i a a ai a h an d th e Night ng le g n ess ys is song, ro the day ’ And thro the night warbles luxuriant every Bird o f so ng Attending his loud harmo ny with admiration an d

love. This is a Vision of the lamentation of Beulah o e Ololon v r .

But such p assages seemscarcer than in th ose o e o o s o e e mh m th r b k , m r d tached fro t e ain thread of the o e p tic narrative. The is a s o e an d e truth th t in thi p m , in J ru ” sa em th e ma a o l , E n ti n o f the Giant Albi o n , the separate pl ates fo rming the pages o f the o seema o s e w rk lm t int rchangeabl e . D ozens o f 1 40 ° B L A K E 69 H I S P O E T R Y pages l ack c o nnexi o n either with what precedes e a s or with what comes aft r . M ny mu t h ave been hastily intro duced between the year in which 1 0 an d the engraving was started , 8 4 , the year it m em w s o e e 1 2 0 . e sa o a c pl t d , 8 J ru l , h wever , ’ o e a o ea s to us th e e m r th n Milt n , b r tru beauty of os o f ms a e ee poetry . M t it u t h v b n written ’ when Blake s anger against H ayl ey h ad died o die o a o d own , as we kn w it did d wn b ut the h ad e the es f year 1 80 5. After he l ft clutch o the patro n he was abl e to l o ok back upo n him with h o e a kindly feelings. On t e th r h nd , J eru ’ sa e as n o o e e a l m h pl t . Lib rty , c rt inly , is the eme we ose S o f m main th , but l ight it in any The o o o separate p assages. intr ducti n t the p oem info rms u s that it will relate

Of the sleep of Ulro And of the passage through Eternal Death ! And o f the awaking to Eternal Life

but little is t o be seen in the wo rk as a wh o le. e i me the o a Th re s a seeming sche in f ur ch pters , e h e s h addr ssed t o the Public , to t e J w , to t e D eists — , and to the Christians respectively but the in tro ductio n s t o th o se chapters have n o thing to d oss o with the separate c o ntents . P ibly they were interp o lated l o ng after the main part o f the o e e e are a es to o p em was penn d . Th r p g , , ” n o f e a e in J erusalem , ot o nly d t ch d phrasing , 0 but o f hopeless triviality an d meaningless enu meration L e a o e e his e sa em . t ny n Op n J ru l at page 1 6 and read there 1 4 1

° B L A K E 69 H I S P O E T R Y

h e a me a a es Look h ow they scorn t y onc d ir d p l c , now in ruins B f e a se of e e and e ecause o Albion, b c u d c it fri nd

ship .

o n a e and e e e e S o we read p g 7 , , vi wing th r b hind ’ the p erso nal resentment at H ayley s friendship w are m e t o t o uches o f p oetic utterance , e te pt d e a do we r ead furth r , but wh t find

Lo !

a and e e e Hand has peopled B be! Nin v h ; Hyl , Ashur and Aram; ’ ’ Coban s son is Nimrod : his son Cush is adj oin d o ram t A , a By th e daughter of B bel . Kox is the father of Shem and Ham and J apheth

- meaningless words repeated an d reiterated fo r ea o n a a a e a ea several lines, l ding g in , ft r dr ry

o a o e assa e o f o e ess. a desert , t n th r p g l v lin Wh t are we to make o f this It draws us naturally to a c—o nsideratio n o f the questi o n o ften put fo r ward was Blake impro ving as he advanced ? Are these three l o nger pro ph ecies h is master pieces do n ot a a o e wh o Perso nally , I think th t ny n ’ has n ot been led astray by Blake s symb o lic message wo uld dare t o suggest that the later p oems were superio r as p o ems to the So ngs ” n o f e o f Inno cence a d Exp rience . These l o nger pro ph ecies are entire failures when co n his as a f sidered as a who l e . In l t ide o pr oducing epics as l ong as H omer and tragedies as 1 43 ° B L A K E 69 H I S P O E T R Y

” a e was o o u t his l o ng as Macb eth , Bl k w rking H e w e e n ow n destructi o n . as ntir ly a d wh o lly e the assa es ose o e a lyrist . Ev n p g in th l ng r b o oks which are memo rable are the Sh o rt ss o utt erances o f immediate p a i n . A p o emabl e a S e S —it to be —written at ingl itting might be o f e o f his art . The f h o urs was th limit lyrics, o e e allo f s s e e an d e e c ourse , w r thi udd n typ , v n f the S o e o e es ee ms the best o h rt r pr ph ci , I f l , u t ’ have been written practically fro m a moment s ’ a e o e a e s f mo o d . Already I h v n t d Bl k lack o - o e his o allthe pl o t weaving p w r , pl t in lyrics an d Sh ort er prophecies being but an emoti o n a e ma e e vividly p ortr y d in ny diff r nt guises . We ma e a a e a se es o f s emo o s y, c rt inly , h v ri uch ti n , r mo o s o f o as o m o e ti n c ntr ting f r , but never a o o e out o f e mo definite st ry w v n th m . Each e — tio n is distinct as distinct as he believed ’ co lo urs an d ideas o ught t o be up o n the painter s a e o e o e e canvas . I h v ft n w nd r d wheth er Blake might h ave given u s something stupendo us in his o e as h e h as his art o f es the “p try , in d ign in s h e h ad ee J ob serie , if b n willing to ado pt f ome o e e the pl ot o s th r writ r . What h e might have achieved had h e been like Shakespeare and utilized the vagu e ideas and half-formed con ceptio ns o f his predecesso rs can o nly be hazily c o nj ectured . s e a o s are e f r But such p cul ti n futil , o Bl ake , o his s o s an d his e e e with ut vi i n ind p nd nce, wo uld not a e ee a m h v b n Bl ke. It is omentary visio n that transforms allhis pictures and his p oems 1 44 ° B L A K E 69 H I S P O E T R Y that double visio n which ch anges earthly things into eternal symbo ls, which pierces bel ow the o h e S a o e e material int t piritu l , which , c nv rs ly , emo o s o m m es turns abstract ti n int hu an for , giv to Pity a name and t o L ove a human h abitati o n - a e a a e all e and a resting pl c . Wh t , ft r , we hav m e is a a e as a o e ms be to re emb r th t Bl k , p t , u t studied emoti o nally for the pure beauty o f his verse an d for such symb o lic message as he is abl e to give t o us with o ut having rec o urse to huge depressing tabul ae o f well - nigh meaning Mr s ea s as a om ms . me l ess na e Elli m n it c pli nt , ” i a o e a o o f e sa e but it s truly c nd mn ti n J ru l m , wh en he says that any adequate c ommentary o n that p oemwould be ten times as l o ng as the If we a e s e com p oem itself . h v uch l ngt hy e s o an d o e ease o e mente ries, th n vi i n p try c t b visio n and p oetry and c ome to be cryptic phil o so phy . e h e was n o m In p o etry , wh n t isled by this o his aimwas the a and e phil os phy , fin l o nly tru “ ” is o n e . In h Public Address, written pr ob a o 1 1 0 h e e a e ably b ut 8 , d cl r s that he has heard “‘ a e m peo ple s y, Giv e the ideas : it d oes n ot ’ e a o s ou em n d matt r wh t w rd y put th into , a e m the e i ma e o thers say, Giv e d sign it s n o tt r ’ o e e fo r the executi n . Th se p ople knew en ough e e o o f r eas a o o f artifice but littl mn ugh a t . Id c nn t be given but in their inutely appropriate words . Nor can a design be made with o ut its minutely ” e e o T man s appr opriate x cuti n . he who fir t realized this inevitable c o mmuni on between K 1 45

° B L A K E 69 H I S P O E T R Y

’ s e o t o the ea s 1 80 to 1 Blake s design b l ng y r 5 82 7 . He died in the very act o f putti“ng finishing touch es t o his illustratio ns for La Divina mme a The a o s a e es s C o di . f m u Gr v d ign were finished by 1 80 5 an d issued in 1 80 8 as chiav o ne i engraved by S tt . Originally these h ad been c o mmissi o ned by C romeko n th e under standing that Blake sh o uld be empl oyed to do G ome e the engraving . r k , however , an astut o e a e the a ee e a rascal , so n r pudi t d gr m nt , p id e eas f or e e es s an d Blake tw nty guin tw lv d ign , reape d a h orrid gl o ry from this r obbing o f the o m p oet . The bl w ust have been a severe one h o e s mes w to Blake, w th n , a at o ther ti , as ee o f m desperately in n d oney . A petty sneak ” a e e he n i - ing kn v I kn w , writes i h s note bo ok. h 0 ! Mr Gromek , ow do ye do an d

Cromekloves artists as he loves his meat ’ He o es the tis the ar to a l v Art but t che t.

Not a a o e e was he a e o le e lw ys , h w v r , bl t re i v se s a e him lf thu in s tir , and there is a pitiful note the o sse a s r : es a in R tti m nu c ipt Tu d y , J any . 2 0 1 80 e ee Two and se e the , 7 , b tw n v n in Eve ning, ” es a th f D p ir . During e next ew years little o o see t o a e ome his w w rk w uld m h v c ay . Butts e a ema e a a c rt inly r in d f ithful friend , and the o ess o f e o ase C unt Egr m nt purch d a painting , ” The as e 1 L t Judgm nt , in 80 8, but such is n ot eno ugh to keep even the flesh and bo ne of an a s o e e . a e s l o e on h rti t t g th r Bl k ti l w rk d , owever , an d in 1 80 9 o pened an exhibiti o n of pictures 1 47 ° B L A K E 69 H I S P O E T R Y

s o a w as n o t at 2 8 Bro ad Street . Thi pr b bly a mthe mo e a o o f e success fro n t ry p int vi w , but it all owed himin his catal o gu e to vent his feelings r the in regard t o fal se an d to true a t . During run of the exhibitio n h e also issued a prosp ectus f or an engraving to illustrate The Canterbury ms s e a h e ss e o n o e Pilgri . Thi ngr ving i u d Oct b r 1 h ame e he was 8, 1 8 0 . Ab out t e s tim writing in the R o ssetti manuscript the set of c o ntro versialverses known as The Everlasting ” ’ G ospel . En o ugh h as been said ab out Bl ake s idea o f Christ to make it pl ain that this p ortrait o f J esus was the direct antithesis o f the p o rtrait a e he es F o r a p int d by t Church . Bl ke Christ was n ot o r e o r o e e H mild , humbl , v r pur . e was a a a s - o m fl ming rti t soul , w rking by i pulse.

THE P RIDE OF CHRIST

God wants not man to humble himself a is the r of th e n e lf Th t t ick A ci nt E . This is the race that J esus ran m e to God a t man Hu bl , h ughty o , Cursing the Rulers before th e people ’ e to the em e s es ee e Ev n T pl high t st pl , And when He humbled Himself to God he es e e the e r d T n d c nd d cru l o . o m es h se m Me If Th u hu bl t T y lf, Thou hu blest , ’ o a so dw ll Th u l e st in Eternity . Th ou art a Man Go d is n o more Th own uma ea y H nity l rn to adore, For a is S f th t My pirit o life. a e ar se to Aw k , i spiritual strife, 1 48 ° B L A K E 69 H I S P O E T R Y

And Thy revenge abroad display o a the as eme Da In terr rs t l t Judgmnt y. Can that which was of wo an born, a o f the mom In th e bsence , to s ee When the Soul fell in l p, e And Archangels round it w ep, Sho oting out against the light l Fibres o f a dead y night, R o its own ar io eason(ing) up n d k fict n, In doubt which is self-contradiction ? m t is on o Hu ili y ly d ubt, mo And does th e sun and on blot out, Rooting over with thorns and stems all ems The buried soul and its g . ’ Th is life s five windows of the soul is h ea ens om o e to o e D torts t e H v fr p l p l , And leads you to believe a lie ’ e i n ot th o the e e Wh en you se w th, r , y a o e s in a i Th at was born in night, t p ri h n ght, h f 1 Wh en the soul slept in t e beams o light.

These verses are interesting for a student o f ’ a e s eas e e e ea e e the Bl k id , but th y n v r r ch v n h emo f the r obe o f p oetry . B etween 1 81 1 an d 1 81 a sa ea s e e r k e n 7 Bl k di pp r ntir ly fr om ou e . Wh at he did for a living during th ose terrible weary winters o f want an d o bscurity we can o nly W a e o e o f his e f r gu ess. e h v n n l tters o this

e o and o ne or tw o e a . 1 p ri d , but ngr vings In 81 8, o e e we o a he was o h w v r , kn w th t intr duced to o e on e o f the e e J hn Linn ll , chi f b nefacto rs o f his a ea s an d 1 81 l ter y r , in 9 was intro duced by

1 B ke t i be la lst n uish nd is here“trying d g een sensuous a 3pir1 v n The o ne ee t o e isio . s s hr ugh th eye and is false ; the other bathes in th e t radiance of eterni y. x49

’ B L A K E 69 H I S P O E T R !

he was ee n animati on , during which ch rful , a d free fro m the t ortures o f his appr oaching en d ; e an d as h he th o ught he was bett r , , e was sure to d e to o at the o o e he was o , ask d l ok w rk v r which e e his as a o ccupied when s iz d with l t ttack . It was a c ol o ured print o f the Ancient o f D ays o f he a striking the first circle t E rth , d o ne ex m s o for he pressly by c om is i n t writer o f this. After h e had worked up o n it h e exclaimed ‘ a e o e all can ! o There, I h v d n I I h pe Mr ’ Tatham will like it . He threw it suddenly a e ou a e ee down and said : K t , y h v b n a go o d ’ o wife I will draw y our p rtrait . She sat near i d n d h e a e a a h s be , a m d dr wing which , th ough n o e ess is e o e and e t a lik n , fin ly t uch d xpressed . a o a e He then threw th t d wn , ft r having drawn f r o nd e a to s a o an h ur , a b g n ing H lleluj ahs an d songs o f j oy and triumph which Mrs Bl ake described as being truly sublime in music and in verse ; he sang l oudly and with true ecstatic e n e me so a h h nergy , a d s e d h ppy that e ad finish ed hi o s a he had his a s c ur e, th t run r ce, and that h o e a he e was sh rtly to arriv t t goal , to receive the e o f his an d e e a priz high t rn l calling . After having answered a few questio ns c o ncerning ’ his wife s means o f living after his decease his Spirit departed like the sighing o f a gentle ee and h s e oma m br ze, e l pt in c p ny with the ighty me e ancesto rs h e h ad fo r rly d picted . He passed fro m death t o an immo rtal life on the 1 2 th of s 1 82 e his - Augu t , 7, b ing in sixty ninth year . Such was the entertainment of the l ast h o ur o f 1 5 1 ° B L A K E 69 H I S P O E T R !

s o f m his life. His burst gladness ade the room The a n peal again . w lls rang a d resounded with ific s m o s the beat y ph ny . It wa a prelude to the m o f he a hy ns t s ints. It was an o verture to o o f e e the ch ir h av n . It was a s o f h s re p onse t e angel .

1 52 BIBLIO G RAP H!

The following list contains the titles of some books which may be specially recommended for the further B a and his o study of l ke w rk .

TE! T

” a s f amB a e e e The Poetic l Work o Willi l k , dit d S O s ess s amso o e . by J ohn p n. xf rd Univ r ity Pr Thi does not contain the full text o f the three longer o es is th e s an ar e for allthe othe Pr pheci , but t d d t xt r oems p .

f amB a e e e Th e Poetical Works o Willi l k , dit d

d s. a o and us. an annotated by Edwin J . Elli Ch tt Wind 2 o s v l .

amB a o e S mo Th e Works of Willi l ke, P tic, y b lic, ” and a e E is and B . ea s. e . . . Critic l , dit d by J Ell W Y t Be ar aritch Th e o eti oo s are rn d Qu . 3 vols. pr ph c b k e e e o tho a an d e e is a e h h r r pr duced in li gr ph, th r l ngt y omme a a o on h c nt ry , o ften r ther difficult to f llow, t e ms i aleas o B a y t c id f l ke. Milto n and J erusalem have been issued by E R a an B R 2 o s a a d sse . . . D . M cl g n A . G . . u ll in v l , an d s o h uld be read in this edition .

BIOGRAPHY AND CRITICISM

Th e e of amB a A . Gilchrist Lif Willi l ke. 1 863

an d 1 880 Re n e 1 0 . is is th e an . pri t d 9 7 Th st dard ’ fe and o ains e o o s a e omB ake Li , c nt r pr ducti n t k n fr l s own o e a es c pp r pl t .

m a e A . C Swinburne Willia Bl k : A Critical 1 68 an Essay . 8 d 1 906 . An enthusiastic defence of B a e and his o l k p etry. _ ‘ IS3

BINDING S E NO C T. V4 1966

N ll All i co , ar dyce Wi lli amBlake 8: hi s poe t r y

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