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William Blake and the Body Frontispiece William Blake, Visions of the Daughters of Albion William Blake and the Body Frontispiece William Blake, Visions of the Daughters of Albion. Plate 2(1). William Blake and the Body Tristanne J. Connolly Department of English Butler University Indianapolis palgrave macmillan © Tristanne j. Connolly 2002 Softcover reprint of the hardcover 1st edition 2002 978-0-333-96848-2 All rights reserved. No reproduction, copy or transmission of this publication may be made without written permission. No paragraph of this publication may be reproduced, copied or transmitted save * with written permission or in accordance with the provisions of the Copyright, Designs and Patents Act 1988, or under the terms of any licence permitting limited copying issued by the Copyright Licensing Agency, 90 Tottenham Court Road, London wn 4LP. Any person who does any unauthorised act in relation to this publication may be liable to criminal prosecution and civil claims for damages. The author has asserted her right to be identified as the author of this work in accordance with the Copyright, Designs and Patents Act 1988. First published 2002 by PALGRAVE MACMILLAN Houndmills, Basingstoke, Hampshire RG21 6XS and 175 Fifth Avenue, New York, N.Y. 10010 Companies and representatives throughout the world PALGRAVE MACMILLAN is the global academic imprint of the Palgrave Macmillan division of St. Martin's Press, LLC and of Palgrave Macmillan Ltd. Macmillan® is a registered trademark in the United States, United Kingdom and other countries. Palgrave is a registered trademark in the European Union and other countries. ISBN 978-1-349-42853-3 ISBN 978-0-230-59701-3 (eBook) DOI 10.1057/97802303597013 This book is printed on paper suitable for recycling and made from fully managed and sustained forest sources. Logging. pulping and manufacturing processes are expected to conform to the environmental regulations of the country of origin. A catalogue record for this book is available from the British Library. Library of Congress Cataloging-in-Publication Data Connolly, Tristanne, j., 1970- William Blake and the body / Tristanne j. Connolly. p. cm. Includes bibliographical references and index. ISBN 978-1-349-42853-3 1. Blake, William, 1757-1827 - Criticism and interpretation. 2. Blake, William, 1757-1827 - Knowledge - Anatomy. 3. Body, Human, in literature. 4. Body, Human, in art. I. Title. PR4148.B57 .C66 2002 821'.7 - dc21 2002025210 Transferred to Digital Printing in 2014 Contents List of Illustrations vi Preface vii List of Abbreviations xvii 1 Textual Bodies 1 2 Graphic Bodies 25 3 Embodiment: Urizen 73 4 Embodiment: Reuben 95 5 Divisions and Comminglings: Sons and Daughters 125 6 Divisions and Comminglings: Emanations and Spectres 155 7 The Eternal Body 192 Notes 222 Bibliography 232 Index 241 v List of Illustrations Frontispiece William Blake. Visions of the Daughters of Albion. Plate 2(1). Reproduced with permission from the William Blake Trust's edition of Blake's Illuminated Books. ii 2.1 William Blake. Elohim Creating Adam. © Tate, London 2001. 26 2.2 W. Pink after Agostino Carlini. Smugglerius. Royal Academy of Arts, London. 36 2.3 William Cowper. Myotomia Reformata. Page 8. The Well come Library, London. 49 2.4 William Cowper. Anatomy of Humane Bodies. Table 45. The Well come Library, London. 50 2.5 William Cowper. Anatomy of Humane Bodies. Appendix 3. The Wellcome Library, London. 51 2.6 William Blake. Jerusalem. Plate 25. Reproduced with permission from the William Blake Trust's edition of Blake's Illuminated Books. 52 2.7 William Blake. Jerusalem. Plate 24. Reproduced with permission from the William Blake Trust's edition of Blake's Illuminated Books. 54 2.8 William Blake. Visions of the Daughters of Albion. Plate 6. Reproduced with permission from the William Blake Trust's edition of Blake's Illuminated Books. 5S 2.9 William Cowper. Anatomy of Humane Bodies. Table 60. The Wellcome Library, London. 56 2.10 William Cowper. Anatomy of Humane Bodies. Table 62. The Well come Library, London. 57 5.1 William Blake. Jerusalem. Plate 69. Reproduced with permission from the William Blake Trust's edition of Blake's Illuminated Books. 150 5.2 Francesco Saverio Clavigero. A History of Mexico. 1787. Plate viii, page 279. Benson Latin American Collection. University of Texas at Austin. 151 6.1 William Blake. Jerusalem. Plate 3S [31]. Reproduced with permission from the William Blake Trust's edition of Blake's Illuminated Books. 161 7.1 William Blake. Jerusalem. Plate 95. Reproduced with permission from the William Blake Trust's edition of Blake's Illuminated Books. 200 vi Preface One would think there would be nothing more to say about the body in general, or the body in Blake. 'The Human Form Divine' is Blake's self­ proclaimed central image and ultimate reality; the human body is what we live in every day, what we are, what is most familiar to us. Yet, the body is as alien as it is commonplace, as unfathomable as it is known: think of how many involuntary movements, such as heartbeat, are essential to its regular functioning, and how unexpectedly and inexorably disease and death can overtake the body. Blake's depiction of the body communicates this: the body both provides and threatens identity. The simple question, 'What does Blake think of the body?', is difficult to answer, even though understanding the significance of his main preoccupation would be essential to understanding his work. The body is Blake's preoccupation not because of a confident admi­ ration of it, but rather a troubled obsession. He has a love/hate relationship with his favourite image; he at once reviles and glorifies the human body. This paradox could be swiftly resolved by claiming that, in fact, there are not really any bodies in Blake at all. The things that happen to Blake's charac­ ters could not happen to real bodies: wives do not burst from their husbands' chests in globes of blood; poets do not possess other poets by entering their left feet in the form of falling stars; and the city of London is not normally accessed by entering anyone's bosom. These are symbolic characters, it could be argued: allegories whose bodies are mere vehicles for meaning. If Blake's were a simple dualism, then not only his characters' bodies, but also the real human body, would be only vehicles which could be discarded for the sake of their more valuable contents. However, not even the most stilted allegory can completely transcend the symbols which embody its meaning, and Blake's allegory is much more a tangled web than a nut in a shell. He takes his symbols very seriously. Coleridge saw in Blake a 'despotism of symbols', and Yeats christened Blake with the title, 'literal realist of the imagination' (Coleridge, in Bentley, Critical Heritage 55; Yeats 119). Blake's allegorical char­ acters are endowed in both design and verse with bones and blood, fibres and flesh; indeed, they are depicted in all gory detail. Because of this, I take them as bodies; because Blake presents them as bodies, he must be making statements on the body through his choice of images. The statements he makes do not boil down to another possible simple answer, that the physi­ cal body is bad and the spiritual body good and both ultimately separate from each other. Blake often caricatures the mortal body as pathetic, restric­ tive and painful, and there is truth in his exaggeration: again, think of all that cannot be controlled and all that must be suffered in mortal human form. Yet, his adulation is not saved exclusively for incorporeal spiritual vii viii William Blake and the Body forms. He often celebrates sexuality, and even admires nerves and organs. In the end, those nerves and organs are immortalized, making Blake's eternal body most definitely a body. Because the body is basic to human experience and fundamental to Blake's art and verse, it is an inexhaustible topic. Anthropologist Mary Douglas argues that 'the body is a model which can stand for any bounded system' (lIS). Because the range of the body's symbolism is so broad, thinking about the body involves thinking about other things. The result is that, though there has been recently a tangible wave of interest in writing about the body, the works which represent it do not necessarily cohere into a body of work on one subject. Of course they do not all see the body as having the same significance, because they study the body through various diSciplines, and in various cultures of various eras. But even beyond this variation, different works on the body attach themselves to vastly different issues. There are economic bodies, political bodies, medical bodies, sexual bodies, and more, each with numerous subdivisions and interrelations. A book on Blake and the body could be about many things; too many things. The way I ap­ proached the topic was to read Blake's works and categorize the different kinds of bodies I perceived there; having categorized them, I would try to determine the characteristics of each category, and explore the significance of those characteristics through whichever historical, cultural and literary contexts they suggested. The general categories I deduced were: texts as bodies; bodies in Blake's designs; bodies coming into existence, or being shaped; bodies which split off from or fuse with other bodies; the ideal, eternal body; bodies which dissolve into landscapes; bodies which are also places, such as cities or countries. To focus the project, I decided that its border would be the border between the body and the world. Considering Blake's bodies in relationship to their environment, and as symbols of nations or political systems, would be a fruitful topic for a separate study; there is a wealth of material, some of it already approached from a differ­ ent direction in Jason Whittaker's William Blake and the Myths ofBritain.
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