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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.
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  • 1. Robert Southey, Cited in S. Foster Damon, William Blake, His Philosophy and Symbols (Gloucester, Mass.: Peter Smith, 1958) P

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    Notes NOTES TO THE INTRODUCTION 1. Robert Southey, cited in S. Foster Damon, William Blake, His Philosophy and Symbols (Gloucester, Mass.: Peter Smith, 1958) p. 246. 2. David V. Erdman, Blake: Prophet against Empire (New York: Anchor Books, 1969) p. 3. See also Jacob Bronowski, William Blake: A Man without a Mask (London: Seeker & Warburg, 1944), and Bernard Blackstone, English Blake (London: Cambridge University Press, 1949; Hamden, Conn.: Archon Books, 1966). 3. Northrop Frye, Fearful Symmetry: A Study of William Blake (Princeton University Press, 1969) p. 424. Frye is by far the most brilliant, though not the most recent, practitioner of this kind of criticism. 4. Thus, for example, the illustrations for Vala can be related to alchemical symbols but not to Blake's psyche. See Piloo Nannavutty, 'Materia Prima in a Page of Blake's Vala', in William Blake: Essays for S. Foster Damon, ed. Alvin H. Rosenfeld (Providence: Brown University Press, 1969). William Blake's 'Vala', ed. H. M. Margoliouth (Oxford: Clarendon Press, 1956), sees the sexual drawing as illustrating 'Urizen's idea of what Ahania really is, i.e., sin' (p. 144). John E. Grant, who has clarified the visual details of the perverse or orgiastic 'erotic fantasy' Blake portrays, comes to the disappointingly tame conclusion that 'Blake ... seems to have observed more clearly than most libertarians in the 18th Century how the pursuit of natural happiness tends to lead insensibly toward a quest for the unnatural' - 'Visions in Vala', in Blake's Sublime Allegory, ed. Stuart Curran and Joseph Anthony Wittreich, Jr (Madison: University of Wisconsin Press, 1973) p.