DOCSLIB.ORG

Poetry 8 Life Series General Edttor William Henry

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Poetry 8 Life Series General Edttor William Henry 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.
Load more

Recommended publications
  • The Symbol of Christ in the Poetry of William Blake
    The symbol of Christ in the poetry of William Blake Item Type text; Thesis-Reproduction (electronic) Authors Nemanic, Gerald, 1941- Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 01/10/2021 18:11:13 Link to Item http://hdl.handle.net/10150/317898 THE SYMBOL OF CHRIST IN THE POETRY OF WILLIAM BLAKE Gerald Carl Neman!e A Thesis Submitted to the Faculty of the 3 DEPARTMENT OF ENGLISH In Partial Fulfillment of the Requirements For the Degree of MASTER OF ARTS In the Graduate College THE UNIVERSITY OF ARIZONA 1965 STATEMENT BY AUTHOR This thesis has been submitted in partial fulfillment of requirements for an advanced degree at The University of Arizona and is deposited in the University Library to be made available to borrowers under rules of the Library. Brief quotations from this thesis are allowable without special permission, provided that accurate acknowledgment of source is made. Requests for permission for extended quotation from or reproduction of this manuscript in whole or in part may be granted by the head of the major department or the. Dean of the Graduate College when in his judgment the proposed use of the material is in the interests of scholarship. In all other instances, however, permission must be obtained from the author. APPROVAL. BY THESIS DIRECTOR This thesis has been approved on the date shown below: TABLE OF COITENTS INTRODUCTION.
    [Show full text]
  • Postgraduate English: Issue 23
    Ryan Postgraduate English: Issue 23 Postgraduate English www.dur.ac.uk/postgraduate.english ISSN 1756-9761 Issue 23 September 2011 Editors: Naomi Marklew and Jack Baker ‘Mental Things are alone Real’: The Building of the Labyrinth - William Blake’s Analysis of the Psyche. Mark Ryan * * University of Nottingham ISSN 1756-9761 1 Ryan Postgraduate English: Issue 23 ‘Mental Things are alone Real’: The Building of the Labyrinth - William Blake’s Analysis of the Psyche. Mark Ryan University of Nottingham Postgraduate English, Issue 23, September 2011 This paper will investigate the conceptual influence of three mystical thinkers, Jacob Boehme, Paracelsus and to a lesser extent, Emmanuel Swedenborg upon the works of William Blake and specifically explains the common themes they share with regards to an understanding of psychic growth and disturbance. The reason that this is important is that critics supporting the psychoanalytical thesis have tended to impose their ideas on the works of Blake, without considering theories of the mind that predated and informed Blake’s psychological system. As the article will demonstrate there are other Blake scholars who have investigated, for example, Blake’s apparent echoing of vocabulary from the writings of the mystic philosophers and the themes of social conflict and ideas pertaining to Creation, Fall and Redemption found in Boehme. However, there has not been a full investigation of Blake’s appropriation of Paracelsus’ and Boehme’s ideas with application to his investigation of human psychology. It should
    [Show full text]
  • "The Tyger": Genesis & Evolution in the Poetry of William Blake
    "The Tyger": Genesis & Evolution in the Poetry of William Blake Author(s): PAUL MINER Source: Criticism, Vol. 4, No. 1 (Winter 1962), pp. 59-73 Published by: Wayne State University Press Stable URL: http://www.jstor.org/stable/23091046 Accessed: 20-06-2016 19:39 UTC Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at http://about.jstor.org/terms JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Wayne State University Press is collaborating with JSTOR to digitize, preserve and extend access to Criticism This content downloaded from 128.143.23.241 on Mon, 20 Jun 2016 19:39:44 UTC All use subject to http://about.jstor.org/terms PAUL MINER* r" The TygerGenesis & Evolution in the Poetry of William Blake There is the Cave, the Rock, the Tree, the Lake of Udan Adan, The Forest and the Marsh and the Pits of bitumen deadly, The Rocks of solid fire, the Ice valleys, the Plains Of burning sand, the rivers, cataract & Lakes of Fire, The Islands of the fiery Lakes, the Trees of Malice, Revenge And black Anxiety, and the Cities of the Salamandrine men, (But whatever is visible to the Generated Man Is a Creation of mercy & love from the Satanic Void). (Jerusalem) One of the great poetic structures of the eighteenth century is William Blake's "The Tyger," a profound experiment in form and idea.
    [Show full text]
  • The [First] Book of Urizen
    The [First] Book of Urizen (Engraved 1794) Preludium to the First Book of Urizen Of the primeval Priest’s assum’d power, When Eternals spurn’d back his Religion, And gave him a place in the North, Obscure, shadowy, void, solitary. Eternals! I hear your call gladly. Dictate swift wingèd words, and fear not To unfold your dark visions of torment. CHAP. I 1. LO, a Shadow of horror is risen In Eternity! unknown, unprolific, Self-clos’d, all-repelling. What Demon Hath form’d this abominable Void, This soul-shudd’ring Vacuum? Some said 5 It is Urizen. But unknown, abstracted, Brooding, secret, the dark Power hid. 2. Times on times he divided, and measur’d Space by space in his ninefold darkness, Unseen, unknown; changes appear’d 10 Like desolate mountains, rifted furious By the black winds of perturbation. 3. For he strove in battles dire, In unseen conflictions with Shapes, Bred from his forsaken wilderness, 15 Of beast, bird, fish, serpent, and element, Combustion, blast, vapour, and cloud. 4. Dark, revolving in silent activity, Unseen in tormenting passions, An Activity unknown and horrible, 20 A self-contemplating Shadow, In enormous labours occupièd. Saylor URL: http://www.saylor.org/courses/engl404 Saylor.org This resource is in the public domain. Page 1 of 14 5. But Eternals beheld his vast forests; Ages on ages he lay, clos’d, unknown, Brooding, shut in the deep; all avoid 25 The petrific, abominable Chaos. 6. His cold horrors, silent, dark Urizen Prepar’d; his ten thousands of thunders, Rang’d in gloom’d array, stretch out across The dread world; and the rolling of wheels, 30 As of swelling seas, sound in his clouds, In his hills of stor’d snows, in his mountains Of hail and ice; voices of terror Are heard, like thunders of autumn, When the cloud blazes over the harvests.
    [Show full text]
  • Xerox University Microfilms 300 North Zeob Road Ann Arbor, Michigan 48106 I I 73-26,873
    INFORMATION TO USERS This material was produced from a microfilm copy of the original document. While the most advanced technological means to photograph and reproduce this document have been used, the quality is heavily dependent upon the quality of the original submitted. The following explanation of techniques is provided to help you understand markings or patterns which may appear on this reproduction. 1. The sign or "target" for pages apparently lacking from the document photographed is "Missing Page(s)". If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting thru an image and duplicating adjacent pages to insure you complete continuity. 2. When an image on die film is obliterated with a large round black mark, it is an indication that the photographer suspected that the copy may have moved during exposure and thus cause a blurred image. You will find a good image of the page in the adjacent frame. 3. When a map, drawing or chart, etc., was part of the material being photographed the photographer followed a definite method in "sectioning" the material. It is customary to begin photoing at the upper left hand corner of a large sheet and to continue photoing from left to right in equal sections with a small overlap. If necessary, sectioning is continued again — beginning below the first row and continuing on until complete. 4. The majority of users indicate that the textual content is of greatest value, however, a somewhat higher quality reproduction could be made from "photographs" if essential to the understanding of the dissertation.
    [Show full text]
  • Blakean Monstrosity in Alan Moore's Graphic Novels
    ARTICLE https://doi.org/10.1057/s41599-020-0451-2 OPEN ‘Terrible monsters Sin-bred’: Blakean monstrosity in Alan Moore’s graphic novels ✉ M. Cecilia Marchetto Santorun 1 ABSTRACT William Blake’s illuminated books are full of depictions of the monstrous, like Orc’s or Urizen’s metamorphoses, bestial figures such as the Leviathan in The Marriage of Heaven and Hell (c. 1790–1793), and the masses of blood and flesh appearing in The Book of 1234567890():,; Urizen (1794). In contrast to eighteenth-century discourses in which moral virtue and monstrosity were polar opposites, Blake’s universe is more complex and presents an ambivalent attitude towards revolution and social transgression embodied in the monstrous. The meanings of the monstrous in Blake are associated with evil in his works, where it can be understood as released or repressed energies, two types which correspond, respectively, to liberation or alienation. Via countercultural influence, Blakean antinomianism filtered down to Alan Moore, for whom the notion of evil depends on perspectives; thus, in Moore, the socially unacceptable can appear as monstrous, but monstrosity is also a mode through which to make visible the oppressive order that defines transgression as such. This article will discuss Blake and Moore’s use of visual and verbal aesthetics to identify as monstrous characters like Satan, Urizen and Orc in Blake and William Gull, Asmodeus and Cthulhu in Moore to pinpoint the meanings that underlie them and how the direct or indirect Blakean influence operates in Moore’s works. This will contribute to trace changes in their meanings as they pass from signifying energy to tyranny, from unfallenness to fallenness, or from conventional to visionary perception.
    [Show full text]
  • Blake's Minor Prophecies: a Study of the Development of His Major
    70-2 6 ,34-1 NELSON, John Walter, 1931- BLAKE’S MINOR PROPHECIES: A STUDY OF THE DEVELOPMENT OF HIS MAJOR PROPHETIC MODE. The Ohio State University, Ph.D., 1970 Language and Literature, general University Microfilms, A XEROX Company, Ann Arbor, Michigan (c) John Walter Nelson 1971 ALL RIGHTS RESERVED THIS DISSERTATION HAS BEEN MICROFILMED EXACTLY AS, RECEIVED BLAKE'S MINOR PROPHECIES? A STUDY OF THE DEVELOPMENT OF HIS MAJOR PROPHETIC MODE A DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By John Walter Nelson, B.A., B«D., M«A. ^1**vU J U tO The Ohio State University 1970 Approved by Adviser Department of English ACKNOWLEDGMENTS For assistance in the completion of this study I especially thank my adviser, Dr. Albert Kuhn, who con­ tinued to read my rough drafts even while he was in England for a year of private study and who eventually underwent surgery that year for eyestrain. I also thank Professors Edward Corbett and Edwin Robbins, who served as second readers, Professor Franklin Luddens, who assisted in my oral examination, and my wife, whose hard work and patience made my years at Ohio State financially and emotionally possible. VITA September 23 1931* • Born— Hartford, Connecticut 1953- . - . • • • • B.A., Trinity College, Hartford, Connecticut 1956® • • c 9 o • B.D., Yale University, New Haven, Connecticut 1965. » • • • • M.A., The Ohio State University, Columbus, Ohio 1966—1970> • • • • Teaching Associate, Department of English, The Ohio State University, Columbus, Ohio FIELDS OF STUDY Major Field: English Literature of the Eighteenth Century.
    [Show full text]
  • Deoember, 1975 Shasberger, Linda M., Serpent Imagery in William
    3ol7 SERPENT IMAGERY IN WILLIM BLAKE S PROPHETIC WORKS THESIS Presented to the Graduate Countil of the North Texas State University in cPartial Fulfillment of the Requirements For the Degree of MASTER OF ARTS By Linda jYi. Shasberger, B.S. in Ed. Denton, Texas Deoember, 1975 Shasberger, Linda M., Serpent Imagery in William Blake's Prophetic Works. Master of Arts (English), December, 1975, 65 pp., bibliography, 11 titles. William Blake's prophetic works are made up almost entirely of a unique combination of symbols and imagery. To understand his books it is necessary to be aware that he used his prophetic symbols because he found them apt to what he was saying, and that he changed their meanings as the reasons for their aptness changed. An awareness of this manipulation of symbols will lead to a more percep- tive understanding of Blake's work. This paper is concerned with three specific uses of serpent imagery by Blake. The first chapter deals with the serpent of selfhood. Blake uses the wingless Uraeon to depict man destroying himself through his own constrictive analytic reasonings unenlightened with divine vision. Man had once possessed this divine vision, but as formal religions and a priestly class began to be formed, he lost it and worshipped only reason and cruelty. Blake also uses the image of the ser- pent crown to characterize priests or anyone in a position of authority. He usually mocks both religious and temporal rulers and identifies them as oppressors rather than leaders of the people. In addition to the Uraeon and the serpent crown, Blake also uses the narrow constricted body of the -2- serpent and the encircled serpent to represent narrow- mindedness and selfish possessiveness.
    [Show full text]
  • Introduction: Blake and His Traditions
    Notes Introduction: Blake and his traditions 1. William Blake, 'Annotations to Aphorisms', p. 226; E596. John Casper Lavater, Aphorisms on Man, trans. ].H. Fuseli (London: ]. Johnson, 1788). I have consulted this edition, though not the copy owned by Blake. All citations of Lavater's text will be referred to by aphorism number rather than page number. The same holds true for citations of Blake's annotations of particu­ lar aphorisms when his remarks refer to a particular aphorism except in instances where Blake's comments appear on a blank page and following Erdman, I will refer to these by page number. Unless otherwise noted, all quotations from Blake's work are taken from David V. Erdman, The Complete Poetry and Prose o(Wil/iam Blake, rev. edn (London: Doubleday, 1988), hereafter 'E'. 2. Edward Larrissy, William Blake (Oxford: Blackwell, 1985), p. 36. 3. Northrop Frye, Fear(ul Symmetry (Princeton: Princeton University Press, 1947), p. 8; John Beer, Blake's Humanism (Manchester: Manchester University Press, 1968), p. 16; Michael Ferber, The Social Vision o( William Blake (Guildford: Princeton University Press, 1985), pp. 136-8; Tristanne Connolly, William Blake and the Body (Houndmills: Palgrave Macmillan, 2002), pp. 30-1, 42,62. 4. S.H. Clark, 'Blake's Milton as Empiricist Epic: "Weaving the Woof of Locke"', SiR, 36 (1997), pp. 457-82; Steve Clark, '''Labouring at the Resolute Anvil": Blake's Response to Locke', in Blake in the Nineties, ed. Steve Clark and David Worrall (London: Macmillan, 1999), pp. 133-52; and Wayne Glausser, Locke and Blake: A Conversation Across the Eighteenth Century (Gainesville: University Press of Florida, 1998).
    [Show full text]
  • Its Meaning in the Life of William Blake
    RICE UNIVERSITY The Moment of Inspirationi Its Meaning In The Life of William Blake Jack Lynn Darden Rundstein A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF Master of Arts Thesis Director's Signature* Houston, Texas May, 1970 ABSTRACT William Blake, poet and artist, is considered a unique figure in the history of literature and art. Although he was a contemporary of Wordsworth, Coleridge, Southey, and Lamb, he lived his life isolated from their companionship and communication. Blake*s style, both in painting and poetry, was appreciated by only a very few persons during his life. Yet he firmly believed that his art was superi¬ or to that of the prevailing fashion because it was imagi¬ native art, and, to him, the imagination was the eternal element in temporal man. Despite all the hardships and disappointments in his life, Blake never lost his determi¬ nation to create imaginative art. This thesis will examine Blake’s political, social, philosophical, and religious convictions of his youth to the interval at Felphara, 1800-1803, and the changes that occurred after that period. The artistic dilemma, in which he found himself at Felpham, forced him to re-evaluate his life and his thought. The prophecy, Milton, whose major theme is the validi¬ ty of inspiration in art, was written as a result of the tension-filled period at Felpham. Blake’s character was tried severely, but he triumphed over the temptation to quelch his creative impulses. In addition, Milton contains the transcription of a vision that truly was an inspira¬ tion to Blake.
    [Show full text]
  • Issues) and Begin with the Summer Issue
    AN ILLUSTRATED QUARTERLY Kazuya Okada on Blake's Imaginary Families VOLUME 34 NUMBER 2 FALL 2000 &}Uk e AN ILLUSTRATED QUARTERLY VOLUME 34 NUMBER 2 FALL 2000 CONTENTS Articles Newsletter Ore under a Veil Revealed: Family Relationships Blake Exhibition at Tate Britain 62 and their Symbols in Europe and The Book of Urizen By Kazuya Okada 36 The Book ofAhania: A Metatext By Hatsuko Niimi 46 Reviews Clifford Siskin, The Work of Writing: Literature and Social Change in Britain, 1700-1830 Reviewed by Mary Lynn Johnson 54 Jason Whittaker, William Blake and the Myths of Britain Reviewed by Alexander Gourlay 61 ADVISORY BOARD G. E. Bentley, Jr., University of Toronto, retired Nelson Hilton, University of Georgia Martin Butlin, London Anne K. Mellor, University of California, Los Angeles Detlef W. Dorrbecker, University of Trier Joseph Viscomi, University of North Carolina at Chapel Hill Robert N. Essick, University of California, Riverside David Worrall, St. Mary's College Angela Esterhammer, University of Western Ontario David Worrall, St. Mary's College, Strawberry Hill, CONTRIBUTORS Waldegrave Road, Twickenham TW1 4SX England Email: [email protected] ALEXANDER GOURLAY teaches at the Rhode Island School of Design; he is currently assembling a festschrift of Blake es• says in honor of John E. Grant. INFORMATION MARY LYNN JOHNSON, after 17 years as a special assistant to three University of Iowa presidents (and two interim presi• BLAKE /AN ILLUSTRATED QUARTERLY is published under the spon• dents), is celebrating the new century by returning to her sorship of the Department of English, University of Roch• roots as a scholar.
    [Show full text]
  • 1. Robert Southey, Cited in S. Foster Damon, William Blake, His Philosophy and Symbols (Gloucester, Mass.: Peter Smith, 1958) P
    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.
    [Show full text]