Europe: a Prophecy
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
JERUSALEM: Emanation of the Giant Albion by William Blake, 1804 Edited by E.R.D
JERUSALEM: Emanation of the Giant Albion by William Blake, 1804 Edited by E.R.D. Maclagan and A.G.B. Russell, 1904 Transcribed by Wayne Kraus for Jacob Boehme Online INTRODUCTION "JERUSALEM," the longest and the most splendid of the Prophetical Books engraved by WILLIAM BLAKE, was first published in the form of one hundred pages of text and illustrations, dated from South Molton Street, 1804, though this date represents rather the beginning than the conclusion of its composition. It has been twice reproduced in facsimile, once separately, and once (much reduced), in the three volume edition of Blake's works by Messrs. Ellis and Yeats in 1893, but it has never hitherto been printed in ordinary type; and those who have tried to study the Prophetical Books will realize the need for such a text if reading and reference are to be possible with- out the inordinate strain and fatigue involved in the use of a. facsimile. It is only when the complete works of Blake are readily accessible and legible that we may hope that the greatest of English mystics will be adequately studied and appreciated; and if this is to be, the divorce of the poem from its illus- trations is an imperative, though none the less regrettable necessity. It has been our endeavour in the present edition to produce a text which shall be above all else scrupulously faithful to the original, for easy reference to which we have retained the division and numbering of its pages. The text, down to the very eccentricities and inconsistencies of Blake's spelling, is as accurate as we have been able to make it. -
Josephine Miles, Poetry and Change
REVIEW Josephine Miles, Poetry and Change Robert F. Gleckner Blake/An Illustrated Quarterly, Volume 9, Issue 4, Spring 1976, pp. 133-136 133 The elements of this final design, however, are often subtle, difficult to talk about, though modern linguistic study (to which Professor Miles acknowledges a major debt) helps us to discriminate Josephine Miles. Poetry and Change. Berkeley, "not merely obvious visual surfaces but auditory Los Angeles, London: University of California echoes, semantic associations, structural Press, 1974. 243 pp. $10.75. similarities which may work below the surface but are also implied in the surface richness" (9). With a sense of these, "the articulatable parts Reviewed by Robert F. Gleckner of language," we can "see and hear more, . feel more, of the poem's entity" (11). Style, then (in which Professor Miles includes not only From 1964, when she published Eras and Modes in use of language but also "style of moral judgments" English Poetry3 to her 1973 essay on "Blake's Frame and "style of attitude toward the reader"), is a of Language" Josephine Miles has been grappling product of a "number of small recurring selections with the problems facing all who wish intelligently and arrangements working together," a process of to study the language of poetry and prose. Her "creating and reshaping expectations which design work has ranged from the early Renaissance to contrives" (16). British and American writing of the twentieth- century, including a number of young poets writing The change in poetry observable through -
William Blake's Songs of Innocence and of Experience: from Innocence to Experience to Wise Innocence Robert W
Eastern Illinois University The Keep Masters Theses Student Theses & Publications 1977 William Blake's Songs of Innocence and of Experience: From Innocence to Experience to Wise Innocence Robert W. Winkleblack Eastern Illinois University This research is a product of the graduate program in English at Eastern Illinois University. Find out more about the program. Recommended Citation Winkleblack, Robert W., "William Blake's Songs of Innocence and of Experience: From Innocence to Experience to Wise Innocence" (1977). Masters Theses. 3328. https://thekeep.eiu.edu/theses/3328 This is brought to you for free and open access by the Student Theses & Publications at The Keep. It has been accepted for inclusion in Masters Theses by an authorized administrator of The Keep. For more information, please contact [email protected]. PAPER CERTIFICATE #2 TO: Graduate Degree Candidates who have written formal theses. SUBJECT: Permission to reproduce theses. The University Library is receiving a number of requests from other institutions asking permission to reproduce dissertations for inclusion in their library holdings. Although no copyright laws are involved, we feel that professional courtesy demands that permission be obtained from the author before we allow theses to be copied. Please sign one of the following statements: Booth Library of Eastern Illinois University has my permission to lend my thesis to a reputable college or university for the purpose of copying it for inclusion in that institution's library or research holdings. �S"Date J /_'117 Author I respectfully request Booth Library of Eastern Illinois University not allow my thesis be reproduced because ��--��- Date Author pdm WILLIAM BLAKE'S SONGS OF INNOCENCE AND OF EXPERIENCE: - FROM INNOCENCE TO EXPERIENCE TO WISE INNOCENCE (TITLE) BY Robert W . -
John W. Ehrstine, William Blake's Poetical Sketches
REVIEW John W. Ehrstine, William Blake’s Poetical Sketches Michael J. Tolley Blake/An Illustrated Quarterly, Volume 2, Issue 3, December 15, 1968, pp. 55-57 -55- ; ' •.' • -.' ; : >• '■ * ■ REVIEW ' --; ■- - '■ :<x .■■•■■ ■ \,' oz Bweoq n#t Wi 11iam Blake's Poetical Sketches, by John W. Ehrstine. Washington State University Press (1967), pp. DO + 108 pp. '■■■><' It is a pity that the first fulllength study of the Poetical Sketched to be published since Margaret Ruth Lowery's pioneering work of 1940 should be so little worthy the serious attention of a Blake student. Ehrstine is one of the familiar new breed of academic bookproducers, whose business is not scholarship but novel thesisweaving* Having assimilated certain ideas and critical tech niques, they apply them ruthlessly to any work that has hithertobeen fortunate enough to escape such attentions. The process is simple and: the result—that of bookproduction—is infallible. If the poor little poems protest while struggling in their Procrustean bed, one covers their noise with bland asser' 1" tions and continues to mutilate them. Eventually they satisfy one's preconcep" tions. Unfortunately, they may also impose on other people. In revewing such books one must blame mainly the publishers and their advisors; secondly the universities for their incredibly lax assessment and training of postgraduate students; thirdly the authors, who are usually dupes of their own'1 processes, for rushing into print without consult!ng the best scholars In their field. Ehrstine shows his lack of scholarship on the first two pages of his book; thereafter he has an uphill tattle!1n convincing the reader that he has some special insights Which compensate foKtfris, once fashionable, disability. -
Another Source for Blake's Orc
MINUTE PARTICULAR Another Source for Blake’s trc Randel Helms Blake/An Illustrated Quarterly, Volume 15, Issue 4, Spring 1982, pp. 198-199 198 By omitting all reference to Blake's life and writings, Ballard has written a tour de force that in some ways gets closer to the heart of Blake's MINUTE vision than the more explicitly Blakean novels. [My thanks to Roberto Cuooi and Barbara Heppner for PARTICULARS drawing my attention to the last too novels.] BLAKE AND THE NOVELISTS ANOTHER SOURCE FOR BLAKE'S ORC Christopher Heppner Randel Helms recurring fascination in the reading of illiam Blake derived the name and character- Blake is to wonder how some of his statements istics of his figure Ore from a variety of A and exhortations would feel if lived out in Wsources, combining them to produce the a real life—one's own, for example. Many of the various aspects of the character in such poems as novelists who have used Blake have explored this America, The Four Zoas and The Song of Los. The question, from a variety of perspectives. Joyce hellish aspects of Ore probably come from the Latin Cary in The Horse's Mouth gave us one version of the Orcus, the abode of the dead in Roman mythology and artist as hero, living out his own interpretation of an alternate name for Dis, the god of the underworld. Blake. Colin Wilson's The Glass Cage made its hero In Tiriel, Ijim describes Uriel's house, after his a Blake critic, but an oddly reclusive one, who sons have expelled him, as "dark as vacant Orcus."1 appears a little ambivalent in his lived responses The libidinous aspect of Ore may well come, as David to the poet, and is now writing about Whitehead. -
Postgraduate English: Issue 15
Farrell Postgraduate English: Issue 15 Postgraduate English www.dur.ac.uk/postgraduate.english ISSN 1756-9761 Issue 15 March 2007 Editors: Ollie Taylor and Kostas Boyiopoulos Revolution & Revelation: William Blake and the Moral Law Michael Farrell* * University of Oxford ISSN 1756-9761 1 Farrell Postgraduate English: Issue 15 Revolution & Revelation: William Blake and the Moral Law Michael Farrell University of Oxford Postgraduate English, Issue 15, March 2007 The Marriage of Heaven and Hell, despite its parodic form and function, is Blake’s personal and politico-theological manifesto outlining his fervent opposition to institutionalised religion and the oppressive moral laws it prescribes. It ultimately concerns the opposition between the Spirit of Prophecy and religious Law. For Blake, true Christianity resides in the cultivation of human energies and in the fulfilment of human potential and desire – the cultivation for which the prophets of the past are archetypal representatives – yet the energies of which the Mosaic Decalogue inhibits. Blake believes that all religion has its provenance in the Poetic Genius which “is necessary from the confined nature of bodily sensation” (Erdman 1) to the fulfilment of human potential. Blake’s “Proverbs of Hell” demonstrate how the energies underlying the true religious and potentially revolutionary consciousness are to be cultivated. He is especially concerned with repressed sexual energies of bodily sensation, stating in The Marriage that “the whole creation will be consumed and appear infinite and holy … This will come to pass by an improvement of sexual enjoyment” (39). He subsequently exposes the relativity of moral codes and hence “the vanity of angels” who “speak of themselves as the only wise” (42) – that is, the fallacy of institutionalised Christianity and its repressive moral law or “sacred codes” which are established upon “systematic reasoning”. -
Blake's Critique of Enlightenment Reason in the Four Zoas
Colby Quarterly Volume 19 Issue 4 December Article 3 December 1983 Blake's Critique of Enlightenment Reason in The Four Zoas Michael Ackland Follow this and additional works at: https://digitalcommons.colby.edu/cq Recommended Citation Colby Library Quarterly, Volume 19, no.4, December 1983, p.173-189 This Article is brought to you for free and open access by Digital Commons @ Colby. It has been accepted for inclusion in Colby Quarterly by an authorized editor of Digital Commons @ Colby. Ackland: Blake's Critique of Enlightenment Reason in The Four Zoas Blake's Critique of Enlightenment Reason in The Four Zoas by MICHAEL ACKLAND RIZEN is at once one of Blake's most easily recognizable characters U and one of his most elusive. Pictured often as a grey, stern, hover ing eminence, his wide-outspread arms suggest oppression, stultifica tion, and limitation. He is the cruel, jealous patriarch of this world, the Nobodaddy-boogey man-god evoked to quieten the child, to still the rabble, to repress the questing intellect. At other times in Blake's evolv ing mythology he is an inferior demiurge, responsible for this botched and fallen creation. In political terms, he can project the repressive, warmongering spirit of Pitt's England, or the collective forces of social tyranny. More fundamentally, he is a personal attribute: nobody's daddy because everyone creates him. As one possible derivation of his name suggests, he is "your horizon," or those impulses in each of us which, through their falsely assumed authority, limit all man's other capabilities. Yet Urizen can, at times, earn our grudging admiration. -
Tales of Cherry Blossom Dreams Kelly Dykstra Grand Valley State University, [email protected]
Grand Valley State University ScholarWorks@GVSU Honors Projects Undergraduate Research and Creative Practice 8-2018 Tales of Cherry Blossom Dreams Kelly Dykstra Grand Valley State University, [email protected] Follow this and additional works at: https://scholarworks.gvsu.edu/honorsprojects Part of the Creative Writing Commons, and the Japanese Studies Commons Recommended Citation Dykstra, Kelly, "Tales of Cherry Blossom Dreams" (2018). Honors Projects. 700. https://scholarworks.gvsu.edu/honorsprojects/700 This Open Access is brought to you for free and open access by the Undergraduate Research and Creative Practice at ScholarWorks@GVSU. It has been accepted for inclusion in Honors Projects by an authorized administrator of ScholarWorks@GVSU. For more information, please contact [email protected]. Kelly Dykstra 1 1 In his old age the emperor was blessed with a son by one of his highest-ranking consorts. In the days of her youth she had been a favorite of the emperor, but it had been many years since she had last born him a child, and her beauty had begun to fade with age. In vain she made efforts to improve the quality of her salon, gathering many talented ladies in waiting around herself to draw the emperor’s attention. However, the emperor was seduced with the fresh beauty and childish charm of some of his younger consorts, and this lady was left to resign herself to remembrances of what had once been. There was a younger man at court who had desired this lady for years. He was generally agreed to be a highly desirable and most handsome gentleman, though this lady had stayed faithful to the emperor for years despite this man’s advances. -
Directing an Immersive Adaptation of Strindberg's a Dream Play
University of Massachusetts Amherst ScholarWorks@UMass Amherst Masters Theses Dissertations and Theses October 2018 Interpreting Dreams: Directing an Immersive Adaptation of Strindberg's A Dream Play Mary-Corinne Miller University of Massachusetts Amherst Follow this and additional works at: https://scholarworks.umass.edu/masters_theses_2 Part of the Dramatic Literature, Criticism and Theory Commons, Interactive Arts Commons, Other Theatre and Performance Studies Commons, Performance Studies Commons, and the Theatre History Commons Recommended Citation Miller, Mary-Corinne, "Interpreting Dreams: Directing an Immersive Adaptation of Strindberg's A Dream Play" (2018). Masters Theses. 730. https://doi.org/10.7275/12087874 https://scholarworks.umass.edu/masters_theses_2/730 This Open Access Thesis is brought to you for free and open access by the Dissertations and Theses at ScholarWorks@UMass Amherst. It has been accepted for inclusion in Masters Theses by an authorized administrator of ScholarWorks@UMass Amherst. For more information, please contact [email protected]. INTERPRETING DREAMS: DIRECTING AN IMMERSIVE ADAPTATION OF STRINDBERG’S A DREAM PLAY A Thesis Presented By MARY CORINNE MILLER Submitted to the Graduate School of the University of Massachusetts Amherst in partial fulfillment of the requirements for the degree of MASTER OF FINE ARTS September 2018 Department of Theater © Copyright by Mary Corinne Miller 2018 All Rights Reserved INTERPRETING DREAMS: DIRECTING AN IMMERSIVE ADAPTATION OF STRINDBERG’S A DREAM PLAY A Thesis Presented By MARY CORINNE MILLER Approved as to style and content by: ____________________________________ Gina Kaufmann, Chair ____________________________________ Harley Erdman, Member ____________________________________ Gilbert McCauley, Member ____________________________________ Amy Altadonna, Member ____________________________ Gina Kaufmann, Department Head Department of Theater DEDICATION To my son, Everett You are my dream come true. -
The Bravery of William Blake
ARTICLE The Bravery of William Blake David V. Erdman Blake/An Illustrated Quarterly, Volume 10, Issue 1, Summer 1976, pp. 27-31 27 DAVID V. ERDMAN The Bravery of William Blake William Blake was born in the middle of London By the time Blake was eighteen he had been eighteen years before the American Revolution. an engraver's apprentice for three years and had Precociously imaginative and an omnivorous reader, been assigned by his master, James Basire, to he was sent to no school but a school of drawing, assist in illustrating an antiquarian book of at ten. At fourteen he was apprenticed as an Sepulchral Monuments in Great Britain. Basire engraver. He had already begun writing the sent Blake into churches and churchyards but exquisite lyrics of Poetioal Sketches (privately especially among the tombs in Westminster Abbey printed in 1783), and it is evident that he had to draw careful copies of the brazen effigies of filled his mind and his mind's eye with the poetry kings and queens, warriors and bishops. From the and art of the Renaissance. Collecting prints of drawings line engravings were made under the the famous painters of the Continent, he was happy supervision of and doubtless with finishing later to say that "from Earliest Childhood" he had touches by Basire, who signed them. Blake's dwelt among the great spiritual artists: "I Saw & longing to make his own original inventions Knew immediately the difference between Rafael and (designs) and to have entire charge of their Rubens." etching and engraving was yery strong when it emerged in his adult years. -
The Politics of Abstraction: Race, Gender, and Slavery in the Poetry of William Blake
University of Tennessee, Knoxville TRACE: Tennessee Research and Creative Exchange Masters Theses Graduate School 8-2006 The Politics of Abstraction: Race, Gender, and Slavery in the Poetry of William Blake Edgar Cuthbert Gentle University of Tennessee, Knoxville Follow this and additional works at: https://trace.tennessee.edu/utk_gradthes Part of the English Language and Literature Commons Recommended Citation Gentle, Edgar Cuthbert, "The Politics of Abstraction: Race, Gender, and Slavery in the Poetry of William Blake. " Master's Thesis, University of Tennessee, 2006. https://trace.tennessee.edu/utk_gradthes/4508 This Thesis is brought to you for free and open access by the Graduate School at TRACE: Tennessee Research and Creative Exchange. It has been accepted for inclusion in Masters Theses by an authorized administrator of TRACE: Tennessee Research and Creative Exchange. For more information, please contact [email protected]. To the Graduate Council: I am submitting herewith a thesis written by Edgar Cuthbert Gentle entitled "The Politics of Abstraction: Race, Gender, and Slavery in the Poetry of William Blake." I have examined the final electronic copy of this thesis for form and content and recommend that it be accepted in partial fulfillment of the equirr ements for the degree of Master of Arts, with a major in English. Nancy Goslee, Major Professor We have read this thesis and recommend its acceptance: ARRAY(0x7f6ff8e21fa0) Accepted for the Council: Carolyn R. Hodges Vice Provost and Dean of the Graduate School (Original signatures are on file with official studentecor r ds.) To the Graduate Council: I amsubmitting herewith a thesis written by EdgarCuthbert Gentle entitled"The Politics of Abstraction: Race,Gender, and Slavery in the Poetryof WilliamBlake." I have examinedthe finalpaper copy of this thesis forform and content and recommend that it be acceptedin partialfulfillm ent of the requirements for the degree of Master of Arts, with a major in English. -
Images of the Divine Vision in the Four Zoas
Oberlin Digital Commons at Oberlin Honors Papers Student Work 1973 Nature, Reason, and Eternity: Images of the Divine Vision in The Four Zoas Cathy Shaw Oberlin College Follow this and additional works at: https://digitalcommons.oberlin.edu/honors Part of the English Language and Literature Commons Repository Citation Shaw, Cathy, "Nature, Reason, and Eternity: Images of the Divine Vision in The Four Zoas" (1973). Honors Papers. 754. https://digitalcommons.oberlin.edu/honors/754 This Thesis is brought to you for free and open access by the Student Work at Digital Commons at Oberlin. It has been accepted for inclusion in Honors Papers by an authorized administrator of Digital Commons at Oberlin. For more information, please contact [email protected]. NATURE, nEASON, and ETERNITY: Images of the Divine Vision in The }1'our Zoas by Cathy Shaw English Honors }i;ssay April 26,1973 In The Four Zoas Blake wages mental ,/Ur against nature land mystery, reason and tyranny. As a dream in nine nights, the 1..Jorld of The Four Zoas illustrates an unreal world which nevertheless represents the real t-lorld to Albion, the dreamer. The dreamer is Blake's archetypal and eternal man; he has fallen asleep a~ong the floitlerS of Beulah. The t-lorld he dreams of is a product of his own physical laziness and mental lassitude. In this world, his faculties vie 'tvi th each other for pOi-vel' until the ascendence of Los, the imaginative shapeI'. Los heralds the apocalypse, Albion rem-Jakas, and the itwrld takes on once again its original eternal and infinite form.