Edward Young's Night Thoughts
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Issues) and Begin with the Summer Issue
VOLUME 22 NUMBER 3 WINTER 1988/89 ■iiB ii ••▼•• w BLAKE/AN ILLUSTRATED QUARTERLY WINTER 1988/89 REVIEWS 103 William Blake, An Island in the Moon: A Facsimile of the Manuscript Introduced, Transcribed, and Annotated by Michael Phillips, reviewed by G. E. Bentley, Jr. 105 David Bindman, ed., William Blake's Illustrations to the Book of Job, and Colour Versions of William- Blake 's Book of job Designs from the Circle of John Linnell, reviewed by Martin Butlin AN ILLUSTRATED QUARTERLY VOLUME 22 NUMBER 3 WINTER 1988/89 DISCUSSION 110 An Island in the Moon CONTENTS Michael Phillips 80 Canterbury Revisited: The Blake-Cromek Controversy by Aileen Ward CONTRIBUTORS 93 The Shifting Characterization of Tharmas and Enion in Pages 3-7 of Blake's Vala or The FourZoas G. E. BENTLEY, JR., University of Toronto, will be at by John B. Pierce the Department of English, University of Hyderabad, India, through November 1988, and at the National Li• brary of Australia, Canberra, from January-April 1989. Blake Books Supplement is forthcoming. MARTIN BUTLIN is Keeper of the Historic British Col• lection at the Tate Gallery in London and author of The Paintings and Drawings of William Blake (Yale, 1981). MICHAEL PHILLIPS teaches English literature at Edinburgh University. A monograph on the creation in J rrfHRurtfr** fW^F *rWr i*# manuscript and "Illuminated Printing" of the Songs of Innocence and Songs ofExperience is to be published in 1989 by the College de France. JOHN B. PIERCE, Assistant Professor in English at the University of Toronto, is currently at work on the manu• script of The Four Zoas. -
“To Autumn” by William Blake (1783) William Blake (1757-1827) Was A
“To Autumn” by William Blake (1783) William Blake (1757-1827) was a British poet, painter, and engraver who lived and worked in London. His parents encouraged his art from a young age, but as that schooling became more expensive, he was then apprenticed to a master engraver. He spent a lot of time drawing Westminster Abbey and the gothic architecture and tombs affected Blake’s romantic sensibilities and imagination. In the early 1780’s Blake became acquainted with a “celebrated lady of fashion,” Harriet Matthew, whose home was a favorite meeting place for artists and musicians—this is where Blake began to recite his poetry and led to the publication of his first volume, Poetical Sketches, in which “To Autumn” was published (though only 50 copies were known to be in print). “To Autumn” is one in a set of four season poems by Blake, aptly including “To Winter,” “To Spring,” and “To Summer.” These seasonal invocations can be read alone, but Blake also intended them to interconnect. The cycle of the seasons is often interpreted as the cycle of rebirth and death, themes that apply to human nature as well. Each of the season songs can be read as Blake’s reference to the different stages of human life. “To Autumn” is not a particularly personal poem, but is significant in that it, along with the other seasonal songs, seems to correlate mythology that Blake created. The personas of the seasons can be read as counterparts to Blake’s spirits: Tharmas (most like spring), Orc (most like summer), Los (most like autumn), and Urizen (most like winter). -
Josephine Miles, Poetry and Change
REVIEW Josephine Miles, Poetry and Change Robert F. Gleckner Blake/An Illustrated Quarterly, Volume 9, Issue 4, Spring 1976, pp. 133-136 133 The elements of this final design, however, are often subtle, difficult to talk about, though modern linguistic study (to which Professor Miles acknowledges a major debt) helps us to discriminate Josephine Miles. Poetry and Change. Berkeley, "not merely obvious visual surfaces but auditory Los Angeles, London: University of California echoes, semantic associations, structural Press, 1974. 243 pp. $10.75. similarities which may work below the surface but are also implied in the surface richness" (9). With a sense of these, "the articulatable parts Reviewed by Robert F. Gleckner of language," we can "see and hear more, . feel more, of the poem's entity" (11). Style, then (in which Professor Miles includes not only From 1964, when she published Eras and Modes in use of language but also "style of moral judgments" English Poetry3 to her 1973 essay on "Blake's Frame and "style of attitude toward the reader"), is a of Language" Josephine Miles has been grappling product of a "number of small recurring selections with the problems facing all who wish intelligently and arrangements working together," a process of to study the language of poetry and prose. Her "creating and reshaping expectations which design work has ranged from the early Renaissance to contrives" (16). British and American writing of the twentieth- century, including a number of young poets writing The change in poetry observable through -
Irish Gothic Fiction
THE ‘If the Gothic emerges in the shadows cast by modernity and its pasts, Ireland proved EME an unhappy haunting ground for the new genre. In this incisive study, Jarlath Killeen shows how the struggle of the Anglican establishment between competing myths of civility and barbarism in eighteenth-century Ireland defined itself repeatedly in terms R The Emergence of of the excesses of Gothic form.’ GENCE Luke Gibbons, National University of Ireland (Maynooth), author of Gaelic Gothic ‘A work of passion and precision which explains why and how Ireland has been not only a background site but also a major imaginative source of Gothic writing. IRISH GOTHIC Jarlath Killeen moves well beyond narrowly political readings of Irish Gothic by OF IRISH GOTHIC using the form as a way of narrating the history of the Anglican faith in Ireland. He reintroduces many forgotten old books into the debate, thereby making some of the more familiar texts seem suddenly strange and definitely troubling. With FICTION his characteristic blend of intellectual audacity and scholarly rigour, he reminds us that each text from previous centuries was written at the mercy of its immediate moment as a crucial intervention in a developing debate – and by this brilliant HIST ORY, O RIGI NS,THE ORIES historicising of the material he indicates a way forward for Gothic amidst the ruins of post-Tiger Ireland.’ Declan Kiberd, University of Notre Dame Provides a new account of the emergence of Irish Gothic fiction in the mid-eighteenth century FI This new study provides a robustly theorised and thoroughly historicised account of CTI the beginnings of Irish Gothic fiction, maps the theoretical terrain covered by other critics, and puts forward a new history of the emergence of the genre in Ireland. -
How the Tomb Becomes a Womb by Eric Howell
© 2013 Center for Christian Ethics at Baylor University 11 How the Tomb Becomes a Womb BY ERIC HOWELL By baptism “you died and were born,” a fourth-century catechism teaches. “The saving water was your tomb and at the same time a womb.” When we are born to new life in those ‘maternal waters,’ we celebrate and receive grace that shapes how we live and die. ollowing an extended argument in which the grace given to us through Christ is set over against the sinful nature we inherit from Adam, the FApostle Paul asks: “What shall we say then?” (Romans 6:1, ESV)1 and the implied answer is clear: grace wins. This is especially clear in the crescendo of his argument: “but where sin increased, grace abounded all the more, so that, as sin reigned in death, grace also might reign through righteousness leading to eternal life through Jesus Christ our Lord” (5:20b-21, ESV). Immediately Paul recognizes that his argument sets a dangerous theological trap to be sprung. He must now disarm the derivation from his premise of a devious conclusion: namely, since more sin equals more grace, therefore, sin more! Before the trap can be sprung, Paul spins on the point and asks, “What shall we say then? Are we to continue in sin that grace may abound?” (6:1, ESV) No way! How can we who died to sin still live in it? For Paul, the gift of God’s grace is an invitation to a new way of life, a radical discipleship to Jesus Christ that puts to death the old life and gives birth to new life. -
John W. Ehrstine, William Blake's Poetical Sketches
REVIEW John W. Ehrstine, William Blake’s Poetical Sketches Michael J. Tolley Blake/An Illustrated Quarterly, Volume 2, Issue 3, December 15, 1968, pp. 55-57 -55- ; ' •.' • -.' ; : >• '■ * ■ REVIEW ' --; ■- - '■ :<x .■■•■■ ■ \,' oz Bweoq n#t Wi 11iam Blake's Poetical Sketches, by John W. Ehrstine. Washington State University Press (1967), pp. DO + 108 pp. '■■■><' It is a pity that the first fulllength study of the Poetical Sketched to be published since Margaret Ruth Lowery's pioneering work of 1940 should be so little worthy the serious attention of a Blake student. Ehrstine is one of the familiar new breed of academic bookproducers, whose business is not scholarship but novel thesisweaving* Having assimilated certain ideas and critical tech niques, they apply them ruthlessly to any work that has hithertobeen fortunate enough to escape such attentions. The process is simple and: the result—that of bookproduction—is infallible. If the poor little poems protest while struggling in their Procrustean bed, one covers their noise with bland asser' 1" tions and continues to mutilate them. Eventually they satisfy one's preconcep" tions. Unfortunately, they may also impose on other people. In revewing such books one must blame mainly the publishers and their advisors; secondly the universities for their incredibly lax assessment and training of postgraduate students; thirdly the authors, who are usually dupes of their own'1 processes, for rushing into print without consult!ng the best scholars In their field. Ehrstine shows his lack of scholarship on the first two pages of his book; thereafter he has an uphill tattle!1n convincing the reader that he has some special insights Which compensate foKtfris, once fashionable, disability. -
Night Thoughts on Man and Nature in the Poetry Oj Eighteenth-Century America
Mental Nocturnes: Night Thoughts on Man and Nature in the Poetry oj Eighteenth-Century America IGHT BECAME A LITERARY TOPIC of the acutest interest during the early decades of the eighteenth century. Only at night did Nthe stars' lucent argument on behalf of a universal, providential order stand fully revealed. Yet night, too, was the period when imagination—sponsor of dreams, delusions, and fantasies—held sway. When the sun set the question arose as to whether reason or imagi- nation possessed the greater power. Would Newton's glorious truth be seen arrayed across the heavens? Or would the clouds of fancy obscure that glory with a melancholic gloom? British and British-American writers tested their mental dispositions in nocturnal verse to discover whether lucid reason or the more troublesome imagination would prevail. Some British writers— Thomas Parnell, Robert Blair, Bishop Porteus, Charles Emily—em- ployed the "night piece" to complain about man's inability to tran- scend his situation in "this world of sin and death."1 Others—James Thomson, John Gay, and David Mallet—sought to redeem night by viewing it as an essential component in nature's harmony.2 In America the "night piece" became a particularly important vehicle for ex- pressing a pessimistic view of the relation of man to nature. Four of the more ambitious works of colonial American belles lettres—James Ralph's Night (1728), Richard Lewis's "A Journey from Patapsco in Maryland to Annapolis, April 4, 1730," Thomas Godfrey, Jr.'s The The author wishes to thank the Citadel Development Foundation for its generous support of the research for this study. -
Blake's Critique of Enlightenment Reason in the Four Zoas
Colby Quarterly Volume 19 Issue 4 December Article 3 December 1983 Blake's Critique of Enlightenment Reason in The Four Zoas Michael Ackland Follow this and additional works at: https://digitalcommons.colby.edu/cq Recommended Citation Colby Library Quarterly, Volume 19, no.4, December 1983, p.173-189 This Article is brought to you for free and open access by Digital Commons @ Colby. It has been accepted for inclusion in Colby Quarterly by an authorized editor of Digital Commons @ Colby. Ackland: Blake's Critique of Enlightenment Reason in The Four Zoas Blake's Critique of Enlightenment Reason in The Four Zoas by MICHAEL ACKLAND RIZEN is at once one of Blake's most easily recognizable characters U and one of his most elusive. Pictured often as a grey, stern, hover ing eminence, his wide-outspread arms suggest oppression, stultifica tion, and limitation. He is the cruel, jealous patriarch of this world, the Nobodaddy-boogey man-god evoked to quieten the child, to still the rabble, to repress the questing intellect. At other times in Blake's evolv ing mythology he is an inferior demiurge, responsible for this botched and fallen creation. In political terms, he can project the repressive, warmongering spirit of Pitt's England, or the collective forces of social tyranny. More fundamentally, he is a personal attribute: nobody's daddy because everyone creates him. As one possible derivation of his name suggests, he is "your horizon," or those impulses in each of us which, through their falsely assumed authority, limit all man's other capabilities. Yet Urizen can, at times, earn our grudging admiration. -
Neville 12/16/1968 a PROPHECY in His Poem Called "Europe," Which Is
Neville 12/16/1968 A PROPHECY In his poem called "Europe," which is a prophecy about you, William Blake said: "Then Enitharmon woke, nor knew that she had slept, and eighteen hundred years were fled as if they had not been." Told in the form of a story, Blake used the name "Enitharmon" to express any emanating desire or image. Enitharmon is the emanation of Los, who - in the story - had the similitude of the Lord and all imagination. Entering into his image (his Enitharmon), Los dreams it into reality; and when he awoke he knew not that he had slept, yet eighteen hundred years had fled. In my case, 1,959 years had fled as though they had not been. And I had no idea I had entered into an image called Neville and made it real. But I, all imagination, so loved the shadow I had cast, I entered into it and made it alive. To those in immortality I seemed to be as one sleeping on a couch of gold, but to myself I was a wanderer. Although lost in dreary night, I kept the divine vision in time of trouble. I kept on dreaming I was Neville until I awoke, not knowing I had slept; yet 1,959 years had fled as though they had not been. Blake tells us that in the beginning we were all united with God in a death like his. Then we heard the story and entered into our shadows. Now, a shadow is a representation, either in painting or drama, in distinction from the reality portrayed. -
Madonna Mary
MADONNA MARY. liV MRS. OLIPHANT, AUTHOR OF "THE LIFE OF EDWARD IRVING,' "AGNES," Etc. IN THREE VOLUMES. vol. in. C/7, ,T--\3 LONDON : HUEST AND BLACKETT, PUBLISHERS, SUCCESSOES TO HENEY COLBUEN, 13, GEEAT MARLBOROUGH STREET. 1867. The right of Translation it reserved. JIJTO. -/ J2<?iTt LONDON : SAYILL AND EDWAKDS, PRINTERS, CHANDOS STBEBT, COYEST GARDEN. wmmm CHAPTER I. IILFRID was so stunned by the in formation thus suddenly given him, that lie had but a confused con sciousness of the explanations which followed. He was aware that it was all made clear to him, and that he uttered the usual words of assent and conviction ; but in his mind he was too profoundly moved, too completely shaken and unsettled, to be aware of anything but the fact thus strangely communicated. It did not occur to him for a moment that it was not a fact. He saw no improbability, nothing unnatural in it. He was too young to think that anything was unlikely because it was extraordinary, or to doubt what was affirmed with so much confidence. But, in the meantime, the news was so startling, that it upset his mental balance, and made him in capable of understanding the details. Hugh was not the eldest son. It was he who was the VOL. III. B 2 Madonna Mary. eldest son. This at the moment was all that his mind was capable of taking in. He stayed by Percival as long as he remained, and had the air of devouring everything the other said ; and he went with him to the railway station when he went away. -
New Risen from the Grave: Nineteen Unknown Watercolors by William Blake
ARTICLE New Risen from the Grave: Nineteen Unknown Watercolors by William Blake Martin Butlin Blake/An Illustrated Quarterly, Volume 35, Issue 3, Winter 2002, pp. 68-73 Cromek. Suffice it to say that John Flaxman, in a letter of 18 ARTICLES October 1805, wrote that "Mr. Cromak has employed Blake to make a set of 40 drawings from Blair's poem of the Grave New Risen from the Grave: 20 of which he proposes [to] have engraved by the Designer ..." (Bentley (2001) 279). Blake himself, in a letter to Will- Nineteen Unknown Watercolors iam Hayley of 27 November 1805, wrote that about two by William Blake months earlier "my Friend Cromek" had come "to me de- siring to have some of my Designs, he namd his Price & wishd me to Produce him Illustrations to The Grave A Poem BY MARTIN BUTLIN by Robert Blair, in consequence of this I produced about twenty Designs which pleasd so well that he with the same hat is certainly the most exciting Blake discovery since liberality with which he set me about the Drawings, has now WI began work on the artist, and arguably the most set me to Engrave them."2 Cromek, in the first version of important since Blake began to be appreciated in the sec- his Prospectus, dated November 1805, advertised "A NEW AND ond half of the nineteenth century, started in a deceptively ELEGANT EDITION OF BLAIR'S GRAVE, ILLUSTRATED WITH FIFTEEN low-key way. A finished watercolor for the engraving of "The PRINTS FROM DESIGNS INVENTED AND TO BE ENGAVED BY WILLIAM Soul Hovering over the Body," published in Robert Cromek's BLAKE .. -
William Blake 1 William Blake
William Blake 1 William Blake William Blake William Blake in a portrait by Thomas Phillips (1807) Born 28 November 1757 London, England Died 12 August 1827 (aged 69) London, England Occupation Poet, painter, printmaker Genres Visionary, poetry Literary Romanticism movement Notable work(s) Songs of Innocence and of Experience, The Marriage of Heaven and Hell, The Four Zoas, Jerusalem, Milton a Poem, And did those feet in ancient time Spouse(s) Catherine Blake (1782–1827) Signature William Blake (28 November 1757 – 12 August 1827) was an English poet, painter, and printmaker. Largely unrecognised during his lifetime, Blake is now considered a seminal figure in the history of the poetry and visual arts of the Romantic Age. His prophetic poetry has been said to form "what is in proportion to its merits the least read body of poetry in the English language".[1] His visual artistry led one contemporary art critic to proclaim him "far and away the greatest artist Britain has ever produced".[2] In 2002, Blake was placed at number 38 in the BBC's poll of the 100 Greatest Britons.[3] Although he lived in London his entire life except for three years spent in Felpham[4] he produced a diverse and symbolically rich corpus, which embraced the imagination as "the body of God",[5] or "Human existence itself".[6] Considered mad by contemporaries for his idiosyncratic views, Blake is held in high regard by later critics for his expressiveness and creativity, and for the philosophical and mystical undercurrents within his work. His paintings William Blake 2 and poetry have been characterised as part of the Romantic movement and "Pre-Romantic",[7] for its large appearance in the 18th century.