William Blake: Difference between revisions

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== Writings ==
== Writings ==
All of the poems that Blake put before the public in his lifetime were self-published as engravings, many of them hand-coloured, the text and the setting interdependent and enriching each other.  His most accessible works are his early lyrics, including ''Songs of Innocence'', published in 1789 and reissued as ''Songs of Innocence and of Experience'', with many contrasting additions, in 1795.  The "prophetic" books based on his own private cosmology require an understanding of that cosmology for full appreciation, but their long flowing lines and powerful passages can have a strong appeal.
All of the poems that Blake put before the public in his lifetime were self-published as engravings, many of them hand-coloured, the text and the setting interdependent and enriching each other.  His most accessible works are his early lyrics, including ''Songs of Innocence'', published in 1789 and reissued as ''Songs of Innocence and of Experience'', with many contrasting additions, in 1795.  The "prophetic" books (see below) based on his own private cosmology require an understanding of that cosmology for full appreciation, but their long flowing lines and powerful passages can have a strong appeal.


He also produced some prose works, including ''The Marriage of Heaven and Hell''.
He also produced some prose works, including ''The Marriage of Heaven and Hell''.
Line 10: Line 10:
According to Crabb Robinson, [[William Wordsworth|Wordsworth]] thought him mad but interesting.<ref>Drabble, ed, under Blake</ref>  [[Alfred Edward Housman|A E Housman]] held him up as an example of "the Muses' madness" and quoted him as an example of "poetry neat, or adulterated with so little meaning that nothing except poetical emotion is perceived and matters."<ref>Housman, A E.  The Name and Nature of Poetry. 1933, in Carter, J, ed. A E Housman Selected Prose.  Cambridge University Press. 1961</ref>  [[John Ruskin|Ruskin]], however, thought his mind "great and wise".<ref>Drabble, ed, under Blake</ref>
According to Crabb Robinson, [[William Wordsworth|Wordsworth]] thought him mad but interesting.<ref>Drabble, ed, under Blake</ref>  [[Alfred Edward Housman|A E Housman]] held him up as an example of "the Muses' madness" and quoted him as an example of "poetry neat, or adulterated with so little meaning that nothing except poetical emotion is perceived and matters."<ref>Housman, A E.  The Name and Nature of Poetry. 1933, in Carter, J, ed. A E Housman Selected Prose.  Cambridge University Press. 1961</ref>  [[John Ruskin|Ruskin]], however, thought his mind "great and wise".<ref>Drabble, ed, under Blake</ref>


== The Prophetic books ==
=== Milton ===
Blake probably began Milton in 1804, after he had returned to London from living in Felpham, where he had been much under the influence of William Hayley; and it represents his final rejection of Hayley's wish to keep him in conventional and money-making occupations.  He had written to Thomas Butts in the previous year: "If a Man is the Enemy of my Spiritual Life while he pretends to be the Friend of my Corporeal, he is a Real Enemy".  It is a poem in two books, with a preface which ends with the four-stanza poem commonly miscalled "Jerusalem" ("And did those feet in ancient time").
Stated baldly, the story of the poem is that Milton, hearing the prophetic song of a Bard narrating the disastrous errors of the present time, descends into Blake so that the world can be rectified and the great harvest prepared.  Alongside this, Blake narrates the history of his relations with Hayley, who represents the perverter of art and truth.  All of it is expresssed by means of Blake's personal mythological framework.
=== Jerusalem ===
=== Vala, or the Four Zoas ===
=== Shorter books ===


== Art ==
== Art ==

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William Blake was an English poet and artist, seen posthumously as an important figure in the Romantic Movement. He earned his living as an engraver, and spent all his life, apart from three years at Felpham in Sussex, in modest accommodation in the London area. His work was little known or esteemed in his lifetime. His first biographer, Alexander Gilchrist (whose work was completed by his wife Anne) assumed that the main interest was in his art.[1], but in 1868 Swinburne published an appreciation of his poetry, and this was followed by editions of his works.[2]


Writings

All of the poems that Blake put before the public in his lifetime were self-published as engravings, many of them hand-coloured, the text and the setting interdependent and enriching each other. His most accessible works are his early lyrics, including Songs of Innocence, published in 1789 and reissued as Songs of Innocence and of Experience, with many contrasting additions, in 1795. The "prophetic" books (see below) based on his own private cosmology require an understanding of that cosmology for full appreciation, but their long flowing lines and powerful passages can have a strong appeal.

He also produced some prose works, including The Marriage of Heaven and Hell.

According to Crabb Robinson, Wordsworth thought him mad but interesting.[3] A E Housman held him up as an example of "the Muses' madness" and quoted him as an example of "poetry neat, or adulterated with so little meaning that nothing except poetical emotion is perceived and matters."[4] Ruskin, however, thought his mind "great and wise".[5]

The Prophetic books

Milton

Blake probably began Milton in 1804, after he had returned to London from living in Felpham, where he had been much under the influence of William Hayley; and it represents his final rejection of Hayley's wish to keep him in conventional and money-making occupations. He had written to Thomas Butts in the previous year: "If a Man is the Enemy of my Spiritual Life while he pretends to be the Friend of my Corporeal, he is a Real Enemy". It is a poem in two books, with a preface which ends with the four-stanza poem commonly miscalled "Jerusalem" ("And did those feet in ancient time").

Stated baldly, the story of the poem is that Milton, hearing the prophetic song of a Bard narrating the disastrous errors of the present time, descends into Blake so that the world can be rectified and the great harvest prepared. Alongside this, Blake narrates the history of his relations with Hayley, who represents the perverter of art and truth. All of it is expresssed by means of Blake's personal mythological framework.

Jerusalem

Vala, or the Four Zoas

Shorter books

Art

In addition to his engravings, Blake worked in watercolour and what he called fresco (more like tempera). Like his poetry, his art has a visionary quality. He despised the dominant artist of his time, Joshua Reynolds and admired Michelangelo and Gothic art.[6] He did influence a small group including John Linnell and Samuel Palmer. After his death the first exhibitions of his work were held in London in 1876 and Boston in 1880.[7]

References

  1. Gilchrist, A. Life of William Blake. 1863
  2. Drabble, M, ed. Oxford Companion to English Literature. Oxford University Press. Revised ed 1995
  3. Drabble, ed, under Blake
  4. Housman, A E. The Name and Nature of Poetry. 1933, in Carter, J, ed. A E Housman Selected Prose. Cambridge University Press. 1961
  5. Drabble, ed, under Blake
  6. Blunt, A. The Art of William Blake, in Butlin, M. A Catalogue of the works of William Blake in the Tate Gallery. The Tate Gallery. 1957
  7. Rothenstein, J in Butlin