A Memorable Fancy by Algernon Charles Swinburne
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Protective Pastoral: Innocence and Female Experience in William Blake's Songs and Christina Rossetti's Goblin Market June Sturrock
Colby Quarterly Volume 30 Article 4 Issue 2 June June 1994 Protective Pastoral: Innocence and Female Experience in William Blake's Songs and Christina Rossetti's Goblin Market June Sturrock Follow this and additional works at: http://digitalcommons.colby.edu/cq Recommended Citation Colby Quarterly, Volume 30, no.2, June 1994, p.98-108 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 administrator of Digital Commons @ Colby. For more information, please contact [email protected]. Sturrock: Protective Pastoral: Innocence and Female Experience in William B Protective Pastoral: Innocence and Female Experience in William Blake's Songs and Christina Rossetti's Goblin Market by JlTNE STURROCK IIyEA, THOUGH I walk through the valley ofthe shadow ofdeath, I shall fear no evil, for thou art with me, thy rod and thy staffthey comfort me." The twenty-third psalm has been offered as comfort to the sick and the grieving for thousands ofyears now, with its image ofGod as the good shepherd and the soul beloved ofGod as the protected sheep. This psalm, and such equally well-known passages as Isaiah's "He shall feed his flock as a shepherd: he shall gather the lambs in his arms" (40. 11), together with the specifically Christian version: "I am the good shepherd" (John 10. 11, 14), have obviously affected the whole pastoral tradition in European literature. Among othereffects the conceptofGod as shepherd has allowed for development of the protective implications of classical pastoral. The pastoral idyll-as opposed to the pastoral elegy suggests a safe, rural world in that corruption, confusion and danger are placed elsewhere-in the city. -
The Visionary Company
WILLIAM BLAKE 49 rible world offering no compensations for such denial, The] can bear reality no longer and with a shriek flees back "unhinder' d" into her paradise. It will turn in time into a dungeon of Ulro for her, by the law of Blake's dialectic, for "where man is not, nature is barren"and The] has refused to become man. The pleasures of reading The Book of Thel, once the poem is understood, are very nearly unique among the pleasures of litera ture. Though the poem ends in voluntary negation, its tone until the vehement last section is a technical triumph over the problem of depicting a Beulah world in which all contraries are equally true. Thel's world is precariously beautiful; one false phrase and its looking-glass reality would be shattered, yet Blake's diction re mains firm even as he sets forth a vision of fragility. Had Thel been able to maintain herself in Experience, she might have re covered Innocence within it. The poem's last plate shows a serpent guided by three children who ride upon him, as a final emblem of sexual Generation tamed by the Innocent vision. The mood of the poem culminates in regret, which the poem's earlier tone prophe sied. VISIONS OF THE DAUGHTERS OF ALBION The heroine of Visions of the Daughters of Albion ( 1793), Oothoon, is the redemption of the timid virgin Thel. Thel's final griefwas only pathetic, and her failure of will a doom to vegetative self-absorption. Oothoon's fate has the dignity of the tragic. -
The Poetry of Rita Dove
University of New Hampshire University of New Hampshire Scholars' Repository Doctoral Dissertations Student Scholarship Winter 1999 Language's "bliss of unfolding" in and through history, autobiography and myth: The poetry of Rita Dove Carol Keyes University of New Hampshire, Durham Follow this and additional works at: https://scholars.unh.edu/dissertation Recommended Citation Keyes, Carol, "Language's "bliss of unfolding" in and through history, autobiography and myth: The poetry of Rita Dove" (1999). Doctoral Dissertations. 2107. https://scholars.unh.edu/dissertation/2107 This Dissertation is brought to you for free and open access by the Student Scholarship at University of New Hampshire Scholars' Repository. It has been accepted for inclusion in Doctoral Dissertations by an authorized administrator of University of New Hampshire Scholars' Repository. For more information, please contact [email protected]. INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMi films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. -
Rabbi Freeman, Rabbi Erlanger and Rabbi Jakubowicz Ari Aragon and Family לכבוד חברי הכולל החשובים מחברי ומלקטי החידו”ת בספר זו
לע”נ בן ציון בן אהרן משפחת היימן Dedicated by Joshua and Melissa Close in honor of their chavrusos at the Kollel In honor of all the editors, especially Rabbi Zions, Rabbi Freeman, Rabbi Erlanger and Rabbi Jakubowicz Ari Aragon and family לכבוד חברי הכולל החשובים מחברי ומלקטי החידו”ת בספר זו מאת אליעזר קראוס ומשפחתו In honor of all the lomdei Torah of the Denver Kollel Chaim and Rivky Sher Scroll K Vaad Hakashrus of Denver לע”נ ישראל יעקב בן שאול יצחק In memory of our dear friend Yisrael Yaakov ben Shaul Yitzchak In honor of Rabbi Freeman and his dedicated work on behalf of this sefer, the Kollel and the Denver Jewish Community The Robbins Family מתוך רגשי הכרת הטוב והערצה לידידי היקרים, ראשי וחברי הכולל מאז הוסדה ולתומכי הכולל במשך כל השנים. חילכם לאורייתא יחיאל ארלנגר ומשפחתו לע”נ אלישבע מרים ע”ה בת ר’ מרדכי יהודה נ”י משפחת אמזל Jewell Dental Care, PLLC Steven A. Castillo DOS 6565 W. Jewell Ave. Suite #9 Lakewood, CO 80232 303-922-1103 Providing Comprehensive Dental Care and Assistance With Snoring in Mild and Moderate Sleep Apnea לע”נ יטל בת אלעזר אליהו הכהן ע”ה Mrs. Lucy Prenzlau In honor of Rabbi Freeman and Rabbi Zions for their tireless dedication on behalf of this publication שמואל הלפרין ומשפחתו In honor of the esteemed Roshei Kollel Rav Shachne Sommers and Rav Aron Yehuda Schwab Yaakov and Chaya Meyer Sefer Al Hahar Hazeh 1 We are excited to present to you Al Hahar Hazeh, a collection of Torah thoughts from Kollel members of the past twenty years. -
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. -
Issues; Special Rate for Individuals, $4 for One Year; Overseas by Air, $8 (U.S
A HANDLIST WORKS BY WILLIAM BLAKE IN THE i DEPARTMENT OF PRINTS & DRAWINGS THE BRITISH MUSEUM S\\ ' /■ . Jc*& TABLE OF CONTENTS WITH PREFACE 223 TABLE OF ABBREVIATIONS 224 SUPPLEMENTARY LIST OF ILLUSTRATIONS 224 PARTI: MISCELLANEOUS (7 \ NOTES BY DRAWINGS AND SKETCHES 225 A PART 2: DESIGNS FOR YOUNG'S G. E. BENTLEY, JR. NIGHT THOUGHTS 229 PART 3: MISCELLANEOUS ENGRAVINGS 234 «■ PART 4: ILLUMINATED BOOKS 244 PART 5: REPRODUCTIONS 251 'rm PART 6: APPENDICES 254 INDEX 257 Copyright W 1972 by Morton D. Paley and Morris Eaves /f V / \ Tx ( BLAKE NEWSLETTER AN ILLUSTRATED QUARTERLY Volume 5, Number 4, Whole Number 20, Spring 1972. Pub• lished quarterly under the sponsorship of the Department of English of the University of New Mexico. Support for bibliographical assistance is provided by the University of California, Berkeley. Morton D. Paley, Executive Editor, University of Cali• fornia, Berkeley; Morris Eaves, Managing Editor, Univer• sity of New Mexico; Michael Phillips, Associate Editor, University of Edinburgh; Jo Ann Kottke, Editorial Assis• tant* University of New Mexico; Foster Foreman, Bibliog• rapher , University of California, Berkeley. Manuscripts are welcome. They should be typed and documented according to the forms recommended in The MLA Style Sheet, 2nd ed., rev. (1970). Send two copies with a stamped, self-addressed envelope either to Morton D. Paley, Executive Editor, Blake Newsletter, Department of English, University of California, Berkeley, California 94720, or to Morris Eaves, Managing Editor, Blake Newsletter, Department of English, University of New Mexico, Albuquerque, New Mexico 87106. Subscriptions are $5 for one year, four issues; special rate for individuals, $4 for one year; overseas by air, $8 (U.S. -
Blake's Debt to Wollstonecraft in the Four Zoas
ARTICLE The Embattled Sexes: Blake’s Debt to Wollstonecraft in The Four Zoas Michael Ackland Blake/An Illustrated Quarterly, Volume 16, Issue 3, Winter 1982/1983, pp. 172-183 PAGE 172 BLAKE AS ILLUSTRATED QUARTERLY WINTER 1982-83 The Embattled Sexes: Blake's Debt to Wollstonecraft in The Four Zoas BY MICHAEL ACKLAND Our knowledge of Blake's acquaintance with the writings of with them to Wollstonecraft's conception of female poten- Mary Wollstonecraft is at once precise and frustratingly in- tial. Moreover, these ideas are further developed in The complete. We know he illustrated, and presumably also Four Zoas, where many crucial conceptual links between the read, her novel Original Stories from Real Life.' We also works of Blake and Wollstonecraft testify to the enduring have evidence in his earlier works, notably in Visions of the impact on him of her impassioned call for harmony, equali- Daughters of Albion, that he was influenced by the doc- ty and true friendship between the sexes. trines she expressed in Vindication of the Rights of Men Visions of the Daughters of Albion offers evidence not (1790) and Vindication of the Rights of Woman (1792).2 only of Blake's debt to Wollstonecraft but, more important- Moreover, both writers were frequent visitors at the booksel- ly, of his capacity to assimilate her ideas into his evolving cos- ler and publisher Joseph Johnson in the early 1790s; and mology. As commentators have noted, Oothoon's descrip- would, at the very least, have been known to each through tion of the negative and positive roles open to her sex seems word of mouth. -
The Prophetic Books of William Blake : Milton
W. BLAKE'S MILTON TED I3Y A. G.B.RUSSELL and E.R.D. MACLAGAN J MILTON UNIFORM WirH THIS BOOK The Prophetic Books of W. Blake JERUSALEM Edited by E. R. D. Maclagan and A. G. B. Russell 6s. net : THE PROPHETIC BOOKS OF WILLIAM BLAKE MILTON Edited by E. R. D. MACLAGAN and A. G. B. RUSSELL LONDON A. H. BULLEN 47, GREAT RUSSELL STREET 1907 CHISWICK PRESS : CHARLES WHITTINGHAM AND CO. TOOKS COURT, CHANCERY LANE, LONDON. INTRODUCTION. WHEN, in a letter to his friend George Cumberland, written just a year before his departure to Felpham, Blake lightly mentions that he had passed " nearly twenty years in ups and downs " since his first embarkation upon " the ocean of business," he is simply referring to the anxiety with which he had been continually harassed in regard to the means of life. He gives no hint of the terrible mental conflict with which his life was at that time darkened. It was more actually then a question of the exist- ence of his body than of the state of his soul. It is not until several years later that he permits us to realize the full significance of this sombre period in the process of his spiritual development. The new burst of intelle6tual vision, accompanying his visit to the Truchsessian Pi6lure Gallery in 1804, when all the joy and enthusiasm which had inspired the creations of his youth once more returned to him, gave him courage for the first time to face the past and to refledl upon the course of his deadly struggle with " that spe6lrous fiend " who had formerly waged war upon his imagination. -
David Punter, Ed., William Blake: Selected Poetry and Prose
REVIEW Stanley Kunitz, ed., The Essential Blake; Michael Mason, ed., William Blake; David Punter, ed., William Blake: Selected Poetry and Prose E. B. Murray Blake/An Illustrated Quarterly, Volume 24, Issue 4, Spring 1991, pp. 145-153 Spring 1991 BLAKE/AN ILLUSTRATED QUARTERLY Not so the Oxford Authors and Rout- As we know, and contrary to Mason's ledge Blakes. They do have some pre- implications, Blake felt his illumina- REVIEWS tensions and they may not be tions an integral part of his composite altogether harmless. Michael Mason is art, going so far as to applaud himself initially concerned with telling us what (in the third person) for having in- he does not do in his edition. He does vented "a method of Printing which Stanley Kunitz, ed. The Es not include An Island in the Moon, The combines the Painter and Poet" and, in sential Blake. New York: Book of Ahania, or The FourZoas. He an earlier self-evaluation, he bluntly The Ecco Press, 1987. 92 does not follow a chronological order asserts, through a persona, that those pp. $5.00 paper; Michael in presenting Blake's texts; he does not (pace Mason) who will not accept and Mason, ed. William Blake. provide deleted or alternative read- pay highly for the illuminated writings ings; he does not provide the illumina- he projected "will be ignorant fools Oxford: Oxford University tions or describe them; he does not and will not deserve to live." Ipse dixit. Press, 1988. xxvi + 601 pp. summarize the content of Blake's works The poet/artist is typically seconded $45.00 cloth/$15.95 paper; nor does he explicate Blake's mythol- by his twentieth-century editors, who, David Punter, ed. -
Cemetery Information Management
7/21/2017 11:58 AM Buried Persons Report - Special Page: 1 CEMT Person Buried From: 01-1001-07.0 Thru: ZURKIEWICZ, PETER P. 07-0POT-50.0 Owner Deceased First Initial Date Block Plot Lot Grave _______________________________________________________________________________________ ABEL, JEAN ABEL AUGUST F 2/22/1994 BL1N 01 014 08-1 ABEL, KENNETH & ANN ABEL BRIAN L 10/10/1998 BL1N 02 015 03-0 ABEL, JEAN ABEL JEAN 5/06/2004 BL1N 01 014 08-0 ADAMEK, JOHN ADAMEK LUKAS BL13 11 013 0C-0 ADAMS, BETTY A. ADAMS BETTY A 9/27/2010 BL1N 02 002 06-0 ADAMS, T. ADAMS THOMAS E 3/11/1930 BL07 00 011 10-0 ADAMS, T. ADAMS VIOLA A 10/04/1941 BL07 00 011 11-0 ADAMS, OGDEN A. ADAMS * OGDEN A 12/30/1985 BL1N 02 002 05-0 ADELSPERGER, THOMAS ADELSPERGER WILLIAM J 6/26/1920 BL04 00 037 06-0 ADKINS, WILBUR ADKINS MARIAN 4/16/2005 BL12 00 136 15-0 ADKINS, WILBUR ADKINS WILBUR C 12/07/1984 BL12 00 136 14-0 AHLSTROM, ELBIN & ELLA AHLSTROM ELBIN L 4/19/1989 BL13 03 005 16-0 AHLSTROM, ELBIN & ELLA AHLSTROM ELLA M 6/28/1995 BL13 03 005 17-0 ALBERT, MRS. HAROLD ALBERT HAROLD 2/05/1959 BL12 00 026 14-0 ALBERT, RALPH ALBERT IVA H 10/07/1954 BL05 00 158 14-0 ALBERT, RALPH ALBERT RALPH E 6/14/1970 BL05 00 158 15-0 ALBERTS, JOE ALBERTS JOE 2/23/1920 BL07 00 028 13-0 FLOHR, C.A. -
Blake's Mythic System
TEMENOS ACADEMY ONLINE PAPERS SUMMER TERM 2020 1 WILLIAM BLAKE’S MYTHIC SYSTEM By DR SUSANNE SKLAR William Blake The Four Zoas (from Milton: A Poem) William Blake’s Mythic System Four Zoas – Four Emanations Los & Enitharmon Imagination Urizen & Ahania Reason Luvah & Vala Feeling Function Tharmas & Enion Basic Needs Four States of Being Ulro Generation Beulah Eden/Eternity Copyright © Susanne Sklar Temenos Academy, May 2020 1 William Blake’s Mythic System William Blake’s mythic system is designed to change the way we think and see, to lead us into a world where imagination and ferocious forgiveness are social structuring principles. Featuring Zoas, Emanations, and different states of being, Blake’s system evolved throughout his working life. This paper outlines the basic features of that system, as well as some sources influencing key concepts in his prophetic vision. Blake’s mythic system evolved between 1789 and 1820. In those 31 years, he created 13 illuminated books (S1)1, and a manuscript called Vala, or the Four Zoas (FZ). He never engraved that text, but his subsequent books – Milton (1804), and Jerusalem: The Emanation of the Giant Albion (1804-21) - assume that you know it, that you know about Blake’s characters and locations. Blake’s system is most fully formed in Jerusalem (J), his masterpiece, which, Blake tells us, was dictated to him by Jesus (S2). In its first scene he announces his purpose and he prays: I rest not from my great task! To open the Eternal Worlds, to open the immortal Eyes Of Man inwards into the Worlds of Thought, into Eternity Ever expanding in the Bosom of God, the Human Imagination. -
Blake's Beulah and Beulah Hill, Surrey
MINUTE PARTICULAR Blake’s Beulah and Beulah Hill, Surrey Eileen Sanzo Blake/An Illustrated Quarterly, Volume 9, Issue 2, Fall 1975, p. 46 46 5 This description of the smoke-filled abyss also parallels the sleep of Beulah may have occurred literally several scenes elsewhere in Blake's works; see, for example, (as well as in the many ways already commented upon, "A Memorable Fancy" in 11 where imaginatively) when he rested. We know that Blake "we beheld the infinite Abyss, fiery as the smoke of a burning city" (E 40); nuealem where the Sons of Albion divide and took long walks both in London and out into the "Arise as the smoke of the furnace" from "a hideous orifice" country surrounding it because he tells us so in (E 222); and in The Four Zoae, Night the Third, where Urizen's his poetry. Thus the mythical Beulah, with its fall takes place amidst "thunders & thick clouds" and moves allusions to Scripture4 and John Bunyan, may have into the "smoke" of "The nether Abyss" (E 322-23). a special basis in fact and a parallel with Blake's personal experience of London and its countryside. If Jerusalem can be imaginatively identified with London, Palestinian Beulah may also have been identified by him with the London countryside of Beulah Hill, Surrey. Blake's Beulah & Beulah Hill, Surrey By Eileen Sanzo 1 M 6.1. 2 M 6.5; J 42.51; J 42.80. Much is written concerning Blake's nature myth of Beulah, but one important fact which has as yet not 3 J.