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Hake ^Newsletter 3 2 On the cover is a drawing by Bo Lindberg of the Blakes in Abo, Finland, in 1824. Lindberg had this to say about the drawing:
In 1974 the oldest surviving Finnish newspaper, Abo Underrnttelser (published in Swedish, formerly the language of the Finnish intelligensia, and still spoken by many Finns), celebrated its 150th anniversary. The editor asked me to make a drawing of Abo in 1824, showing people reading the first copies of the Abo Underrnttelser, and, in the background, the Cathedral, the old town center, and the bridge across the River Aura with the small kiosk on it--from this kiosk the newspaper was sold. None of the buildings except the Gothic Cathedral survived the great fire of 1827. The Abo of the early 19th century was "a most infamous pit, a pestified place, having a poisoned atmosphere, poor pavements and the worst 'esprit public' in the world," wrote Gustaf Mauritz Armfelt about 1800. Since Blake was in the habit of visiting infamous places such as Babylon and Hell, he must have made a spiritual journey to Abo--and, since a spirit is not a cloudy vapour or a nothing, his spirit must have had a solid body, resembling his mortal body. Further, it is well known that Catherine partook in her husband's visions. Therefore I put William Blake and his wife among the readers of the first issue of Abo Underrnttelser. Their clothes are more or less right for 1824.
Lindberg had this to say about himself:
Name. Bo Lindberg, called Ossian. I'm an artist, ethnological draughtsman and art historian, born in Abo in 1937, at present working at the University of Lund, Sweden. In 1973 my Ph.D. thesis, William Blake's Illustrations to the Book of Job, was published in the Acta Aaademiae Aboensis. I've published a few papers about Blake, Bosch, the Cathedral of Abo, etc. I've translated part of Blake's poetry into Swedish, but so far only The Mental Traveller has appeared in print. I've modernised Satan's Holy Trinity: Darwin, Marx and Einstein, and the prophet of the tripartite God is Freud. I believe that art and science are the foundation of empire. Hitler, Stalin, Roosevelt, etc., attend upon and follow scientists, writers and prophets like Darwin, Marx, Einstein, etc., which shows that Blake was right again. I like Blake because his philosophy is too compli• cated and too truthful for political, economic and bureaucratic leaders to use it and misuse it. In this world it is a great merit merely to be harmless.
Most of the illustrations in this issue are from Blake's contributions to the extra-illustrated Shakespeare folio compiled by the Rev. Joseph Thomas. The volume was sold by his descendants to Alexander Macmillan in 1880, from whose family it was acquired by the British Museum in 1880. The pictures are reproduced here by permission of the Trustees of the British Museum.
Cover: Blakes in Abo, Finland, around 1824, a drawing by Bo Lindberg. See description elsewhere on these pages. Pp. 108-09: detail from p. 112, below. P. 112: Richard III and Ghosts (undated), 8" x 5 7/8." Richard III. P. 115: detail from p. 112, above. P. 116: Queen Katherine's Dream (1809), 8 3/4" x 6 1/8." Henry VIII. P. 119: Allegorical subject (?) or, The Horse of Inspiration (1809), 9" x 6 3/4." Pp. 120-21: detail from cover. P. 124: Caesar's Ghost Appearing to Brutus (1806), 10" x 6 1/2." Julius Caesar. P. 126: from Blake's fob illustrations. P. 128: detail from p. 112, above. P. 130: detail from p. 124, above. P. 131: detail from p. 124, above. P. 133: see caption. P. 137: detail from p. 112, above. P. 138: detail from p. 119, above. P. 142: detail from p. 119, above. P. 144: detail from p. 116, above. P. 145: detail from p. 116, above. Pp. 146-47: detail from p. 116, above. The Blake Newsletter, An Illustrated Quarterly, is published News 104 four times a year under the sponsorship of the Department of English of the University of New Mexico. Newsletter Subscriptions, Newsletter Reprints, Blake at the 1974 MLA Seminar, Blake Poster, MLA Blake Seminar Editors: Morris Eaves, Univ. of New Mexico, and Morton D. 1975, Blake Conference at Santa Barbara, Works in Progress Paley, Univ. of California, Berkeley. Reviews Associate Editor for Great Britain: Frances A. Carey, Asst. Curator, Dept. of Prints & Drawings, British Museum. Thomas A. Vogler, on The Incarnate Word by Cary Nelson 108 Irene Chayes, on The Awakening of Albion by Thomas Frosch 114 Bibliographer: Ron Taylor, Univ. of California, Berkeley. Karl Kroeber, on Blake's Night by David Wagenknecht 116 W.J.T. Mitchell, on Blake's Human Form Divine by Editorial Assistants: Judith Wallick Page, Donna Rix, Anne Kostelanetz Mellor 117 David Schnur, Sharon Stell, Univ. of New Mexico. Editorial Simone Pignard, on William Blake, Smerveillement et assistant for subscriptions, Deborah Sackett, Univ. of profanation by Jacques Blondel 120 New Mexico. Claude Jannoud, on Pierre Leyris' translation of Blake's poetry into French [from he Figaro, translated by Manuscripts are welcome. Send two copies, typed and docu• Katharyn Gabriel!a] 121 mented according to the forms suggested in the MLA Style Paul Miner, on the festschrift for Sir Geoffrey Keynes Sheet, to either of the editors: Morris Eaves, Dept. of edited by Morton Paley and Michael Phillips, and the English, Univ. of N.M., Albuquerque, N.M. 87131; Morton 2nd ed. of Keynes' Blake Studies 122 Paley, Dept. of English, Univ. of Ca., Berkeley, Ca. 94720. G. E. Bentley, Jr., on William Blake's Illustrations of the Book of Job by Bo Lindberg 125 Subscriptions are $5 for 1 year, 4 issues. Special rate for Florence Sandler, on Milton's Poetry of Choice and Its individuals, $4 for 1 year, surface mail. For subscribers Romantic Heirs by Leslie Brisman 127 overseas who want to receive their issues by air mail, $8. David V. Erdman, on Visionary Physics by Donald Ault 128 U.S. currency or international money order if possible. Thomas L. Minnick, on The Visionary Hand: Essays for Make checks payable to the Blake Newsletter. Address all the Study of William Blake's Art and Aesthetics subscription orders and related communications to Morris edited by Robert N. Essick 130 Eaves, Dept. of English, Univ. of New Mexico, Albuquerque 87131. Robert N. Essick, on The Notebook of William Blake edited by David Erdman with the assistance of Some back issues are available. Address Morris Eaves. Prices: Donald Moore 132 whole numbers 1-8, bound together, $5 (special rate for Alicia Ostriker, on William Blake by D. G. Gillham 136 individuals, $4). Whole numbers 9-13, bound together, $5 Michael J. Tolley, on The "Heaven" and "Hell" of (special price for individuals, $4). Whole numbers 22, 23, William Blake by G.R. Sabri-Tabrizi 138 24, 25, 26, 27, 28, $2 each. Whole number 20 {A Handlist of Morris Eaves, on Adrian Mitchell on William Blake Works by William Blake in the Department of Prints & Drawings produced by London Weekend Television, and The of the British Museum, ed. G. E. Bentley, Jr.), $3. Whole Clouded Hills: Selections from William Blake edited numbers 29-30, double issue on Blake among Victorians, $3. by Catharine Hughes 139 Whole number 31, with color reproduction of The Characters of Joseph A. Wittreich, Jr., on Fearful Joy: Papers from Spenser's Faerie Queene, $3. Whole numbers 14-19 are out of print. The Thomas Gray Bicentenary Conference at Carleton University edited by James Downey and Ben Jones 141 The International Standard Serial Number of the Blake Newsletter Jean H. Hagstrum, on Blake and Visionary Art and is 0006-453X. The Romantic Rebellion by Kenneth Clark, and British Romantic Art by Raymond Lister 143 Design and layout for this issue: David Schnur and Sharon Stell, University of New Mexico. A Checklist of Recent Blake Scholarship, compiled by Ron Taylor 146
Copyright ©1975 by Morris Eaves and Morton D. Paley
Slake Jfaufikttcr 32 An 3UuHtrateb QitoarterlB. Spring 1975 llolumc 8 Number 4 04
scholarly journals--subscription by the volume. Our New Subscription System Every subscription will begin with the summer issue (the issue with which Newsletter volumes begin) and end with spring. All renewal notices will be sent out at the same time every year. New subscribers will be sent the current issue, plus Some subscribers have had good reason to wonder why all the previous issues in the current volume. The Newsletter can't handle its affairs with the businesslike efficiency of PMLA and Playboy. The The new system is much simpler than the old main reason is a chronic shortage of money and for us, and we are certain it will mean fewer clerical help. Another reason is a primitive problems for you. But shifting from the old addressing and mailing operation in the University system to the new will be a lot of trouble for of New Mexico post office. We have tried for years all of us, and we are asking you in advance to to keep our dealings with individuals, libraries, help us--mainly to bear with us--when the change• and subscription agencies clean and efficient, and over begins this spring. our occasional failures have made us more and more unhappy with things as they are. The procedure will not be complicated. The aim is to move each subscription from its present So we have decided to get rid of at least one expiration date to expire with the spring issue. large trouble spot, our revolving subscription Every subscription will then begin with the system. We publish four issues a year, and you summer issue. Of course, subscriptions that now have been able to begin subscribing with any one expire with the spring issue will not be changed. of the four issues. That is, your subscription All others will be. You will receive a bill for may expire with the summer issue, while someone an amount large enough to bring your subscriptions else's may expire with spring, winter, or fall. into the new subscription cycle. You will not be This system is easy for a computer to handle, and paying extra money, of course--just paying on a convenient for subscribers, and thus it is the slightly different shcedule. standard system for commercial magazines. The procedure and the reasons for it will be But the system is very difficult to manage explained again when you receive your bill. efficiently with limited money and clerical help, and a system that might ideally be convenient to the subscriber becomes inconvenient. Everyone knows that there is no better analogy to the Gordian knot than a fouled-up magazine subscription, and we have decided to go with Alexander the Great.
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THE RiBLIC IS fl\MT£D TO ATTEND THE EMlBJltafi/, To PETUSF THE. WLRJO AND TO ftrCElVE THE VARIOUS THEATriCAL fTESENTATIOHS . winch will occur. DETAILS follow/*,^.. Report: Newsletter Reprints 1974 MLA Blake Seminar
"Perspectives on Jerusalem" was the topic of this We have now reprinted the early issues of the year's seminar, at which Edward J. Rose presided. Blake Newsletter, numbers 113, originally Three essays, each representing a different printed and published at Berkeley from 1967 to approach to the poem, furnished the material for 1970. discussion. (These essays appeared in a special edition of Blake Studies, Vol. 7, No. 1, prior In order that all our subscribers who need to the conference.) Methodological considerations the reprints may have them at a reasonable price, are especially pertinent to Jerusalem, where we have designed a reduced—not abridged—format Blake, in creating his system, draws on such a that compresses all the early issues into two diversity of sources—philosophical, scientific, printed parts of slightly more than 50 pages historical, religious, artistic, and literary. each. We think you will find that the format makes the reprinted issues quite simple to E. B. Murray's "Jerusalem Reversed," briefly consult. summarized by Rose, presents a structural approach. Murray states that reversals are intrinsic to the Both parts of the reprint series are now ready poem's meaning. Applying this idea and concen for mailing: trating his attention on Vala, he holds that she represents hate or a reversal of Luvah. Those Part I, Numbers 18, 196769 present at the seminar agreed that reversal is $5 (special price of $4 for individuals) indeed a recurrent motif in the poem; there was some disagreement, however, about his analysis Part II, Numbers 913, 196970 of Vala. It was pointed out that despite his $5 (special price of $4 for individuals) strong insistence upon critics always sticking to the text, Murray himself had not done so: Please send your order to: he explains not the name Vala but Vah-lu. "Vah-lu Reprints is Vala and LaVa is Luvah," he concludes. Since Morris Eaves Murray was not on hand to explain the large concepts Department of English on which his meaning depends, there was no further University of New Mexico discussion of his essay. Unfortunately, only one Albuquerque, New Mexico 87131 author of the essays selected for discussion was present; exploration of the proposed subject Make all checks out to the Blake Newsletter. therefore was often limited. 106
Mollyanne Marks, who happily was present, there may be similarities of figures in Blake's views her subject thematically in "Self-Sacrifice: other works, the function, and hence the meaning, Theme and Image in Jerusalem." After a fairly of these figures depends on what is going on in long summary, in which she focused on the problematic the poem they illustrate. relation between self-sacrifice and selfhood, she put before the seminar the following question: In sum, the discussion of these three papers are self-delusion and selfhood identical? There reaffirmed an important critical principle: was general agreement among the audience that the Jerusalem must be considered in respect to both two concepts certainly are related, but the precise its verbal and its graphic language. (Joanne nature of that relationship was never resolved. Witke, University of California, Berkeley) Marks had confined too narrowly the poem's action, limiting it to Blake's own personal struggle. To be sure, his artistic conflicts are intimately Also organizing a substantial portion of the debate bound up with the conflict he represents in at the Blake seminar was the issue of how and to Jerusalem, but he puts his story in a larger what extent Blake intended his pictorial designs national context. Not only artists but also to function as objects of critical interpretation. nations, Blake asserts at plate 3, are destroyed David Bindman emphasized Blake's role as book or flourish in proportion as their arts are designer and therefore was quite willing to accept destroyed or flourish. "doodles" as purely "decorative" aspects of Blake's composite page. Others, including David Of the three papers, Irene H. Chayes' "The Erdman and Stuart Curran, were less willing to Marginal Design on Jerusalem 12" elicited the relegate any of Blake's designs to a simply strongest reactions. Although Chayes was absent, decorative function, even though they agreed that Rose gave a cogent summary of her lengthy essay. such a function might play a significant role in Obviously, her approach to the poem is through the meaning of a design. There was a strong illustrations, and her particular concern is with the feeling, to paraphrase Stuart Curran, that until minor designs, which she feels have been neglected. the last doodle had been interpreted, one should They form a consistent group of figures, she argues, not accept the methodological premise that Blake yet their relation to the text on the same plate is ever simply doodled at all. frequently oblique or incidental. In her analysis of J 12, she offers a method which she believes Martin K. Nurmi entered another kind of can be profitably applied to other marginal designs caution which he felt should be invoked in in Jerusalem. After isolating the verbal keys on interpreting pictorial designs, especially those J 12, Chayes leaves Jerusalem to discover similar such as appear on J 12. Nurmi argued that there drawings as well as pictorial descriptions in is a tension between the flat page laced with images other works. In this search, she ranges widely, which do not physically move and the symbolic gesture examining not only many of Blake's works, among the designs may make. For example, Nurmi drew them, America, Europe, The Marriage of Heaven and attention to the fact that the globe of the world Hell, and The Songs of Experience but also some of depicted in the text is structurally both three- Milton's poems, such as Paradise Lost and Lycidas. dimensional and literally in motion, whereas the The details of this examination do not clarify globe of the design is two-dimensional and the meaning of the three figures and the globe stationary. Nurmi's suggestion seems especially illustrated at J 12. As one participant at the helpful in J 12 where the text describing the seminar stated, Chayes' introduction of serpents' compass-point rotational momentum of the globe coils and whirlpools from Europe together with visually spreads into the space on the page her long discussion positioning the objects on occupied by the visual globe. It seems clear J 12 adds lots of unnecesary description but that the Newton-like figure can measure with nothing to his understanding of the poem. David compasses the visual globe but would never be able Bindman expressed the general sentiment of those to get a sufficient perceptual fix on the textual present when he said that Chayes was creating a globe to be able to measure it. The differences problem where none existed. It is somewhat in perspective relationships between perceiver and paradoxical to hold that visible objects have object perceived and between the possibilities obscure meanings when Blake intended that they for compass measurement are integral to Blake's should convey his total meaning more directly. perceptual strategy on the plate. (Donald Ault, How shall we interpret the illustrations? Bindman University of California, Berkeley) suggested that we should be faithful to what Blake actually inscribes on the plate. For example, the spherical object on J 12 is neither a sun nor a lantern continually changing into some potentially realizable object, but is plainly the global earth. Likewise, the figure with the compass measuring out space on this earth is Blake Poster clearly Newton. John Grant made a point related to Bindman's. He emphasized the need of keeping A reproduction of "The Great Red Dragon and the one's eyes not only on the objects depicted on Woman Clothed with the Sun" is now published by the page but also on its text as a control in Trig Graphics, 55 Maple Avenue, Hastings on Hudson, any interpretation of designs. Otherwise any New York 10706. The size of the reproduction is interpretation, however misleading, is possible. 19 x 28 1/2 inches. The retail price is $8, plus One must trust the visible objects as Blake $2 shipping and handling charge (plus 40 about 100 original items, by Blake and other artists (named above), on loan to us from various 1975 MLA Blake Seminar national collections, in the U.C.S.B. art gallery. Subject: Blake's Visions of the Last Judgment The Huntington Library and Art Gallery are planning Chairman: Morton D. Paley (University of to mount special exhibitions of Blake and Blake- California, Berkeley) related materials during the period of the conference Co-Chairman: Anne K. Mellor (Stanford University) at their nearby Pasadena galleries. This year the Seminar will return to a discussion There will also be evening events of a less format. There will be one or more principal academic character--e.g., musical performances of discussants and, hopefully, wide participation by certain of Blake's songs and other texts, in both the Solemn Assembly. The subject is Blake's new and traditional settings, examples of the various Last Judgment pictures; probably we will music of Blake's time, theatrical treatments of also want to consider his accounts of the Last some of his work (perhaps An Island in the Moon). Judgment in poetry and prose. The editorial committee for the conference Anyone wishing to act as a principal discussant invites interested scholars to submit papers for should send me a short summary--not more than a possible presentation at one of the conference thousand words—of his or her presentation, sessions. Papers should be kept to about twenty accompanied by whatever photographic reproductions minutes total delivery time and should be keyed may be appropriate. to the theme of the conference (e.g., literary and artistic sources of Blake's work; the relation The Blake Newsletter will produce a leaflet of of his work to the pictorial arts and art theories reproductions for use in the Seminar. We hope of his time; the relation of text and design on that the results of the seminar can be published Blake's pages viewed in some kind of art-historial in the Newsletter later, either in the form of an perspective, etc.). article by the discussants or as individual articles. Mail to: Blake Conference The discussant will be W. J. T. Mitchell of Ohio Prof. Donald Pearce, Department of English State University. The time and place will be or Corlette Walker, Dept. of Art announced later. Those wishing to attend should University of California send a note to Morton Paley, Dept. of English, Santa Barbara, CA. 93106 Boston Univ., Boston, Mass. 02215. Works in Progress B. H. Fairchild, Jr.: '"Such Holy Song': Music as Santa Barbara Conference Idea, Form, and Image in the Poetry of William Blake," a Ph.D. dissertation directed by Winston The Art History Department and the Department of Weathers at the University of Tulsa, concentrating English at University of California, Santa Barbara, on the melos of the Songs* the use of musical will co-sponsor an interdisciplinary conference form and imagery in The Four Zoas3 and the treatment 2-5 March 1976 on the theme of "Blake in the Art of music as idea in Blake's aesthetic and myth. of His Time." The idea of the conference is to bring together (Blake himself being the precedent) Raymond Lister, Wolf son College, University, of literary students and art historians of Blake's Cambridge: awarded a Senior Research Fellowship, work and period, with the intention of viewing his chiefly to assemble a full-scale critical catalogue complex achievement in a wide perspective. Emphasis of all the works of Samuel Palmer. Mr. Lister will be on Blake's work as painter-poet-engraver- writes that he would like to hear from anybody illustrator seen alongside the work of several who knows of the location of any such works, eminent contemporaries (such as Flaxman, Fuseli, particularly those in private collections. Address Linnell, Barry) to reveal more clearly what in c/o Windmill House, Linton, Cambridge, England Blake "belonged to his age" and what was Blake's CB1 6NS. own and Blake's only. There will be morning and afternoon scholarly sessions, each featuring three or four twenty to thirty minute papers, on aspects of the general theme of Blake in the Art of his Time, by established scholars from both disciplines; but also a sprinkling of papers by newcomers in both fields who have fresh things to say about Blake. There will be considerable use made of color slides as well as other visual aids. Concurrently with the conference dates, there will be an exhibition of 108 iUtfttUiB Cary Nelson. The Incarnate Word: Literature we ever gain access to her." It seems appropriate, as Verbal Space. Urbana: Univ. of Illinois given this position, that all Nelson can see in Blake is a "womblike iconography," which confirms Press, 1973. $10. that "Blake's poetic world is an egg which the imagination fertilizes." Thus Nelson's performance of an "act of literature" on Blake resembles a Reviewed by Thomas A. Vogler rape where consent—the rapist's only defense—has been established in advance. For him, Blake has "made the word flesh," and "The most frequent feature of the illuminated books ... is flesh — the human body." This book challenges the conventional or complacent Since for Nelson all activity, psychic or pose of the reviewer who would like to present his physical, is sexual, we can see the fruits of his response in the guise of statements "about" the critical endeavor as a series of interpretive book. In this case, whether it is a trivial or an "apocalyptic orgasms" in which "Each page is a important book, whether it is good or bad, depends revolution in consciousness that resurrects the almost entirely on how it is read. The main problem imagination in a new body." In his chapter on area in responding and evaluating turns on the Burroughs the point is repeated in somewhat escalated persistent way in which everything Nelson says is form: "The whole of this mythology is initiated self-descriptive. In his responses to the authors and fulfilled on every page of Burroughs' work — in he reads, he is acting out or presenting to us a each moment of intersection between reader and text." mode of consciousness which is precisely what he What Nelson apparently does not see is that when claims to "see" in the works discussed. For Nelson, Burroughs says, "Gentle reader, we see God . . . in the reader "performs an act of literature," entering the flash bulb of orgasm," his vision includes and a "process in which the self of the reader is is disgusted by Nelson's response to it. For transformed by an external structure." But such Burroughs this vision of God does not save us; it transformations can work either way, and I propose confirms our fallen state; it is what we must first to look at Nelson as Blake looked at his Reactor, "til he be revealed in his system." iiiitiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiini iiiiiiiiiiitiiiiiiitiiiiiin ifiiifiiiitiuiiiiiiiiintMiuiiiiitiriiiiitiii In his chapter on Blake, for example, he begins by asserting tenets ascribed to "Freudian psychology" Thomas Vogler is Associate Professor of Literature which sees "the artist projecting womb-receptacles at the University of California, Santa Cruz. He appropriate to his psyche." He quotes Williams is the author of Preludes to Vision and articles with approval: "We express ourselves there, as we on Hart Crane, Ralph Ellison, Robert Lowell, Milton, might on the whole body of the various female could and other8. 109 acknowledge as our own, then somehow go beyond. but it is also impossible to avoid the trap: When Burroughs says "Word is flesh" or "Your bodies I have written," he is disgusted by the inevitability Yet, to the empty trapeze of your flesh, with which the sexual metaphor in its debased form 0 Magdalene, each comes back to die alone. absorbs all human experience. "The human organism Then you, the burlesque of our lust--and faith, is literally consisting of two halves from the Lug us back lifeward—bone by infant bone. beginning word and all human sex is this unsanitary arrangement whereby two entities attempt to occupy If Crane is right, the apocalyptic model Nelson the same three-dimensional coordinate points." offers us is a circular trap, a revolving door that Clearly then Nelson is acting out Burroughs' system; returns us to our predicament with precisely but is he doing it in Burroughs' sense and with that degree of energy which informs our attempts his goal, to see "sex words exploded to empty to escape through the door. Lest this seem space"? Or is he an example of what Burroughs means too fanciful, we can see Nelson himself going by addiction, someone who can't break the habit? through the motions in his essay on Williams. Is Nelson's book parody or satire, a knowing reduatio First, he establishes that "white blankness ad absurdum, an example for us to shun? Or is he is the space of the page we structure verbally." himself seduced and luring us into the same Action in this space is the by now familiar seduction? In Blake's terms, Nelson seems to be verbal/sexual act. "The line propels us through caught in the "Sexual Machine" [Jerusalem 39 [44]:25). the period, a black doorway into the whiteness He is not giving us the answer to Blake's question: of the page within which the line acts. 11 . . what may Woman be? / To have power over Man Speech becomes an enactment of silence." We fromCradle to corruptible Grave." He is an go through the black doorway of the period only unknowing example of what Blake meant by that power. to return to the blank page, which we fill with more masculine words. How are these words now the The important question lurking under all this "enactment of silence"? Discussing another period concerns the possibility of conceiving and pursuing in Williams' Paterson, Nelson informs us "That dot our redemption. Can we be saved by sex? And if so, acts as a hole through which we fall. . . . The in what way and on what level is sexuality the leap and fall through blank space and the measured pattern of our redemption? Is the path from the pacing into emptiness are both related and different beautiful woman to the Idea of The Beautiful a A period is immense; yet it is the waste of true path or an unconscious rationalization for absolute finitude ." Nelson's own period, at sexual appetite--or is it the opposite misconception, the end of this paradoxical prose, is wittily put a leading away from the primal reality of the flesh? a space beyond the final word in the sentence, a These are questions Crane asks and answers in the point beyond finitude. Presumably, we should get the point, and exit through that door into another "Three Songs" section of his Bridge. He suggests space or emptiness. And Nelson does not waste that it is impossible to achieve a spiritual vision his sonorous phrase. He uses it later where we of unity based on the pattern of the sexual act; 110 learn that "To plant a field is to extend intimate ignoring of time, supported by the assertion that space to the horizon, infinitely. A uniform and "pure spatiality is a condition toward which horizontal space, composed of inseparable clumps literature aspires." But to ignore time is to of handled earth. It never ends. Yet it is the miss out on "the Mercy of Eternity," and to become waste of absolute finitude." We exit through ironically trapped in that we seek to avoid. It that period only to return to the same blank page is our existence in time that wears away at all filled with words, to see Nelson swinging one more moments of vision, domesticating them, integrating time on the empty trapeze of flesh. The book them into our established and programmed seemingly claims to have found the moment in each associations, reducing them to what we have always day that Satan cannot find, and to be multiplying known and tried to avoid. it. It may however, like the sexual metaphor that is the basis for every image of relationship in Time is bearing another son. the book, be grinding its monotonous way on towards Kill Time! She turns in her pain! no climax at all. We are offered the image of The oak is felled in the aaorn man-poet-reader-farmer spilling his seed on the And the hawk in the egg kills the wren.1 field as the pattern of the ultimate economy of the cosmos. It may, however, be the image of Onan We may share the poet's urge to kill time, but we raised to the anagogic level. cannot achieve the visionary goal by ignoring it. In his penultimate chapter Nelson points out One aspect of Nelson's ignorance and ignoring accurately that for Burroughs "total communication can be clearly seen in his chapter on Wordsworth. becomes either grotesquely funny or grotesquely In it, he reduces the whole Prelude to a single hideous." Nelson seems drawn to Burroughs as the posture or image, asserting that Wordsworth found moth is drawn to the flame, and as I read this and held firm that single timeless image he spent chapter I was overcome with anticipation; it seemed sixty years looking for, finding and losing. that the only way to end the book would be with Nelson falls for Wordsworth's wishful model of some grotesque form of self-destruction, some ascent, without ever realizing that the true final revelation of the satiric wit that had been subject of the poem is the experience of the fall, tempting me, playing with me throughout all these and the problem of coping with loss and the chapters on the Pearl Poet, Shakespeare, Milton, fear of future loss. What Nelson calls Wordsworth's Swift, Blake, Wordsworth, Williams and now Burroughs. "apocalyptic posture" is the beginning of the I thought that surely this "confidence" would prove problem, not its solution. He leaves the poets to be the Melvi1 lean, or the Prufrockian borrowed standing "On Etna's summit, above the earth and from Dante waiting for the moment when "human sea, / Triumphant, winning from the invaded heavens voices wake us and we drown." But at the final / Thoughts without bound." But at this point in moment there is a rapid modulation of intensity, a the poem Wordsworth is sitting by his fire, move towards dissociation. Burroughs' novels turn indulging in "fancied images" ("bounteous images" out not to be "vehicles of revelation," but the in 1850), hoping that Coleridge has found what same book continually written "to perfect an Wordsworth has been seeking, but knowing that instrument of aggression." Somehow the point of "pastoral Arethuse" may "be in truth no more." It all this aggression is safely avoided, as it had may be "some other Spring, which by the name / Thou been avoided earlier in the chapter on Swift. We gratulatest, willingly deceived." Innocence with• go on to learn that "The final choice is always an out experience, pastoral without context, is as image of all choices at once," an example of what Johnson observed "easy, vulgar, and therefore Blake meant by his "Equivocal Worlds" in which disgusting." Of course in reacting that way to "Up & Down are Equivocal." Lycidas Johnson was making the same mistake Nelson makes with Wordsworth, but with a different set Rather than leaving the book hanging at this of values. Whether or not we share Wordsworth's point, I am tempted to take a second look and to hope that his Prelude was "all gratulant if rightly ask in all seriousness if we aan find a matrix for understood," we miss the poem if we do not perceive examining it which establishes an "Up & Down" axis. and share in its ongoing struggle to avoid the I am convinced that there is such a matrix, but poet's fate in time, a beginning in gladness that that it can only be discovered by an examination ends in despondency and madness--a seeing by of what the book leaves out. It is a book which glimpses with a gnawing awareness that in times overcomes obstacles by ignoring them, which avoids to come we may scarcely see at all. the struggle of Blake's "Mental Fight" by adopting the mode of pure assertion. Lacking a sense of Nelson quotes approvingly Wordsworth's lines: difficulty, it fails to engage with the authors "Anon I rose /As if on wings, and saw beneath me discussed on the one fundamental level they all stretched / Vast prospect of the world which I share—that it is hard to achieve the goal of a had been / And was." For Nelson this captures timeless, transcendent experience without leaving "a moment that spreads out autobiographical our human nature behind at one extreme, or chronology like a map of time unfolded into space." parodying it in an illusory ideology at the other. Yet how can we read these lines without recalling Nelson is offering his readers the "White Junk" Eve's account of her dream in Paradise Lost: fix that so outrages and frustrates Burroughs, that "Forthwith up to the Clouds / With him I flew, and Blake fought against with his "Minute Particulars," underneath beheld / The Earth outstretcht immense, that the author of the Pearl Poem embodied in the ravishing confusion of his central image. At the heart of his method is an ignorance of and willful Dylan Thomas, "Ballad of the Long-legged Bait." Ill a prospect wide / And various: wond'ring at my the dangerous possibility that his brand of fleshy flight and change / To this high exaltation." It apocalypse is itself a byproduct of history. is hard not to believe that we--like Wordsworth-- Camus saw in Feuerbach the birth of "a terrible avoid the danger implicit in such moments at our form of optimism which we can still observe at peril. For Nelson, "All fields are playing fields," work today and which seems to be the very antithesis and he quotes with approval Freud's lines: "A of nihilist despair. But that is only in number of children . . . were romping about in a appearance. We must know Feuerbach's final meadow. Suddenly they all grew wings, flew up, conclusion in this Theogony to perceive the profound• and were gone." Is this the way it happens for ly nihilist derivation of his inflamed imagination. In effect, Feuerbach affirms, in the face of Hegel, the poets? Whoever those children are, wherever 5 they go, how are we not to be left behind in that man is only what he eats." The consequence Milton's "fair field / of Enna, where Proserpin of this form of deification can be seen clearly gath'ring flow'rs / Herself a fairer Flow'r by only if we can locate it as a process in a gloomy Bis / Was gather'd, which cost Ceres all historical context. With a larger context, Camus that pain / To seek her through the world." How would not have attributed the "birth" to Feuerbach, can we ignore "all that pain" without being but might have traced it back to the seventeenth ignorant of it, and being ignorant of it how can century. There is also a comical side to the lack we avoid being gathered by gloomy Bis? Plato of historical context as we realize that Nelson, poses the real problem and focus for the poets in 275 years later, is still anatomized in Swift's his Phaedrus: "What we must understand is the description of "the noblest Branch of Modem Wit reason why the soul's wings fall from it, and or Invention": are lost." In Leart Edgar may "save" Gloucester by tricking him, but that does not save those of What I mean, is that highly celebrated us who see the trick. Mill may have been saved Talent among the Modern Wits, of deducing from despair by reading Wordsworth, as he reports Similitudes, Allusions, and Applications, in his autobiography. But his salvation was very Surprizing, Agreeable, and Apposite, dependent on a selective blindness that prevented from the Pudenda of either Sex, together him from seeing that Wordsworth shared his own with their proper Uses. . . . And altho' struggle with despair. this Vein hath bled so freely, and all Endeavours have been used in the Power If by ignoring time, by ignoring difficulties of Human Breath, to dilate, extend, and and struggle, Nelson misses the point of Wordsworth keep it open: Like the Scythians, who and the other poets he discusses, he also misses had a Custom, and an Instrument, to blow an adequate context for literary interpretation. up the Privities of their Mares, that By insisting on space alone as the medium for they might yield the more Milk; Yet I vision he becomes an incarnation of the abstract am under an Apprehension, it is near model of the New Critic, committed to that "evasion growing dry, and past all Recovery, And of the whole problem of temporality" which Hartman that either some new Fonde of Wit should, so acutely isolates as the advantage and disad• if possible, be provided, or else that vantage of "The Sweet Science of Northrop Frye."^ we must e'en be content with Repetition But unlike Frye, whose practice is "preferable here, as well as upon all other Occasions. to his theory," Nelson's approach stays at the ("In Praise of Digression") distance of the middle ground, constantly invoking our immediate experience of literature yet never N. 0. Brown claims that "The return to symbolism, fully acknowledging that time is inseparable from the rediscovery that everything is symbolic . . . our experience. Although he sets out to understand a penis in every convex object and a vagina in Swift's Tale of a Tub "as reading experience," he every concave one--is psychoanalysis."4 Nelson fails miserably because he hasn't the faintest idea would seem to agree, and to extend the "return" or of the historical context in which that "reading "Repetition" to include all literature and inter• experience" occurred and can still occur. This is pretation as well. obvious from his attempts to define satire by appealing to a norm of "efficient satire" which no There is another significant lack in Nelson's satirist has ever shared—certainly not Swift, who book which seems related to the absence of a sense in his "Apology" to the 1710 edition answers most of struggle, and of historical context. Although of the problems that Nelson seems unable to cope the book is riddled with paradoxes—or the same with. But perhaps in his own way Nelson is close paradox repeated endlessly--the repetitions are to the "reading experience" of the Tale, since like literary fireworks that flash and explode and like its first audience he fails to realize that leave behind only clouds of smoke that offend the the point of Swift's satire is directed at a kind nostrils. There is no sense here of the profound of Natural Religion of which Nelson is a twentieth- mystery that underlies the mythical vision of century embodiment. Swift was revolted by the incarnation as part of the pattern of redemption. empirical model of the mind constructing its John tells us that "That which is born of the flesh universals and absolutes out of sense experience, but he carried the model in his own mind as we continue to carry it in our time. 2 Beyond Formalism (New Haven, 1970), pp. 33 ff. This last observation touches on the most 3 The Rebel (New York, 1956), p. 146. serious aspect of Nelson's a-historical approach. 4 Love's Body (New York, 1966), p. 191. By ignoring time, he ignores his own context, and 112 is indeed a godlike act. To attempt it is a tremendous gesture full of risk, and to eat the word, to risk trusting it is the most dangerous of spiritually artistic ventures. It is to eat the forbidden fruit and risk the lot of eternal despair if one fails. "My word I poured. But was it cognate, scored / Of that tribunal monarch of the air / Whose thigh embronzes earth, strikes crystal Word / In wounds pledged once to hope— cleft to despair?"5 Poets have clearly longed through the ages for the godlike power of genetic utterance, or the lesser power of uttering a congruent word. In this context, as Touchstone says, "the truest poetry is the most feigning," and "feigning" inevitably evokes the deepest level of desire (of faining) and the possibility of deception. The urge in poets is perhaps at bottom not all that different from the urge towards magic, the desire to find some words by which man can in some way touch and control the core of reality. It is clear that the magician has often been able to fool others, even at times himself. What is not so clear is whether he has ever succeeded in uttering the magical incantation that actually causes the effects he would fain achieve. Nelson's book is an "incantation" in the full etymological sense; it is an incantation of incarnation. Like Audrey, we want somehow to know "is it honest in deed and word? is it a true thing?" Can we try his words as the mouth tasteth meat? Our final glimpse of Satan in Paradise Lost is of him and his cohorts in a state of aggravated penance, greedily plucking the "Fruitage fair to is flesh; and that which is born of the Spirit is sight" which was "like that / Which grew in spirit." Redemptive vision, as Blake knew, is Paradise." But under the semblance, there is no the capacity to unite the two and to see the "Divine substance; instead of fruit there are "bitter Revelation in the Litteral expression." As Boehme Ashes," and an eternity of falling "Into the same points out, in his work on Nelson's subject, this illusion." Nelson is oblivious to the danger that is a serious matter: his fruit may turn to ashes when plucked. In some Our life is as a fire dampened, or ways this is an enviable oblivion, but it is as a fire shut up in stone. Dear children, certainly not one shared by the poets he discusses. it must blaze, and not remain smouldering, His book leaves us, like the tramps in Crane's smothered. Historical faith is mouldy Bridge* still hungry after the Twentieth-Century matter--it must be set on fire: the soul Limited roars by with its slogans about Science, must break out of the reasoning of this Commerce and the Holy Ghost. world into the life of Christ, into Christ's flesh and blood; then it receives the But man must eat to live, and will be what fuel which makes it blaze. There must be he eats. Kafka's Hunger Artist tries to make an seriousness; history reaches not Christ's art out of not eating, only to confess as he dies flesh and blood. that he had to fast because he couldn't find the (De Inoarnatione Verbi, II, vi i i, 1.) food that he liked--that, if he had found it, he would have stuffed himself like everybody else. Much of the seriousness in this matter is related Roheim has claimed that schizophrenia is "food to the fact that to enter the realm of "the trouble," that "There is only one story--that incarnate word" is to enter a realm of metaphysical somebody was starved. But not really—only inside, potency that was originally the exclusive prerogative in my stomach." So to avoid starving we eat, and of God. Elihu asserts that "the ear trieth words, as eating is the active form of the fall, it must as the mouth tasteth meat," but he does so in a be the active form of redemption in the Eucharist, context in which Job must acknowledge that he the thankful feast. We are what we eat; but what utters "words without knowledge. ... I uttered do we eat, and how do we eat it? In the first Night of The Four Zoas we encounter a feast: "The that I understood not." If man lacks the power Earth spread forth her table wide. The Night a to utter "words that are things" as Byron longed silver cup / Fill'd with the wine of anguish to do, his speech can be knowledge only if it is congruent with something outside itself and more real than it is. To speak a word that can be eaten, a word that nourishes, sustains, fulfills, an "incarnate word," 5 Hart Crane, "The Broken Tower." 113 waited at the golden feast / But the bright Sun and throws us the same challenge: "We Are All Shit was not as yet. ..." At the feast "They eat Eaters. ..." Nelson finds the message the fleshy bread, they drank the nervous wine." "inexplicable and intolerable," misses the shock of But in spite of the semblance, they are not eating recognition which might provide the point for a new the body of Christ. They are eating the fallen beginning, and ends his book with a chapter called body of the natural world, eating it with their "Fields: the body as a text." This final section fallen senses and becoming what they behold. is a montage of quotations and assertions organized around various themes, and is strongly reminiscent of N.O. Brown's Love's Body. Earlier in the book It is no accident that Freud's myth of the Nelson has suggested that Brown's work and Whitman's fall in Totem and Taboo locates the origin of "symbolically offer us the visionary body of their man's psychic disturbance in a primal cannibalistic author," and it seems clear that he is making the feast. Nor is it accidental that for most same gesture or offering with his Incarnate Word. psychologists the origins of the components of The emphasis here is crucial, and goes beyond the man's psyche, like the origins of his body, can ordinary sense in which we can imagine any book to be seen in a process variously described as be an offering by its author. This is an invitation "internalization" or "identification and self-consciously modeled after Christ's invitation incorporation" or "ingestion" or "introjection" to his disciples, an invitation to a communion with of the father and mother who thereby become the promise of redemption if we take and eat. In "figures" or patterns of expectation and possibility fact, however, it is the gift of Comus, "Off'ring that shape our potential for experience. If the to every weary Traveller / His orient liquor in a process of individuation is to happen without Crystal Glass." The "misery" of the band that alienation, there must be the development of follows Comus is so "perfect" that they cannot "personal 'realities' which incorporate paradoxical "perceive their foul disfigurement, / But boast discontinuities of the personal from maternal or 5 themselves more comely than before." I can only parental realities." In a healthy process of hope that Nelson does not gather a similar band growth a nourishment is provided and received around himself. which allows for an organic growth and individuation. But in a pathogenic process individuation is not I once heard of a university class which had achieved, and after the fact our fantasy organizes been reading Love's Body as a text. In the final the experience as one in which by devouring the meeting of the class, the students tore pieces from parents we have been devoured by them; we learn too the book and ate them, then burned the remainder late that we have become hooked like the addicts and marked their foreheads with ashes from the to the "White Junk" in Burroughs' system. charred remains. I was moved by a sense of the depth of their hunger, and the archetypal level What characterizes almost every psychopath of their response to it. And I often wonder and part-psychopath is that they are trying how they felt as they returned from the field after to create a new nervous system for them• class to eat their lunch in the cafeteria. I selves. Generally we are obliged to act wonder if Nelson, like them, may not be an with a nervous system which has been formed incarnation of Kafka's panther, the missing half from infancy, and which carries in the of the puzzle: style of its circuits the very contradic• tions of our parents and our early milieu. . . . and they buried the hunger artist, Therefore, we are obliged, most of us, to straw and all. Into the cage they put a meet the tempo of the present and the future young panther. Even the most insensitive with reflexes and rhythms which come from felt it refreshing to see this wild the past. It is not only the "dead weight creature leaping around the cage that had of the institutions of the past" but indeed so long been dreary. The panther was the inefficient and often antiquated all right. The food he liked was brought nervous circuits of the past which strangle him without hesitation by the attendants; our potentiality for responding to new he seemed not even to miss his freedom; possibilities which might be exciting for his noble body, furnished almost to the our individual growth/ bursting point with all that it needed, seemed to carry freedom around with it Blake makes the point more succinctly than either too; somewhere in his jaws it seemed to Mailer or Marx, when he asserts that Swedenborg lurk; and the joy of life streamed with has given us "Only the Contents or Index of already such ardent passion from his throat that published books." Nelson, like Swedenborg, is for the onlookers it was not easy to "the Angel sitting at the tomb: his writings are stand the shock of it. But they braced the linen clothes folded up. Now is the dominion themselves, crowded round the cage, and of Edom." Esau is called Edom, after the red did not want ever to move away. pottage for which he sold Jacob his birthright. Under the dominion of Edom we find again the need for the feast of Ezekiel: "I then asked Ezekiel. why he eat dung, & lay so long on his right and left side? he answered. The desire of raising 6 John S. Kafka, "Ambiguity for Individuation," Arch gen other men into a perception of the infinite." Paychiat, 25 (Sept. 1971), 238. The same desire moved Swift in his time, Blake in his, and Burroughs in ours. Like Ezekiel, 7 Norman Mailer, Advertisements for Myself (New York, 196(1), Burroughs holds a parodic mirror up to our diet p. 310. 114 Thomas R. Frosch. The Awakening of Albion: chiefly Jerusalem, in the two later chapters. The Renovation of the Body in the Poetry of Although he gives the key position in his subtitle to the word "body," he does nothing with and indeed William Blake. Ithaca, N.Y.: Cornell says nothing about the traditional images—the University Press, 1974. Pp. 211. $10. psyche as a society in miniature and the cosmos as a magnified human body—out of which Blake's myth of Albion and the Zoas arose; the "caverned man" Reviewed by Irene H. Chayes is a running motif, but he mentions Plato only once, in incidental rejection. Similarly, although the book jacket reproduces "The Sun at his Eastern Gate," from the Milton watercolors, part of whose effect depends on a recollection of the Apollo Belvedere, Blake's modes of representing the body What is genuinely praiseworthy in this book is in his designs are never considered. The extent indirectly a tribute to an aspect of Blake's of Frosch's attention to Blake's graphic art is originality which is not always appreciated by his his observation in a note that its "anti-naturalis• readers and critics. In the first two chapters tic" style "by itself, works against the given eye" primarily, and from time to time later, Frosch (p. 199). Ignoring the famous eidetic visions, he responds to the intellectual suggestiveness of the assumes that Blake consistently opposed the poetry in intellectual terms, completing fragmentary "tyranny" of the sense of sight, and claims for patterns of ideas, conceptualizing baffling images the ear configurations of imagery which actually or relationships, or drawing unexpected analogies may acquire a very different character when they with the thought of writers in other periods. His are rescued from the misleading isolation of the formulations are interesting in themselves, and if typographic page, to which Frosch restricts him• some exceed the evidence of the texts, they usually self, and are set beside relevant designs among are sufficiently Blakean to be persuasive at least the original plates. Los's description of as historical possibilities. Both Frosch and Blake Jerusalem on J 86 and the last paragraph of text appear at their best in these interludes, and a on J 54 are two passages cited as "auditory promising study of a different kind might have grown pictures" which, although they elude Frosch's out of the beginnings made under the headings of exceptionally narrow criteria for a "naturalis- "Perspective," "The Vortex," and "Center and tically perceived visual scene," include images Circumference" in particular. that are both visualizable and graphically visualized. The most difficult image in the The heterogeneous company of authors Frosch passage quoted from J 54 is in fact exactly cites or quotes in parallel with Blake includes a illustrated in Blake's accompanying design--which number whose names recall earlier juxtapositions by is not consulted. Harold Bloom (Shelley, Ezekiel, Sergei Eisenstein) or Geoffrey Hartman (Wordsworth, Rilke, Gaston To Frosch, anti-naturalistic imagery in Bachelard, Sartre, Maurice Merleau-Ponty). Others- poetry, such as that in Blake's supposed Marshall McLuhan, R. D. Laing, Norman Mailer- "auditory style," or the metaphoric synaesthesia reflect topical interests at the probable time of in familiar passages from Coleridge and Shelley, writing. The favored authority, however, is D. H. is part of a literal reorganization of the senses Lawrence, the late, doctrinaire Lawrence who through which the body is to be "renovated," on presented himself as prophet to the England of a analogy with the resurrection of the fallen Albion, more recent time than Blake's, and it was evidently and which it is the function of art to bring about his example, reinforced by a speculation of William In this respect, Frosch perhaps has in mind (at Godwin's about the perfectibility of the physical some remove) the Romantic strategy of giving the human body, that led Frosch to try to reconcile processes of sense perception a place in the Blake's overt anti-naturalism (a word Frosch uses operation of the imagination and thereby enabling in more than one sense) with a conception of the art to challenge epistemology and aesthetics on body and the senses which as it is expressed in the their own ground. If to Wordsworth the mind subtitle is to be understood literally. Frosch is helps to create what it perceives, in the most successful in his quasi-Lawrentian approach description at the conclusion of Jerusalem the when he is discussing Blake's sex motifs, especially mind that creates perceives its own creations, as those, such as anti-genitality and the physiological artist and spectator at once. Frosch, however, role of the Emanation, which for one reason or turns the strategy upside down and makes the end of another some commentators have hesitated to Los's labors the "increase" of perception until it acknowledge. But the special demands of Frosch's can become "simultaneous with creation"; to open thesis require him in turn to deny that the "pompous the doors of perception until the "vision of the high priest" passage in Jerusalem commends what prophet" is "finally attained by all men" (p. 95). Norman 0. Brown a few years ago called the "polymorphous perverse," and yet elsewhere to maintain that sexuality, though "absorbed," is imiiiHtmimniiiiiiiiiiiiimiiiiiiiiiiiiiiiiiiiiiiiiiiiiniiiiiiiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiiiiiniiiiiiiiiitii nevertheless present in the state of restored Irene H. Chayess who lives in Silver Spring, Maryland, harmony in Eden. has published many critical essays and reviews on Blake and the English Romantics. Under a 1974-75 When he deals with the senses, a more complex grant-in-aid from the ACLS, she has been continuing subject, Frosch proceeds by a series of omissions, research for her work on Blake's art. Most recent exclusions, and displacements which seriously publication: "The Marginal Design on Jerusalem 12," weaken his critical discussions of the poems, Blake Studies, 7 (Fall 1974), 51-76. 115 Frosch insists on precisely these terms, disagreeing Like a small number of other recent writers with Peter Fisher and Northrop Frye that for Blake on Blake,1 Frosch seems to believe that the only perception is essentially a mental act (pp. 28-29 alternative to a repetition of the older, received and 187); with Frye that Blake's New Jerusalem is interpretations is a continual search for novel "the total form of all human culture and variants and ingenious reformulations, like the civilization" (p. 153); and with Hazard Adams and "new visions" in which on his last page he urges Karl Kiralis that the poem Jerusalem is written as us to "keep on creating and responding" to the an "example" of the Divine Vision (p. 157). Instead: "reality" Blake's poems purportedly describe. "In Blake the goal of art is the moment at which it This undoubtedly would be Frosch's justification becomes unnecessary, because the whole of life has of his unacknowledged shifts from what Blake taken on the character of art. ... It is the job actually says to what might be said in terms of fallen art to reorganize the natural body, to similar to Blake's (an illegitimate extension of awaken it to its self-induced limitations and its the conceptualizing paraphrases) and the silent real potentialities, until it regains the capacity alterations he makes in the meanings of narrative to arise and enter Eden by itself. In this trans• episodes and verse passages which a few pages away formation, what we now recognize as art disappears: he may have shown he understands perfectly well. when Albion enters the furnaces, Los drops out of Yet The Awakening of Albion is offered as the study the poem, consumed with all else in his Sublime of a theme "in the poetry of William Blake," and Universe" (pp. 158-59). Frosch does violence to the poetry and its author by his distortions not only of specific texts The relations of artist and non-artist in this but also and more especially of Blake's own views account are based on the circumstances of Albion's of art, which in actuality were the most resurrection near the end of Jerusalem, yet in uncompromising of all held by the Romantics. To Blake's text the situation is the reverse of that actualize the metaphor in the conditions of our outlined by Frosch. It is of course Albion who own time and space is to translate the imaginative sacrifices himself, or believes he is sacrificing into the natural, not to raise ourselves to Eden himself, to save Los, his "friend," in whose guise but to bring it down to our level. In this Jesus becomes visible to him, and if Los disappears way the desire for a resurrection gives birth to from the narrative at this point, it is presumably the Hermaphrodite." This insight occurs in one to take his rightful place in the reintegrated of the early sections (p. 85), in a comment on cosmic psyche. Moreover, by all indications of Blake's parodies of Eden and resurrection. It the same text, Eden is inhabited (metaphorically might stand as a judgment on much of the remainder speaking) only by the restored Zoas and, on another of the book, in which the body that is renovated level of the analogy involved, the Eternals, who ultimately turns out to be only the Hermaphrodite very possibly are joined at the last by the reborn. redeemed William Blake. The only available counterpart of Frosch's lower-case plural, "all men," is Blake's "Public," which in his prefaces to the four chapters of Jerusalem he addresses both collectively and through its major sects. 1 See my review of Wittreich and Curran, eds Blake 'e But although the aim of his rhetoric is to bring Sublime Allegory, in Studies vn Romantxcxam, 13 (1974), lbl-W. these groups to an eventual rejection of error, how and when that particular Last Judgment is to come about remains outside the bounds of the poem; the Jews, the Deists, and the Christians are left to work'out their own salvation according to the three different prescriptions given in the prefaces. Again, when Frosch's undifferentiated "men" are renovated by the instant therapy of art, they enter an Eden which is described in an elusive mixture of the figurative and the literal: "we enter the images in body, in a new life, and together with all men" (p. 159); "acts and bodies are like poems, each one serving its maker for a moment" (p. 182); "the responsibility of man for his life is a kind of poetic work and the final products are no longer books but realized human lives" (p. 176)- Despite faint echoes of the language of the last plates of Jerusalem, this is not in any way comparable to Blake's exalted vision of a supremely creative, universal consciousness, acting through the totality of human faculties and both animating and apprehending the worlds it brings into existence. Like the sacrifice of Los, Frosch's conception of Eden as a commune of the post-literate is a creation of his own, imposed on the situation in Blake's poem, and its orienta• tion away from both the artist and the art-work tells more about current socio-cultural attitudes than about Blake. 116 David Wagenknecht. Blake's Night: William Blake and the Idea of Pastoral. Cambridge, Mass.: Harvard University Press, 1973. Pp. xi + 320. $12. Reviewed by Karl Kroeber No brief review can do justice to Professor Wagenknecht's minutely particularized interpre• tations. It is difficult even to place his readings in any main line of recent Blakean criticism, for his effort to depict Blake as a "pastoral" poet depends almost entirely on a study of Renaissance pastoral, The Landscape of the Mind. There the pastoral poet is defined as one who presents "a fiction imitating an ideal difficult to credit in terms of the imagery which supports the fiction," and the idea of pastoral as that "this-worldliness and otherworldliness can be reconciled, and that a truly cultivated man, whatever his intimations of divinity, may find a natural human voice." Despite the somewhat unpromising nature of these quotations, Wagenknecht makes but a single reference to Empson and does not use his ideas, and completely ignores John Holloway's discussion of the psychologizing of pastoral in Songs of Innocence, an unfortunate omission. Wagenknecht's commitment is to abstract critical constructs. In Blake's Night literary history is at best discontinuous: even in minute of the idea of pastoral. The complexity of that particulars there is nothing fanciful in the idea--whereby the human imagination must comparison between Blake's Songs and The Shepheardes simultaneously apprehend reality as fallen and as Calendar." Nothing fanciful, to be sure, but capable of transcendence—is very great in the ignoring the two hundred years which separate them last pages of Jerusalem* but there is no difference may not be the most adroit fashion for developing in kind from the many analogous realizations of the significance of such a comparison. the idea in pages of Blake which we have already seen." Pivotal for Wagenknecht is his interpretation of "Night," proving, he believes, "that the themes I should think few readers would want to appropriate to [Blake's] pastorals are central to quarrel with Wagenknecht's fundamental idea, but his imaginative and intellectual concerns ... we some may feel discomfort at his mode of presentation. may expect to find an important pastoral element in Unity can be perceived and demonstrated in Blake's his mature work. This is in fact so much the case poetry without confining it within the limits of a that we can read right through Blake's career rigid, statically conceived pattern of Renaissance regarding him distinctly as pastoral or as epic art. Closer attention to the processes by which poet." Blake, in other words, is to be understood traditions, genres, and modes of literary as following the celebrated Renaissance/Virgilian sensibility changed between the later sixteenth pattern of poetic development from pastoral to and the later eighteenth centuries would have epic. Thel is interpreted to elucidate this enriched and strengthened the power of Wagenknecht's pattern, yielding the insight that "we cannot criticism. The hermetic spirit of Blake's Night conceive of avoiding Experience without falling makes it seem more like a work of ten or fifteen into it; therefore the language by means of which years ago than a contemporary piece of Blake we conceive Innocence is dependent upon Experience criticism, but, by the same token, the dated and tends to reinforce it. This means that what• quality of the book indicates its freedom from ever else the picture of Thel's world is like, it the pernicious fads of 1970s Blake scholarship. is not unreal." This is one of the more interesting suggestions in the book, and from it flows Wagenknecht's final statement of the link between Blake's early and late work, or, rather, their essential identity: "the interposition of the lllllllllllllltlltllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllN Covering Cherub, of the darkness of Generation, between Albion and Jesus--and more particularly Karl Kroebers Chairman of the Department of "English the joyous acceptance of this sacrifice by the and Comparative Literature, Columbia University, Divine Imagination in Los--is Blake's final version is author of numerous studies of Romantic literature. 117 Anne Kostelanetz Mellor. Blake's Human 1795" (p. xvi), and the real watershed sometimes appears to be 1793-94, when Blake allegedly Form Divine. Berkeley and Los Angeles: abandons the optimism of The Marriage of Heaven University of California Press, 1974. Pp. 354, and Hell for the pessimism of the late Lambeth books. This period is described as continuing on 87 illus. $15. from 1795 to 1802 (p. 193), but Ms. Mellor appears to have in mind a transition period from 1802 to Reviewed by W. J. T. Mitchell 1805 (Blake's final years at Felpham and his return to London), which ushers in the final period, 1805-27 (p. 243). The periods indicated in Ms. Mellor's chapter titles do not correspond very clearly to the developmental scheme presented in the text: Chapter 4, "Romantic Classicism and Since the appearance of Blake's Visionary Forms Blake's Art, 1773-1795," does not mean that his Dramatic in 1970 almost every new study of Blake style of "Romantic Classicism" ended in 1795 has paid at least lip service to the goal of (Ms. Mellor argues that it continues throughout unifying his "composite art." Ms. Mellor's his career); Chapter 5 deals with "Blake's Concept contribution to this task is a comprehensive study of Form, 1795-1810," but this "period" is operative of "form" in Blake's work, touching upon almost only in the discussion of Vala\ elsewhere, Blake's all of the illuminated books and detouring into "late art" is located from 1805 to 1827. some of the Milton illustrations, the Book of Job, the Arlington Court Picture, and the Bible A three-phase notion of Blake's development paintings. The student who is looking for close is fairly commonplace (E. D. Hirsch has presented readings of individual poems or pictures, or for the most radical argument for it in his Innocence new information on iconography and verbal and Experience: An Introduction to Blake3 New symbolism will not find these things here. What Haven," 1964), and probably has a general kind of he will find is best summed up in Ms. Mellor's validity. It seems likely that Blake underwent introductory remarks: some sort of personal crisis after the failure of the French Revolution, and another during his This study of Blake's visual-verbal sojourn with Hayley in Felpham. In her "Note on art will focus upon the development of Methodology" Ms. Mellor links her views with what form in his work, both as a philosophical she calls the "chronological approach" exemplified concept and as a stylistic principle. by David Erdman, Morton Paley, and Sir Anthony I have chosen to emphasize this aspect Blunt (one wonders why Hirsch is not mentioned of Blake's art, which has not been here). This approach is contrasted with that of previously examined at length, because the "system" critics, Robert Gleckner and Northrop the functions and purposes of form came Frye, who tend to see Blake's work as a continuous, to pose a critical problem for Blake's coherent whole. In some ways this methodological thought and art. I hope to show that dispute seems to me a dead issue (especially if it in 1795, Blake was simultaneously means I have to decide whether to believe David rejecting as a Urizenic tyranny the Erdman or Northrop Frye); if not dead, it should outline or "bound or outward circum• be laid to rest with all deliberate speed. I ference" which reason and the human doubt that Northrop Frye would be insensible to body impose upon man's potential Ms. Mellor's contention that "Blake was, after all, divinity and at the same time creating a human being, subject to the same changes of a visual art that relied almost heart and mind that plague and enrich us all exclusively upon outline and tectonic (p. xix). means, (p. xv) The real questions of interest are, of course, There is some exaggeration in the statement whether and how these changes are manifested in that this subject has not been previously examined Blake's work, and whether and how they affect our at length (most of the studies of Blake in the interpretations of those works. The answers to last twenty years have addressed themselves to the these questions seem to me equivocal. The scheme guestion of form in one sense or another), and of optimism-pessimism-optimism may have validity there is a misleadingly cautious note in Ms. of a sort, but I find it hard to see Blake so Mellor's restriction of her hypothesis to 1795, utterly depressed for all those years, even if he since the book really offers a developmental was illustrating Young's Night Thoughts. Blake's scheme which covers Blake's entire artistic remark in 1804 about being 'enlightened with the career. Nevertheless, this year is the keystone light I enjoyed in my youth, and which has for in Ms. Mellor's argument. Blake is seen as moving exactly twenty years been closed from me" cannot from a period of Utopian optimism and harmony be taken at face value (are Songs of Innocence and between his formal theories and stylistic practice, to a middle period (centered in 1795) of anti- mm iiiiiiiiiiniiiiiiiiiiiiiiiiiiiiiiiiii m iimiimiiii iiiiimiiiiiimiiiiiiiiiiiiiiiiiimimi utopian pessimism and conflict between theory and practice, to a final period of return to "the W J T Mitchell is an Associate Professor of beliefs Blake held as a young man" (p. 215). English at Ohio State University. His most recent work on Blake is a two-part study of text and The dates of these periods are treated rather design in Milton, published in glee's Sublime flexibly. The middle period is centered in 1795, Allegory (Wisconsin, 1973) and Blake Studies (Fall but its emergence is located "between 1790 and 1973). 118 The Marriage of Heaven and Hell the works of a man he sees all things thro' narrow chinks of his who had lost the light of his youth?). If the cavern" (MHH 14), but it still has windows and statement is used to prove anything about Blake's "doors of perception" which can be cleansed to development (as Ms. Mel lor uses it on page 202), reveal the infinite. There is nothing "inexorable" then we must conclude that Blake's pessimistic about this image of confinement. period extends from 1784, not 1794. Ms. Mellor cites another passage from Europe The main evidence for Ms. Mellor's argument to show the "body as a physical prison that is what she sees as the "anti-Utopian" character confines and inevitably prevents Energy from of the late Lambeth books and the 1795 color prints. expanding into infinity" (p. 99): The Book of Urizen, The Book of Los, Ahania, and Europe mark a period when Blake "condemns the human . . . when the five senses whelm'd body and all limited, rational, abstract systems" In deluge o'er the earth-born man; then turn'd (p. 139). While it is true that these poems are the fluxile eyes generally more sombre and inconclusive than some Into two stationary orbs, concentrating earlier works (except Tiriel, Visions of the all things Daughters of Albion, and many of The Songs of Experience), it is auite easy to find Blake "condemning" the human body, reason, and limits Into earths rolling in circles of space, in many of his pre-1794 writings. As early as 1788 that like an ocean rush'd he attributes religious divisions to "the confined And overwhelmed all except this finite nature of bodily sensation," asserts that "the wall of flesh. bounded is loathed by its possessor," and satirizes rationalism and empiricism (see There is No Natural But this passage really says just the opposite of Religiony both versions, and All Religions Are One). what Ms. Mellor claims: the body is seen here, It is also possible to see him making a distinction not as a prison which confines energy, but as a in The Marriage of Heaven and Hell between a true bastion against the chaos of rational empiricism. reason which serves as "the bound or outward The body is the Noah's Ark which rescues man from circumference of Energy," thus functioning as a the "cold floods of abstraction" that engulf "Contrary" to Energy in order to produce Europe. "progression," and a false reason which usurps the role of energy and tries to dominate human Ms. Mellor seems unaware of or indifferent to consciousness. There is also a related distinction the counter-evidence to her assertions, and she to be seen between a false body which confines the never deals with any alternative hypotheses that soul entirely within the realm of the five senses, might explain the evidence more fully. She ignores and a true body which serves as a medium for the the argument, for instance, that Blake might be infinite "by an improvement of sensual enjoyment" presenting the body as a cave or orison in the (MHH 3, 4, and 14). Ms. Mellor seems to recognize Lambeth books, not because he is "rejecting" the this dialectical role of reason, and the visionary body (or reason or boundaries) per se as role of the body, but she argues that, within a "inevitably" oppressive, but because he is concerned year of articulating these distinctions in The with the question of how, in fact, the true body of Marriage Blake had changed his mind: "Whereas "sensual enjoyment" and delight comes to be replaced Blake had earlier defined the body as 'a portion by a false body which confines the spirit. The of Soul discern'd by the five senses' [MHH 4], he answer to this question would be, for Blake, the now pictures the body as fixed, finite matter abuse of reason—not the right reason which is an inexorably bounded by the five senses and the eternal contrary to energy, not the reason which circumscribing force of reason" (p. 94). The "A Little Boy Lost" uses to expose the priest's difference from the 1788-1793 period seems to be mysteries, and not the reason which Tom Paine uses encapsulated in the word "inexorably," i.e., to expose Bishop Watson--but the false reason which "incapable of movement or change." Hence, the tries to impose one abstract law on life, or reduce conclusion: "man must deny his mortal body to human experience to a "Ratio of the Five Senses." enter heaven" and "only death can save man from The late Lambeth books deal with the linked themes the problem of human evil" (p. 100). of fall and creation, the fall of reason into a void of abstraction, and the creation of a body as Ms. Mellor makes no mention of the fact that an (admittedly imperfect) barrier against nihilism, Europe opens with one of Blake's most eloquent the "ocean of voidness unfathomable" (Urizen 5: 10). assertions of the power of the senses to discern They do not spell out any redemption or apocalyptic at least a portion of the infinite: awakening--in Faulkner's terms, Blake was probably more concerned with surviving than prevailing in Five windows light the cavern'd Man; thro' 1794. But there is nothing "inexorable" or one he breathes the air; "inevitable" about them: they are open-ended poems, Thro' one, hears music of the spheres; thro' the Genesis phase in Blake's "Bible of Hell," as one, the eternal vine the title of The [First] Book of Urizen implies. Flourishes, that he may recieve the grapes; tho' one can look. The overall problem with Ms. Mellor's approach And see small portions of the eternal world is revealed in her remarks on how she dealt with that ever groweth; the editorial problems in Vala: "I . . . have often, I fear, chosen that arrangement of text that The body is a cave in Europe , as it was in The most clearly reveals the theme with which I am Marriage, where "man has closed himself up, till primarily concerned." In a similar way, she 119 mobilizes textual evidence, frequently misinterpreted, from Blake's earlier writings, not to explain those works, but to demonstrate her hypothesis about his development. This sort of strategy can only confuse and mislead the beginning student of Blake, and it will certainly fail to convince the experts. But suppose, for the moment, that Ms. Mel lor's hypothesis were true, and that Blake did go through a loss of faith in the middle of his career, a period in which the body, reason, the material world all seemed utterly unredeemable. How would this affect his art or our response to it? Ms. Mellor's answer is very surprising and paradoxical. It turns out that Blake's supposed hatred of bodies and boundaries has no effect whatever on his pictorial strategy: "here, as everywhere, the heroic human form dominates Blake's mature art" (p. 138). The linear, tectonic, non-illusionistic style of "Romantic Classicism" remains constant throughout Blake's work, and the human figure is never more glorious than in the pictures done at the height of Blake's supposed pessimism about the body, the 1795 color prints. If Blake's alleged hatred of bodies and boundaries had no discernible effect on his pictorial style, then the only thing left for it to do is to affect our response to that style, to make us perceive contradictions between what Blake a natural space" (p. 136). Why, then, did he make is supposedly trying to say and what he actually those shapes remind us of a sun breaking through does say in his pictures. It permits us, in other clouds? "Blake's nudes," we are told, "are words, to patronize Blake retroactively, and to always in motion, never static" (p. 144), except, say things like "Blake was of the human body's presumably, about three-fourths of the time. Only party without knowing it" (p. 164). while revising The Four Zoos from 1805 to 1810 did Blake learn that "the fall may be psychological There is, however, a kernel of truth in Ms. rather than physical" (p. 206), a statement which Mellor's intuition of a paradox in the Lambeth leaves us wondering what those "mind-forged books. She is right to notice a tension between manacles" of "London" (1794) were made of! Blake's poetical "condemnation" of Newton and his depiction of him as a magnificent nude. Blake I will not go into the numerous problems which does, as she notes, use "the same visual style and arise from Ms. Mellor's fuzzy use of previous media to paint both evil and good images," and criticism, particularly her adoption of the concepts thus "his normative attitudes often blur" (p. 139). of "closed" and "open" form, taken from Heinrich But this paradox is not a result of unconscious Wolfflin's distinctions between Renaissance and contradictions: it is all of a piece with Blake's Baroque art. Suffice it to say that Ms. Mellor explicit strategy of satirizing categories of seems unaware(l) that Wolfflin's categories have been vigorously challenged as over-simple by art good and evil, as described in The Marriage of historians;(2) that there might be problems Heaven and Hell. Newton and Urizen may be in involved in transferring concepts developed to error, but they are never defined as evil, utterly distinguish two historical epochs onto the work cast out, unredeemable. Their heroic potential of a single artist;(3) that she has reduced continues to shine, even in the darkest pictures, Wolfflin's subtle refinements of the concepts of and the "unsuspecting physicists" who use the open-ness and closure to his remarks on geometry, Newton print to "illustrate their textbooks" and that Wolfflin would certainly have seen all (p. 164) have, in this case, more insight into of Blake's paintings as "closed" in his terms. Blake than Ms. Mellor. There are some good things in this book, It is distressing not to be able to find more cropping up when Ms. Mellor forgets about good things to say about this book. Ms. Mellor's demonstrating her paradoxical hypotheses. Her general intuitions seem quite good: her interest discussion of the relation between Innocence and in form in a developmental context, her emphasis Energy (Chapter 3) establishes a bit of continuity on checking Blake's aesthetic theory against his and coherence in Blake's thought that is sometimes practice, her use of stylisties in harness with overlooked. Her analyses of the illustrations to iconography--all these are, to my mind, exactly the L'Allegro and II Penseroso and the Arlington Court kind of approaches that need to be applied to Picture (Chapter 7) challenge previous readings Blake's art. Unhappily, they do not take us very in interesting ways. But the general tendency far in this particular book, and the reader who of the book is to exaggerate and falsify for the wishes to learn about Blake through Ms. Mellor will sake of the thesis. In The Ancient of Bays have to sift through a great deal of chaff before engraving, we are told, "Blake has totally rejected discovering the wheat. 120 Jacques Blondel. William Blake, emerveillement reality and vision. This, in fact, brings us to a problem common to all Blake critics, who are forced et profanation. Paris: Archives des lettres to choose between total involvement and the modernes, 1968. detachment known as objectivity. In taking the latter position, Blondel can be commended for his penetrating discussion of Blake with references to Reviewed by Simone Pignard the Gnostic tradition, to the historical context, and to other poets with similar concerns. However, this type of criticism may generate errors, which is the case here. The most blatant error in Blondel's approach Retrospectively, 1968 was an exceptional year for lies in his interpretation of Albion as the mother Blake criticism in France as it witnessed the goddess, the "female will." The error stems from publication of valuable studies by Francis Leaud his "explanation" of Albion's passivity in the light and by Jacques Blondel. Leaud's introduction to of the distinction between active (male) and Blake is relatively well known as it is published passive (female) elements in most traditions. Such in a student collection. Unfortunately, Jacques a reading belittles Blake's main purpose in the Blondel's book remains neglected on the shelves of longer poems, which is precisely to account for bookstores. Albion's long sleep on "the rock of ages." In the wake of his peculiar interpretation of Albion, Blondel has also published critical studies Blondel stresses the characteristics of what would on Milton as a Biblical poet in Paradise Lost, and now be called "male chauvinism" in Blake's thought. on Bunyan's Pilgrim's Progress, which indicates the We do not deny the violence of Blake's indictments direction of his literary interests. of "the female will", but this applies only to the fallen world. Eternally, man is androgynous Blondel first apologizes for the brevity of (something Blondel does not fail to mention), which his book, and then considers the appropriateness makes impossible any hierarchy between male and of one more critical study on Blake. The concern female. about originality leads him to select a specific approach, namely, "wonder and profanation," which A poet like Blake requires an inherent he deems to be a reliable thematic guide into Blake's acceptance of his basic tenets on the part of the world. reader. This acceptance involves a determination to reject any dualistic thought, hence the The author's main purpose is to give a few irrelevance of Blondel's search for the suitability examples of Blake's treatment of contraries, as of Blake's vision to "reality." It bears based on Blake's own motto: "Without contraries repeating that the only reality for Blake is the is no progression." As a result, the book holds one seen "through" and not "with" the eye. Thus, together only inasmuch as one assumes with Blondel when Blondel grounds Blake's originality on his that the words "wonder" and "profanation" are being both a realist and a visionary, it should be mutually exclusive. It seems, however, that these pointed out that the "and" is unnecessary since words operate on different levels. Indeed, the both terms are interchangeable in Blake's poet does not wonder at the given world. He universe. wonders at his own creation, i.e., the world seen " "through" and not "with" the eyes, as Blake puts it. According to Blondel, "Profanation destroys, desecrates, yet at the same time gives birth to strangeness; it disrupts things, the established order, the church, the royal palace, matrimony." In other words, through "profanation" the poet seeks to reveal that which he can wonder at. But can one speak of desecration when nothing is sacred prior to the poet's vision? "Everything that lives is holy" Blake says again and again, but the life he speaks of depends on Imagination. Blondel proceeds to support his views with a close, perceptive reading of The Songs of Innocence and of Experience. He undoubtedly deserves credit for his excellent analysis of innocence as Blake conceives of it. His next remarks then come as a surprise. Indeed, he relates Blake's allusion to the Golden Age to some kind of "primitivism," and ascribes Blake's celebration of a "new age" to the poet's alleged "naivete." One only needs to return to the texts themselves in order to gain a clear understanding of Blake's conception of time. Another weakness appears in Blondel's Simone Pignard teaches literature at the University argument when he deals with the relationship between of Madagascar. 121 single collection. In the intervening time, Blake Pierre Leyris. Volume I of William Blake, published The Marriage of Heaven and Bell and his Works. Paris: Auber-Flammarion, 1974. 40F. poem The French Revolution. In his presentation Pierre Leyris, to whom one owes the translation Reviewed by Claude Jannoud. Translated by of the works in this first volume, emphasizes that Katharyn R. Gabriella from Le Figaro, if The Songs of Innocence express the "pure and virginal apprehensions" of young childhood, they 29 June 1974, p. 8, and reprinted by do not render an account of any lost paradise. The permission. chimney-sweepers of 8 years or less, sold by their fathers to an employer and sleeping in ashes, waiting to contract cancer of the scrotum, or an illness of the lungs or of the eyes, bear witness that innocence does not exclude the experience of suffering. It concerns a state of perception. In the Songs written five years later, Blake sets up an indictment. To be is to be restricted, walled in by egotism, the prey of evil, suppressed by the forbidden things which one orders on oneself. The questions of the fall of man and of the mystery of evil are posed. Developing his discoveries of The Marriage of Heaven and Hell, influenced by his reading of Jacob Boehme, Blake does not assign to evil only a negative and scandalous role. The French revolution, which he admires, confirms his intuition about the ambiguity of violence. The condition of all progress, of existence even, is the struggle between contraries, the confrontation between good and evil. That [dialectic] does not naturally signify that the poet of the Songs of Experience is a precursor of Hegel and of Neitzsche, as certain people lightly claim. Blake is not a western philosopher. He is a mystic who, as a child, contemplating the reapers, behind them, saw an angel. He conversed every day with the spirit of his younger brother, who died in 1787. He writes under the dictation of those dead whom he cherished. All his life, Blake will be in a familiar relation with the supernatural. His cosmology and his cosmogony are determined by this interior experience. If upon close consideration he appears as a prophet, his vision of history is antipodal to that of the rationalists. As much by the nature of the questions as by the answers he brings to them, he is extraordinary. Neither philosophies nor theologies can annex this prodigious William Blake, inspired engraver, painter, water-colorist, solitary thinker, and one of the greatest English poets. In this respect also, he does not resemble anyone, not even those who influence him, Shakespeare and This bi-lingual edition of the principal works of Milton; at the same time he is easily manageable William Blake one has awaited for a long time. and extraordinarily complex. Certainly, Andre Gide, who discovered Blake, or believed he did, at the beginning of the century, For Blake, art is not an end in itself, a launched a permanent interest for us in this great worldly ambition, but a necessity, an inflexible English visionary. But the attended supervision, part of the rrystery, as are good and evil. in the circumstances of publication, did not follow. Also, Blake belonged to this unfortunate category of authors about whom one speaks and whom one reads little. IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIHIHIIIIIIIIIIIinilllillHI""'"'""""11"11 Katharyn Gabriella, the translator, is author of The masterpiece of this first volume is The The Imagination of the Resurrection: The Sonqs of Innocence and of Experience, the first of which were written in 1789, the second, five years Poetic Continuity of a Religious Motif in Donne, later, but the poet decided to join them in a Blake, and Yeats (1972). 122 Morton D. Paley and Michael Phillips, eds. influence on Blake and other relevant iconographic William Blake: Essays in Honour of Sir thema. He, rightly to my thinking, articulates the view that the Tiriel pictorial "experiment," a Geoffrey Keynes. Oxford: Clarendon Press, symbolic commentary on 18th century aesthetics, 1973. Pp. xiv+390. $33.75 is manque, particularly when compared with the much later Job series, wherein the plates also Geoffrey Keynes. Blake Studies: Essays on His are separate from the text involved. Life and Work. 2nd ed. Oxford: Clarendon Without pious clucking, F. R. Leavis' article Press, 1971. Pp. 263. $24.00. represents an intelligent "appreciation" of Blake, but, considering the sophistication and urbanity of other articles in the volume, it does not cut the Reviewed by Paul Miner mustard. In part this "failure" is because the essay was, originally, a speech to a university audience, and as a consequence it is comparatively superficial. I take no great exception to what Leavis says, but object to the fact that his essay is addressed to the vegetative ears, rather than primarily to the intellectual powers. I do take trivial exception to a bit of recidivism in Leavis' remarks about Kathleen Raine, who has become some• thing of a whipping girl of the anti-cult groups. Festschriften have an endemic weakness, since they I also am a member of the anti-cult cult, but are frequently committed to assembling incompatible until someone wishes to refine further the mother- and disparate materials representing various degrees load of esoterica Miss Raine has mined, she should of readiness and competence. Since there is no not be beaten out of proportion for panning up single articifer in control of cohesion, emphases fool's gold occasionally. and development, other than the editors involved, such fruition can be artificial. And the "hot Josephine Miles examines "Blake's Frame of house" results sometimes leave a taste of brass. Language" and points out that death and night have Fortunately, these essays on William Blake, in a high numerical frequence when compared with honor of Sir Geoffrey Keynes, avoid this stigma. Blake's mention of day. She carefully examines This volume presents in sequence, weight, and the strata of the "once-words" and the "ever forms" subject matter a studiously integrated selection in her essay, and she successfully negotiates the of essays. The editors and the authors are to be degrees of difference between statistics and congratulated. common sense. The essays reveal a rich vein of provocative Michael J. Tolley examines in "Blake's Songs and hard-core evidence that reflects many facets of Spring" the devious fugue-like elements of this in matters Blakean. Although Blakean research, if imagery in Blake's works. This article is patiently I adjudge its present perspective correctly, has documented and consummately reasoned, and it had many of its textual and historical abysses crucially extends our understanding of the analogues sufficiently asphalted over by Titans such as of Blake's important but widely ignored ethos of Keynes, important massifs have yet to be climbed "dayspring." in search of elusive snow leopards. Blake scholar• ship is being refined to the point that attention, Jean H. Hagstrum develops an excellent essay with some safety, can be concentrated on the on "Christ's Body," a study of the begotten "man- intricate shifting sands of Blake's minute Christ" in Blake's graphic and textual works. particulars. Particularly interesting is Hagstrum's analysis of the "Frontispiece" of the Songs of Experience "Blake's Early Poetry" by Michael Phillips in this context. examines, sensitively, certain classical, "The Chapel of Gold" by G. Wilson Knight is Spenserian and Miltonic aspects of Blake's early an effort at acceptable solipsism, for he poetry. Phillips traces important allusions and deliberately avoids any conjectural "sources" for parallels, and these help give his essay proper this poem. Though this may be too choleric a focus when he discusses the complex semantic view, limned with prejudice, Whoa, cried the Muse! tonalities of the poetry involved. If I may be indulged with such a vulgarity, I'm a source-man. And perhaps the differences are David Bindman in "Blake's 'Gothicised owing to my metaphysics. I grant that, ultimately, Imagination' and the History of England" clarifies a poem must become what it is, an organism several significant particulars concerning Blake's early pictorial preoccupations with Westminster Abbey, and he also investigates, insofar as space allows, Blake's early works on "Historical" subjects, exploring the possible graphic influence of Mortimer. iiiiiiiiiiiiiiiiimiiiiiiiimiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiniiiiiiiHiiii Robert N. Essick discusses Blake's Tiriel Paul Miner has written several articles on Blake. designs, which were executed to accompany separately At present he is preparing his manuscript for Blake's text. He investigates Barry's possible Blake's London. 123 independent of the poet. But to ignore the invented by Varley's brother. This article, with integuments of connective tissue is false its excellently-documented speculations, is of physiology, and the concept here does not wash singular interest. (particularly, since the poem about the Chapel is rich with Biblical allusions and parallels). To Raymond Lister notes the references to Blake isolate a poem from its intellectual archipelago in Samuel Palmer's letters, and though Blake may prevents us from appreciating its "geography." have been affected by "erroneous spirits," he was "one of the sanest, if not the most thoroughly The study of the "interlinear hieroglyphs" of sane man" Palmer ever met. Blake's The Marriage of Heaven and Hell by David V. Erdman, Tom Dargan, and Marlene Deverell-Van Suzanne R. Hoover assesses Blake's reputation Meter is a masterful and precise study of this between 1827 and 1863, and this is an article that poem's sub-iconography. This essay is one of is of considerable assistance in determining the the finest honoring Keynes. Blake's "irritating genesis and discrete evolution of Blake's critical form of punctuation" (according to Northrop Frye) reputation for the period. is central to Blake's meaning. Particularly interesting are Blake's so-called bird signatures, G. E. Bentley, Jr., discusses the monumental or the pictogram of a man, or the burin in the importance that Sir Geoffrey Keynes' efforts have form of a man, or the senses (portrayed by a male represented to all Blakists. Keynes, during a and female touching hands), or "Blake" in the period of more than 60 years of scholarship, has roots of a tree, or the slug. MARK THIS (essay), published some 40 books on Blake, and has served Blake would have said. as a bibliographer, editor, publisher, discoverer, and collector of Blake. The explication of Blake's ideo-glyphs is without the cant, militant speculation, or the As a personal coda, I should like at this argumentative dogma that is often attendant when point to express my own gratitude to Sir Geoffrey lines of intellectual rectitude are drawn. This Keynes. He always answered my numerous letters. piece is definitive in the sense that the initial He twice made special trips to Oxford to examine guide lines implemented by this essay are certainly manuscripts for me. And when I bumbled across some to be followed in any further elucidations of drawings at the Society of Antiquaries and thought Blake's texts and graphics. I had discovered a Westminster Abbey sketch by Blake, the exhumation of Edward I, it was years Janet Warner explores the amalgam of Blake's later that Sir Geoffrey was able to substantiate hunched, bent-over, head-clutching, prostrate details of the matter. He gave me a grand figures, representing despair. These figures acknowledgement for instinct and hope--but it was represent wanhope, as Warner explains, and are Sir Geoffrey who put the pieces of the mosaic connected with the symbolic interstices of the together. Blakists know Sir Geoffrey for his spectre, a creature torn between melancholia and courtesy and his kindness. If I may be allowed a pride. This is an excellent essay that acutely sentimentality, he is, as someone said of Blake, investigates the difficult evidence at hand, a glorious piece of mortality. though Warner's understanding of the spectre is, perhaps because of the practical restrictions of Suffice it to say that no Blake library will space, far too telescoped. be complete without this new volume on William Blake. Its 82 illustrations are faultlessly Morris Eaves discusses, succinctly and reproduced, and the book's seventeen essays examine sensibly, the graphic rhythm of the title-page of many new and illuminating theses. The Book of Urizen* and he calls attention to the formidable stack of convex curves and the rigid pictorial symmetry that are subjected to a kind of gravity which weighs upon the subject etching. John Beer discusses Blake, Coleridge, and Wordsworth between the years 1789 and 1805, and the evidence relevant to Blake, if speculative, is highly important. The essay is a carefully controlled attempt to freeze in amber some of the It is suitable that this review be followed by a ambiguities involved. review of the second edition of one of the major works of Sir Geoffrey Keynes. Morton D. Paley discusses Richard Brothers and Joanna Southcott and their relationship and The second edition of Sir Geoffrey Keynes' affinities to Blake. Interesting and new parallels Blake Studies, is what one would expect from this are pointed out, and Paley, after sorting the author, this press, and this second edition material he has accumulated, distinguishes Blake's (profusely illustrated). I will avoid the tedium philosophy from that of the Nephew and the Virgin of attempting any collocation between the first of God. and second editions, for it would be merely an exercise in the picayune. Obviously, go with the Martin Butlin in an extensively researched second edition. article on John Varley helps to explain why several "dull" copies of some of Blake's drawings Sir Geoffrey Keynes is the peve de famille of exist, evidently taken from a new telescope all Blake scholars, and his authoritative 124 investigation of the particulars that affects Blakean studies is an invaluable contribution to the field. One is impressed by the stability of this scholarship, for much of the material was written decades ago. The "Ratio" of Keynes1 findings is still pertinent and has survived the intellectual battle to which quidnuncs and young turks have (rightly) subjected the details. Examples of the formidable expertise of Keynes can be exemplified in the following: the tonalities of the prints of "Little Tom the Sailor" help to determine which prints were issued posthumously (also the real Blake prints have a "tassel" P). A print from Pilgrim's Progress, "Sweeping the Interpreter's House," usually assigned to the year 1817, Keynes establishes as being instead of circa 1794; Keynes also rejects one study previously included in Blake's Pilgrims Progress series, assigning the work to Paradise Regained. There are, of course, highly speculative bibelots, such as the gut supposition that one sketch by William Blake may be in fact a sketch of William's brother, Robert. Also Keynes speculates that Blake's graphic representation of his gigantic spiritualization of a flea may have been influenced by Robert Hooke's 17th century microscope studies of this insect. Though these are legitimate assumptions, of course, their tenuosities are pointed out by Keynes. There has been a judicious updating of material in the second edition. Since writing Blake Studiess initially, much more evidence has come to light: G. E. Bentley, Jr.'s discovery that a Robert Blake was enrolled at the Royal Academy, the further "un-earthing" of obscured and deleted passages in Blake's notebook by the use of infra-red rays, comparisons of Blake's iconography in America with John Stedman's Surinam, the assignment of an engraved map of the Hafod estate to Blake by David Erdman's "lower-case g" string of deductions, the discovery of a drawing in the Society of Antiquaries of Edward I, presumably taken at the disinterment of this monarch in Westminster Abbey, and identified as Blake's work through Keynes' diligent efforts at graphology (and along with this came to light some additional sketches that also may be among Blake's early works). . . . All of these, and other points, designs for Night Thoughts. And he also discusses give additional dimension to Keynes' second edition the details concerning Blake's commercial of Blake Studies. association with the firm of Wedgewood (one plate design by Blake was altered, in which a Wedgewood The Ark tailpiece in a work by Jacob Bryant and bed pan was substituted for Blake's original design). a minor but crucial repetitive theme in the frontis• piece of Commin's Elegy Set to Music, 1786, represent One interesting essay concerns Blake's highly interesting evidence that these engravings Descriptive Catalogue printed by a printer in South are indeed by Blake. Also interesting is Keynes' Molton Street (where Blake then lived in London). observation concerning Michael Angelo's influence on Keynes also investigates Blake and the social- Blake's use of the "classical foot," in which the literary circle of Charles Lamb, beginning at about the period of 1809. And Southey, rightly, second toe is longer than the "thumb" toe. Keynes calls one of Blake's designs for Hayley as patiently and knowledgeably sorts out the typo portraying "Fido volant, and the crocodile rampant," amendations Blake made in the carelessly printed the latter having a mouth like a "bootjack." But Poetical Sketches. He establishes George Keynes remarks Southey could not have known the Cumberland's "confluence" with Blake's new method lamentable circumstances under which Blake was of printing and its possible influence on the working with "Hayley-gaily." However, Coleridge was painter-engraver-poet, at least as early as 1784. surely more on target when he stated that the symbols of the Songs of Blake were, sometimes, rather like Keynes points out that Blake was paid a "wet tendon." approximately ninepence each for his watercolor ^ 125 The discovery of the volume of Bacon's Essays Bo Lindberg. William Blake's Illustrations to in which Blake's annotations were written (now the Book of Job. Ph.D. thesis, published in owned by Keynes) is a fundamental effort on Keynes' part, and the elucidation of Blake's relationship 1973 in the Acta Academiae Aboensis. with John Gabriel Stedman is a most significant addendum to any Blake biography. (There is one error on p. 101, however, in which Keynes [or his Reviewed by G. E. Bentley, Jr. typesetter] has Blake moving to Lambeth in 1789--too soon, as the rate books on the matter confirm.) At any rate, in the Stedman Journal we get additional glimpses of the important association of Joseph Johnson, Bartolozzi, Blake--and others. Keynes1 discussion of Blake's miniatures and Blake's engraved illustrations to Job (1826) are Blake's library extends our knowledge in this area, probably his best known series of designs, and there and, from documents of Blake's trial at Chichester, have been many books dealing wholly or significantly Keynes surmises that Lieutenant Hulton of His with Job, notably by Norton (1875), Binyon (1905), Majesty's Dragoons is properly a symbolic walk-on Wickstead (1910, 1924), Russell (1912), Damon in Blake's contemporary pantheon: Hutton. Also, (1924, 1966), Binyon & Keynes (1935), Hofer (1937), very important to the textual discoveries affecting Hamblen (71939), Patchen (1947), Lande (1948), and Blake are Keynes' efforts to call attention to Wright (1972). The subject, therefore, is not crucial additional lines from Jerusalem. Keynes' novel, and to undertake a doctoral study of it at essay on Blake's copper plates is an excellent this date is an act of formidable temerity, an example of the immensely detailed knowledge that act which Mr. Lindberg has triumphantly justified. Keynes brings to Blakean scholarship, and from this Keynes deduces that Blake's press was constructed The most important part of the dissertation is of wood. Blake's tribulations, as elaborated by the catalogue (pp. 183-352), which includes not Keynes, concerning Blake's woodcuts for Thornton's only the conventional descriptions, provenances, Virgil must precipitate historical angst among size, collection, etc., but also elaborate and Blakists (it seems Blake was always dealing with extremely persuasive studies of the sources and barbarians or philistines). meaning of each drawing or print. This catalogue raisonne" of Blake's Job designs will for very long Keynes' discovery of Blake's copy of Dante's remain the standard work on the subject. Inferno was a sustained effort that lasted some three decades, and after several trips to an attic Chapter I, on the chronology of the Job designs, the matter almost resulted in despair, before is useful but somewhat abstract and tabular in form, Keynes obtained this invaluable annotated copy in with summaries of relevant documents. I think it Blake's hand. Keynes discusses the history of the might most usefully appear as an appendix. Job designs by Blake and their adaptation for the stage. Here he also calls attention to the symbolic Chapter II, with the Introduction and Synopsis signature on a Job pencil sketch, "When the of Job, serves its purpose very well, but I think Morning Stars sang together." This consisted of a it should be the first chapter. straight line (immortality), a hand, a "B" (Blake), an eye, and a circle (presumably signifying Chapter III, about Blake's drawing, painting, symmetry). And Keynes concludes that this and engraving techniques, and his use of The represents Blake's view of Poetic Genius, whose Testament of Job, is novel and extremely useful. immortal hand & eye framed this symmetry. In particular, the account of Blake's use of the visual tradition of Job illustration is highly The Arlington Court picture, which was almost original, persuasive, and important. thrown away with some debris, Keynes identified and it is described (additional particulars are Chapter IV, "Blake's Visions and the Job," is noted by Kathleen Raine). Keynes' essay on Blake very brief (pp. 151-66) and, dealing as it does with and the John Linnell documents is most revealing, Blake as a mystic, is interesting and plausible but for it gives invaluable details of Blake during not, I think, especially relevant to this work. some of the years in which he almost "disappeared." Perhaps it belongs in an appendix. Keynes' investigation of the Cumberland papers in the British Museum has a wide perimeter of Chapter '■', on technique again, is original and interest. Keynes notes that one line, "Blake penetrating, but the matter seems to overlap with dim'd with superstition," written on a letter by that in Chapter III and might well have been included Blake to the religious huckster Dr. Trusler, was not there. a notation by Trusler but was instead in Cumberland's hand. iiiiiiiinniiiiiiiiiniiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiniiiiiiiiiniiii All in all, if (negatively) King James was G.E. Bentley, Jr. (University of Toronto) is editor Bacon's primum mobile, then (in a highly of Vala (1962), Tiriel (1967), and The Writings of affirmative sense) Sir Geoffrey is the primum William Blake (in the press); and author of Blake mobile for Blake scholars, and the second edition Records (1969), The Blake Collection of Mrs. Landon of Blake Studies is further evidence that K. Thorne (1971), and, with M.K. Nurmi, of A Blake establishes his position in this domain of Bibliography (1964) (a revised edition by GEB is in scholarship. the Clarendon Press). 126 In terms of originality, the book is important Blake's pathos-formulae published recently, and the primarily in six ways: (1) Mr. Lindberg looks at 1971 edition of Keynes's Blake Studies. The facts Blake's Job with the eyes of an artist and an art given are on the whole remarkably reliable, but a historian, not as a literary critic (the mode few are suspect, for example, that Westall "knew adopted by almost all his predecessors)--I believe Blake personally" (p. 327) or that proofs of Job it may be said that Mr. Lindberg is the first to are in the "National Gallery of Art, Washington" see Blake's Job truly and see it whole; (2) The (p. 30)—they are in the National Gallery, but treatment is very systematic, and, with such a very the location is Jenkintown, Pennsylvania. Often it large bulk of material, and an artist as unconven• is not easy to ascertain with confidence whether tional and irregular as Blake, this is of the first Mr. Lindberg has seen the original of the design importance, though Mr. Lindberg's predecessors have he is describing or only a photograph, and occasion• rarely been able to see, or cope with, its impor• ally he confidently describes what can only be an tance; (3) The dating of the Butts watercolors in inference—for example that a bag in a girl's hand 1810 and the well-founded dismissal of the New contains jewels (p. 334); this last is the kind of Zealand set from the Blake canon are original and fault for which Mr. Lindberg justly and acerbically important; (4) The dating of the first separate criticizes his predecessors and which is very rare Job sketches and engravings in 1793 is very welcome; here. (5) The elaborate study of sources, and the con• clusion that Blake's Job is entirely traditional, Beside these petty faults, the merits of the are important and reliable; and (6) The analysis of book are major end extensive. It is methodical and Blake's designs of "The Spiritual Form of Pitt," comprehensive, meticulously accurate, and consistently of "Nelson," and of "Napoleon" (with a visual persuasive. Mr. Lindberg describes the Job with the recreation of the last, lost, drawing), which eyes of an artist and of an art historian, in sharp contradicts, I believe, every previous discussion of and vital contrast to most of his predecessors. these works, seems persuasive to me, and will prove The study of the sources of Blake's Job, particularly the nucleus for future discussions of these of The Testament of Job, is excellent and of very important Blake works. The book is thus much great importance; indeed, I think it is safe to say more than a study of the Job series of engravings that most of these sources have not been related to of 1825; it is a systematic analysis of allusions Blake's work before and that it is impossible to to the Biblical Job in all Blake's writings and understand Blake's Job adequately without them. drawings. In future, scholars concerned with any The interpretation of each design is elaborate and aspect of Blake's treatment of Job, indeed scholars in almost every case convincing; the dating of a dealing with iconography of Job after 1700, should number of the earlier drawings is new and well- consult, understand, depend upon, and be grateful argued; and the analyses of "Pitt" and "Nelson" are to, Mr. Lindburg's study of William Blake's Illus• both highly original and highly commonsensical. trations to the Book of Job. In summary, I conclude that Mr. Bo Lindberg's dissertation on William Blake's Illustrations to the The book would have been significantly improved Book of Job is the best dissertation I have ever by the addition of a few small details. It needs a examined, one of the two or three best I have ever Table of Abbreviations, for a number of the abbrevia• read, and one of the half dozen most important books tions are distinctly unfamiliar to literary scholars. on Blake's art. Every responsible Blake scholar The sources of the photographs should be given, and must read it. It is a work of the highest the locations of the originals reproduced (e.g., distinction. We are all indebted to Mr. Bo Lindberg. Jerusalem) should regularly be identified. The captions to the illustrations should have cross- references to the text. It would be useful to have, in one place, a survey of Blake scholarship concerning Job. The difficulties of printing a book with a printer whose language is not that of the text are notorious, and in general Mr. Lindberg has overcome them heroically. It yet needed to be proofread thoroughly and effectively once more. For a book of the distinction of this one, there are considerably too many defects of a mechanical kind, particularly of spelling, punctuation and diction, but also of capitalization, and agreement of subject and verb. (Per contra, I should remark that the English is often remarkably eloquent and effective, not mere run-of-the-mill scholarly writing.) The bibliography (pp. 353-62) and the bibliographical details else• where are often surprisingly irregular. There is no such book as "Keynes, George Cumberland, 1970" (pp. 44, 357), for example, and John Flaxman's Lectures were not published in "1792" (pp. 290, 311). There are as well a few minor omissions, such as Robert Essick's Finding List of Blake's designs in the Blake Newsletter, Janet Warner's essays on 127 Leslie Brisman. Milton's Poetry of Choice such a temptation are embodied in the Tempter and Its Romantic Heirs. Ithaca and London: himself, who insists upon complete knowledge—or else the abyss; supreme power--or else self- Cornell University Press, 1973. Pp. xiii + 335. destruction. $12.50. By his own route, Brisman has come, like Wittreich, to the realization of the centrality of Reviewed by Florence Sandler Paradise Regained to Blake's understanding of Milton. And, like Bloom, he asserts at this point a deliberate misreading on Blake's part of Milton's intentions. Where Milton, at the dialectical resolution of Paradise Regained, sees the Son and the Father as one, Blake would deny the Father The nature of Milton's influence on the Romantics any reality that is not human; where Milton sees is something no longer to be simply taken for the extension of history as the work of grace, granted, especially since it has become the Blake insists that only in the moment, in the subject of urgent discussion by Harold Bloom and utmost contraction of time, is the apocalyptic Joseph Wittreich. (See, most recently, Wittreich's opening to be found. "The two issues, division review of Bloom's book, The Anxiety of Influence, of eternity into temporal periods, and the division Blake Studies, 6 [Fall 1973], 89-94.) To this of the Eternal into separate persons, are precisely subject Leslie Brisman's Milton's Poetry of Choice the issues on which Blake turns most against Milton, and Its Romantic Heirs makes a significant, at reading his precursor's humanistic modifications times brilliant, contribution. The quality of as signs of fallenness" (p. 202). choice that he finds to be characteristic of Milton's (as distinct, for example, from But Brisman's special contribution here is Shakespeare's) poetic is something to which he was his suggestion that Blake "misreads" Milton and first alerted, perhaps, by his reading of the employs what is, on Milton's terms, the satanic moderns—Kierkegaard, Sartre and Camus are his maneuver of denying history only provisionally points of reference rather than philosophers or and, indeed, for the purpose of attaining the very critics contemporary with the poets under study. end at which Milton's humanistic modification had But he is surely right to assume that choice was been aimed, namely, the redemption of Time. Blake equally a preoccupation of the generations that takes Milton's gracious extension of time as history inherited the quarrel between Luther and Erasmus in its determined, Urizenic form in order to get on the scope of Free Will. Brisman's deliberately behind that form to the point from which history modern perspective is not often felt as an can be continuously recreated in vision. (If intrusion, mostly because it is assumed in and Brisman had been interested in political circum• under a subtle and sympathetic handling of the stances, he might have noted that for both poets texture of the poetry, and also because he is the urgency of the issue sprang from the failure prepared to make adjustments for the way in which of revolution in which so much hope had been the issue would have been presented in the invested.) In The Four Zoas, Urizen, who as seventeenth or the nineteenth century. Creator has manifested the characteristics not only of Milton's Satan but also of Milton's God, One of the merits of the book is that it does comes in Night the Ninth to the realization that not assume that Milton's influence on the Romantics he must cast aside his projected futurity and is monolithic, but picks up the discussion of turn his back upon the void which he himself has Wordsworth, Keats, Shelley or Blake at their made, existing from henceforth in the truly human different points of engagement with Milton, on the uncertainty, which is also freedom; and Milton, issue where the Miltonic choice becomes incisive. in the poem of that name, carries out the heroic In the chapter devoted to Milton and Blake choice in all its implications when he leaves (entitled by a phrase from Milton, "A Time to the behind the certainty of Eternity to reenter time Space"), the point of engagement is the relationship and human relationship on "this earth of vegetation." of history and salvation. Brisman traces in Paradise Lost the significance of historicity, Reviewing Brisman's argument, a Miltonist first of all in Eden where it is the essential may be surprised that he neglects what would seem condition for the self-consciousness of Eve and to be an essential part of his case for the Adam from which they make their decisive choices; importance of choice in Milton, namely, Milton's and secondly in the post-lapsarian world, where portrayal of a God who is himself committed to historicity first appears to Adam as an alien experience, choice and change, so that history structure but is eventually recognized as the space becomes not only the sphere of man's creativity interposed by grace between the fatal choice and but the medium in which God and man interact. the sentence, the division of time (like the It is in consequence of this that Milton can division of the Godhead into persons) being the accommodation of the absolute to allow for human IIIIIIIIIIIIIIIIIIIIIIHIIIIIIIIIIIIIIIIIIIIIIIIW experience and creativity. Adam's temptation to have the sentence of death carried out upon himself Florence Sandler is an Associate Professor of straightway is matched in Paradise Regained by the English Literature at the University of Puget temptation presented to the Son to identify himself Sound. She has published articles on Milton and straightway with the Father--in either case, a Blake, among others, and is now planning a book on temptation to foreshorten experience and to force the Biblical tradition in English literature from God's hand. The pride and despair which prompt Langland to Blake. 128 affirm the existence of the "elect." Brisman's Donald D. Ault. Visionary Physics: Blake's omission is the more odd in that Milton's adherence to the promise of election is exactly Response to Newton. Chicago and London: the subject of Blake's most explicit criticism The University of Chicago Press, 1974. in a poem which celebrates Blake's own "election"! $12.50. Presumably this is another instance of Blake's misreading in order to reinstate on his own terms. The Blakean, grateful for the insight which explains Reviewed by David V. Erdman why all of the action of Milton must be accomplished in a moment, will still wish that Brisman had had Time or Space to handle the associated proposition that the moment comprehends all time; for the specific correlations that Milton in that poem must perceive between the corruptions of history This is a book to be taken seriously, read care and the corruptions of his own Spectre and fully, consulted frequently. It must make an Emanation deserve the same close study that has irreversible revision of our understanding of been devoted to Adam's relationship to historical "Bacon & Newton & Locke"; of Urizen and his World; events in Paradise Lost. Brisman admits in his of what Blake meant by systems; of Blake's visionary Preface that Blake may seem slighted, and that he cosmos. It is an absorbing piece of scholarship deserves a separate study. One hopes that this to work one's way through, but one needs to summon remark can be read as the promise of such a study all one's powers as philosopher, historian of to come. science, and lover of contraries; also all one's experiences (while reading Blake) of what Ault teaches us to recognize as "the tendency in Blake to project the elements of Newton's calculus as 'processmyth.'" And still one is not done, and one feels that it will take an analytic rereading (of Ault and Blake, not to say Newton) and much hard work to prepare even a simple classroom lecture on Blake and Newton, or on Blake and scientific imagery. At least these are the thoughts of a not very philosophical nonhistorian of science faced with the wish to make immediate classroom use of the ideas in Visionary Physics. Let me start with the problem explored in Chapter 2, "Blake's Visionary Response: Science as System and Metaphor." Descartes and then Newton, in paradigms structured to explain the same phenomena, erected contending world systems. When by the mid eighteenth century the contention was won by Newton's paradigm, all sorts of philo sophical problems were dealt with in terms of Newtonian imagery and doctrine. The assumption of the truth of Newton's system gave to the imaginary entities such as "the void," "attractions," and "atoms" postulated as the underlying "realities" of nature, an existence "more real than the observed phenomena they were created to explain" (p. 50). To continue in Ault's words: "Because Newton's system, and Descartes' before him, submerged such powerful metaphors under a logically consistent structure of reality, it is The argument of Milton's Poetry of Choice and no accident that Blake, looking at them as a Its Romantic Heirs is coherent and impressive, but 'visionary,' could appreciate the threat these to abstract the argument, as has been done here, powerful images posed to the human imagination." is to give a misleading impression of the book What he had to do was appropriate and transform itself. Brisman's style is by no means straight the supposedly "visualizable" concepts of these forward and expository, but subtle, sensitive, systems "into images in his poetry to operate full of allusion and suggestion. This on the one symbolically." They there derived a "critical hand has the effect of obscuring the argument; and, on the other, it conveys the quality of experience that the argument asserts to be involved in poetic choice. One is aware, throughout the •■■■■•■Hiitiiiiiiiiiiiiiiitifiiittiiiitiiiittitiiiifttitrriiiiittiiiifitttiiiiiiiiitiitiiiittifiiiiiitiiiiiiittiiiiiiiiiini book, that beyond such issues as the quality of Milton's poetry and of its influence on the David V. Erdman is busy preparing editions of Romantics, it is the quality of life itself that The Illuminated Blake/ Blake: Prophet Against is at stake. For a book like this one can only Empire (a second time), and The Poetry and Prose be grateful. of William Blake. 129 aspect from their oblique references to scientific large one, in an explication of Urizen's creating doctrines and positive aspects from their a vortex in Four Zoas 72: independent operation in the poetry as metaphors. . . . The fact that Blake assimilated It is significant that between the vortices such imagery and ideas into his poetry had a there is void space, and that Urizen is not profound effect upon the kind of poetry he wrote. happy either when he is in a vortex he has At the same time, Blake's powerful intellectual created or in a void space between vortices. and imaginative independence caused him to For, as soon as he creates a vortex, he finds transform the materials in such a way as to shed himself in a Cartesian plenitude in which he considerable light on the intuitive bases of the cannot obtain a total perspective on the scientific doctrines themselves." system he has created; and, once outside the vortex he has created, he is in a void which, That is to say, a study of Blake's use of ironically, is simply a vortex which has Newtonian imagery and ideas turns out to be 'ceased to operate', for in Newton's void, double-edged. It is not simply that with Ault's vortexes cannot be sustained. In Descartes' help we can learn where Blake's (or Los's) counter- system of vortices, there is no void space system to Newton's system comes from. It is also because the vortices operate conjunctively that Blake's penetrating critique of scientific and are interconnected; Blake has transformed terms and images, when fully grasped, rescues us this image into a cosmology in which vortices all, as his contemporaries, from victimization by can operate independently, but, once set into Urizenic pseudo explanations. It is not simply operation, assume all the characteristics of that Blake's "void" and "vortexes" and "fluxions the Cartesian vortices. Urizen thus moves from of an atom" are borrowed from (or stolen from) the pole of total absorption into the system Descartes and Newton, but that Blake employs them he has created to the pole of chaotic void, creatively to clear our minds of the Newton with no principle of restrictive organization, within. "Blake even uses such fundamental both of which Urizen finds necessary for his mathematical terms as center and circumference in emerging Satanic psychology. In uniting the ways which would seem paradoxical to the typical Cartesian system of vortices and the Newtonian eighteenth-century mathematician (and would perhaps void, Blake reveals their Imaginative be perplexing even to 'occult' readers since Blake consistency as polar aspects of the same also inverts their expectations for the 'mystical' psychological drive; Urizen can only solve use of center and circumference). . . . rather than his constant oscillation from vortex to void causing the reader to focus on a closed set of (that is, to vortex which has ceased to solvable problems which can be explained in terms operate) by reintroducing his elaborate of a closed set of images, Blake's poetry requires measuring instruments 'to measure out the the reader to be constantly shifting his perspective immense & fix The whole into another world and never to be willing to settle on a finite more suited to obey His will.' The world solution to a problem" (p. 51). For Blake, "progress" he creates is the Newtonian world of through the solution of finite problems is only move• necessity . . . yet it is the world of ment into deeper delusion. "Blake can call as wit• Cartesian 'Vortexes'. The context forces nesses to this fact the contemporary social conditions Urizen's cosmology to be shakier and his binding which he so vehemently attacked." They were to be much more tenuous than in the Second "the necessary result of the focus on a scientific Night, for it is cast in the image of a 'dire paradigm which was taken to solve the central Web,' 'as the Web of a Spider . . . Shivering problems of the world" (p. 52). across from Vortex to Vortex drawn out from his mantle of years . . .'. This image is Identifying the physical structure of Newton's strikingly similar to the illustrations . . . worlds of appearance and reality ironically, in eighteenth-century editions of Descartes' Blake exposes them both as unreal "and at the Principia. Urizen's 'Web,' however, is same time makes this structure a mode of created to stretch across the void spaces redemption" (p. 87). Ault helps us perceive this between the vortices, and thus links the by taking the perspective of the "Newtonian Newtonian and Cartesian systems in the component of Blake's own consciousness" (p. 4). extremely negative spiderlike web which is To recognize such a component in the first place, the best connection Urizen can make between we must grasp that Newton himself (as literary these logically polar systems, both of which critics of the Romantic poets have realized) are simultaneously appealing and repelling was not content with purely mechanical explanations to him. (pp. 149-50) of nature, even though the great absolutes that are required to keep his system going emerge from This "virtuoso achievement on Blake's part" analysis as static (like Swedenborg's ultimate is matched by "Los's creation of the sun from equilibrium). Taking this perspective inevitably particles of light in The Book of Los [whichJ involves Ault in explications of Blake's myth and, combines opposing optical and cosmological doctrines as a final demonstration, of "The Mental and imagery into a subtle attack against the Traveller." Many clarifications of terms and imaginative lure of both Newton's and Descartes allusions reward the reader along the way. To systems." cite a small one: the "rolling of wheels As of swelling seas" in The Book of Urizen (3:29-30) refers "to Newton's reduction of the motions of These excerpts will indicate the difficulty the tides to the motions of revolving planets of compiling a brief report on Ault's Visionary (later Blake's 'Starry Wheels')" (p. 99). A Physics—and the richness of its particulars. For 130 some indication of its scope and variety, let me Robert N. Essick, ed. The Visionary Hand: make one more selection of a particular that Essays for the Study of William Blake's Art and improves our knowledge of Blake's mental world. In discussions of how the earth would appear if Aesthetics. Los Angeles: Hennessey & Ingalls, it were an infinite plane, Robert Smith (Compleat Inc., 1973. 558 pp., 165 illus. $7.95, paper. System of Opticks, 1738) argues that there is a limit (optical, Reviewed by Thomas L. Minnick not mathematical) which is imposed on perception by the physiological nature of the eye, which, he argues, would cause the eye to convert a hypothetical infinite plane into an encircling and enclosing globe. . . . Blake surely The formal notice of Blake's art has undergone a would have interpreted such an account slow resurrection, though the subject has not yet as a symptom of complete absorption come fully into health. For a long while the into a vision of reality in which the patient was simply dead. Thanks to successive globular shape of the eye becomes a injections like the publication of Gilchrist's life symbolic analogue of the restrictions of this pictor ignotus and the Burlington exhibit placed on infinity by the nature of of 1876, interest turned at least moribund. And the combined Newtonian-Cartesian slowly but steadily, as the frequency of major cosmology. . . . Blake turns Smith's exhibitions increased and the number of permanent idea inside out: instead of having the gallery homes for Blake's art grew, and as the perceiver exclusively create the price of Blake works rose to the record paid last englobing forms, Blake has the summer for Mary Magdalen at the Sepulchre—well, if combined Newtonian and Cartesian the patient isn't yet entirely healthy, at least he space, into which the individual enters, can afford the best doctors. One positive recent exert such physical forces as to transform sign is Robert Essick's new collection, The the individual's perception: once he has Visionary Hand: Essays for the Study of William passed a vortex, the perceiver sees the Blake's Art and Aesthetics. infinity 'roll backward behind His path, into a globe itself infolding; like a sun: Until genius and inspiration work the final Or like a moon, or like a universe of miracle, information and reflective understanding starry majesty.' Blake thus collapses are the best treatments, and both of these are in the Newtonian idea . . . that the abundance in the fine selection of essays which vertex of the cone of perception is Essick has now made generally available in his in the object with Smith's implicit useful book. This is the first anthology of work assumption that the vertex of the cone by various hands on Blake's art, and although the is in the eye itself and the cone critical notice of this aspect of Blake's work has extends outward, (pp. 159-60) grown so rapidly that several excellent studies were published even while The Visionary Hand was in Obviously we can no longer do without press, in many cases readers will find"here the mastering Cartesian and Newtonian cosmologies-- most recent statements about many of Blake's while fiercely resisting their lure. At least pictures and illuminated books. Essick's frequent we must absorb their "positives" from this additions to the original notes are helpful where learned account of Blake's Response. Once again information has come forward since the first a painstaking investigation of some difficult appearance of an essay, and in several instances aspect of Blake's work and of his thought rescues the authors themselves have reworked and updated us from the temptation to assume that whatever their contributions. The variety of subjects and is not clear to our minds was woolly nonsense approaches is surprising: virtually every kind of in Blake's. Blake's work is extensively represented, and gaps generally indicate something about the state of P.S.: A friend of mine who is a mathematician scholarship rather than the editor's selectivity. has now become my particular friend after reading There are twenty-two essays plus six bits reprinted Ault and discovering, with perturbation and from contemporary sources clearly relevant to delight, the infernal perspective on his profession, Blake--Cumberland on etching on copper, for example, and a cut from the Rees Cyclopaedia article on "Etching." In general the format is satisfactory, There are 165 illustrations, Blake a-plenty, but Thomas L. Minnick, the Coordinator for Honors at University College of Ohio State University, is author of several notes and articles on Blake. Most recently, he edited Christopher Smart: Hymns for the Amusement of Children (1772) for the Scolar Press, London. 131 unfortunately none is in color, as the price to printer and reader would doubtless have been prohibitive. The type is readable and well chosen, except for the first section of passages from Blake's contemporaries where a smaller type could have been used for the editorial introductions, to distinguish them visually from the selections themselves. Ruthven Todd's still unique study of "The Techniques of Blake's Illuminated Printing" is here (and hard to locate elsewhere), combining the insights of the practicing artist (Todd himself, and his co-workers Mir&\ Tanguy and Hayter from Atelier 17) and the scholar-collector (Todd again, and his late friend Graham Robertson). And Essick has happily included his own study of Blake and the conventions of reproductive engraving in the late eighteenth century, though occasionally he sees nets where I see minute particulars that Blake held to in defiance of the popular fuzziness of Bartolozzi and his admirers. What can be said of both Todd's and Essick's contributions applies more widely to much of the volume: there remains much to be done--and done, one hopes, by the scholars represented here--but the first difficult questions have been asked and some directions toward answers discovered. Essick incorporates this aspect of the present state of criticism by including two multi-author dialogues (on the illustrations to L'Allegro and II Penseroso and the Arlington Court Picture), neither of which has reached a satisfactory conclusion. Here are several standard pieces--Binyon on Blake's engravings, Frye on poetry and design in the illuminated books, Collins Baker on Blake's pictorial sources. But here is also a considerable selection of the best recent work. I found most valuable those essays which were best informed on Blake's writing and which highlighted the interaction of Blake's two great talents—Mitchell on "Poetic and Pictorial Imagination in The Book of Urisen," Rose on Blake contra Rubens, and Burke's suggestive study, "The Eidetic and Borrowed Image: An Interpretation of Blake's Theory and Practice of Art." Also included are studies of works that are seldom seen or I mentioned--Brown on the Book of Enoch, Nanavutty on the Huntington Genesis, and Merchant on the illustrations to Shakespeare, for example. For inscriptions into a more developed explanation * these essays especially, the illustrations in this of his typology at work in the series. Also, volume are helpful. this reviewer at least would have been more comfortable had she quoted Blake, as did most Only Jenijoy LaBelle's "Words Graven with an other recent essayists, from David Erdman's text. Iron Pen: The Marginal Texts in Blake's Job" appears here for the first time. Her essay will Essick is responsible for easing the reader's be useful to the student looking at the Job series way by providing for all quotations from Blake the without a Bible concordance handy. Ms. LaBelle appropriate page references to both the Keynes and remarks accurately that "the marginal inscriptions Erdman editions. Also, after citations to those on Blake's plates serve the same function as the pictures by Blake which are reproduced in the marginal notes in [many seventeenth- and volume, Essick has added the illustration number, eighteenth-century] Bibles: both refer the reader even sometimes when the illustration was not to similar events or images to establish new included with the original publication of the essay. perspectives from which one can view the biblical But the editor is also responsible for a number of text--or in Blake's case, the central design" (pp. errors—some merely distracting, others more 539-40). But she dedicates more space to hunting troublesome. For example, one of the illustrations sources than to revealing significances. I would is taken from a wrong photograph, as Professor have found her work more instructive had she woven Essick confirmed in correspondence: Illustration the minute particulars of Blake's biblical 4, captioned as a "fragment of America copper-plate. 132 Printed by method described in the text," is The Notebook of William Blake, a actually, like Illustration 8, inked for intaglio with the surfaces wiped. Photographic and Typographic Facsimile. Edited by David V. Erdman. with the Of the numerous errors in the text, some are easy assistance of Donald K. Moore. Clarendon to interpret: "insistance" (p. 13), "platten" Press, 1973. Pp. xiii + 105 + 120 plates + 120 (p. 40), "resistent" (p. 43), "artifical" (p. 180), "philosopy" (p. 148), "sysmbolism" (p. 210) and pages of transcription. £16.00 U.K.. S45.00 many others. More serious are errors in direct U.S.A. quotations from Blake, as "Gallary" (p. 192: see E 568); in titles, as "Euorpe" (p. 152), "Satan exoulting over Eve" (p. 304), and "Titania and Reviewed by Robert N. Essick Puak with Fairies Danaing" (pp. 241-42) where if "with" were properly italicized, one would not look All previous editions of Blake's Notebook* including for two separate works; in proper names, as "grant" Keynes' 1935 printing with a photographic facsimile, (p. 482) for [John E.] Grant, "Tanguay" (p. 40) for have been reading texts with the manuscript analyzed Yves Tanguy, "Malfy" (p. 136) for Maifi, "Emergy into its constituent works and fragments. As its Walker" (p. 225) for Emery Walker, the publisher sub-title indicates, this new edition is a photo• of Keynes's catalogue of the separate plates, and graphic facsimile with a typographic transcription "Haley" (p. 331) for, I suppose, Hayley, among following the original with great fidelity. As other errors; and in dates and other numbers, as such, it commands scrutiny by serious students of "pp. 47-47" (p. 225) and "1840-1500" (p. 94). The Blake. But interest in this book should go beyond technical terms used of printing methods may be the circle of Blakeans, for the labors of Erdman, unfamiliar to some (I would have liked a glossary Moore, and the Clarendon Press have resulted in a for "blankets," "bougies" and "stopping out"), and great work of textual scholarship and a masterpiece the reader who doesn't recognize "gouche" (p. 40) of the typographer's art. In this case, the study as "gouache" will be confused. Additionally, of Blake is in the wery forefront of literary Essick has twice substituted "Illustration" for scholarship. "Plate" in Frye's contribution (p. 156) with resultant awkwardness. The sentence in question The most striking characteristic of the book should read: "At the bottom of Plate 8 of is its typography, exemplified by the page Jerusalem is a female figure harnessed to the moon: reproduced here [illus. 1]. At first it can be the symbol is not mentioned in the text until Plate disconcerting, particularly in those pages towards 63." the end of the Notebook printed upside-down, but a comparison with the facing-page photographs soon In spite of these faults, which make the book reveals the utility of this new species, the a bad example to the graduate and advanced under• "typographic facsimile." As far as I am aware, all graduate students who will otherwise benefit from earlier facsimile transcriptions of a difficult it most, Essick has provided a useful service to manuscript have had to rely on a complex series of Blakeans by making easily available many essays signs and symbols to indicate erasures, deletions, important for their quality and for the attempt palimpsests, and so forth. The results were often implicit in each to redress the long dearth of clumsy and looked nothing like the original. In attention to Blake's visual art. I would have this volume the typography bears a direct relation• liked some other things included. Selections from ship to the appearance of the manuscript itself. the catalogues to important exhibits—Burlington When Blake wrote a note vertically in the margin, (1876), Carfax (1906) and Philadelphia (1939), for it appears in the same place and direction in the example—might have plotted the rise of favor transcription. When he erased a line which is still toward Blake and suggested something about the visible under close inspection, it is printed with development of a taste for his pictorial imagina• an overlaying screen to indicate the erasure. Even tion. And rather than duplicate some illustrations, lines and carets are preserved by the typography, perhaps works mentioned but not reproduced could as the reproduction shows. Stages of revision are have been included—in John Grant's words, "the indicated through reduced type sizes, while italics yery great but little known picture of 'The Fall indicate pencil writing. The system is simple, of Man'" (p. 436), for example. I was startled efficient, and visually pleasing—all of which to find virtually no mention of Blake's Laocoon, belies what must have been an enormous amount of although it has been treated several times at work for Donald Moore, whose "professionalism at length in the available literature. But here is the composing machine" is acknowledged in the abundance nonetheless, and I hope this book will Preface. This facsimile transcription includes enjoy a wide working audience. some minor corrections of Erdman's earlier text and thus must be considered the standard edition, at At $7.95 for an unsewn paperback, the book least until Erdman can include the new readings in may seem no bargain, although to xerox even just the best essays would run higher, and the photo• graphs would reproduce less well. Libraries at least should be encouraged to get the book, in iiiiiiiiiiiiiiiiiiilllllllllillllliilillllllllllliiiiiiiiiiiiiiiiiiliiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiniiiiiii multiple copies if heavy use is likely. If all students of Blake knew these essays and a half- dozen other works on Blake's art, understanding of Robert N. Essick is an Associate Professor of this aspect of his genius would increase—perhaps English at California State University, Northridge. flourish. He has been working on a study of Blake's engravings. 133 a revised edition of The Poetry and Prose of Blake. distorts the relative darkness of pencil and ink. On page 50 the photograph brings out the erasures Thanks to the generosity of David Erdman, I in the text, but makes the pencil drawing much was allowed to compare a selection of his facsimile darker than it actually is. Smudges and off-setting proofs with the original manuscript in the British from facing pages are also magnified by infra-red, Museum. Blake's Notebook is no longer generally as in the design on page 51. On page 59, "Prints" available to ticket holders because of its fragile in the penultimate line is clearer in the original, condition and the publication of this new edition. or in a standard photograph, than in the facsimile The comparison convinced me that the British because infra-red has increased the darkness and Museum is justified in believing that the opacity of the lines of deletion. On the other reproductions accompanying Erdman's text can hand, infra-red can make very slight sketches more effectively replace the original for almost all visible than in the original itself; for example, scholarly requirements. In the pages checked I the vague pencil lines in the lower third of page could find only one feature in the Notebook not 55 not mentioned by Erdman in his notes. Both visible in the facsimile—the partially erased standard photography and infra-red record the number "27" below the drawing on page 49. But of shadow of the facing page along inner margins course this number is duly recorded in Erdman's (page 55), and shadows from the clips used to hold transcription, so the problem is negligible. The down the pages (lower left margin of page 52 and facsimile was made before new leaf numbers were lower left corner of page 54). All and all the added by the Department of Manuscripts to the original is somewhat cleaner than the facsimile original, but these serve no real purpose and their would suggest, but this is primarily an aesthetic absence here is not to be regretted. Infra-red rather than a textual distortion and should cause photography, used on 75 of the Notebook's 120 pages, no difficulty as long as one remembers the brings up to the threshold of vision fine lines of limitations (as well as the virtues) of infra-red text and design not recorded by regular photography, photography. but it does cause some distortion. Infra-red "sees" not only what is on the surface but also the dust In his introductory essay, Erdman establishes imbedded in the paper. Thus on page 64 the chain the original order of the Notebook's pages based on lines in the paper and the countermark are clearly the first genuinely thorough examination of the visible, much more so than in the original or in manuscript as a physical object. Every detail, the fine standard photographic facsimile kept with including the position of mould and felt sides of the original in the British Museum. Infra-red also the paper, has been recorded in the introduction and _ Ja? The Hermits prayer 4 the widows tear 11 saw a Monk of J *£ * Alorlc tan f,«lhe w°iid <">m'«« Ansc before my sight The hand of vc Klit Dir hed I u Ik J I n the Grey Monk where he stood o -£ To which the purple lyran In beams of infernal light S S The iron hand rmtul I he M / I 'iir.i^r^X^""'^'*l the Tyrant himself relent The Tyrant who first the black bow bent ^ C* 5 « Slaughter shall hup the bloody plain * ° o~ $ If Resistance A wai is the Tyrants gain s^-S Z J But the Tear of Love A forgiveness sweel t-.2-2£ *■ And submission todcjlh btBMtt. Mi feet 2 a K >» The Tear shall melt lhe sword of steel £■*& And every wound it has made shall heal • . §* , * The blood red ranfro m the Grey monks side, Hrs hands A feet were wounded wide J And a sigh is the Sword of an Angel King | c E * Hn body bent his a ~ And the bitter groan fer-MHttners woe_ »,J^^ Like to the r ■£ Is an arrow from the Almight I die I die the Mother Mid To tnul the western path My Children will die for lack of bread Right thro the gates of Wmtl What more has the merciless tyrant said 1 urge my Way yJi±^r The Monk ut down on her stony bed Sweet Mercy leads me on n £ With loft repentant mom His Eye was dry no tear coud flow A hollow groan Tint spQAfi his woe IJ 2 I see the break of day 5 C > The war of swords A spears He trembled A thudderd upon the bed & c *l Melted by dewy tears Al length with a feeble cry he uid 5 E {5 Exhales on high H o ■ Hi*, dm 11 fr-*.i 1 " a: O The Sun ,s I"'**0" from f"" WlwnGodcommanded h hand own.e^* " And with soft grateful In the studio^ IM * deep m.dmght MfJ J \ .-^ ■ 11.1^ . (he Sky He told me that All I wrote should prove The bane of all that on fcarth I love Terror in the house does roar Hut Pity stands betore the door h My brother stand between two walls HM childrens cry my soul appalls When Satan first the black now bent B»4 I mocid at the wrack A griding vham And the Moral Law from the Gospel rent ^ 5 My bent body mocks at their torturing pain 1 Thy father drew hts sword in the north With his thousands strong he is marked forth llm wmM is in the Spectres power Thy brother has armd himself in steel To revenge the wrongs they C.hildre.n feel Untill the arrival of that hour LW.H the Humanity awake 5isf= And Cast the'spectre into the Lake »< Blake's Notebook, p. 8, an infra-red photograph and facing typographic facsimile transcription from the Clarendon Press book edited by David V. Erdman with the assistance of Donald K. Moore. The lower case letters along the right margin of the photograph identify sketches described in footnotes not included in this reproduction. 134 used to determine the gatherings. Unfortunately the to Appendix II, Fig. 40, not Fig. 38. countermark has not been identified, but a tracing of it (a Beta-radiograph would be better) is given Emblem 10 (Notebook p. 27). An illuminating at the end of the volume to stimulate watermark comparison can be made between this design and hunters in their searches. Erdman proves that the the two versions of "A Breach in a City" (which pages numbered 1 to 14 in this century originally Erdman compares to emblem 11) and the very appeared in a different order than the present similar but later "War" in the Fogg Museum. binding. The new sequence followed in the facsimile Certainly the subjects are basically the same, places Robert Blake's sketches closer to the front as Erdman's conjectural title ("War") for the of the Notebook, where one would expect to find emblem allows. The right side of all four them since he was the first to use it. Erdman's compositions are alike--a building or wall of procedures and conclusions are most impressive, and some sort, with two figures standing before demonstrate the contribution that descriptive it gazing on one or more prone figures. The bibliography can make to textual criticism. right side similarities are more obvious, but to my eye no more real, than those on the The presentation—one might almost say left--a broken wall, a group of corpses before discovery--of a series of 64 emblems in the or within the break (the emblem is particularly Notebook will be for many readers the most exciting similar to "War" in this respect) a small and useful section of introductory material in this figure seen in the distance through the break edition. Erdman has deduced that the emblems and walking to the left, and an eagle at the actually comprise four interwoven series, all but far left perched on the wall. The eagle's the first identified by numbered sequences. Not beak and left wing are particularly clear in only are these emblems important in themselves and the emblem, and in the same position as the as the immediate source for The Gates of Paradise, three watercolors. This arrangement at least but they are also crucial as preliminary sketches seems more likely than Erdman's "lightning for many designs later used in the illuminated strikes the neck of a woman whose slippered books. We can now see Blake's creative processes leg is extended at left" (caption to Notebook, as a pictorial artist more clearly than ever before. p. 27). A leg of such dimensions would be One can further sense here an underlying continuum twice the size of the other figures at an equal between Blake's works as a poet, draughtsman, distance from the viewer. intaglio engraver, and relief etcher; and between his interests in the Bible, English history, Emblem 13 (Notebook p. 31). The figure does not Shakespeare, Milton, emblem books, and his own appear to be descending towards us as Erdman developing mythologies. Below are a few additions notes, but rather rising through a celestial and corrections to Erdman's catalogue of the doorway to be greeted by two, perhaps three, emblems, pages 15-31 of the introduction. other figures. Note the bottom of the central figure's left foot, a sure sign that he is Emblem 3 (Notebook p. 16). The cross-reference moving inward; and his arm position indicating should be to Appendix II, Fig. 1, not Fig. 3, that we are seeing his elbow from behind, as and thus to a detail rather than a tracing of in emblem 2 (Notebook p. 17). Emblem 13 can the sketch. then be seen as a companion, and antithesis, to emblem 2 where the traveller finds Death Notebook p. 20. Erdman does not include this Job waiting at an earthly doorway. sketch among the emblem series because it is on a verso and its "symbolism of gesture seems Emblem 14 (Notebook p. 33). The object lower right more highly symmetrical and 'coded' than in is too small for an adult's coffin, and its the emblems of 1793 and earlier" (p. 17). trapezoidal left side is a very odd shape for However, other emblems are on verso pages, and any coffin. Perhaps it is a cradle or basket the sketch is about the same size and style for the babe in the woman's arms. as other emblems. I'm not sure what "coded" symbolism is, but the most dramatic gestures Emblem 20 (Notebook p. 40). A reference should be are the hand positions, and they are of the included in this list of emblems, p. 20, to same general type as the gestures in emblems Gill ray's print showing a ladder reaching to 2, 5, and 9. Erdman also associates this Job the moon, Appendix II, Fig. 38. sketch with the late Job series rather than the early drawing and separate plate, but in Emblem 31 (Notebook p. 52). This picture of an William Blake's Illustrations to the Book of old man clipping a youth's wings is a Job, Bo Lindberg argues convincingly that this variation on the traditional emblem of Time Notebook sketch is "obviously the first study clipping the wings of Love. See for example for the engraving Job of August 1793" (p. 11) Otto van Veen's Amorum Emblemata (Antwerp, and includes it in the emblem series. 1608), p. 236. Emblem 6 (Notebook p. 22). The wery useful Appendix Emblem 40 (Notebook p. 61). The design, used for II includes detail photographs and tracings The Gates of Paradise, plate 13, is very of the more obscure drawings. Many of these, similar to "The Spirit of a Just Man Newly including both a detail (Fig. 2) and a tracing Departed Appearing to his Mourning Family," (Fig. 3) of emblem 6, are not cross-referenced an early wash drawing now in the Royal Library, in the catalogue. Windsor. Emblem 7 (Notebook p. 23). The reference should be Emblem 50 (Notebook p. 77). As Erdman points out 135 in his caption beneath the facsimile page, the and the engraved book, a trial table of contents sketch below the emblem shows an "insouciant rather than a list of works actually in the infant, not flat on his back as the ones in Notebook. Erdman's comments should be read in America 9 or Europe 6." A similar child, conjunction with David Bindman's fine essay, however, does appear in the Night Thoughts "Blake's 'Gothicised Imagination' and the History engravings, Night II, p. 23, with his legs of England" in the festschrift for Geoffrey Keynes crossed as in the Notebook sketch but with edited by Paley and Phillips. both arms thrown above his head. Curiously, the Night Thoughts watercolor is very different, Erdman's discoveries of supposed sources for showing only the back of the child. Perhaps Blake's designs are less convincing than his the memory of this sketch, or even a chance bibliographic scholarship. He compares the sketch return to it while using the Notebook for other of a man and woman in a bedroom in the Notebook, purposes, stimulated Blake to revise his Night p. 14, to Gill ray's "The Morning after Marriage," Thoughts design. and uses the parallel to date Blake's sketch after 5 April 1788 when the print was published. But Emblem 59 (Notebook p. 93). The footnote, p. 29, the only similarity here is in the general situation should appear with emblem 29, p. 22, where Erd• and the fact that one of the figures in each work man first refers to the recto-verso group of is putting on stockings (the man in Blake, the sketches at Harvard described in the note. In woman in Gill ray). The position and posture of the June 1973 Erdman learned that the Harvard sketches figures is very different, as are the beds and other were not by Blake, but rather copies of Night objects in the room. In particular, the traditional Thoughts designs made by D. G. Rossetti. posture of male sexual fatigue central to the print's Unfortunately the text could not be altered at humor is not found in Blake's sketch. It is that late date, but the situation is described convenient to have a dated source, but one can in an erratum, p. 105. sense here a spontaneity and concern for three- dimensional realism characteristic of portrayals Throughout the introductory materials Erdman of actual events that sets this sketch off from the wears his scholarship lightly. The prose is always flat, iconic emblems on contiguous pages. direct and lively, never labored or pedantic; some may even find the interpretive sections on Equally disconcerting are Erdman's association the emblem series rather too breezy. Textual of Blake's traveller in the Notebook, pp. 15-17, scholarship flows gently into criticism. Perhaps with Stothard's illustrations to Pilgrim's Progress at times too gently, for the reader must be careful and the suggestion that Blake might have "helped not to confuse critical speculation, however his recent collaborator with some of these designs" well-informed and convincing, with the factual (p. 9). The visual parallels between Blake's record. Certainly some of the narrative structures sketches and the prints after Stothard (one is Erdman finds in the emblem series are open to reproduced in Appendix II) rest solely with the alternative interpretations. In The Gates of similar hat and staff and with the fact that in Paradise the "elemental" designs, plates 2-5, the emblem on Notebook p. 71 the old man entering represent eternally existing states rather than the tomb uses a crutch as does Stothard's pilgrim stages in a linear narrative, and very likely other when approaching the grave. That Blake's traveller Notebook emblems are equally non-sequential in evolved out of the iconographic traditions of their relationships with other emblems. Is Blake Bunyan illustration is a good point, but the constructing an anthology of designs, as in a pictorial evidence is not sufficient to specify typical Renaissance emblem book, or a Hogarthian Stothard as the immediate source. It is even more progress? unlikely that Blake could have influenced Stothard. Indeed, the edition of Pilgrim's Progress published The least successful portions of the by Hogg in 1778^ has plates with Christian similarly introductory material are Erdman's excursions into adorned with broad-brimmed hat and walking stick. 2 art history. A few paragraphs, pp. 10-11, are The crude woodcuts in an edition of 1791 contain devoted to the list of twenty topics, p. 116 of the these same motifs, and in the illustration of Notebook, for designs on the history of England. Christian's approach to the lions before Castle Erdman worries over the fact that only a few Beautiful he has his hand raised and fingers spread drawings in the Notebook can be identified with out as in the Notebook sketch, p. 17. My point here these topics; but the presence of the list does is not to add more specific sources to Erdman's, not indicate that the drawings must also be there, but rather to indicate that the pilgrim's hat and any more than the text of a poem in the Notebook staff are part of the eighteenth-century artists' means that its illustrations must be present. stock-in-trade for Bunyan illustrations. The switch Erdman refers to four drawings from the British from staff to crutch is clear in Stothard, but less history series of 1779-80, but does not mention distinctive in Blake since the traveller on Notebook the five other compositions in this group, at least two of which are on topics listed in the Notebook. Erdman calls these "paintings," but they are drawings with some water colors added--very likely preliminaries for a series of prints which finally matured into "The History of England, a small book 1 Bunyan, The Pilgrim's Progress (London: Alexander Hogg, 1778), plates facing pp. 4, 16, and 48. of Engravings" Blake advertised in his Prospectus of 10 October 1793. The Notebook list probably represents an intermediate stage between a group of 2 Bunyan, The Pilgrim's Progress (London: Millar, Law, and Cater, 1791), woodcut's on pp. 13, 25, 36, and 42 (Christian separate drawings (the 1779-80 series plus others) approaching Castle Beautiful). 136 pp. 15-17 may not be the same character as the old D. G. Gillham. William Blake. British man at the grave many pages later. Further, Authors: Introductory Critical Series. General crutches are a traditional--and rather obvious-- emblem for old age (see for example Geffrey Whitney's Ed., Robin Mayhead. Cambridge: Cambridge A Choice of Emblemes [Leyden, 1586], p. 167), and Univ. Press, 1973. Pp. 216. Cloth. $12.95; the fact that two late eighteenth-century artists paper, $4.95. used this motif is insufficient evidence to indicate that one is borrowing from the other. After looking at Blake's designs for a few years it is Reviewed by Alicia Ostriker easy to see his sources or influences everywhere, viewing all art through Blake-colored glasses. It would be wrong to restrain the fun of discovering such parallels, but source hunting should be guided by a wider sense of the pictorial traditions that D. G. Gillham is a horse of instruction. He is shape late eighteenth-century art. quite a good horse. He approaches Blake cautiously, sensibly, step by step, appearing to take nothing No reviewer of this book should end on a for granted. Ruminant, judicial, he works his way negative note. It is a splendid production for through the Songs of Innocence and of Experience, which all should thank Erdman, Moore, and the concentrating on the ethical implications of each Clarendon. Its very presence contributes to, in Song, and of the two sets together. His stated a way silently comments upon, several trends in assumptions, that the Songs form "an artistic Blake studies. The recent predominance of scholar• whole," that their speakers "demonstrate a range of ship over interpretation is strengthened, for no human potentialities," and that one can read them more than a few of the critical articles and books without reference to "background," or Blake's written in the last ten years will have the other works, or the biography and personality of permanent value of the Concordance, Bentley's the poet, run from the obvious to the acceptable. Blake Records^ the Blake Trust facsimiles, or this Gillham's readings are essentially those of his edition of the Notebook. Erdman's insistence on earlier work, Blake's Contrary States (Cambridge giving equal attention to the Notebook as an artist's 1966), with most of the critical infighting omitted. sketchbook as well as an author's manuscript once A tone of sweet reasonableness prevails, and the again asserts the interdependence of word and method does elicit valuable insights about the picture in Blake's life and work. I suspect that characters of Blake's speakers, as well as some little of any real importance will be produced on good generalizations about the Contraries—for Blake in the future which does not take into account example, a fine appreciation of the erotic elements both media. The author of a survey of Blake's in Innocence. But what of Gillham's nervousness reactions to nature published in a recent issue of 3 about the social implications of Experience? What PMLA commented upon two approaches to Blake, the can one make, for example, of a reading of "The chronological and the thematic, and chose the latter. Voice of the Ancient Bard" which transforms William It is a bad selection. We will come to know more Blake into Edmund Burke, asserting that the poem about the how and why of Blake's eternal forms only shows us the folly of revolutionaries and the when we see them evolving as productions of time. necessity of building on foundations of past The grand continuity of Blake's vision is not tradition? What of a reading of "A Little Girl stasis; rather, it is evolution within a framework Lost" which explains Ona and her father excellently, of personal development and historical change. but insists that the "future age" will be no The Clarendon edition of the Notebook will offer better off than this one, and that Blake was many insights into that process of creation for certainly not advocating free love for persons years to come. caught in the state of Experience? By the time Gillham comes to the conclusion that Innocence is a "touchstone" and "ideal measure" but that "most of us spend the greater 3 Barbara F. Lefcowitz, "Blake and the Natural World," PMLA, part of our lives meeting our obligations in the 89 (1974), 121-31. deliberate and laboured ways of Experience, per• forming duties and following programmes that purposely exclude the possibility of much spontaneous goodness or imaginative wisdom," he is about three-fourths through the book. A bit later, he adds that the glad grace of innocent virtue is "the sort of thing we can aim at in our more deliberate programmes of conduct." Flashes of it may come as a compensation, or reward, for lillllllllllllllllllllllllllllllilllilllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllll Alicia Ostrikert Rutgers University, is author of Vision and Verse in William Blake and editor of the forthcoming Penguin edition of Blake's poetry. 137 good responsible behavior in this world. Perhaps this sounds more like William Wordsworth than William Blake? None of Blake's later lyric work, from "Auguries of Innocence" to "And did those feet," from "Mock on, mock on" to "The Everlasting Gospel," receives mention in this volume. Chapter Seven, entitled "Blake's Longer Works," tells us not to worry about the poet's sources, then turns to the "unusual," "decidedly strange" and "eccentric" matters of the Natural Religion series, Tiriel ("unsatisfactory"), a backflash at Poetical Sketches ("some of the shorter pieces are beautiful and some show originality"), The French Revolution ("Moving . . . though written in a heightened, apocalyptic manner"), America and Europe ("abstract" and "mysterious"). As for The Book of Urizen, The Book of Los, The Book of Ahania3 Vala, Milton and Jerusalem, these are lumped together as "the more abstruse prophetic books," and they all "fail" because Blake stopped grounding his vision "on the real circumstances of life." These real circum• stances, he explains, are the ones Wordsworth had the good poetic sense to stick close to, while other Romantic poets took laboured flight into realms of unreality. Gill ham's resume of The Marriage of Heaven and Hell, at the end of this chapter, deals adequately and seriously with the moral contraries, though one would never guess, from the sobriety of his exposi• tion, that the work (here called a "poem") is funny, or that its beautiful exuberance was, and is, an incitement to mental revolution, the artist's cry "Du muss dein leben a'ndern." He does not mention anything so gross as the idea of practical politics in the Marriage (e.g. "The Song of Liberty"), or so outre' as the idea of cleansing the doors of perception in order to see the infinite. Having quoted Frye on the risen body with the mystified shrug of a commonsense person, he reassures us that the Marriage does not involve "escape into a realm beyond the normal." The final two chapters, on Thel and Visions of the Daughters of Albion, are full and fine, and Gill ham's interpretation of Thel as an amusing major English poet, should undertake to write a allegory on the follies of amateur metaphysics, Critical Introduction to that poet. I am also should provoke controversy. Whether or not the interested by the book jacket's promise that Gillham author expects those who have required his candle- "enables" the reader "at last to come to grips with in-sunshine readings of the Songs of Innocence to the Prophecies." Perhaps it is a good thing that follow him here, I cannot say. Blake's poetry emerges from this volume, after the patient attention recommended by its author, look• The experienced Blake scholar will not need ing boring and pious--or else too inaccessible to to be told that Blake's poetry differs throughout, be worth one's attention. For how would the future in some breathtaking ways, from most of what we obedient civil servant of Uganda or New Delhi—or read; and he will know how to stitch Gillham's Birmingham--cope with a Blake who was passionate, little patch of analysis into the total fabric of prophetic, apocalyptic, Jacobin, visionary, deeply his understanding. However, this book is not aimed Christian, wildly comic, bitterly satiric, and at Blake scholars. It is (see Mayhead's "General thrilling to read? Of course, no literary scholar Preface" to the series) for the general reader and goes about with malice aforethought dampening the the student, throughout Britain, the Commonwealth, fairest joys of literature for the express purpose the English-speaking world, and even the non-English of maintaining an established civil and emotional speaking world. In brief, as the Preface hints, it order among his readers. But if the poet himself is for people who want to pass Examinations. One were to examine this study, carefully considering does not assume that these people adore literature, its pedagogical methods and the tenor of its or recognize their friends. It seems to me understanding, he might conclude in the words of interesting that a man who, by his own admission, his esteemed predecessor that the hungry sheep look does not understand most of the major works of a up and are not fed. 138 G. R. Sabri-Tabrizi. The "Heaven"unci "Heir of William Blake. London: Lawrence and Wishart, 1973. Pp. xiv +348. £4.75. / Reviewed by Michael J. Tolley This is a pretentious, bad book. The author is both ignorant and prejudiced: an insecure grasp of Blake's cultural context and a determination to see Blake as a dialectical materialist distort the truth on every page. For the pretension, see the dust jacket claim that "This new book about Blake contains v the most thorough and complete study yet attempted of his entire system of ideas and action." In actuality, Blake's "entire system" is reduced to a few half-baked and overworked ideas crudely imposed on the text in the course of a mad V trample through the prophetic books, during which characters become confused (Rintrah is Urizen, Vala is another name for the Four Zoas--Vala or Swedenborg for details that Blake might The Four Zoas), or change sex (Theotormon becomes conceivably have satirized, the author has lost female and Enion male, as the TLS reviewer noticed), all sense of perspective. He is, admittedly, or have their speeches given to another character handicapped by his incapacity to read even (Ore gets the nameless shadowy female's words in the Swedenborg correctly. Take a fair sample (p. 141): Preludium to Europe), or to Blake himself (Albion's words of despair in J 4:28, "By Swedenborg . . . not only failed to recognize demonstration man alone can live, and not by man's creative energy but even regarded man faith"!). as an unimportant being by saying that: In the circumstances, such indifference to 'Still without man as a medium, simple accuracy is inexcusable; simple logic, alas, divine influx into the world is also wanting. Marxist prejudice and cultural continues, . . .' insensitivity are most strikingly displayed in the book's main subject, which is not Blake's system The proverb 'Where man is not, nature is but rather his attack on Swedenborg in The Marriage barren' is a concise criticism of this idea. of Heaven and Hell. I do not need to remark on this in detail, as the TLS review aforesaid (15 February First, by a non sequitur, Swedenborg is misunder• 1974) has sufficiently exposed the absurdity of stood, then Blake is wrenched into contradicting attributing to Blake the author's view that the text thus misinterpreted and the point of Swedenborg was expressing class prejudice in his Blake's proverb perverted. These passages would vision of Heaven and Hell. However, I must take never have been so unnaturally coupled together if this reviewer a little to task for conceding too the author had not misunderstood the whole nature much in the author's favor when remarking that of Blake's relationship to Swedenborg, which is there is "one good point advanced in the book- assuredly not that of a roaring lion who walketh that Blake's language in the Marriage carries even about seeking texts to devour. more links with Swedenborg's in Heaven and Hell than has commonly been supposed." Certainly the A reviewer can usually draw the attention of book assembles an abundance of evidence for this scholars to some noteworthy passages even in a view, in the form of numerous quotations from bad book, but in this case I need warn no one, Swedenborg, but unfortunately the author has except perhaps the specialist student of Blake's drawn no conclusions from all this evidence that relation to Swedenborg, of the existence of a new are new, important and correct. In scouring work in the field. I must blame the publishers for foisting such an unnecessary book on the public Perhaps (at £4.75) they think it a subtle means of soaking the rich, but if they are seriously interested in promoting truth, they should know Michael J. Tolley 's special field of interest is that it is not enough for an author's heart to be Blake's use of the Bible. He is a co-editor (with in the right place (i.e., to the left), if he is John E. Grant and Edward J. Hose) of the forth• not using his head to good purpose. It is not coming complete edition of Blake's illustrations surprising in the circumstances that the text is to Edward Young. littered with misprints and careless misquotations. 139 After a narrative sketch of Blake's radicalism On Reflection: Adrian Mitchell on William in religion, politics, and sex, followed by a reading Blake. A filmproduce d by London Weekend of The Garden of Love with modern photographic images Television. Directed by John Reardon, of chapel, graveyard, and boy—which sounds more embarrassing than it turns out to be—the film reaches graphics by John Tribe. U.S. rental agent: its high point in a hilarious supermarket scene. Richard Price Television Associates Ltd., Mitchell reads from the Preface to Milton and Public 145 W. 58 St., New York, N.Y. 10019. Date of Address over the public-address system of the super• market, with "Rouze up 0 Young Men of the New Age! first showing: not known. Price of rental: not set your foreheads against the ignorant Hirelings!" known. replacing Musak and "William Bell to cash register number 4, please" for ffve minutes with the total result of two half-second surprised looks signaled Catharine Hughes, editor. The Clouded Hills: by two raised heads, and two dozen dumb expressions Selections from William Blake. Mysticism and fixed firmly on the canned peas —"Suffer not the Modern Man Series. New York: Sheed & fashionable Fools to depress your powers by the prices they pretend to give for contemptible works Ward. 1973. $2.95 (paper). or the expensive advertizing boasts that they make of such works." It was a tuned-out crowd that day Reviewed by Morris Eaves down at the supermarket, with other prices and expensive advertizing boasts to worry about and no time to spare for freaked-out dead artists being If I could choose one Blake film to show to a class, resurrected over the PA system. But it was a this would be it. In no way does it approach the marvelous scene. best that could be done, but in comparison to the other things that have been done, Adrian Mitchell on The rest is anti-climax, really. Standing by William Blake is the best of the lot. Blake's life mask, Mitchell tacks on to his super• market scene a few of Blake's epigrams and jingles The film was made a few years ago for On on Reynolds, Hayley, and Fuseli, with the intention, Reflection, a London Weekend Television series of I suppose, of reinforcing the impression of Blake as personal television "essays" by reflectors of various forceful, righteous personality. Then we pick up names and kinds. Adrian Mitchell is a poet with a the next theme with a series of Blake prints emphasizing fairly standard but still lively view of Blake as sensuality and sexual love, but soon we move to what a gadfly who liked to say disturbing things about I'm sure Mitchell thought was to be the climax of his art, sex, and the state of the culture that are as "reflection," and the big Happening of the piece, pertinent now as in 1800. when he carries paintcans and paintbrushes to the wall of a London building and makes it into a work of As a format Mitchell chose to blend elements of streetart by filling it up with slogans from the a happening (as we used to say in 1963) in the style Proverbs of Hell, capped by his own invention— of Long Days Nights with narration, a series of Blake "Blake Lives!"—over the door. The level of interest pictures, and readings of poems and prose to shots in the film drops to a low point here. Housepainting of modern London. The assembly has the weight and is a slower and duller business than Mitchell probably coherence of a typical highbrow one-man TV show, figured it would be. The supermarket scene was fun which is to say, pretty light and pretty baggy. But because there were people in the supermarket to react compared to the inert, heavy, and dull sado-masochistic to the PA system, and nonreactions were even funnier. coagulations that have flowed down to etherize us in But here it's just Mitchell and his brush and the our seats, Mitchell on Blake is electrical magic. wall, and the only dynamism in the episode comes from our sense of what might happen if there were some The film opens in the Tate Gallery, moves to spectators. This source of interest is tapped at the Mitchell on camera first emphasizing Blake's modernness end of the episode, with the predictable appearance then reading London to shots of the modern city and of a couple of bobbies who don't take much more interest the print itself, and ending with a little moral lesson in a fouled wall than the shoppers did in the loss of based on William Blake House, flats for old people, their shopping music. The point is made, all right, on the site of one of Blake's residences. but for the second time; and if it had to be made twice, the order of the two happenings should have been Then we move to the workshop of artist and reversed. craftsman Ken Sprague, which becomes the base for the rest of the program. Here Mitchell misses the chance to build a parallel between Sprague's workshop and Blake's, and thus the chance to show how Blake did what he did as watercolorist and printmaker. Television is the perfect medium for a good close look at printmaking, not to demonstate the technology for itself, but to build a strong image of Blake as a craftsman. But Mitchell's idea of the artist- including himself as poet and graffitist and Sprague Morris Eaves, University of New Mexico, coedits as graphic artist—seems to be mainly sociological, the Newsletter with Morton Paley. On an NEH which is interesting enough but not complete enough summer fellowship he is finishing a book on or big enough, and consequently the rest of the film Blake's artistic principles in relation to the is thinner than it had to be. technology of printing and printmaking. 140 The last theme is poverty, developed with prints The religious columnists in hometown weeklies from Europe alternated with photographs of starving have more talent for Catharine Hughes' sort of thing children, accompanied by a reading of the "It is an than she does, and they produce as much light, or as easy thing to speak of patience to the afflicted" little, if not as much sweetness. Hughes has culti• speech from The Four Zoas. vated her skills and tastes in the direction of the facile juxtaposition ("Beautifully produced . . . juxtaposing modern photographs with brief selections The final section of the film is the most useful from the words of the saint," says Publishers Weekly; in the classroom. In good color and detail, there is "One medium complements and illuminates the other," an ample selection from all of Blake's original graphic says Msgr. John S. Kennedy in Our Sunday Visitor) and work except the paintings: drawings and prints from Songs, the obscure juxtaposition ("powerful, provided that the Job and Dante series, and prints from the one does not just flip through them. One should The Marriage, Europe, America, Visions of the Daughters pause over each combination, allowing words and of Albion, Milton, and Jerusalem, mostly to inoffensive pictures to interact and do their work of inspiration, music, but with a little reading of passages from Jerusalem. Msgr. Kennedy), with some help from the Big Point and Altogether, in selection, arrangement, the Bitter Truth, all offered with the feeling for and quality of reproduction, this is the best showing significance displayed by the American poetesses in of Blake's work on any film, and it makes a fine Martin Chuzzlewit. The Hughes wit is chuzzled in the introduction to Blake's books in illuminated printing style and on the scale of Eeyore. for students who have seen only black and white (or no) reproductions. Some pithy instances: Information for would-be consumers: the print of the film that RPTV sent for viewing was a good "All that can happen to Man in his pilgrimage of one: intensity and hue were accurate, the print was seventy years," she selects to bear the Meaning of a relatively free of scratches and splices, and sound photo of a man walking across a concrete mall in the was clear with ample volume. Mailing from RPTV was middle of the day. on time, but the company has not answered my inquiries about the year of the film's first appearance on "If you have form'd a Circle to go into, Go Into London Weekend Television or the price of rental. It yourself & see how you would do," she chooses to extract the deepest significance from the photo of a hemp rope wound in a spiral. "To see a World in a Grain of Sand etc." is her This is another production by the folks who bring us choice for a picture of sand with the shadow of a Dreams and Regrets: Selections from the Russian cross on it. Mystics, Leaves in the Dust: Selections from the "Think not thou canst sigh a sigh And thy maker Jewish Mystics, and The Weeping Sky: Selections from American Indian Mysticism (Indian translation of is not by" is the companion to a closeup of a crucifix Psalm 23: "The Great Father above a Shepherd Chief is, seen from below, with Christ's toes hanging over the I am His and with Him I want not. ... and afterward foreground, his groin unfocused above. I will go to live in the 'Big TeeDee' and sit down with the Shepherd Chief forever"--indeed, the very "For man has closed himself up, till he sees all same Shepherd Chief who spends most of his time in things thro' narrow chinks of his cavern"--a closed Blake tromping the shit out of us, but all's fair door and a rai lway-statior. tunrel. in love, war, and mysticism), Darkness and Light: "And was Jerusalem builded here"--Manhattan. Selections from St. John of the Cross, and The "Prison of Love: Selections from St. Teresa of Avila. "Enough! or Too much"--Catharine Hughes hawking The eye and head of Catharine Hughes spend most copies of The Clouded Hills and The Weeping Sky at of their time lost back in the late 50's when there special discount price of $2.50 at Seattle^World's was The Family of Man, Motive magazine, Tillich, and Fair William Blake and American Indian Pavilion, with lingering interests in Christian theoloqy, the small Blake life mask in door of teepee, Jewish and Russian church-related liberal arts college, and the arts as mystics chanting around campfire, and in awesome manifestations of Christian Witness. The rest of background, the Church of the Whited Sepulchre, the their time she spends figuring out how to get all that Mormon Tabernacle, the Vatican, the Space Needle, brotherhood, universalism, and concern together with Mt. Ranier, the Angel Moroni, and rainclouds. the masscult mysticism of the 60's. The Lord bless her soul, Ms. Huqhes may have harvested every good intention planted by every brotherly-love poem and picture of the last two decades, but she is still deaf and blind. I will forgive her what I don't approve—which is all of this stuff--but I'll have to beg her to get on with the exertion of her talents in some other area. If Jeffrey and his Edinburgh Review were still around, the old acid-throated buzzard could spit some of his Wordsworth juice this way with a lot more justice. "This," he could say again with the stiff-SDined moral force I wish I had a little of, "will never do." 141 Fearful Joy: Papers From The Thomas Gray it is "introductory," yet different from the last four designs, which "illustrate the text of the poem" Bicentenary Conference At Carleton University. (p. 130); more pointedly, Tayler acknowledges that it Edited by James Downey and Ben Jones. is a "frontispiece to the whole set of six poems and Montreal and London: McGill-Queen's Press, so includes allusions to each of the six" (p. 126, 1974. $11.50. n. 4). Unquestionably, Tayler's is the finer, the more Reviewed by Joseph Anthony Wittreich. Jr. discriminating, of the two essays; but even so, her essay is flawed by inexact historical observations that, in the final pages, are crippling to her argument. According to Tayler, it was not until 1745 that publishers, either in England or on the con• Carefully edited and handsomely appointed with twenty- tinent, "attempt ed to incorporate illustration into five reproductions (fourteen of Blake's work), the text" (p. 123); in that year, Albrizzi printed an Gray bicentenary volume is both varied in its edition of Tasso's Gerusalemme Liberata with designs approaches and expansive in its concerns, one of engraved after Piazzetta. What is "new" in these which is gathered into focus by the editors' Preface: designs, says Tayler, is "the series of vignette- "What of Gray's illustrators, commentators, and shaped headpieces and tailpieces," which contain critics," they ask; "what, especially, of Blake . . . elements not just decorative (as they had been in --what had he seen in Gray's poems to inspire him to earlier illustration) but truly interpretive; these illustrate them so copiously and beautifully" designs mark a turning point in the history of book (pp. xi-xii)? To these questions, particularly the illustration, her argument goes, and Bentley, probably last, the essays by Irene Tayler ("Two Eighteenth- familiar with this edition, is said "to have been the Century Illustrators of Gray") and Ben Jones ("Blake only illustrator for the next forty years to realize on Gray: Outlines of Recognition") are a response. that a revolution in book design was taking place" Both critics understand that in Blake's work the (p. 125). These propositions, however convenient, written word and pictorial expression, each requiring cannot be historically authenticated. its own lexicon, each informed by its own traditions, literary and pictorial, call for different types of James Thorpe once observed that "ornamental consciousness; and both also perceive that interpreting borders, initials, headpieces and tailpieces are not Blake's pictures depends upon defining their relation• illustrations but decorations. Like the type and the ship to the written word. The relationship between cover," he says, "they belong to the production of the Blake's pictures and Gray's poems, they conclude, is book rather than to the author's text. The two marked by a spirit of contention, Blake creating processes—decoration and illustration--are quite designs that, not "consonant" with Gray's poems, distinct"--distinct during the 1890s but not, as "counter" them--designs that are "disruptively Tayler implies, during the eighteenth century. David critical and possionately interpretive" (pp. 119-20, Bland might have provided Tayler with the proper 25), involving Blake in a "polemic" with his precursor. historical perspective, observing that "while illus• Out of this polemic--out of the "disparity" between tration came first it was followed . . . by its Gray's poems and Blake's designs for them--comes what abstract counterpart, decoration," which, rather than Jones calls "individualized interpretation," "highly being a mere embellishment, worked in harness with articulate representations of . . . a response" illustration to convey a poem's meaning. Such was at once "imaginative" and militantly "independent" the case in the Renaissance, and in much illustration \ of Gray's poetry and of the critical tradition it of the eighteenth century. For verification, one f! elicited (pp. 127, 129, 134). may turn to the first illustrated edition of -, Gerusalemme Liberata or to the designs that were This thesis is not new: it was first advanced made to accompany Spenser's The Shepheardes Calendar by Ms. Tayler in her admirable book-length study of --in both instances, illustration and text are 5 Blake's designs for Gray's poems and is propounded wedded, orobably because illustrator and poet worked again in her essay for this bicentenary volume, an in consort. Or for the kind of unity Tayler discovers ? essay that is both judicious in its description of between decoration and illustration, one may turn to individual designs and perceptive in its interpretation biblical illustration of the Renaissance or to some of them. In contrast, Jones' essay exhibits too much Milton illustration of the early eighteenth century inattention to, and imprecision of, detail to inspire (the designs by Cheron and Thornhill accompanying confidence. In his discussion of Adversity and the the 1720 Tonson edition of Milton's poems--designs sleeping poet, Jones attends to the iconography of composed of headpieces, tailpieces, and letter gesture, the raised right hand, while ignoring the ornaments—provide a convenient example). dark clouds toward which it points. (Is there an analogue to be noted between this design and plate 1 of Milton--the raised right hand, the dark swirling clouds?) Or, when interpreting the sequence of designs for Ode on the Spring, Jones makes no dis• tinction between the nude figure of the awakened year in plate 3 and the "nude" poet of plate 6, who is lllllllllllllllllllllllllillllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllilllliililiiilllliillllliiillllll actually clothed in filmy, bardic vestments. The quality of response that distinguishes Tayler's Joseph Anthony Wittreich, Jr., author and editor of clarity from Jones' murkiness is strikingly evident many publications on Blake, has recently finished in the statement each critic makes about the first a book on Blake and Milton, published by the design for the Ode on the Spring series: Jones says University of Wisconsin Press. 142 Moreover, it should not be inferred, that the refused to supDort the corporate images that "disruptively critical" design is the creation of eighteenth-century editors and publishers were busy Blake or of his age; for Kurt Weitzmann has shown creating—he refused to turn his own illustrations that the tradition of corrective illustration is into a form of advertising. Often Blake felt obliged traceable to early illustrators of Homer and Virgil, to draw "corrective" designs; yet those designs, and the same tradition is evident in Luther's Bible, instead of disfiguring another's vision, clarified where the commentator who would relegate the it; on occasion, as is the case with some of the Apocalypse to an appendix is confronted by an Milton designs, Blake's objective was to correct not illustrator who creates a set of full-page designs the poet's statement but the critical tradition (they accomDany only the Book of Revelation) by way that had misconstrued and misrepresented it. However of restoring John's Apocalypse to its authoritative contentious, Blake's illustrations, subversive of position in the Bible. Such contention is also corporate editorial images, are vehicles for his own evident, both between illustrator and poet and innovative criticism. between illustrator and illustrator, when Paradise Lost is illustrated for the first time. Initially, It is to Tayler's credit that she Dushes us the contention manifests itself in the way that beyond the individual design into the traditions John Baptist Medina, responding both to Milton's that helped to shape it; but Tayler does not push text and to Dr. Henry Aldrich's illustrations for us far enough. It is not the individual artist's the first two books, tries to impose an orthodox designs that illuminate Blake's own; rather, it is conception of Satan on the unorthodox figure who the whole tradition of iconography which a Doem has dominates Milton's poem and Aldrich's illustrations accumulated that opens the meaning of Blake's for it; subsequently, it manifests itself in the way illustrations for it. Moreover, if the concern is that one engraver, Pierre Fourdrinier, returning in with Blake's tactics of illustration (as Tayler's 1725 to Aldrich's designs for Books I and II of seems to be), then it is perhaps more productive to Paradise Lost, alters those designs, bringing them scrutinize those traditions of illustration that into line with what had cone to be regarded as the stand behind the Bible and Milton than those standing orthodox understanding of Satan which Milton was behind Gray's poetry. After all, certain texts said to have violated. (like the epics of Homer, Virgil, and Milton or the books of Genesis and Revelation) were frequently This tradition of contention between author and illustrated, often by great artists. It is these artist stands behind the work of Blake the illus• texts that inspired the great revolutions in book trator; and Blake's place within this tradition, illustration (other illustrators, not Bentley, are though not unique, is quite remarkable. By Blake's responsible for the innovations Tayler attributes time, illustration had become an art of compromise, to him). A knowledge of these traditions, especially less concerned with upholding the integrity of an those surrounding Milton's poetry and the Bible author's statement than with supporting the received (which we have yet to acquire), joined to a refined opinion of what an author should have said. As an critical intelligence (of which Tayler's is exemplary) illustrator, by the very fact that so many of his will enable students of Blake to penetrate nuances designs for other poets were not engraved, Blake of meaning still hid in the formalities of his art. 143 Kenneth Clark. Blake and Visionary Art Clark believes Urizen is the primal economic planner, a Karl Marx drowning in the waters of dialectical (W. A. Cargill Memorial Lectures in Fine Art, materialism. We must grant that Blake would have No. 2, University of Glasgow Press, 1973). found an enemy in any tyranny of the left or the Pp. 22. 40 p. right; but in our culture his anti-Man would probably be hypocritical capitalism, a predatory system that cloaks itself in pious or humanitarian Kenneth Clark, The Romantic Rebellion: wraps. Expectedly, Clark finds the visual primary. Romantic versus Classic Art (Harper & Row, The evidence does not always bear him out: Innocence New York, 1973), 336 pp., 24 color became verbal art before it became visual; and the interpretation of Nebuchadnezzar, whom Clark believes illustrations, 278 black and white illustrations. was a recollected werewolf design long before he was $15.00. attached to a biblical figure, ignores the fact that Blake knew his Bible well from his earliest years Raymond Lister, British Romantic Art (G. Bell and that Nebuchadnezzar as described in the words of the King James version might well have antedated & Sons, London, 1973), 246 pp., 102 influences from German woodcuts. The Songs of illustrations (black and white). Innocence can scarcely be called rococo; and Clark would see them more clearly and appreciate them more deeply if he considered them against a back• Reviewed by Jean H. Hagstrum ground of emblem and book illustration, not only against a background of Hellenistic art, Raphael's Lord Kenneth Clark, an authority on landscape, the Loggie designs, and medieval illumination, though nude, and the Gothic revival, turns his trained and these latter two do play a role in shaping Blake's widely appreciated eye to late eighteenth-century and imagination as an illuminator of his own songs. nineteenth-century art in a book that has been trans• formed from a television film. That film will Still, Clark is lively and stimulating, and we undoubtedly be shown on American television, though must be grateful to him for bringing much powerful it may not reach the wide popular appeal of the more Blake to a wide audience. And as a scholar he has comprehensive series entitled Civilisation. Raymond thrown out some lines that we may wish to start Lister, a painter, illuminator, miniaturist, designer winding into a ball. The Swedish artist Sergei, who of architectural metal work, is also an author of is given one illustration here (and also some in books and articles on technical subjects, on Palmer, Gert Schiff's Fuseli); the Bolognese Mannerist on Victorian narrative painting, including an un- Pellegrino Tibaldi, who, according to Clark, was technical, fresh, and informative book on the career known to Blake through a book of engravings published and work of Blake--the comment of one craftsman on in 1756 and who according to Thieme und Becker has another. When authors of such special qualifications a sheaf of drawings in the British Museum; and the turn their attention to Blake, readers of this journal German, Philip Otto Runge, who Clark says was doing will wish to pay attention. much the same thing Blake was in the Songs--these artists will bear looking into. In the Glasgow lecture, which, with a few revisions appears as Chapter 6 in the book, Clark Blake appears in Lister's book in many quotations, asks bluntly (no pun originally intended, but Sir some long, a few apposite; and in nine illustrations, Kenneth does acknowledge his indebtedness to Sir all but one very well known and frequently reproduced. Anthony in the matter of sources), "How good an The one exception to the familiarity of the Blakes artist was Blake?" He partly answers his own is the reproduction on Plate 26 of Blake's miniature question by including him among thirteen artists, of Cowper's relation, the Rev. John Johnson (Johnny four (including Fuseli) English, the rest Contin• Johnson of Norfolk). Although also reproduced by ental, ranging from David to Rodin, an honor of Bentley in Blake Records, the work is not widely place not often accorded Blake by art historians. known, and Lister is right in finding in the church Yet Clark's answer is not one of simple praise, for steeple a personal and prophetic touch since it is he obviously has mixed feelings. He admires the unlike any of the churches which the rector served. Dante illustrations enormously, sees exceptional He might have gone farther and said that the spire "classical" propriety in the Job, speaks well of was a Gothic sign of approval, as is the prominent illustrations to the prophetic books, especially Bible, showing that the man who is portrayed to Urizen. But he seems not attracted by the Songs resemble somewhat his poetic relative is a believing of Innocence, and he finds many of the water colors Bible Christian even though a member of the Established weak. He dislikes the Gray illustrations and the Church. Milton illustrations, particularly the ones for Comas, and feels that Blake responded feebly to the The presence of this Blakean miniature and our New Testament. Since he regards Blake's thought as response to it provoked by Lister's brief comment a muddle, we cannot expect him to see energy flowing from the pen to the pencil, and he believes in fact that the Dante illustrations are excellent because Blake came in contact with a mind greater and better organized than his own. llllllllllllllllllllllllllllllllllllllllllllllllim Jean H. Hagstrum is Professor of English at Quite apart from matters of personal taste, one Northwestern University and author of William is disposed to debate several of Clark's interpre• Blake, Poet and Painter, among many other tations. There is space to mention only a few. publications on Blake. who could bear important relations to Blake and other major Romantics--all these and many more unexpected encounters await the alert reader. I confess to being puzzled at first by the audience for which this book was intended. Who needs to have the entire text of the Tyger quoted or who needs to be told in a footnote when Titian's name was first mentioned that he was "Tiziano Vecelli, called Titian . . . , Venetian painter." I still regret the many loose definitions of Romantic, and the longueurs of seeing and reading what is already so well known. But these are obliterated by the rewards that may come from following Lister's beckonings to possible discoveries of new pleasure and knowledge. And now back to Clark for a final paragraph. He has brought us no nearer a theoretical under• standing of Romanticism and Neoclassicism than has Lister, who weakens his definitions by exuberance of quotation and a loose manner of expression. Clark is the more sophisticated intellectually, but contradictions remain at the heart of his theory and he passes over significant variables. Classicism may indeed be intimately related to stress on drawing, but where does that leave Blake, who was a linear artist proud of his hard, wiry, bounding line? Classicism is related to totalitarian political order, but where does that leave David in the period of his early Roman fervor? Romantic art is sensual, yet one of the neoclassical David's central qualities is his deep sensitiveness to femininity, called, confusingly, an eighteenth-century quality. The disciplined Ingres's inspiration is the female body, for whom form could never obliterate the sensuous nature of beauty. Sometimes Clark's sensitive and trained taste deserts him. Ingres's "Napoleon" is surely uninspired pastiche-making and not a dazzling cameo, whose perfection of authority proclaims the deity of the Emperor; and the same artist's "Jupiter and Thetis" is an overblown piece of visual rhetoric that is more laughable than majestic or beautiful, however delicate the hand of Thetis that chucks the solemn and ridiculous chief of the gods under his heavily bearded chin. And hasn't Clark missed the majesty of Turner's mountains in "The Goddess of Discord choosing the Apple of Contention in the Garden of Hesperidies" by insisting on the controlling classicism of the dwarfed foreground? And so one could go on with disagreements about taste and theory. But, still, the work, with its perhaps provide the clue as to how to use and dazzling plates and bright comments, is impressive. appreciate this book. No Blakean will be satisfied Many feel that Clarke's enviable vulgarisation is by all of the interpretations; no Romantic scholar not all that haute. But the present writer finds will find his conception of the period clarified The Romantic Rebellion, like Civilisation, a kind or even precisely delimited in chronology. But both of masterpiece of intelligent and attractive the scholar and the general reader--and also the popularization, the kind that must take place if collector—will find many surprises in the nooks the humanities are to thrive or even survive. What and crannies of this book—matters he will want to a brilliant stroke to put the iron girders of the pursue further. Unusual Romneys, lovely, fresh Liverpool Street Station near the Carceri of Calverts, Palmers rich in depth and meaning even Piranesi! And how bold--and unpopular—to call the without their color, an unusual Constable drawing, draped figure of Balzac, so silly when a nude study, a Danniell that anticipates Henri Rousseau, a lovely Rodin's greatest work and display it for what it is, Girtin, Shelley as an androgenous figure, the a mysterious and powerful mastery of massive and "corrupt" Byron, the haunting juxtaposition of unyielding material. Clark will once more bring Fuseli's and Rossetti's Doppelganger, the dialect pleasure to thousands, whose horizons he will expand. poems of Barnes, the discussion of the Eidophusikon And after the judicious have grieved and duly wrung (a device that brought Romantic scenery and sublime their hands, we must all be grateful, for our own Miltonic landscapes to gaping spectators), and the and others' sake. appendixes on minor artists and engravers and etchers 146 A Checklist of Recent Compiled by Ron Taylor Adlard, John. The Sports of Cruelty: Fairies, Folksongs, Charms and Other Country Matters in Bibliography the Work of William Blake. London: Cecil & Amelia Woolf, 1972. Ault, Donald D. Visionary Physics: Blake's Anon. "Bibliography: the Eighteenth Century." Response to Newton. Chicago: Univ. of Chicago Philological Quarterly, Fall 1974 number. Press, 1974. $12.50. Candela, Gregory, Marta Field, and Foster Foreman. Bindman, David. William Blake: Catalog of the "A Checklist of Recent Blake Scholarship." Collection of the Fitzwilliam Museum, Cambridge. Blake Newsletter, 7 (Summer 1973), 11-15. West Orange, N. J.: Albert Saifer, 1973. Erdman, David V., et al. "Bibliography of $10.00. Amer. ed. Romanticism, 1972." English Language Notes, Blake, William. America. Bushey Heath, Hertshire: 12 (Sept. 1974), supplement to no. 1. (See Taurus Press of Willow Dene, 1976. (Forthcoming) Blake section.) Blake, William. America: A Prophecy (facsimile). Ferguson, James B., and Frank M. Parisi, comps., See Easson. assisted by Michael Phillips. "1972-73: Blake, William. The Book of Ahania (facsimile). A Bibliography of Blake Scholarship in the Paris: Trianon Press, 1974. L85./L32. United Kingdom." Blake Newsletter, 7 (Distr. by Bernard Quaritch.) (Fall 1973), 44-46. Blake, William. The Clouded Hills: Selections Hoover, Suzanne R. "Gilchrist's Life: A List of from William Blake. (Mysticism and Modern Reviews and Articles." Blake Newsletter, 8 Man.) Catharine R. Hughes, ed. New York: (Summer-Fall 1974), 31. Sheed & Ward, 1973. LI.75; $2.95, paper. Roberts, Peter. "On Tame High Finishers of Paltry Blake, William. Die Illuminationen zu den Songs Harmonies: A Blake Music Review & Checklist." of Innocence and of Experience: Lieder der Blake Newsletter, 7 (Spring 1974), 90-99. Unschuld und der Erfahrung. Wiesbaden: Limes- (4 illus. from 1972 production of Job—a Masque Verlag, 1972. for Dancing.) Blake, William. The Grave: A Poem. Illustrated by Twelve Etchings executed by Louis Schiavonetti, from the Original Inventions of William Blake, 1808 (facsimile). Wildwood New & Revised Books Abrams, M. H. et. al., eds. The Norton Anthology of English Literature, Major Authors Edition. Third Edition. New York: Norton, 1975. $12.95 cloth; $10.95 paper. (New inclusions Ron Taylor, an advanced graduate student in by Blake are "The Mental Traveller" and parts English at Berkeley, is the Bibliographer for of Jerusalem.) the Newsletter. 147 Blake Scholarship House, 1974. L2.50. Campbell. Intro, by Jack Schofield. Leicester: Blake, William. Holy Thursday, from the Songs of Black Knight Press, 1972. L2.50. (Limited Innooenoe. Illustrated by Paul Peter Piech. edition--100; 8 illus.) Bushey Heath: Taurus Press of Willow Dene, Blake, William. Selected Poems. Ruthven Todd, 1971 ed. New York: Dell Publishing Co., 1973. Blake, William. The Illuminated Blake. David V. $.40, paper. Erdman, ed , Garden City, N. Y.: Anchor- Blake, William. Songs of Innocence and of Experience. Doubleday, 1974. $7.95, paper. East Ardsley, Yorkshire: Micromethods Ltd., Blake, William. The Marriage of Heaven and Hell. 1971. Microfilm, 1 reel, color, 54 pis. Nos. East Ardsley, Yorkshire: Micromethods, 1969. 529-31. (Reprod. from the Fitzwilliam Museum Microfilm positive, 1 reel, 35 mm. No. 534. copy.) (Reprod. from Fitzwilliam Museum copy.) Blake, William. Songs of Innocence and of Experience Blake, William. Materials for the Study of William (facsimile). Norwood, PA.: Norwood Editions, Blake's America: A Prophecy. Roger R. Easson and 1973. Kay Parkhurst Easson, eds.; Robert N. Essick, Blake, William. There is No Natural Religion. assoc. ed. Bibliographical Intro, by Gerald Geoffrey Keynes, ed. Clairvaux, Jura, France: E. Bentley, Jr. Normal: The American Blake Trianon Press, 1972. (2 vols., facsimile for Foundation, 1975. (Reproduces Copy E, The Blake Trust.) Rosenwald Collection.) Blake, William. Twelve Poems. J. L. Carr, ed. Blake, William. The Mental Traveller. Drawings London: Florin Poets Series, 1972. L0.10. by Emil Antonucci. New York: Journeymen Blake, William. William Blake's Illustrations for Press, 1970. John Milton's Paradise Regain'd. With an Blake, William. The Mental Traveller. Iowa City: intro. by Joseph Anthony Wittreich, Jr. Washington Press, 1967. Cleveland: Press of the Case Western Reserve Blake, William. The Notebook of William Blake: University, 1971. A Photographic & Typographic Facsimile. David Bloom, Harold. The Visionary Company: A Reading V. Erdman, ed., assisted by Donald K. Moore. of English Romantic Poetry. Revised and Oxford: Clarendon Press, 1973. $45.00. Enlarged Edition. Ithaca: Cornell Univ. Blake, William. The Pickering Manuscript. Intro. Press, 1971. Paper, $3.95. (pp. 7-123 on by Charles Ryskamp. New York: Pierpont Blake.) Morgan Library, 1972. $3.00, paper. Brisman, Leslie. Milton's Poetry of Choice and Blake, William. The Poems of William Blake. Its Romantic Heirs. Ithaca: Cornell Univ. Selected, edited & introduced by Aileen Ward, Press, 1973. (See esp. Chapter 4 for Blake.) with illus. from Blake's Illuminated Books. Bronowski, Jacob. The Ascent of Man. Boston: Cambridge, England: Printed for the members Little, Brown and Co., 1973. $15.00. (Blake of the Limited Editions Club (New York) at mentioned in passing; 2 Blake illus.) the University Printing House, 1973. (12 Budgen, Frank. James Joyce and the Making of Ulysses color pis.) and other writings. London: Oxford Univ. Blake, William. Proverbs of Hell. Illus. by Duine Press, 1972. (See esp. pp. 318-20.) 148 Clark, Kenneth. Blake and Visionary Art. Glasgow: Chatto & Windus, 1972. Univ. of Glasgow Press, 1973. (W. A. Cargill Lindberg, Bo. William Blake's Illustrations Memorial Lectures in Fine Art, No. 2) to the Book of Job. Acta Academiae Aboensis, Clark, Kenneth. The Romantic Rebellion: Romantic Ser. A: Humaniora, Vol. 46. Abo: Abo Versus Classic Art. London: John Murray Akademi, 1973. (Sotheby Parke Bernet), 1974. L4.75. (pp. Lister, Raymond. British Romantic Art. London: 147-74 on Blake; 308 i11 us., 24 in color; see Bell , 1973. also television series.) Mayoux, Jean-Jacques. La Peinture Anglaise de Colnaghi & Co. A Loan Exhibition of Drawings, Hogarth aux PreraDhaelites. (Peinture, Couleur, Watercolours, and Paintings by John Linnel Histoire, No. 18.) Geneva: Skira, 1972. and his Circle. London: Colnaghi & Co., 1973. Fr. 230.00. (128 pis.) (pp. xii+62; 56 pis.; paper) (Exhibition Mel lor, Anne Kostelanetz. Blake's Human Form Jan. 10, 1973, to Feb. 2, 1973.) Divine. Berkeley: Univ. of California Press, Donoghue, Denis. Thieves of Fire. Oxford: Oxford 1974. $15.00. Univ. Press, 1974. $6.95. (On the works of Morris, David B. The Religious Sublime: Christian Milton, Blake, Melville, and D. H. Lawrence.) Poetry and Critical Tradition in Eighteenth- Easson, Roger R., and Kay Parkhurst Easson, eds., Century England. Lexington: Univ. Press of and Robert N. Essick, assoc. ed. Bibliograph• Kentucky, 1972. (Discusses Blake in passing.) ical Intro, by Gerald E. Bentley, Jr. Materials Nemerov, Howard. Reflexions on Poetry and Poetics. For the Study of William Blake's America: A New Brunswick: Rutgers Univ. Press, 1972. Prophecy. (Materials for the Study of William ("Poetry, ProDhecy, Prediction," pp. 103-23; Blake: A Facsimile Series for the General "Two Ways of the Imagination: Blake and Reader, Vol. I.) Illinois State Univ., Wordsworth," pp. 208-21.) Normal: The American Blake Foundation, 1975. Nurmi, Martin K. William Blake. London: Easson, Roger R., and Robert N. Essick. William Hutchinson Univ. Library, 1975. kl.95, paper. Blake: Book Illustrator. Vol. I. Tulsa: (4 pis.) Joseph Nichols, Publisher, 1973. $5.00, paper. Palmer, Samuel. The Letters. Raymond Lister, ed. Erdman, David V. The Illuminated Blake. Garden 2 Vols. Oxford: Clarendon Press, 1974. City, N. Y.: Anchor-Doubleday, 1974. $7.95, L28.00. paper. Powell, Nicolas. Fuseli: The Nightmare. London: Erdman, David V., ed., assisted by Donald K. Moore. Allen Lane, The Penguin Press, 1973. (Art in The Notebook of William Blake: A Photographic Context Series.) $1.95. (57 illus.) and Typographic Facsimile. Oxford: Clarendon Preston, Kerrison, ed. Notes for a Catalogue of Press, 1973. L16.00; $45.00. the Blake Library at the Georgian House, Frosch, Thomas R. The Awakening of Albion: The Merstham. West Orange, N. J.: Albert Saifer, Renovation of the Body in the Poetry of William 1973. $6.00. Blake. Ithaca: Cornell Univ. Press, 1974. Puree, Jill. The Mystic Spiral: Journey of the $10.00. Soul. New York: Avon Books, 1974. $4.95, Gilchrist, Alexander. The Life of William Blake. paper. (References to and reproductions of Intro, by W. A. G. Doyle-Davidson. East Blake.) Ardsley, Wakefield, England: E. P. Publishing Quennell, Peter. A History of English Literature. Ltd., 1973. Vol. I. L5.00. (Facsimile London: Weidenfeld & Nicolson, 1974. (pp. reprint of 1880 edition.) 243-48 on Blake; 5 illus.) Guilhamet, Leon. The Sincere Ideal: Studies on Raine, Kathleen. Blake and Antiquity. Princeton: Sincerity in Eighteenth-Century English Princeton Univ. Press (Bollingen Series), 1974. Literature. Montreal: McGi 11-Queens Univ. $3.95. (A paper edition of Blake and Tradition.) Press, 1974. (On Blake, pp. 259-68.) Roberts, Mark. The Tradition of Romantic Morality. Hickman, Trevor, Don Humberston, Bob Simpson, and London: MacMillan Press, 1973. (Chapter 3, Caspar Standing. William Blake--Private "Blake and the Damnation of Reason.") Printer. The Orchard, Wymondham, Leicester• Ryskamp, Charles, ed. The Pickering Manuscript shire: Brewhouse Private Press, 1972. (facsimile). New York: Pierpont Morgan (Broadsheet with inserts; 12 Blake i11 us.) Library, 1972. $3.00. John, Brian. Supreme Fictions: Studies in the Sabri-Tabrizi, G. R. The "Heaven" and "Hell" of Work of William Blake, Thomas Carlyle, W. B. William Blake. London: Lawrence and Wishart, Yeats, and D. H. Lawrence. Montreal: McGill- 1973. L4.75; $13.50. (Illus.) Queens Univ. Press, 1974. $13.50. Sharpless, F. Parvin. The Myth of the Fall: Ketterer, David. New Worlds for Old: the Apocal• Literature of Innocence and Experience. yptic Tradition, Science Fiction, and American (Hayden Humanities Series.) Rochelle Park, Literature. Bloomington, Ind.: Indiana Univ. N. J.: Hayden Book Co., 1974. $3.68. Press, 1974. (A chapter on Blake.) (Textbook; treats Augustine, Milton, Blake, Kettle, Arnold. William Blake (1757-1827). Walton and others.) Hall, Bletchley, Bucks: The Open Univ. Press, Stevenson, Warren H. Divine Analogy: A Study of 1972. (Textbook module for Units 21-22 in the Creation Motif in Blake and Coleridge. "The Age of Revolutions," a course in The (Romantic Reassessment Series.) Salzburg: Open University Dept. of HarDer & Row Dr. James Hogg, Institute fur Englische Publishers; 56 pp., 13 illus.) Sprache und Literatur, Univ. of Salzburg Kumashiro, Soho. Blake wo tadashiku yomu. Tokyo: A-5020, 197?. Hokuseido. Thorburn, David, and Geoffrey Hartman, eds. Leavis, F. R. Nor Shall My Sword: Discourses on Romanticism: Vistas. Instances, Continuities. Pluralism, Compassion and Social Hope. London: Ithaca: Cornell Univ. Press, 1974. (Blake 149 mentioned in passing.) of William Blake. 1941; rpt. New York: Gordon Thorpe, Peter. Eighteenth Century English Poetry. Press, 1973. $11.25. Chicago: Nelson-Hall Co., 1975. $8.95. Bronowski, Jacob. William Blake and the Age of (Blake mentioned in regard to Augustan verse Revolution. 1944, 1965; rpt. London: forms.) Routledge and Kegan Paul, 1972. L2.25; L0.90, Tomory, Peter. The Life and Art of Henry Fuseli. paper. London: Thames and Hudson, 1972. Brit. ed. Bruce, Harold. William Blake in This World. 1925; Warren, Barbara. The Feminine Image in Literature. rpt. Books for Libraries (Select Bibliogra• (Hayden Humanities Series.) Rochelle Park, phies Reprint Series), 1972. $13.50. N. J.: Hayden Book Co., 1974. $3.68. Bruce, Harold. William Blake in This World. 1925; (Textbook; Blake mentioned among many.) rpt. Folcroft, PA: Folcroft Library Eds., Whitworth Art Gallery. British Watered ours from 1973. $25.00. the John Edward Taylor Collection in the Burdett, Osbert. William Blake. 1926; rpt. Whitworth Art Gallery. Foreword by C. R. Folcroft, PA: Folcroft Library Eds., 1973. Dodwell. Intro, by Francis W. Hawcroft. $15.00. Manchester: Whitworth Art Gallery, 1973. Butterworth, Adeline M. William Blake: Mystic. L0.50; paper. (Exhibition 17 May 1973--28 1911; rpt. Folcroft, PA: Folcroft Library July 1973.) Eds., 1973. $12.50. Williams, Raymond. The Country and the City. Clarke, John H. The God of Shelley and Blake. Oxford: Oxford Univ. Press, 1973. $9.75. 1930; rpt. Folcroft, PA: Folcroft Library (Blake mentioned in passing.) Eds., 1973. $4.50. Wittreich, Joseph Anthony, Jr. Angel of Apocalypse: Clarke, John H. William Blake on the Lord's Prayer. Blake's Idea of Milton. Madison: Univ. of 1927; rpt. Folcroft, PA: Folcroft Library Wisconsin Press, (May 1975, forthcoming). Eds., 1973. $5.00. Price not set. Clarke, John H. William Blake on the Lord's Prayer. Zigrosser, Carl. Prints and Their Creators: A 1927; rpt. Havertown, PA: Richard West, 1973. World History. New York: Crown Pubs., Inc., $9.75. 1974. (6 black and white ill us.) Clutton-Brock, Alan. Blake. 1933; rpt. Folcroft, PA: Folcroft Library Eds., 1973. $8.75. Damon, S. Foster. A Blake Dictionary: The Ideas and Symbols of William Blake. 1965; rpt. Reprinted Books Boston: Brown Univ. Press, 1973. $20.00. Damon, S. Foster. A Blake Dictionary: The Ideas and Symbols of William Blake. 1965; rpt. Blake, William. See Milton. London: Thames & Hudson, 1973. LI.95, paper. Blake, William. Drawings of William Blake: Ninety- Damon, S. Foster. William Blake: His Philosophy & Two Pencil Studies. Geoffrey Keynes, ed. Symbols. 1924; rpt. Magnolia, Mass.: Smith 1970; rpt. Santa Fe: William Gannon, 1973. Smith, 1973. $12.50. $5.75. Dickinson, Tate L. William Blake's Anticipation of Blake, William. Drawings of William Blake: Ninety- the Individualistic Revolution. 1915; rpt. Two Pencil Studies. Geoffrey Keynes, ed. Folcroft, PA: Folcroft Library Eds., 1973. 1970; rpt. New York: Peter Smith, 1973. $5.00. $6.00. Gardner, Charles. Vision & Vesture. 1916; rpt. Blake, William. Mary Wollstonecraft's Original Folcroft, PA: Folcroft Library Eds., 1973. Stories. 1907; rpt. Folcroft PA: Folcroft $7.45. Library Eds. , 1973. $10.00. Gardner, Charles. William Blake: The Man. 1919; Blake, William. Milton. A. Russell & E. Maclagan, rpt. New York: AMS Press, 1973. $9.00. eds. 1907; rpt. Folcroft, PA: Folcroft Garnett, Richard. William Blake: Painter & Poet. Library Eds., 1973. $6.50. 1895; rpt. Folcroft, PA: Folcroft Library Blake, William. Poems & Prose. Jacob Bronowski, Eds., 1971. $8.50. ed. Rpt. New York: Penguin, 1973. Paper, Gilchrist, Alexander. The Life of William Blake. $1.25. 1880; rpt. Totowa, N. J.: Rowman and Little- Blake, William. The Poetical Works of William field, 1973. $16.50. (Illus.) Blake. William Michael Rossetti, ed. 1914; Hamblen, Emily S. On the Minor Prophecies of rpt. New York: AMS Press, 1972. $15.00. William Blake. 1930; rpt. Havertown, PA: Blake, William. Selected Poems. 1947; rpt. Richard West, 1973. $14.75. Folcroft, PA: Folcroft Library Eds., 1973. Harris, Eugenie. Monarch Literature Notes on the $10.00. Poetry of Blake. 1965; rpt. New York: Blake, William. Songs of Innocence & of Experience. Monarch Press, 1973. $1.00. Ruthven Todd, ed. 1794; rpt. Folcroft, PA: Levis, H. C. A Bibliography of the Art and History Folcroft Library Eds., 1973. $5.00. of Engraving. 1912-13; rpt. London: Dawson's, Blake, William. The Works of William Blake; Poetic, 1974. L35.00. Symbolic, & Critical . . . Edwin John Ellis MacDonald, Greville. The Sanity of William Blake. and William Butler Yeats, eds. 1893; rpt. (Studies in Blake Series, No. 3.) 1908; rpt. New York: AMS Press, 1973. 3 Vols., $100.00; New York: Haskell House, 1970. $3.95. $35.00 each. (Illus.) MacDonald, Greville. The Sanity of William Blake. Blake, William, and John Donne. Complete Poetry. 1908; rpt. Havertown, PA: Richard West, (Modern Library Giants.) 1941; rpt. New York: 1973. $3.75. Modern Library, 1973. $4.95. Milton, John. Poems in English, with Illus. by Blois, R. E. The American Reputation & Influence William Blake. London: Nonesuch Press, 1926; 150 rpt. St. Clair Shores, Mich.: Scholarly Press, Witcutt, W. P. Blake: A Psychological Study. 1970. 1941; rpt. Folcroft, PA: Folcroft Library Murry, John M. William Blake. 1933; rpt. New York: Eds., 1973. $5.00. Haskell House, 1971. $14.95. Witcutt, W. P. Blake: A Psychological Study. Murry, John M. William Blake. 1933; rpt. Havertown 1946;rpt. New York: Gordon Press, 1973. $13.50. PA: Richard West, 1973. $13.75. Wolf-Gumpold, Kaethe. William Blake: Painter, Poet, Nicoll, Allardyce. William Blake & His Poetry. Visionary--An Attempt at an Introduction to his 1922; rpt. Folcroft, PA: Folcroft Library Life and Work. 1969; rpt. Spring Valley, Eds., 1973. $7.50. N. Y.: Anthroposophic Press, Inc., 1973. Nicoll, Allardyce. William Blake & His Poetry. $4.95. 1922; rpt. New York: AMS Press, Inc., 1973. Wright, Thomas. The Life of William Blake. 1929; $7.25. rpt. New York: Abner Schram, 1972. $22.50. Nurmi, Martin. Blake's Marriage of Heaven and Hell. (Illus.) 1957; rpt. New York: Haskell House, 1972. Wright, Thomas. The Life of William Blake. (2 $7.95. vols, in 1.) 1929;rpt. Chickeley, England: Pinto, Vivian de Sola, ed. The Divine Vision. Paul P. B. Minet, 1972. $22.50. 1957; rpt. New York: Haskell House, 1973. $10.95. Pointon, Marcia R. Milton and English Art: A Study in the Pictorial Artist's Use of a Literary Parts of Books Source. 1970; rpt. Manchester: Manchester Univ. Press, 1974. tl.20, paper. Preston, Kerrison. Blake & Rossetti. 1944; rpt. Beaty, F. L. "The New Moralists." In Light From Folcroft, PA: Folcroft Library Eds., 1973. Heaven. DeKalb: Northern Illinois Univ. $16.75. Press, 1971. pp. 109-31. Preston, Kerrison. Blake & Rossetti. (Studies in Butter, P. H. "Blake's Book of Urizen and Boehme's Comparative Literature, No. 35.) 1944; rpt. Mysteriwn Magnum." In Le Romantisme Anglo- New York: Haskell House, 1970. $16.95. Americain: Melanges Offerts a Louis Bonnerot Robinson, Henry Crabb. Blake, Coleridge, Wordsworth, (Etudes Anglaises). Ed. Roger Asselineau, Lamb, Etc., Being Selections from the Remains et. al. Paris: Didier, 1971. pp. 35-44. of Henry Crabb Robinson. Edith J. Morley, Curran, Stuart. "The Mental Pinnacle: Paradise ed. 1922; rpt. New York: AMS Press, 1973. Regain'd and the Romantic Four-Book Epic." $10.00. In Calm of Mind: Tercentenary Essays on Rossetti, William Michael. Letters of William Michael Paradise Regain'd and Samson Agonistes. Rossetti. Clarence Gohdes and Paull F. Baum, eds. Cleveland: Case Western Reserve Univ. Press, 1971. pp. 133-62. 1934;rpt. New York: AMS Press, 1973. $10.00. Epstein, E. L. "Blake's 'Infant Sorrow': An Essay Russell, Archibald G. The Engravings of William in Discourse Analysis." In Current Trends in Blake. 1912; rpt. New York: Benjamin Blom, Stylisties. (Papers in Linguistics Monograph 1973. $12.50. Series 2.) Eds. Braj B. Kachru and Herbert Short, Ernest H. Blake. 1926; rpt. Havertown, PA: F. W. Stahlke. Edmonton, Alberta/Champaign, Richard West, 1973. $8.75. 111.: Linguistic Research, Inc. pp. 231-41. Story, Alfred T. William Blake: His Life, Character Frye, Northrop. "Blake's Case Against Locke." In & Genius. 1893; rpt. Folcroft, PA: Folcroft English Literature and British Philosophy: a Library Eds., 1973. $8.75. Collection of Essays. Ed. S. P. Rosenbaum. Swinburne, Algernon C. William Blake: A Critical Chicago: Univ. of Chicago Press, 1971. pp. Essay. 1868; rpt. Folcroft, PA: Folcroft 119-35. (Reprint of 1947 essay, Chapter 1 of Library Eds., 1973. $12.00. Fearful Symmetry.) Swinburne, Algernon C. William Blake: A Critical Hagstrum, Jean H. '"Such, Such Were the Joys': Essay. 1868; rpt. Havertown, PA: Richard The Boyhood of the Man of Feeling." In West, 1973. $12.45. Changing Taste in Eighteenth-Century Art and Swinburne, Algernon C. William Blake: A Critical Literature: Papers Read at a Clark Library Essay. 1868; rpt. New York: Benjamin Blom, Seminar, April 17, 1971. Eds. Robert E. Moore 1973. $12.50. (Illus.) and Jean H. Hagstrum. Intro, by Earl Miner. Symons, Arthur. William Blake. 1907; rpt. Los Angeles: William Andrews Clark Memorial Folcroft, PA: Folcroft Library Eds., 1973. Library (UCLA), 1972. pp. 43-61. $12.00. Symons, Arthur. William Blake. 1907; rpt. Haver• Hartman, Geoffrey H. "Blake and the Progress of town, PA: Richard West, 1973. $12.45. Poesy." In Beyond Formalism. New Haven: Wicksteed, Joseph H. Blake's Innocence & Experience: Yale Univ. Press, 1970. pp. 193-205. A Study of the Songs and Manuscripts. 1928; Hartman, Geoffrey H. "Reflections on the Evening rpt. Folcroft, PA: Folcroft Library Eds., Star: Akenside to Coleridge." In New 1973. $35.00. Perspectives on Coleridge and Wordsworth Wicksteed, Joseph H. Blake's Innocence & Experience: (Selected Papers from the English Institute). A Study of the Songs and Manuscripts. 1928; Ed. Geoffrey H. Hartman. New York: Columbia rpt. St. Clair Shores, Mich.: The Scholarly Univ. Press, 1972. pp. 85-132. (Discusses Press, 1973. $14.50. Blake's star symbolism.) Wicksteed, Joseph H. Blake's Vision of the Book of Hilles, Frederick W. "Reynolds Among the Romantics." Job. 1924; rpt. Havertown, PA: Richard West, In Literary Theory and Structure: Essays in 1973. $11.75. Honor of William K. Wimsatt. Eds. Frank Brady, 151 John Palmer, and Martin Price. New Haven: Yale Univ. Press, 1973. pp. 267-82. (Treats Blake's, Haydon's, and Hazlitt's marginalia on the Discourses.) Articles Kaplan, Fred. "Blake's Artist." In Miracles of Rare Device: The Poet's Sense of Self in Adams, Hazard. "Blake and the Philosophy of Literary Nineteenth-Century Poetry. Detroit: Wayne Symbolism." New Literary History, 5 (1973), State Univ. Press, 1972. pp. 17-28. 135-46. Lamaitre, Henri. "William Blake, Vision et Poesie." Adamson, Arthur. "Structure and Meaning in Blake's In Le Romantisme Anglo-Americain: Melanges 'The Mental Traveller,'" Mosaic, 7 (Summer 1974), Offerts a Louis Bonnerot (Etudes Anglaises). 41-58. Ed. Roger Asselineau et. al. Paris: Didier, Adlard, John. "Blake's 'The Little Girl Lost and 1971. pp. 45-54. Found.'" Archiv, 210 (Dec. 1973), 330-34. Leavis, F. R. "Introductory: 'Life' is a Necessary Adlard, John. "Los Enters London." Word." In Nor Shall My Sword. London: Chatto English Studies, 54 (June 1973), 227-30. & Windus, 1972. pp. 11-37. (Discusses Blake Allentuck, Marcia. "Blake, Flaxman, and Thomas: among others.) A New Document." Harvard Library Bulletin, Lovell, Ernest J., Jr. "The Heretic in the Sacred 20 (July 1972), 318-19. Wood." In Romantic and Victorian: Studies Avni, Abraham. "Blake's 'Tiriel'--The Meaning of in Memory of William H. Marshall. Paul W. 'Ijim'." Notes & Queries, 21 (Feb. 1974), Elledge and Richard L. Hoffman, eds. 60-61. Rutherford, N. J.: Fairleigh Dickinson Univ. Bateson, F. W. Editorial comment on Doyno, "Blake's Press, 1971. Revision of 'London.'" Essays in Criticism, Manning, Sylvia. "William Blake." In Images of 22 (Jan. 1972), 61-62. the City: London in Eighteenth- and Nineteenth- Bentley, Gerald E., Jr. "Blake and Cromek: The Century Literature. New York: Harper & Row Wheat and the Tares." Modern Philology, 71 (Harper Studies in Language and Literature), (May 1974), 366-79. 1974. pp. 10-11. Bentley, Gerald E., Jr. "A Unique Prospectus for Neubauer, John. "The Sick Rose as an Aesthetic Idea: Blake's Grave Designs." The Princeton Kant, Blake, and the Symbol in Literature." University Library Chronicle, 35 (Spring 1974), In Irrational ism in Eighteenth-Century Culture 321-25. (Vol. 2, Studies in Eighteenth-Century Culture). Bishop, Morchard. "The Poet and the Attorney: The Cleveland: The Press of the Case Western Story of a Legacy." Book Collector, 21 Reserve Univ., 1972. pp. 167-79. (Summer 1972), 245-54. Nichols, Maryann. "An Epochal Palimpsest." In The Blake, William. (Various poems and excerpts Celtic Bull: Essays on James Joyce's Ulysses. translated into Danish by Gunnar Harding and (Tulsa Monograph Series, No. 1.) Tulsa: Univ. Percival). Horisont, 20 (1973), 12-13, 27, of Tulsa Dept. of English, 1961. pp. 1-23. 29-33. (Milton as one among several analogs for Bloom, Harold. "Clinamen or Poetic Misprision." Ulysses.) New Literary History, 3 (1972), 373-91. (Milton's influence on the Romantics, esp. Rexroth, Kenneth. "William Blake." In The Blake.) Elastic Retort. New York: Seaburg Press, Borck, Jim S. "Blake's 'The Lamb1: The Punctuation 1973. pp. 77-80. of Innocence." Tennessee Studies in Roberts, Mark. "Blake and the Damnation of Reason." Literature, 19 (1974), 163-75. In The Tradition of Romantic Morality. New Brantlinger, Patrick M. "Classic and Romantic: An York: Barnes & Noble Books, 1973. pp. 82-122. Augury of Innocence." College English, 33 Spinks, C. William. "Blake's Spectre." In Studies (March 1972), 702-11. in Relevance: Romantic and Victorian Writers in 1972. (Salzburg Studies in English Butlin, Martin. "The Blake Collection of Mrs. Literature, Romantic Reassessment, 32) Ed. William T. Tonner." Bulletin of the Philadel• Thomas Meade Harwell. Salzburg: Univ. of phia Museum of Art, 67 (July-Sept. 1972): No. Salzburg, 1973. pp. 24-35. 307. (pp. 34, 18 illus.) $1.00. Butlin, Martin. "Five Blakes from a Nineteenth- Thorslev, Peter L., Jr. "Some Dangers of Didactic Century Scottish Collection." Blake Newsletter, Thinking, with Illustrations from Blake and 7 (Summer 1973), 4-8. (6 illus.) His Critics." In Romantic and Victorian: Carey, Frances A. "James Smetham (1821-1889) and Studies in Memory of William H. Marshall. Gilchrist's Life of Blake." Blake Newsletter, Paul W. Elledge and Richard L. Hoffman, eds. 8 (Summer-Fall 1974), 17-25. (11 illus.) Rutherford, N. J.: Fairleigh Dickinson Univ. Charmet, Raymond. "Le Courant Fantastique Press, 1971. pp. 43-74. Souterrain XVIe--XIXe Siecles." Jardin des Ward, Aileen. "The Forging of Ore: Blake and Arts, 204 (Nov. 1971), 34-41. (Discusses the Idea of Revolution." In Literature in Revolution. (A Triquarterly Book.) George A. Callor, Arcimboldo, Desideriro, Fuseli, and White and Charles Newman, eds. New York: Blake.) Holt, Rinehart and Winston, 1972. pp. 204-27. Chayes, Irene H. "Blake and the Seasons of the Poet." Studies in Romanticism, 11 (Summer 1972), 225-40. Chayes, Irene H. "The Marginal Design on Jerusalem 12." Blake Studies, 7 (1974), 51-76. Cohen, Sandy. "Is William Blake's Concept of 152 Studies in Romanticism, 13 (Spring 1974), Marriage Kabbalistic?" Notes & Queries, 20 (March 1973), 100-01. 127-40. , n u * Colbert, Alison. "A Talk with Allen Ginsberg." Helms, Randel. "Proverbs of Heaven and Proverbs of Partisan Review, 38 (Fall 1971), 289-309. Hell." Punch, 38 (March 1974), 51-58. (On Ginsberg's musical settings of the Songs Herzing, Thomas W. "Book I of Blake's Milton: of Innooenoe and of Experience.) Natural Religion as an Optical Fallacy." Blake Connolly, Thomas E. "Songs of Innocence, Keynes Studies, 6 (Fall 1973), 19-34. (1921) Copy U, Keynes-Wolf (1953) Copy U." Hoover, Suzanne R. "The Public Reception of Blake Newsletter, 7 (Spring 1974), 88-89. Gilchrist's Life of Blake." Blake Newsletter, Cook, Albert. "Blake's Milton." Costerus, 6 8 (Summer-Fall 1974), 26-30. (1972), 27-33. Hutchison, Alexander N. "Blake's Illustrations to Curtis, F. B. "Blake and the 'Moment of Time1: Milton's On the Morning of Christ's Nativity." An Eighteenth-Century Controversy in Mathe• British Columbia Library Quarterly, 36 (Oct. matics." Philological Quarterly, 51 (1972), 1972-Jan. 1973), 9-20. 460-70. Jackson, Wallace. "William Blake in 1789: Unorgan• Denvir, B. "Sensibility and Cybernetics; some ized Innocence." Modern Language Quarterly, recent books about art." Art International, 33 (Dec. 1972), 396-404. 16 (Feb. 1972), 64-66. Jakubec, Doris. '"La Rose Malade' de William Blake." Doxey, William S. "William Blake and the Lunar Etudes de Lettres, 5 (April-Sept. 1972), 51-59. Society." Notes & Queries, 18 (Sept. 1971), James, G. Ingli. "Blake's Woodcuts Illuminated." 343. Apollo, 99 (March 1974), 194-95. (illus.) Doyno, V. "Blake's Revision of 'London'." Essays James, G. Ingli. "Blake's Woodcuts." Times Literary in Criticism, 22 (Jan. 1972), 58-63. Supplement, 8 June 1973, p. 645. (Answer to Erdman, David V. "The Steps (of Dance and Stone) a query from Reynolds Stone in Times Literary that Order Blake's Milton." Blake Studies, Supplement, 1 June 1973, p. 617.) 6 (Fall 1973), 73-87. Keynes, Geoffrey. "Blake." Times Literary Supple• Essick, Robert N. "Blake in the Marketplace, 1972- ment, 5 May 1972, p. 521. (Reply to Pierre 73." Blake Newsletter, 7 (Winter 1973-1974), Leyris on emending Poetical Sketches.) 52-59. (1 illus.) Keynes, Geoffrey. "The Blake Trust Gray Catalogue Essick, Robert N. "Blake, Linnell, & James Upton: and the Blake Trust Facsimiles." Blake News• An Engraving Brought to Light." Blake News• letter, 7 (Winter 1973-1974), 64-66. letter, 7 (Spring 1974), 76-79. (2 illus.) Keynes, Geoffrey. "William Blake & Bart's." Blake Essick, Robert N. "Jerusalem 25: Some Thoughts Newsletter, 7 (Summer 1973), 9-10. (1 illus.) on Technique." Blake Newsletter, 7 (Winter Kroeber, Karl. "Perspectives on Blake's Milton: A Prefatory Note." Blake Studies, 6 (Fall 1973), 1973-1974), 64-66. 7-9. (Preface to the 1973 MLA Seminar papers. Evanoff, Alexander. "The Visions of William See Johnson, Herzing, Jeffrey Mitchell, W. J. T. Blake." Antigonish Review, 2 (Sept. 1971), Mitchell, and Erdman.) 11-18. La Belle, Jenijoy. "Theodore Roethke and Tradition: Fawcus, Arnold. "Blake's Illustrations for the 'The Pure Serene of Memory in One Man.'" Book of Job." Times Literary Supplement, Northwest Review, 11 (Summer 1971), 1-18. 15 March 1974, pp. 271-72. (6 illus.) (Blake mentioned as an influence on later Fawcus, Arnold. "Illustrations de William Blake Roethke.) Pour Les Poems de Thomas Gray." Jardin des Lefcowitz, Barbara F. "Omnipotence of Thought and Arts, 205 (Dec. 1971), 2. the Poetic Imagination: Blake, Coleridge, Fawcus, Arnold. "William Blake's Watercolour and Rilke." Psychoanalytic Review, 59 (Fall Designs Illustrating Gray's Poems--and Mr. 1972), 417-32. (Discusses "A Poison Tree," Paul Mellon." Connoisseur, 179 (Jan. 1972), pp. 418-21.) 10-14. Fletcher, Ian. "Edwin Ellis's Letter to Fairfax Leyris, Pierre. "Blake." Times Literary Supple• Murray, 31 Jan. 1892." Book Collector, 21 ment, .<_8 April 1972, p. 496. (On emending (Autumn 1972), 414. (corrections to letter Poetical Sketches—see Keynes' reply.) printed in Book Collector, 21 (Spring 1972); McConnell, Frank D. "Romanticism, Language, Waste: Ellis's letter mentions a Blake MS.) A Reflection on Poetics and Disaster." Bucknell Fletcher, Ian, ed. "John Todhunter's Lectures on Review, 20 (Winter 1972), 121-40. (pp. 135- Blake, 1872-1874." Blake Newsletter, 8 39 discusses "Introduction" to Songs of Innocence and other Blake.) (Summer-Fall 1974), 4-14. Mackerness, E. D. "Blake and the Malkins." Durham Goslee, Nancy M. '"In England's green & pleasant Land': The Building of Vision in Blake's University Journal, 66 (March 1974), 179-84. Stanzas from Milton." Studies in Romanticism, MacMillan, Malcolm Kingsley. "Dialogue Between 13 (Spring 1974), 105-25. Blake and Wordsworth: written in Rome before Grant, John E. "Blake's 'Illustrations of the Book 17 April 1889 and left unfinished." Blake of Job."' Times Literary Supplement, 30 Newsletter, 8 (Summer-Fall 1974), 38-41. Nov. 1973, p. 1484. Marks, Mollyanne. "Self-Sacrifice: Theme and Grant, John E., and Mary Lynn Johnson. "Illuminated Image in Jerusalem." Blake Studies, 7 (1974), Books in the Cincinnati Art Museum." Blake 27-50. Newsletter, 7 (Fall 1973), 40-43. (3 illus.) Mitchell, Jeffrey. "Progression from the Marriage Helms, Randel. "Blake at Felpham: A Study in the into the Bard's Song of Milton." Blake Studies, 6 (Fall 1973), 35-45. Psychology of Vision." Literature and Psycho• Mitchell, W. J. T. "Style and Iconography in the logy, 22 (1972), 57-66. Illustrations of Blake's Milton." Blake Helms, Randel. "Ezekiel and Blake's Jerusalem." 153 Studies, 6 (Fall 1973), 47-71. Sanzo, Eileen. "William Blake and the Technological Moore, Donald K. "Blake's Notebook Versions of Age." Thought, 46 (Winter 1971), 577-91. Infant Sorrow." Bulletin of the New York Johnson, Mary Lynn. '"Separating What Has Been Public Library, 76 (1972), 209-19. (3 illus.) Mixed': A Suggestion for A Perspective on Morkan, Joel. "Milton's Eikonoklastes & Blake's Milton." Blake Studies, 6 (Fall 1973), 11-17. Mythic Geography: A Parallel." Blake News• Serrano-Poncela, Segundo. "Blake Sin Profecia." letter, 7 (Spring 1974), 87, 89. Asomante, 23 (July-Sept. 1967), 7-24. Muir, Kenneth. "William Blake and the Eighteenth- Stevens, L. Robert. "The Exorcism of England's Century." Literary Half-Yearly, 12 (1971), Gothic Demon." Midwest Quarterly, 14 (Winter 87-97. 1973), 151-64. Murray, E. B. "Jerusalem Reversed." Blake Studies, Stevenson, W. H. "On the Nature of Blake's 7 (1974), 11-25. Symbolism." Texas Studies in Literature and Murray, Roger. "Blake and the Ideal of Simplicity." Language, 15 (1973), 445-60. Studies in Romanticism, 13 (Spring 1974), Tayler, Irene. "The Woman Scaly." BMWMLA 6 (1973), 89-104. 74-87. Paley, Morton D. "The Critical Reception of A Taylor, Gary J. "The Structure of The Marriage: Critical Essay." Newsletter, 8 (Summer- A Revolutionary Primer." Studies in Fall 1974), 32-37. (4 illus.) Romanticism, 13 (Spring 1974), 141-45. Parker, Patricia. "The Progress of Phaedria's Taylor, Peter Alan. "Blake's Text for the Enoch Bower: Spenser to Coleridge." English Literary Drawings." Blake Newsletter, 7 (Spring 1974), History, 40 (1973), 372-97. (Traces bower 82-86. (6 illus.) motifs in Spenser, Milton, Thomson, Blake and Todhunter, John. See Fletcher. Keats.) Tolley, Michael J. "John Todhunter: A Forgotten Packer, William, and G. S. Whittet. "London." Debt to Blake." Blake Newsletter, 8 (Summer- Art and Artists, 6 (Jan. 1972), 46-47, 49. Fall 1974), 15-16. (About the Tate Gallery Exhibit of Blake's Trawick, Leonard. "Nature and Art in Milton: Illustrations to Gray.) Afterthoughts on the 1973 MLA Seminar." Blake Paulson, Ronald. "The Spectres of Blake and Newsletter, 7 (Winter 1973-1974), 67-68. Rowlandson." Listener, 90 (2 Aug. 1973), 140- bardie, Judith. "Satan, not Having the Science of 42. (illus.) Wrath, but only of Pity." Studies in Roman• Pearcy, Roy J. "Blake's Tyger & Richard Crashaw's ticism, 13 (Spring 1974), 147-54. Paraphrase of Thomas of Celano's Dies Irae." darner, Janet. "Blake and English Printed Textiles." Blake Newsletter, 7 (Spring 1974), 80-81. Blake Newsletter 6 (Winter 1973), 84-92. Percival (Milton 0.?) "Fern ut drag ur boken (15 illus.) Jerusalem." Horisont, 20 (1973), 27-28. Welch, Dennis M. "Blake, Nehemiah and Religious Percival, (Milton 0.?) "Visionaren William Blake- Renewal." Christian Scholar's Review, 2 den skapande fantasins profet." Horisont 20 (1973), 308-10. (1973), 14-26. (7 illus.; includes several of Williams, Harry. "Dylan Thomas' Poetry of the lyrics translated into Swedish.) Redemption: Its Blakean Beginnings." Bucknell Peschel, Enid Rhodes. "Violence and Vision: A Study Review, 20 (Winter 1972), 107-20. of William Blake and Arthur Rimbaud." Revue Williams, Harry. "The Tyger and the Lamb." de Litterature Comparee, 46 (July-Sept. 1972), Concerning Poetry, 5:1, 49-56. 376-95. Williams, Porter, Jr. "'Duty' in Blake's 'The Peterson, Jane E. "The Visions of the Daughters of Chimney Sweeper' of Songs of Innocence." Albion: A Problem in Perception." Philolog-" English Language Notes, 12 (Dec. 1974), 92-96. ical Quarterly, 52 (April 1973), 252-64. Wills, James T. "An Additional Drawing for Blake's Pittman, Philip McM. "Blake, Rossetti, and Bunyan Series." Blake Newsletter, 6 (Winter Reynolds: a Detail." Notes & Queries, 21 1973), 63-67. (1 illus.) (June 1974), 215-16. Wilton, Andrew. "A Fan Design by Blake." Blake Raine, Kathleen. "Hopkins, Nature and Human Nature." Newsletter, 7 (Winter 1973-1974), 60-63. Sewanee Review, 81 (Spring 1973), 201-24. (4 illus.) (Blake mentioned in comparison.) Witke, Joanne. "Blake's Tree of Knowledge Grows Reich, M. "Imagination of Elihu Vedder--As Revealed Out of the Enlightenment." Enlightenment In His Book Illustrations." American Art Essays, 3 (Summer 1972), 71-84. Journal, 6 (May 1974), 48-50. (1 Blake illus.) Wittreich, Joseph Anthony, Jr. "'Divine Countenance' Reisner, Mary Ellen. The Rainbow in Blake's Blake's Portrait and Portrayals of Milton." Visions of the Daughters of Albion." Notes & Huntington Library Quarterly, 38 (Feb. 1975), Queries, 18 (Sept. 1971), 341-43. 125-60. (14 illus.) Rizzardi, Alfredo. "Ungaretti e le visioni di Wittreich, Joseph A., Jr. "Domes of Mental Pleasure: Blake." L'Approdo Letterario, 18 (March 1972), Blake's Epics and Hayley's Epic Theory." 114-19. Studies in Philology, 69 (Jan. 1972), 101-29. Roberts, Neil. "The Spirit of Crow." Delta, 50 Wright, John. "Towards Recovering Blake's Relief- (Spring 1972), 3-15. Etching Process." Blake Newsletter, 7 (Fall Rose, Edward J. "Preface—Perspectives on 1973), 32-39. (12 illus.) Jerusalem." Blake Studies, 7 (1974), 7-9. (Preface to the 1974 MLA Seminar papers. See Irene H. Chayes, Mollyanne Marks, and E. B. Murray.) Ryan, Robert M. '"Poisonous Blue.'" Blake Newsletter, 7 (Spring 1974), 87, 89. 154 1974), 266; Choice, 10 (Sept. 1973), 965-66; Kirkus Reviews, 40 (1 Dec. 1972), 1383; Alison Heinemann, Library Journal, 98 (15 May 1973), 1583. Reviews Bogen, Nancy, ed. The Book of Thel: A Facsimile and a Critical Text. Reviewed by John E. Grant, Adlard, John. The Sports of Cruelty: Fairies, Philological Quarterly, 51 (1972), 643-44; Folksongs, Charms and Other Country Matters in Kerry McSweeny, Queen's Quarterly, 79 (1972), the Work of William Blake. Reviewed by 236-37; W. H. Stevenson, Studies in Romanticism, Katharine M. Briggs, Blake Newsletter, 7 11 (1972), 71-72; "Disorientations," Times (Summer 1973), 22-23; Irene H. Chayes, Studies Literary Supplement, 29 Sept. 1972, p. 1145; in Romanticism, 13 (Spring 1974), 155-64; Francis Wood Metcalf, Blake Newsletter, 7 T. R. Henn, Modern Language Review, 69 (Summer 1973), 17-19; Donald D. Ault, Modern (April 1974), 379-80. Philology, 71 (Nov. 1973), 218-21; Max F. Ault, Donald D. Visionary Physics: Blake's Response Schultz, Eighteenth-Century Studies, 7 (Fall to Newton. Reviewed by Stuart Curran, Studies 1973), 120-23. in English Literature 1500-1900, 14 (Autumn Brisman, Leslie. Milton's Poetry of Choice and Its 1974), 639-40; Dewey R. Faulkner, "Starry Romantic Heirs. Reviewed by Leslie Tannenbaum, Wheels and Living Forms," Yale Review, 64 Blake Studies, 6 (Fall 1973), 84-85; David V. (Winter 1975), 271-74; Dennis R. Dean, Library Erdman, English Language Notes, 12 (Sept. 1974, Journal, 99 (April 15, 1974), 1133. Supplement No. 1), 23; Herbert E. Shapiro, Beer, John. Blake's Visionary Universe. Reviewed Library Journal, 98 (15 Feb. 1973), 546; Choice, by Desiree Hirst, The Yearbook of English Studies, 10 (Oct. 1973), 1188. 2 (1972), 294-95. Bronowski, Jacob. William Blake and the Age of Bentley, Gerald E., Jr., comp. The Blake Collection Revolution. Reviewed in The Times, 23 March of Mrs. Landon K. Thorne. Reviewed by John E. 1972, p. 10; "Is there a natural Blake?" Grant, Philological Quarterly, 51 (1972), Times Literary Supplement, 28 April 1972, 642-43; "Is there a natural Blake?" Times p. 470. Literary Supplement, 28 April 1972, p. 470. Bronowski, Jacob, narrator. William Blake (BBC). Bentley, Gerald E., Jr. Blake Records. Reviewed Reviewed by Morton D. Paley, "BBC Blake," by Jerome J. McGann, Modern Philology 69 Blake Newsletter, 7 (Summer 1973), 16. (Feb. 1972), 261-66. Burstall, Christopher, director. Tuger, Tyger Bentley, Gerald E., Jr., ed. Tiriel. Reviewed by (BBC-TV, London, 1969.) Reviewed by Morton D. Manfred Putz, Anglia, 89:2, 265. Paley, "BBC Blake," Blake Newsletter, 7 (Summer Bindman, David, comp. William Blake: Catalogue 1973), 16. of the Collection in the Fitzwilliam Museum. Clark, Kenneth, et. al., compositors. "Romantic Reviewed by John E. Grant, Philological Painting in Britain from Gainsborough to the Quarterly, 51 (1972), 643. Pre-Raphaelites." An Exhibition at the Petit Blake, William. The Book of Ahania. (Trianon Palais, Paris, Jan.--Feb. 1972. Reviewed by Press, facsimile.) Reviewed in "The Processes Guy Brett, "Romanticism Seen as the English of William Blake," Times Literary Supplement, Grand Style," The Times, 28 Jan. 1972, p. 12 15 (Feb. 1974), pp. 145-47. (Illus.: Blake's "Pity"). Blake, William. The Grave: A Poem. Illustrated Colnaghi & Co., A Loan Exhibition of Drawings, Water- by Twelve Etchings executed by Louis Schiavonetti, colours, and Paintings by John Linnell and his from the Original Inventions of William Blake Circle. Reviewed by Robert N. Essick, Blake 1808. (Wildwood House, facsimile.) Reviewed Studies, 6 (Fall 1973), 107-08. in "The Processes of William Blake," Times Curran, Stuart, and Joseph Anthony Wittreich, Jr., Literary Supplement, 15 Feb. 1974, pp. 145-47. eds. Blake's Sublime Allegory: Essays on Blake, William. There is no Natural Religion. The Four Zoos, Milton, and Jerusalem. Reviewed (Trianon Press, facsimile.) Reviewed in "Is by Hazard Adams, Blake Newsletter, 7 (Winter there a natural Blake?" Times Literary 1973-1974), 69-72; "The Processes of William Supplement, 28 April 1972, p. 470. Blake," Times Literary Supplement, 15 Feb. Bloom, Harold. The Anxiety of Influence. Reviewed 1974, pp. 145-47; Irene H. Chayes, Studies in America, 128 (14 April 1973), 341; in Romanticism, 13 (Spring 1974), 155-64; Commonweal, 99 (2 Nov. 1973), 112; Economist, Florence Sandler, Western Humanities Review, 248 (7 July 1973), 108-09; New Leader, 56 28 (Autumn 1974), 389-91; David V. Erdman, (30 April 1973), 16; New York Times Book English Language Notes, 12 (Sept. 1974, Review, 4 March 1973, p. 27; New Republic, 168 Supplement No. 1), 29-30; "The Processes of (10 Feb. 1973), 36; John Hollander, Poetry, William Blake," Times Literary Supplement, 122 (Aug. 1973), 298-303; Times Literary 15 (Feb. 1974), pp. 145-47; Mary R. Baine, Supplement, 26 Oct. 1973, p. 1308; Virginia Georgia Review, 28 (Spring 1974), 146-47; Quarterly Review, 49 (Summer 1973), cxv; Dewey R. Faulkner, "Secrets of Dark Contempla• David Gordon, Yale Review, 62 (Summer 1973), tion," Yale Review, 63 (Summer 1974), 590-99; 588-91; New York Times Book Review, 2 Dec. Frank P. Riga, Library Journal, 98 (Aug. 1973), 1973, p. 2; Partisan Review, 40 (Fall 1973), 2296; Choice, 10 (Jan. 1974), 1715. 494; The Nation, 218 (20 April 1974), 498; Damon, S. Foster. A Blake Dictionary: The Ideas Daniel Hoffman, "Misinterpretations," American and Symbols of William Blake. Reviewed by Scholar, 43 (Autumn 1974), 658-71; Comparative Bill Platypus, Spectator, 231 (14 July 1973), Literature, 26 (Summer 1974), 269; Journal 52; Times Literary Supplement, 20 July 1973, of English and Germanic Philology, 73 (March p. 828; Marie Peel, "Symbolism in Blake," 155 Books & Bookmen, 18 (Sept. 1973), 58-59; Renovation of the Body in the Poetry of William Frederick Laws, The Daily Telegraph, 13 Sept. Blake. Reviewed by Pam Bromberg, Studies in 1973, p. 8. Romanticism, 13 (Spring 1974), 169-71; Donoghue, Denis. Thieves of Fire. Reviewed by "Cleansing the Organs of Perception," Times David Ellis, "Head for Heights," New States• Literary Supplement, 5 July 1974, p. 704; man, 87 (8 March 1974), 332-33; "Promythology," David V. Erdman, English Language Notes, 12 Times Literary Supplement, 1 March 1974, p. (Sept. 1974, Supplement No. 1), 33; Stuart 206; Book World (Washington Post), 23 June Curran, Studies in English Literature 1500- 1974, p. 4; The Observer, 31 March 1974, p. 1900, 14 (Autumn 1974), 640-41; Hazard Adams, 39; Andrew von Hendy, America, 131 (10 Aug. English Language Notes, 12 (Dec. 1974), 1974), 60; Milton Quarterly, 8 (Oct. 1974), 152-53; Dewey R. Faulkner, "Secrets of Dark 91-92; Keith Cushman, Library Journal, 99 Contemplation," Yale Review, 63 (Summer (Aug. 1974), 1952-53; Choice, 11 (Nov. 1974), 1974), 590-99; Virginia Quarterly Review, 1306. 50 (Summer 1974), lxxvi; Donald Gilzing, Dumbaugh, Winnifred. William Blake's Vision of Library Journal, 99 (1 Jan. 1974), 57; Choice, America. Reviewed by Max F. Schulz, Eighteenth- 11 (April 1974), 258. Century Studies 7 (Fall 1973), 120-23. Gaunt, William. The Restless Century: Painting in Easson, Roger R., and Robert N. Essick. William Britain, 1800-1900. Reviewed by Robert Blake: Book Illustrator--A Bibliography and Melville, "Token Selection," New Statesman, Catalogue of the Commercial Engravings. 84 (29 Dec. 1972), 988; American Artist, 37 Reviewed in Times Literary Supplement, 16 (June 1973), 62; Graham Reynolds, "The Feb. 1973, p. 189; Doublas Cooper, Books & Victorian Heritage," Apollo, 97 (Feb. 1973), Bookmen, 18 (Aug. 1973), 40-42; Deidre Toomey, 196-97; Books & Bookmen, 18 (March 1973), 24; Blake Newsletter, 7 (Summer 1973), 19; Irene Contemporary Review, 221 (Dec. 1972), 335; H. Chayes, Studies in Romanticism, 13 (Spring David Coombs, Connoisseur, 182 (Feb. 1973), 1974), 155-64. 138; Denys Sutton, "On the Scrutiny of Labels: Erdman, David V., ed. The Illuminated Blake. Nineteenth-Century Art Revalued," Encounter, Reviewed by Lincoln Kirstein, The Nation, 219 40 (Feb. 1973), 63-67; New York Times Book (16 Nov. 1974), 503-04; Dewey R. Faulkner, Review, 3 Dec. 1972, p. 90; "Victorian "Starry Wheels and Living Forms," Yale Review, Masters," Times Literary Supplement, 22 64 (Winter 1975), 271-74. Dec. 1972, p. 1550; Library Journal, 98 Erdman, David V., and John E. Grant, eds. Blake's (15 Jan. 1973), 154-56; Choice, 10 (June 1973), Visionary Forms Dramatic. Reviewed by William 608. Vaughan, "The Third Blake," Studio International, Gilchrist, Alexander. The Life of William Blake. 182 (Nov. 1971), 210-12; Anthony Blunt, Intro, by W. A. G. Doyle-Davidson. Reviewed "Blakomania," Yale Review, 61 (Winter 1972), by Robert N. Essick, Blake Studies, 6 (Fall 301-06; Desiree Hirst, Review of English 1973), 108; Books & Bookmen, 18 (Sept. 1973), Studies, 24 (Feb. 1973), 95-99; Mario Praz, 95. English Studies, 54 (1973), 516-18; Max F. Gill ham, D. G. William Blake. Reviewed by Luther Schulz, Eighteenth-Century Studies, 7 (Fall S. Luedtke, Blake Studies, 6 (Fall 1973), 1973), 120-23; Burlington Magazine, 116 (Aug. 98-103; David V. Erdman, English Language Notes, 1974), 482. 12 (Sept. 1974, Supplement No. 1), 33; David Erdman, David V., ed. Donald K. Moore, asst. The Kwinn, Library Journal, 98 (1 June 1973), Notebook of William Blake: A Photographic 1820; Choice, 10 (Dec. 1973), 1549. and Typographic Facsimile. Reviewed by Raymond Grimes, Ronald L. The Divine Imagination. Reviewed Williams, "Radical Blake," Guardian, 29 (Nov. by David Kwinn, Library Journal, 98 (1 April 1973); Dewey R. Faulkner, "Secrets of Dark 1973), 1167. Contemplation," Yale Review, 63 (Summer 1974), Harbison, John, conductor. Five Songs of Experience. 590-99; G. Ingli James, Apollo, 99 (Nov. 1974), Reviewed by Richard Dyer, The Nation, 218 428; "The Processes of William Blake," Times (13 April 1974), 477. Literary Supplement, 15 Feb. 1974, pp. 145- Hartman, Geoffrey H., ed. New Perspectives on 47; The Listener, 91 (10 Jan. 1974), 54; The Coleridge and Wordsworth. Reviewed by Hugh Economist, 250 (26 Jan. 1974), 105; Frank P. Luke, "Critics and Romantics," Prairie Schooner, Riga, Library Journal, 99 (11 March 1974), 46 (Winter 1972-73), 368-69; Choice, 9 (Feb. 657; Choice, 11 (April 1974), 256. 1973), 1590. Erdman, David V. Blake: Prophet Against Empire. Hughes, Catharine, ed. The Clouded Hills: Reviewed by Jerome J. McGann, Modern Philology, Selections from William Blake. Reviewed in 69 (Feb. 1972), 261-66. Book World (Washington Post), 7 (12 Aug. 1973), Essick, Robert N., ed. The Visionary Hand. Reviewed 13; Books & Bookmen, 19 (Dec. 1973), 110. by Stuart Curran, Studies in English Literature Kaplan, Fred. Miracles of Rare Device. Reviewed 1500-1900, 14 (Autumn 1974), 642-43; Choice, in Modern Language Review, 68 (Oct. 1973), 11 (July/Aug. 1974), 746. 895; Choice, 10 (June 1973), 619-20. Feldman, Burton, and Robert D. Richardson. The Ketterer, David. New Worlds for Old. Reviewed by Rise of Modern Mythology, 1680-1860. Reviewed Mark Rose, Yale Review, 64 (Autumn 1974), 122- by Robert Ackerman, "Writing about Writing 28; New York Book Review, 14 April 1974, p. about Myth," Journal of the History of Ideas, 22; Dorothy Sternlicht, Library Journal, 98 34 (Jan.-March 1973), 147-55; American (15 Dec. 1973), 3637; American Libraries, 5 Anthropologist, 75 (Dec. 1973), 1888; Journal (Jan. 1974), 29-30; Publishers' Weekly, 204 of American Folklore, 86 (Oct. 1973), 407. (5 Nov. 1973), 58; Choice, 11 (July/Aug. 1974), Frosch, Thomas R. The Awakening of Albion: The 760. 156 Keynes, Geoffrey. Blake Studies, 2nd Ed. Reviewed Blake," Times Literary Supplement, 15 Feb. by Morton D. Paley, Studies in Burke and His 1974, pp. 145-47; David Wagenknecht, Studies Time, 15 (1973), 100-04; Desiree Hirst, Review in Romanticism, 13 (Spring 1974), 164-69; of English Studies, 24 (Feb. 1973), 95-99; Richard Harter Fogle, "Romanticism Reconsid• John B. Beer, Notes & Queries, 20 (1973), 305- ered," Sewanee Review, 82 (April-June 1974), 07; Max F. Schulz, Eighteenth-Century Studies, 383-92; Dewey R. Faulkner, "Secrets of Dark 7 (Fall 1973), 120-23; T. R. Henn, The Year• Contemplation," Yale Review, 63 (Summer 1974), book of English Studies, 3 (1973), 302-04. 590; Virginia Quarterly Review, 50 (Summer Keynes, Geoffrey, ed. The Complete Writings of 1974), Ixxiv-lxxvi; Stuart Curran, Studies in William Blake, with Variant Readings. Reviewed English Literature 1500-1900, 14 (Autumn 1974), by Robert N. Essick, Blake Studies, 6 (Fall 642; John E. Grant, Blake Studies, 7 (Fall 1973), 103-06. (Includes a collation of the 1974), 85-96; Kenneth Hopkins, Eastern Daily Huntington Library Thornton Marginalia with Press, 7 (Sept. 1973); Frederick Laws, The the Keynes and Erdman texts.) Daily Telegraph, 13 (Sept. 1973), p. 8; Choice, Keynes, Geoffrey, ed. William Blake's Engravings. 10 (Feb. 1974), 1871; Library Journal, 98 Reviewed in Choice, 10 (Nov. 1973), 1368; (15 Dec. 1973), 3638. Robert N. Essick, Blake Studies, 6 (Fall 1973), Paley, Morton D. Energy and the Imagination: A 109. Study of the Development of Blake's Thought. Keynes, Geoffrey, ed. William Blake's Water-colours: Reviewed by Jerome J. McGann, Modern Philology, Illustrating the Poems of Thomas Gray. Reviewed 69 (Feb. 1972), 261-66; John Adlard, English by J. Canaday, New York Times Book Review, Studies, 54 (1973), 74-75; John B. Beer, Notes 3 (Dec. 1972), p. 90; Books & Bookmen, 18 & Queries, 20 (1973), 75-76; Max F. Schulz, ("arch 1973), 96; Apollo, 98 (July 1973), 71; Eighteenth-Century Studies, 7 (Fall 1973), Irene H. Chayes, Studies in Romanticism, 13 120-23; G. S. Rousseau, Archiv, 210 (Dec. (Spring 1974), 155-64. 1973), 407-09. Keynes, Geoffrey, ed. The Life of William Blake, Pointon, Marcia R. Milton and English Art. by Mona Wilson. Reviewed by Max F. Schulz, Reviewed by G. Bullough. English, (Autumn 1970), Eighteenth-Century Studies, 7 (Fall 1973), p. 101; A. Rudrum, West Coast Review, (June 120-23; John B. Beer, Notes & Queries, 20 1971), p. 56; J. Blondel, Etudes Anglaises, (1973), 305-07. (Oct.-Dec. 1971), p. 530; Gerald E. Bentley, Kremen, Kathryn R. The Imagination of the Jr., The Library, (Dec. 1971), p. 356; Roland Resurrection: The Poetic Continuity of a Mushat Frye, English Language Notes, 9 (March Religious Motif in Donne, Blake, and Yeats. 1972), 205-06. Reviewed by Joseph Anthony Wittreich, Jr., Powell, Nicolas. Fuseli: The Nightmare. Reviewed Blake Newsletter, 6 (1973), 97-99; Florence in Apollo, 97 (June 1973), 619; Rackstraw Sandler, Blake Studies, 6 (Fall 1973), 96-98; Downes, New York Times Book Review, 2 Dec. Choice, 10 (May 1973), 440. 1973, p. 93; The Nation, 217 (24 Dec. 1973), Lister, Raymond. British Romantic Art. Reviewed 696; Booklist, 69 (15 June 1973), 974. by Raymond Mortimer, The Sunday Times, 18 Raine, Kathleen. William Blake. Reviewed by John March 1973, p. 31; Timothy Bainbridge, E. Grant, Philological Quarterly, 50 (July "Romantic Artists," Spectator, 230 (24 March 1971), 409; American Artist, 35 Dec. 1971, 1973), 367; Apollo, 98 (July 1973), 65; Books 68; Times Literary Supplement, 10 Dec. 1971, & Bookmen 18 (July 1973), 120; Connoisseur, 183 p. 1537; Books & Bookmen, 16 (Fall 1971), 32; (July 1973), 228; Robert N. Essick, Blake Library Journal, 96 (1 April 1971), 1270; Studies, 6 (Fall 1973), 108. Choice, 8 (Nov. 1971), 1166. Mayoux, Jean-Jacques. La Peinture Anglaise de Roberts, Mark. The Tradition of Romantic Morality. Hogarth aux Preraphaelites. Reviewed by Reviewed in The Economist, 246 (3 March 1973), Robert N. Essick, Blake Studies, 6 (Fall 1973), 92-93; Martin Green, "Working at Morality," 107. Guardian Weekly, 108 (31 March, 1973), 20; Mel lor, Anne Kostelanetz. Blake's Human Form Divine. Library Journal, 98 (1 June 1973), 1821; Reviewed by Dewey R. Faulkner, "Secrets of Encounter, 41 (July 1973), 61; Choice, 10 Dark Contemplation." Yale Review, 63 (Summer (Sept. 1973), 968. 1974), 590-99; Stuart Curran, Studies in English Sabri-Tabrizi, G. R. The 'Heaven' and 'Hell' of Literature 1500-1900, 14 (Autumn 1974), 641-42; William Blake. Reviewed by Raymond Williams, David Kwinn, Library Journal, 98 (1 Dec. 1973), "Radical Blake," Guardian, 29 (Nov. 1973); 3562; Choice, 11 (July/Auq. 1974), 762. Book Newsletter, 9 (Oct.-Dec. 1973), n.p.; Morris, David B. The Religious Sublime: Library Journal, 99 (1 Feb. 1974), 364; "The Christian Poetry and Critical Tradition in Processes of William Blake," Times Literary Eighteenth-Century England. Reviewed by Martin Supplement, 15 Feb. 1?74, p. 145-47; David Price, Modern Language Quarterly, 35 (March V. Erdman, English Language Notes, 12 (Sept. 1974), 85-87; Roger Lonsdale, Review of English 1974, Supplement No. 1), 36-37. Studies, 25 (Feb. 1974), 94-95; South Atlantic Singer, June D. The Unholy Bible. Reviewed by Quarterly, 72 (Fall 1973), 616; Philological Margaret Shaefer, Blake Newsletter 6 (1973), Quarterly, 52 (July 1973), 444; Booklist, 69 100-04. (1 Jan. 1973), 423-24; Choice, 10 (^ay 1973), Smith, Eric. Some Versions of the Fall. Reviewed 459. by Charles E. Lloyd, "The Myth of the Fall," Paley, Morton D., and Michael Phillips, eds. Sewanee Review, 83 (Winter 1975), xxii-xxiv. William Blake: Essays in Honour of Sir Stevenson, W. H., ed. The Poems of William Blake. Geoffrey Keynes. Reviewed in British Book News, Reviewed by John B. Beer, Notes & Queries, 20 (Nov. 1973), p. 763; "The Processes of William (1973), 305-07. 157 Tayler, Irene. Blake's Illustrations to the Poems White, G. A., and C. Newman, eds. Literature in of Gray. Reviewed by Anthony Blunt, Revolution. Reviewed by David V. Erdman, "Blakomania," Yale Review, 61 (Winter 1972), English Language Notes, 12 (Sept. 1974, 301-06; Wallace Jackson, South Atlantic Supplement No. 1), 38. Quarterly, 71 (Winter 1972), 131-32; James Whitworth Art Gallery. British Watered ours from Rieger, Philological Quarterly, 51 (1972), the John Edward Taylor Collection in the 646-47; Gilbert Thomas, English, 21 (1972), Whitworth Art Gallery. Foreword by C. R. 114; Brian Wilkie, Journal of English and Dodwell. Intro, by Francis W. Hawcroft, Germanic Philology, 71 (Jan. 1972), 142-46; Reviewed by Robert N. Essick, Blake Studies, Desiree Hirst, Review of English Studies, 24 6 (Fall 1973), 108-09. (Feb. 1973), 95-99; Luther S. Luedtke, Wittreich, Joseph Anthony, Jr., ed. Calm of Mind: Eighteenth-Century Studies, 6 (Spring 1973), Tercentenary Essays on Paradise Regain'd and 389-94; Alan Watson, Art Bulletin, 55 (1973), Samson Agonistes . Reviewed by D. T. Mace, 465-66; William Vaughan, "The Third Blake," Review of English Studies, 24 (May 1973), Studio International, 182 (Nov. 1971), 210-12; 210-13. Irene H. Chayes, Studies in Romanticism, 13 Wittreich, Joseph Anthony, Jr., ed. The Romantics (Spring 1974), 155-64; Gerald E. Bentley, Jr., on Milton. Reviewed by Kenneth Muir, Notes & Apollo, 99 (June 1974), 481-82. Queries, 20 (Feb. 1973), 77-78. Thorburn, David, and Geoffrey Hartman, eds. Wright, Andrew. Blake's Job: A Commentary. Romanticism: Vistas, Instances, Continuities. Reviewed in "Disorientations," Times Literary Reviewed by Jonathan Culler, "Text, Theme, and Supplement, 29 Sept. 1972, p. 1145; Theory," Yale Review, 63 (Spring 1974), 439-47; Suzanne R. Hoover, Blake Newsletter, 6 (1973), Richard Harter Fogle, "Romanticism Reconsid• 75-79; Morris Eaves, Eighteenth-Century Studies, ered," Sewanee Review, 82 (April-June 1974), 7 (1973), 226-33; Brian Wilkie, Journal of 383-92; Library Journal, 98 (15 Oct. 1973), English and Germanic Philology, 72 (July 1973), 3004; Choice, 11 (April 1974), 253. 452-54; Philological Quarterly, 52 (July 1973), Todd, Ruthven. William Blake the Artist. Reviewed 467; Stuart Curran, Modern Philology, 71 (May by William Vaughan, "The Third Blake," Studio 1974), 450-52; Irene H. Chayes, Studies in International, 182 (Nov. 1971), 210-12; Romanticism, 13 (Spring 1974), 155-64; David Burlington Magazine, 116 (April 1974), 233; V. Erdman, English Language Notes, 12 (Sept. Gerald E. Bentley, Jr., Apollo, 99 (June 1974), 1974, Supplement No. 1), 38-39; Choice, 10 481-82; K. Bazarov, Arts and Artists, 7 (May (March 1973), 77. 1972), 56. Wright, Thomas. The Life of William Blake. Reviewed Tomory, Peter. The Life and Art of Henry Fuseli. by Lawrence S. Thompson, "Wright's Blake," Reviewed in American Artist, 37 (July 1973), American Book Collector 23 (May-June 1973), 15; Apollo, 97 (June 1973), 619; Books & 11-12; Max F. Schulz, Eighteenth-Century Bookmen, 18 (March 1973), 24; New York Times Studies, 7 (Fall 1973), 120-23; Bibliographic Book Review, 3 Dec. 1972, p. 90; Laurence Society of America—Papers, 67 (July 1973), Alloway, Nation, 215 (11 Dec. 1972), 599; 368; Choice, 10 (June 1973), 626. Burlington Magazine, 116 (June 1974), 335; Robert S. Fraser, Library Journal 98 (1 March 1973), 730; Choice, 10 (July-Aug. 1973), 762. Vogler, Thomas A. Preludes to Vision: The Epic Films, Videotapes, Etc. Venture in Blake, Wordsworth, Keats, and Hart Crane. Reviewed by Brian Wilkie, Journal of English and Germanic Philology, 71 (April Clark, Kenneth. "William Blake." Romantic Rebellion 1972), 255-60. (TV series). 45 mins. Wagenknecht, David. Blake's Night: William Blake The English School of Painting. Prod, by Educational and the Idea of Pastoral. Reviewed in "The Productions, East Ardley, Wakefield, Yorkshire. Processes of William Blake," Times Literary Distr. by Prothmann Associates, Inc., Baldwin, Supplement, 15 Feb. 1974, pp. 145-47; Thomas N. Y. 1966. Filmstrip, b&w, 30 frames. LC Wieskel, Studies in Romanticism, 13 (Spring No. 76-734235. 1974), 172-77; Virginia Quarterly Review, English Water Colors. Prod, and Distr. by Herbert E. 50 (Summer 1974), lxxvi; Dewey R. Faulkner, Budek, Santa Barbara, Calif. Filmstrip, color, "Secrets of Dark Contemplation," Yale Review, 18 frames, n.d. 63 (Summer 1974), 590-99; Irene H. Chayes, An Essay on William Blake. Narrated by Jacob English Language Notes, 12 (Sept. 1974, Bronowski. Produced by National Educational Supplement No. 1), 37-38; Library Journal, Television and the British Broadcasting Corp. 98 (15 Oct. 1973), 3005; Choice, 10 (Jan. 1974), Distr. by Indiana Univ., Audio-Visual Center. 1723. 1970. Film, color, 52 mins. $550.00 Order Warner, Janet, John Sutherland, and Robert Wallace, No. KSC-357. (Note: same as As a Man Is— producers and directors. Blake's America. So He Sees.) (York Univ. 1970 Videotape.) Reviewed by The History of Western Art. No. 12: French Morris Eaves, Blake Newsletter, 7 (Summer 1973), Revolution to 1900. London: Visual Publica• 20-23. tions. Released in the U. S. by Prothmann Warner, Janet, John Sutherland, and Robert Wallace, Associates, Baldwin, Long Island, N. Y., 1963. producers and directors. Blake's Visions of Images of Man, by Robert Starer. New York: CBS, the Daughters of Albion. (York Univ. 1971 Dec. 1974. (Symphony based on lines from Videotape.) Reviewed by Morris Eaves, Blake The Four Zoas; videotape of Washington, D. C, Newsletter, 7 (Summer 1973), 20-23. performance available to educ. institutions 158 through Religious Dept., CBS News, 524 West 57th St., New York, N. Y. 10019.) On Reflection: Adrian Mitchell on William Blake. British Boradcasting Corp., London Weekend. Available in U. S. through Mrs. Robin Breed, Richard Price TV Associates, New York; rental $50. Film, color, 27 mins. Painting in Georgian England. National Gallery of Art. Illus. from the Paul Mellon Collection. 60 slides and phonodisc, 50 mins. Write: National Gallery of Art, Extension Service, Washington, D. C. Poetry and Pictures. Part No. 2: "William Blake." Bayside, N. Y.: AIDS: Audio-visual Instruc• tional Devices, 1971. Filmstrip, with phonodisc or phonotape in cassette, 42 mins.; color. William Blake. London: Visual Publications, 1964. Released in the U. S. by Mclntyre Visual Publications, Champlain, N. Y., 1970. Filmstrip. Music, Records, Tapes Avshalomov, Jacob. Proverbs of Hell, for men's chorus, a cappella. New York: Duchess Music Corp., 1970. MCA i.usic, distr. Blake. Read by Alan Bates and others. Argo RG428, 1964. Phonodisc. Five Songs of Experience. John Harbison, conductor. The Cantata Singers and Ensemble. CRI SD313. $5.98. (1974?) The Marriage of Heaven and Hell. Los Angeles/San Francisco: KPFK/KPFA, 1974. The Poems of William Blake. New Rochelle, N. Y.: Spoken Arts, 1961. Phonodisc. The Poetry of Blake. Caedmon TC 1101, 1958. Phonodisc. The Poetry of William Blake. Read by Wendy Hiller, Peter Jeffrey, David King, and Peter Orr. New Rochelle, N. Y.: Spoken Arts, 1971. Phonodisc, 43 mins., with jacket notes. $6.50. Order \'o. 1061. Starer, Robert. Images of Man. New York: MCA Music, 1975. (Symphonic score based on lines from The Four Zoas.) Starer, Robert. Never Seek to Tell thy Love, for male chorus, a cappella. 1958. On deposit Library of Congress, 1970. William Blake. (Portraits for Today, Series II.) Bloomington, Ind.: Indiana Univ., Audio-Visual Center, 1961. Audio-tape, 15 mins.