The “Introduction” to Songs of Innocence is a short poem about a piper. This article addresses one particular feature that has not been thoroughly considered: the significance of the piper’s pipe. Examining the instrument and its role throws fresh light on the poem.
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{"title":"Cover and table of contents","authors":"Sarah Jones","doi":"10.47761/biq.348","DOIUrl":"https://doi.org/10.47761/biq.348","url":null,"abstract":"","PeriodicalId":39620,"journal":{"name":"Blake - An Illustrated Quarterly","volume":"29 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135316459","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In 2000–01, three books believed to have been owned or annotated by William Blake were displayed in an exhibition at Tate Britain that focused on the state of Blake scholarship at the time. Two of the works, collections of engravings, are thought to have belonged to the young Blake: Historia del Testamento Vecchio dipinta in Roma nel Vaticano da Raffaelle di Urbino … al sig. Annibale Carracci (Rome: Giovanni Orlandi, 1603 [Amsterdam: Excudit C. J. Visscher, 1638]) and A Political and Satirical History of the Years 1756 and 1757. In a Series of Seventy-Five Humorous and Entertaining Prints (London: Printed for E. Morris, n.d. [1757?]). The third book on display was a copy of John Milton’s Paradise Lost, edited by Richard Bentley and published in 1732. All three belonged to Michael Phillips, guest curator of the exhibition, and are now held by Victoria University Library (Toronto). Following the critical reaction to these books, and particularly to the attribution to Blake of annotations signed “WB” in the Bentley Milton, Mark Crosby thoroughly examined the Milton volume and published an article in the Book Collector in 2008 in support of the book’s having passed through Blake’s hands. Crosby compared the annotations in question, on pages 355 and 398, with the handwriting employed by Blake in his Vala manuscript. He also identified unique features in George Vertue’s portrait engraving of Milton on the frontispiece of Bentley’s edition that are mirrored in Blake’s tempera portrait of the poet, one of eighteen heads commissioned by William Hayley to decorate his Turret House library. These paintings were commissioned and completed during the period in which Blake would have had access to the edition in Hayley’s library.
2000年至2001年，泰特英国美术馆(Tate Britain)举办了一场展览，展出了三本据信为威廉·布莱克所有或注释的书，重点关注当时布莱克的学术状况。其中两件版画作品被认为属于年轻的布莱克:《罗马·梵蒂冈·拉斐尔·迪乌尔比诺的历史》(Historia del Testamento Vecchio dipinta in Roma nel Vaticano da Raffaelle di Urbino)和《Annibale Carracci》(罗马:Giovanni Orlandi, 1603年[阿姆斯特丹:Excudit C. J. Visscher, 1638年])和《1756年和1757年的政治和讽刺史》。在一系列的七十五幽默和娱乐版画(伦敦:印刷为E.莫里斯，n.d.[1757?])。展出的第三本书是约翰·弥尔顿的《失乐园》，由理查德·本特利编辑，出版于1732年。这三本书都属于展览的客座策展人迈克尔·菲利普斯(Michael Phillips)，现在由维多利亚大学图书馆(多伦多)收藏。随着对这些书的批评反应，特别是对布莱克在本特利弥尔顿的注释署名“WB”的反应，马克·克罗斯比彻底检查了弥尔顿的卷，并在2008年的《图书收藏家》上发表了一篇文章，以支持这本书经过布莱克的手。克罗斯比将355页和398页上有问题的注释与布莱克在Vala手稿中使用的笔迹进行了比较。他还发现了乔治·韦尔图在本特利版的扉页上雕刻的弥尔顿肖像的独特之处，这些特征反映在布莱克的诗人蛋彩画肖像上，这是威廉·海利委托装饰他的塔楼图书馆的18个头像之一。这些画作是在布莱克有机会在海莉的图书馆里获得这一版本的时期委托和完成的。
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The year 2022 marked the twenty-fifth anniversary of the publication of Helen P. Bruder’s William Blake and the Daughters of Albion (Macmillan, 1997) (hereafter WBDA), the first book that brought feminist criticism to bear on Blake studies. Bruder’s WBDA wrestles with Blake’s complex representations of gender and sexuality. While earlier essays brought much-needed critical focus to Blake’s representations of women (see Susan Fox and Anne Mellor), Bruder’s book-length study argued for a radical feminist spirit in his works. This strident call to arms would advance Blake scholarship in exciting new directions, and WBDA has been widely cited ever since. Bruder is also the editor of Women Reading William Blake (Palgrave Macmillan, 2007) and prolific co-editor with Tristanne Connolly of four collections: Queer Blake (Palgrave Macmillan, 2010), Blake, Gender and Culture (Pickering & Chatto, 2012), Sexy Blake (Palgrave Macmillan, 2013), and Beastly Blake (Palgrave Macmillan, 2018). Currently, she is an independent scholar living in Oxfordshire. I met with her on 3 October 2022 at St. James’s Church, Piccadilly, in London, where we talked in the vestibule near the font where Blake was baptized in 1757. In the interview that follows, Bruder reflects on WBDA and what has changed in Blake scholarship since then.
2022年是海伦·p·布鲁德(Helen P. Bruder)的《威廉·布莱克和阿尔比恩的女儿们》(Macmillan出版社，1997年)出版25周年，这是第一本将女权主义批评引入布莱克研究的书。Bruder的WBDA与Blake对性别和性的复杂表现进行了角力。虽然早期的文章对布莱克对女性的表现(参见苏珊·福克斯和安妮·梅勒)提出了急需的批判性关注，但布鲁德的这本长达一本书的研究认为，布莱克的作品中有一种激进的女权主义精神。这一尖锐的呼吁将布莱克奖学金推向了令人兴奋的新方向，从那以后，WBDA被广泛引用。布鲁德还是《女性阅读威廉·布莱克》(帕尔格雷夫·麦克米伦出版社，2007年)的编辑，并与特里斯坦·康诺利共同编辑了四部文集:《同性恋布莱克》(帕尔格雷夫·麦克米伦出版社，2010年)、《布莱克，性别与文化》(皮克林&《查图》，2012)，《性感布莱克》(帕尔格雷夫·麦克米伦出版社，2013)，《野兽布莱克》(帕尔格雷夫·麦克米伦出版社，2018)。目前，她是一名生活在牛津郡的独立学者。我和她于2022年10月3日在伦敦皮卡迪利街的圣詹姆斯教堂见面，我们在1757年布莱克受洗的洗礼池附近的前厅里交谈。在接下来的采访中，Bruder回顾了WBDA，以及从那时起布莱克奖学金发生了什么变化。
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Michael Stone argues that biblical scholars sow confusion by defining the ancient apocalypses in terms of the eschatological content or worldview that many contain (their “apocalypticism”) at the expense of other defining features. This conflation of apocalypse with eschatology emerged with the first comprehensive study of the apocalypses, by the German theologian Friedrich Lücke in 1832. The problem has been exacerbated in our time by the ubiquitous use of the term “apocalypse” in the media, popular culture, the churches, the arts, academe, and environmental studies, which has all but emptied the term of its core meaning as “revelation” or “disclosure.” When “the apocalypse” is invoked, it most often refers to a large-scale catastrophe or cataclysm, usually involving the collapse of civilization or the end of the world. Such references comport better with the concept of eschatology, the study of last things or the “end” of history, than with apocalypse. The terminological confusion appears in the history of Blake criticism as well, from S. Foster Damon, through Northrop Frye, Harold Bloom, and Morton Paley, to more recent work by Steven Goldsmith and Lucy Cogan. It is marked by an uncritical and inconsistent use of “apocalyptic” or “the apocalypse” to refer primarily to an end-time judgment. A scholar who has resisted this critical conflation in both biblical and Blake criticism is Christopher Rowland, who wrote the landmark book The Open Heaven: A Study of Apocalyptic in Judaism and Early Christianity (1982), as well as Blake and the Bible (2010). Rowland, along with a burgeoning cadre of biblical scholars who address the issue, can help bring more precision to the way these concepts are used in Blake studies.
迈克尔·斯通认为，圣经学者们用末世论的内容或世界观(他们的“末世论”)来定义古代启示录，以牺牲其他定义特征为代价，从而制造了混乱。1832年，德国神学家弗里德里希·莱尔克(Friedrich l cke)首次对《启示录》进行了全面的研究，从而将启示录与末世论混为一谈。在我们这个时代，“天启”这个词在媒体、流行文化、教堂、艺术、学术和环境研究中无处不在的使用，使这个问题变得更加严重，这几乎使这个词的核心含义“启示”或“揭露”被掏空了。当“天启”一词被提起时，它通常指的是大规模的灾难或灾难，通常涉及文明的崩溃或世界末日。这样的引用更符合末世论的概念，研究最后的事情或历史的“终结”，而不是启示录。术语混乱也出现在布莱克批评的历史中，从s·福斯特·达蒙，到诺斯罗普·弗莱，哈罗德·布鲁姆和莫顿·佩利，再到史蒂文·戈德史密斯和露西·科根最近的作品。它的特点是不加批判和不一致地使用“启示录”或“启示录”来主要指末世的审判。克里斯托弗·罗兰(Christopher Rowland)是一位反对将圣经和布莱克的批评混为一谈的学者，他写了具有里程碑意义的书《开放的天堂:犹太教和早期基督教的启示录研究》(1982年)，以及《布莱克和圣经》(2010年)。罗兰和一群研究这个问题的圣经学者，可以帮助我们更加精确地了解这些概念在布莱克研究中的应用。
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Wayne C. Ripley, Fernando Castanedo, Hikari Sato, Hüseyin Alhas, Vera V. Serdechnaia
The annual Blake checklist is an annotated bibliography that aims to compile the scholarly, and much of the popular, engagement with Blake and members of his circle from the preceding year. Given that it is always a substantial undertaking, I wish to express my deep gratitude to my collaborators for their assistance. The annotations in the citations for the relevant language groups are theirs, as are the translations of titles and abstracts into English (when not provided by the original).
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Since the posthumous revival of William Blake (beginning in the 1860s, consolidated in the twentieth century), his identification with England, and more particularly with London, has been complicated by his appeal to cultural groups that are themselves ambivalent, at best, in their relationship to empire. While scholarship has increasingly attended to Blake’s dialogues with and receptions outside the Anglosphere, the radically countercultural artist and son of a hosier has simultaneously been assimilated into the iconography of mainstream Englishness. This has been nowhere more evident than in England itself, where he is quoted by politicians of all political persuasions and has been made the subject of blockbuster exhibitions in major institutional venues. For example, the trailer for the 2019–20 Tate exhibition projects Blakean imagery onto iconic scenes and sites of contemporary London, updating and appropriating Golgonooza for the age of the London Eye. At the same time, and in ways somewhat truer to his own practices, Blake has been celebrated as a kind of patron saint by London-based small presses and outsider artists and writers. Beyond England, complex and sometimes inapposite ideological allegiances have been contracted on his behalf from the nineteenth century onwards. In this essay, we turn to the reception, reproduction, and revisioning of Blake in the settler colonies of Australia, and we find a Blake whose work, mediated through a range of editorial and curatorial lenses, proves unexpectedly amenable to conflicting Australian desires both to affirm cultural fealty to England and empire and to refuse it.
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John Higgs is a versatile British essayist, television producer, journalist, and novelist (and more) who has written an odd but excellent general introduction to Blake. A few years ago he began working on a big but amorphous (from the sound of it) Blake project; shaken by the Brexit vote and stirred by the size and diversity of the audience at the ceremony dedicating the Blake memorial in Bunhill Fields, Higgs published a short collection of essays considering causes and implications of the huge change in Blake’s reputation in his home country since his death. In 2021 Higgs presented a 400-page biographical Blake-buster, part study guide, part self-help book, part manifesto—here and there encompassing pop culture, counterculture, high culture, literary criticism, seventeenth-century theology and poetry, psychology, current and Georgian politics, neuroscience, quantum mechanics, comparative theology, mysticism, and much else.
{"title":"John Higgs, William Blake Now; John Higgs, William Blake vs. the World","authors":"Alexander S. Gourlay","doi":"10.47761/biq.333","DOIUrl":"https://doi.org/10.47761/biq.333","url":null,"abstract":"John Higgs is a versatile British essayist, television producer, journalist, and novelist (and more) who has written an odd but excellent general introduction to Blake. A few years ago he began working on a big but amorphous (from the sound of it) Blake project; shaken by the Brexit vote and stirred by the size and diversity of the audience at the ceremony dedicating the Blake memorial in Bunhill Fields, Higgs published a short collection of essays considering causes and implications of the huge change in Blake’s reputation in his home country since his death. In 2021 Higgs presented a 400-page biographical Blake-buster, part study guide, part self-help book, part manifesto—here and there encompassing pop culture, counterculture, high culture, literary criticism, seventeenth-century theology and poetry, psychology, current and Georgian politics, neuroscience, quantum mechanics, comparative theology, mysticism, and much else.","PeriodicalId":39620,"journal":{"name":"Blake - An Illustrated Quarterly","volume":"11 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-04-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79101909","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Joseph Fletcher’s William Blake as Natural Philosopher, 1788–1795 dedicates itself to the task of defining Blake’s position on a variety of questions asked by eighteenth-century natural science, which in contemporary terms consisted of a mixture of philosophy of science, philosophy of nature, and empirical study. Because Blake wrote poetry that at times appears simple while being very complex, and that at other times drops all pretenses to simplicity, I believe that this task is doomed to fail. Apart from the inherent difficulties of translating literature into philosophy or science, Blake often presents the added difficulty of juxtaposing a number of highly developed, varying subjectivities and points of view within the same work, so that it’s nearly impossible to identify any one point of view with the author’s own. Does he adopt any one character’s point of view as his own, or does he occupy a third position located outside the text, only observing the interplay of these characters and their ideas, perhaps agreeing with some characters’ ideas but not others? Additionally, Blake writes in a mythological mode. Are his characters even human? Are they anthropomorphic representations of social or psychological forces? Something else? How would we define the natural philosophy of a mythological figure, and what kind of evidence could we present to align that view with Blake’s own?
{"title":"Joseph Fletcher, William Blake as Natural Philosopher, 1788–1795","authors":"James Rovira","doi":"10.47761/biq.337","DOIUrl":"https://doi.org/10.47761/biq.337","url":null,"abstract":"Joseph Fletcher’s William Blake as Natural Philosopher, 1788–1795 dedicates itself to the task of defining Blake’s position on a variety of questions asked by eighteenth-century natural science, which in contemporary terms consisted of a mixture of philosophy of science, philosophy of nature, and empirical study. Because Blake wrote poetry that at times appears simple while being very complex, and that at other times drops all pretenses to simplicity, I believe that this task is doomed to fail. Apart from the inherent difficulties of translating literature into philosophy or science, Blake often presents the added difficulty of juxtaposing a number of highly developed, varying subjectivities and points of view within the same work, so that it’s nearly impossible to identify any one point of view with the author’s own. Does he adopt any one character’s point of view as his own, or does he occupy a third position located outside the text, only observing the interplay of these characters and their ideas, perhaps agreeing with some characters’ ideas but not others? Additionally, Blake writes in a mythological mode. Are his characters even human? Are they anthropomorphic representations of social or psychological forces? Something else? How would we define the natural philosophy of a mythological figure, and what kind of evidence could we present to align that view with Blake’s own?","PeriodicalId":39620,"journal":{"name":"Blake - An Illustrated Quarterly","volume":"78 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-04-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76847481","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Cover and table of contents","authors":"Sarah Jones","doi":"10.47761/biq.338","DOIUrl":"https://doi.org/10.47761/biq.338","url":null,"abstract":"","PeriodicalId":39620,"journal":{"name":"Blake - An Illustrated Quarterly","volume":"38 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-04-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136319578","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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