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Issues) and B Gin with the Summ R Issu BLAKE/AN lHUSl1V1J I:D QUARTERLY SPRING 1986 CONTRIBUTORS G.E. B NTL ,JR., of the Univ rsity of Toronto writes on Blake, 1 xman, CumberJand, and ilJustrated­ book makers of their times. MA TIN BUTLIN, Keeper of the Histori.c British ollection at the ate allery, Lond n, is the author of numerous books on Blake and Turn r and a frequent contributor to Blake. VOLUM GREG RO SAN is a senior J crurer in ngJish at Massey University, New Zealand, where he teaches Ro­ CONTENTS mantic Literature and Romantic Mythmaking. He has written chiefly on the poetry of John lare. 128 rom Sketch to Text in Blake: The ase of The Bo()k of Thel by G.E. Bentley, Jr. ROBERT F. GLECKNER, Professor of ~ ngJjsh, Duke University, is the author of The Piper and the Bard: A Study o/William Blake, Blake's Prelude: UPoetical Sketches, II MINUTE PARTICULARS and Blake find Spenser. He is also the co-author (with Mark Greenberg) of a forthcom ing MLA volume, Ap­ proaches to Teaching Blake's ({Songs. 11 142 BL ke, Thomas oston, and the 'ourfold Vision by David Groves DAVI OVES, a Canadian lecturer working in 142 "Infant Sorrow" and Roberr Green's Menaphon by Scotland, is th author of James I-Iogg: Tales of Love and Greg rossan Mystery and james Hogg and His Art (forthcoming). R VIEWS B OSSIAN IND ERG is a painter and art historian at the Institute of Art History in Lund, Sweden. He is the author of William Blake's 11l1lstration.r to the Book of 14/j Daniel Albright, LY1'ic(llity il1 English Literatllre, job. reviewed by Anne WilJiams 146 Jackie DiS Ivo, \Var of Titans: Blake's Critiqlle of WA N ST VENSON, Associate Professor of. n­ Milton tll1d the Polififs o/Religion, reviewed by Rob­ glish, University of British Columbia, has written on ert . lee kner the major nglish Romantics. His most recent book is 151 athl en Raine, The Hllman Face of God: William Nimblts of Glory: A Study of Coleridge's Three Great Poems. Blake find the Book of job, reviewed by Bo ssian Lindb 'rg ANN WILLIAMS, Associate Professor of nglish, University of Georgia, is the author of Prophetic Strain: The Greater Lyric in the Eighteenth entttry. Currently an PO TRY A LS Fellow, she is at work on a study of Romantic allegory and the gothic tradition. ISO n Blake's Painting of Jesus and the Woman ak n in Adultery by Warr n Stevenson DISCU SION 155 onnoisscurship and th Palmer Fakes by Martin Budin © ] 986 Morris Eaves and Morton D. Paley SPRIN 1986 EDITORS INFORMATION Editors: Morris aves, University of New Mexico, and Managing Editor: Robi n Tawney. Morton D. Paley, University of California, Berkel y. Blake/An Illustrated uarter1y is published under the Bibliographer: Thomas L. Minnick, Ohi State Uni­ sponsorship of the Dep rtment f ngli h, University versity. of New Mexico. R view Editor: N lson Hilton, University of Georgia, Subscriptions are $18 for instituti ns, 15 or in i­ Athens. viduals. AlJ subscripti ns re y th olum (1 y ar, issues) and b gin with the summ r issu. ubscription Associate Editor for r at Britain: ranees A. Carey, payments received fter th summ r i sue will be ppJi d Assistant Curator, Department of Prints and Drawings, t the issues of th urrent volum. r ign ad r sses British Museum. (except Canad and Mexi ) r quire a 3 p r v lum postal surcharge for surt ce m iJ, aIr volume Pr dueti n 0 e: Morris aves, D partment of n­ surcharge for air mail delivery. .. c rr ncy r inter­ glish, University of N w Mexico, Albuquerque, NM national money order n cessary. M ke checks pay bl t 87131, elephone 505/277-3103. Blake/An 1I1t/strated Ql1arterly. Addres all ubscripti n Morton D. Paley, Department of ngJish, University of orders and related c mmunicatio I to bin a California, Berkeley; A 9472 . Blake, Department of nglish, ni ersity ofN w homas 1. Minnick, University College, Ohio State ico, Albuquerque, NM 87131, A. University, 1050 Carmack Road, Columbus, 0 43210. Nelson iiton, epartment of nglish, University of Many back issues are avail bJe at reduc d price. Ad­ Georgia, Athens, GA 3 602. dress Robin Tawney for list of issues nd rices. Frances A. Carey, epartment of Prints and Drawings, British Museum, reat Russell Street, London W IB Manus ripts ar weJc me. end t opi s, ty ed nd 3DG, Uruted Kingdom. docum nted ac ording to the ~ rms sugg st d in th MLA Style Sheet, 2nd ed., to ither f the edit rs: Morris Eaves, ept. of ngJish, niv rsity of New M xico, Albuquerqu , NM 87131; rton . 1 y, t. f English, University of lifornia, r 1 y, A 9 720. PAGr 128 BLAKE/AN ILLUSTRATED QUARTERLY SPRING 1986 o t h to xt In• lake: The of The Book if The} BY G.E. B NTLEY, JR. There i a long and honort ble prophetic tradition of by the design itself. Notice that the sketch and the spiritual dictation, from the Bible thr ugh Bo hme, etching face the same way round; unless there was .an Milton, and wcdenborg, in whi -h William Blake clearJy intermediary reversed sketch, Blake must have cop ted particip tes. According to this tradition, the L rd or the design backwards on the copper so that it would Mus "g vernfs} ... my song," as Milton wrote in print the right way round. The normal engravers' prac­ Paradise Lost Bo k VII, and Blak wrote, probably of tice was t make a true size squared version on paper lerma/em: which could be trans6 rred directly to the copper, per­ I h, ve written this Poem from immediate Oi tation twcl.ve or haps by some form of tracing. Blake certainly foil wed sometimes twenty or chirty lines at a time wich ut Premedication this method with his commercial engravings after the & even against my Will. designs of other m n, but he seems to have transferred (L'rter of 25 A ril 1803) his own designs much mor freely to c pper, and par~s Blake was also proud f his graphic consistency: of the job engravings, at least, were first composed dl­ r ctly on th copper rather than on paper. Recngravc:d imc after Time[,] The second example, from jerllsalem pI. 51, is a 'vcr in their Youthful prim· My Designs un hangd remain .... good deaJ more complex. In the final version as printed, there are thre figur s wh form a kind of Satanic trinity; e insisted upon t1 e importance, the inviolability of on one pull they are labeled Vala, Hyle, and Skofield th firm, bounding utlin, and his disciple Samu 1 (Vala with the crown and Skofield with th ch ins). So Palmcr wrot on one of lakc's sket hes that they w re ar as these figures are conc rned, the chief diffi rences the IInrst inventive lines- from which he was always from the sketch are the flames billowing across the page m st c r ful n t to depart. " I owever, impr ssive though and the reversal of the whole design. he dramatic d if­ this tcsti ony is from lake' dis.ciple an.d f~om la~e ference in th sketch (illus. 2) is in th extraordinarily hims If, th evid n e f th draWings bell SIt. H dId bestial crawling man with shaggy pelt and electrified ften alter hjs "first inventive lines" wh n he came t hair who app ars beside th figure in chains-at our left tch his designs. I wish t cit some of th se d velop­ here, though he would have been at th right in jerll­ m nts in his designs for his works in Illuminated Print- sa/em, What are w t make of a Satanic quaternity? ing, cspe ially for The Book oj,Thel. , ., Notice also that the design is n w the wrong shape for S m tir es th r lad nshl of Blak s pr Itmlnary thejerlls{/lem page-to broad for its h ight. Clearly one sket h to th tched and printed v rsion is simple and of these almost equally-spaced figur s would have to be tr ight orward, a in the sketch for jerusalem p.l. 26 eliminated, and you can see from th verti al lines to (iHus. 1). he chief gr phic differences b tw en th1S and left and right of the figure in chains that the I af has the print d versi n ar the shadin.g b hind th woman been folded to tryout various possibili.ties, obscuring to d e right an th 10 k of angUIsh n th face of the first on figure at th left and then two. Perhaps at one In n, which is r vis d in the ec hing to a baleful Jo k. point Blake thought of Skofield as a Nebuchadnezzar Th lOst significant ~ Iteration in tl e printed form is figur reduced to eating grass like the beasts of the field. the lett rin added to identify the woman as Jerusalem r perhaps the shaggy beast is another giant figure and th man as } and, and the vertical quotation: ntir ly, :? Whatev r his significance, he adds a fascin t­ Such visions have ppeared to me ing dimension to th problem of interpreting Blake's As I my ordered ra e have rune;] original intention for Jerusalem pI.
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