John Windle provided an auspicious beginning for the 2022 Blake market with his February publication of catalogue 70, Present Joy. At 160 pages offering 809 items, this is the second-largest sale catalogue devoted to Blake and his circle, exceeded only by Windle’s October 2009 catalogue 46. The organization of Present Joy is unusual for its genre. The main section is arranged chronologically, with works listed by the year they were originally created, even for later reproductions. Thus, a 1955 facsimile of Songs of Innocence and of Experience appears in the subsection on Blake’s productions of 1789–94. The catalogue includes three drawings from the smaller Blake-Varley Sketchbook, separate plates including “Chaucers Canterbury Pilgrims,” print series such as the Job and Dante engravings, a large group of Blake’s commercial book illustrations, ranging from his apprentice work in Jacob Bryant’s A New System, or, an Analysis of Ancient Mythology (1774–76) to John Varley’s Treatise on Zodiacal Physiognomy (1828), and most of the William Muir and Blake Trust/Trianon Press facsimiles of Blake’s illuminated books. All but a few works by Blake are illustrated. Many items are recorded as “Sold,” including “Holy Thursday” from Songs of Innocence copy W and “A Cradle Song” (both plates) from Songs of Innocence copy Y, and have been listed in earlier installments of these sales reviews. In the listings below, I have included all original materials for the record.
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In recent years historians of the Renaissance and Enlightenment have paid increasing attention to the influence of Epicureanism upon European thought. As a result, Lucretius, the Roman who expounded Epicurean philosophy in his epic poem De rerum natura, has come to assume a foundational role in accounts of the development of modern science and philosophy. This change has been reflected within the world of Blake criticism, where, as scholars have become more interested in Blake’s complex response to materialism, so the presence of Lucretius, as both a focus for Blake’s hostility and as a shaping influence on his mythology, has become a subject of detailed scholarly investigation. We now have two studies specifically devoted to Blake and Lucretius. Stephanie Codsi has considered how Blake’s hostility to Epicurean Deism could help to explain his depiction of absent fathers in Songs of Innocence and of Experience. Joshua Schouten de Jel, in a book-length study, develops a comprehensive account of the sources from which Blake could have learned about Lucretius and a detailed view of particular areas of his response (focused upon figures that he associated with Epicurean atheism, Francis Bacon and Isaac Newton, and on specific areas of thought, including epistemology and cosmology). Since these studies have shed much light on this area, I need to explain why we need another discussion of Blake and Lucretius. In focusing upon the grounds of Blake’s hostility it is easy to overlook or underestimate the ambivalence that haunts his understanding of error and of prophecy. In this essay I shall argue that Blake saw in Lucretius not only a materialistic cosmology that he felt compelled to attack, but also a form of prophecy that represented an alluring alternative to his own prophetic mission, one whose malign influence could embroil those who tried to contain or oppose it—including John Milton. The work that deals with this issue most directly is Blake’s creation myth, The Book of Los—a work that seems to be nobody’s favorite, and that can appear frustratingly obscure.
近年来，研究文艺复兴和启蒙运动的历史学家越来越关注伊壁鸠鲁主义对欧洲思想的影响。因此，在史诗《自然》(De rerum natura)中阐述伊壁鸠鲁哲学的罗马人卢克莱修(Lucretius)，在现代科学和哲学的发展中，逐渐扮演了一个基础性的角色。这种变化反映在布莱克批评的世界里，随着学者们对布莱克对唯物主义的复杂反应越来越感兴趣，卢克莱修的存在，既是布莱克敌意的焦点，也是对他的神话的塑造影响，已经成为详细学术研究的主题。我们现在有两个专门研究布莱克和卢克莱修的研究。斯蒂芬妮·科德西认为布莱克对伊壁鸠鲁自然神论的敌意可以帮助解释他在《纯真之歌》和《经验之歌》中对缺席父亲的描述。约书亚·舒滕·德·耶尔(Joshua Schouten de Jel)在一本书长度的研究中，对布莱克可以从中了解卢克莱修的来源进行了全面的描述，并对他的回应的特定领域进行了详细的观察(重点关注他与伊壁鸠鲁无神论、弗朗西斯·培根和艾萨克·牛顿有关的人物，以及包括认识论和宇宙论在内的特定思想领域)。由于这些研究对这一领域有很大的启发，我需要解释为什么我们需要再次讨论布莱克和卢克莱修。在关注布莱克敌意的原因时，很容易忽视或低估了困扰他对错误和预言理解的矛盾心理。在这篇文章中，我将论证布莱克在卢克莱修身上不仅看到了一种他觉得有必要攻击的唯物主义宇宙论，而且还看到了一种预言的形式，这种预言代表了他自己的预言使命的一种诱人的替代，这种预言的恶意影响可能会卷入那些试图遏制或反对它的人——包括约翰·弥尔顿。最直接地处理这个问题的作品是布莱克的创造神话，《迷失之书》——一部似乎没有人喜欢的作品，它看起来令人沮丧地晦涩难懂。
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{"title":"Cover and table of contents","authors":"Sarah Jones","doi":"10.47761/biq.331","DOIUrl":"https://doi.org/10.47761/biq.331","url":null,"abstract":"","PeriodicalId":39620,"journal":{"name":"Blake - An Illustrated Quarterly","volume":"9 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135909226","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}
Though included among the articles of his “genius” from the start (see Dorfman 3-4), William Blake’s Notebook has received little scholarly treatment beyond the instrumental. It has functioned, for thematic readers, as another store of revealing epigrams; for editors, as a manuscript source for the Public Address and The Everlasting Gospel; for biographers, as a heartwarming keepsake from an intimate companion. In such cases the Notebook is used to subsidize some offshore critical enterprise at the expense of its own discursive and material integrity. To be sure, a handful of important Blakeans—Keynes, Jugaku, Bentley, Erdman—have outstripped instrumentality and, in a short series of facsimile editions and bibliographic studies, tended to the Notebook per se. With transcription and description, collation and chronology, these efforts march toward a fuller and more faithful representation of the Notebook as a literary- and art-historical artifact. But by design they stop short of the explanatory work of poetics—that is, the disclosure of “the conditions of meaning” and the other “means by which literary works create their effects” (Culler, Structuralist Poetics vii, xiv). It remains to be asked how the Notebook operates when subject to a thorough formal reading, and how, if at all, that operation might affect our understanding of Blake more generally.
{"title":"Notebook, Laocoön, and Blake’s Beauties of Inflection","authors":"Matthew Martello","doi":"10.47761/biq.328","DOIUrl":"https://doi.org/10.47761/biq.328","url":null,"abstract":"Though included among the articles of his “genius” from the start (see Dorfman 3-4), William Blake’s Notebook has received little scholarly treatment beyond the instrumental. It has functioned, for thematic readers, as another store of revealing epigrams; for editors, as a manuscript source for the Public Address and The Everlasting Gospel; for biographers, as a heartwarming keepsake from an intimate companion. In such cases the Notebook is used to subsidize some offshore critical enterprise at the expense of its own discursive and material integrity. To be sure, a handful of important Blakeans—Keynes, Jugaku, Bentley, Erdman—have outstripped instrumentality and, in a short series of facsimile editions and bibliographic studies, tended to the Notebook per se. With transcription and description, collation and chronology, these efforts march toward a fuller and more faithful representation of the Notebook as a literary- and art-historical artifact. But by design they stop short of the explanatory work of poetics—that is, the disclosure of “the conditions of meaning” and the other “means by which literary works create their effects” (Culler, Structuralist Poetics vii, xiv). It remains to be asked how the Notebook operates when subject to a thorough formal reading, and how, if at all, that operation might affect our understanding of Blake more generally.","PeriodicalId":39620,"journal":{"name":"Blake - An Illustrated Quarterly","volume":"44 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-01-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85694723","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}
The central claim of Lucy Cogan’s Blake and the Failure of Prophecy is that the defeat of Blake’s eschatological hopes in the mid-1790s compelled him to reinvent his prophetic myth throughout his career. This claim hinges on the assumption that Blake believed himself to be a prophet whose communication of inspired truths could help instigate social change. In Cogan’s view, Blake sees his role or “duty” through the lens of the pre-exilic Hebrew prophets, whose pronouncements were “a kind of action designed to bring about the future” (v-vi), a future that was “to some extent negotiable between God, [the] prophet and [the] people” (18). Cogan uses this lens to interpret the development of Blake’s work in the 1790s. She argues that he moves from a politically nuanced approach in The French Revolution, one in accord with the pre-exilic prophetic model, to a more deterministic mode in “A Song of Liberty” and America a Prophecy, a mode she describes as “apocalyptic.” But when the revolution is engulfed in violence and the predetermined climax of history fails to arrive (a failure depicted in Europe a Prophecy), he shifts to a cosmological explanation in the so-called Urizen books—The First Book of Urizen, The Book of Ahania, and The Book of Los. These works feature Los as a fallen prophet whose complicity with Urizen in creating a flawed universe dooms prophecy to failure from the start. Blake seeks to resolve this impasse in Vala/The Four Zoas, but his imposition of a Christian providential scheme brings a “transcendent” solution incompatible with the original zoa-emanation narrative. He must then reinvent himself a final time, aligning the transcendent and immanent dimensions of prophecy through Los’s merger with Blake himself, as depicted in the 22 November 1802 letter to Thomas Butts and later incorporated into Milton and Jerusalem.
露西·科根(Lucy Cogan)的《布莱克与预言的失败》(Blake and The Failure of Prophecy)的中心主张是，布莱克在18世纪90年代中期末世论希望的失败，迫使他在整个职业生涯中重新创造了他的预言神话。这种说法基于这样一个假设:布莱克相信自己是一位先知，他所传达的灵感真理有助于推动社会变革。在科根看来，布莱克通过被流放前的希伯来先知的视角来看待自己的角色或“责任”，他们的宣言是“一种旨在带来未来的行动”(v-vi)，一个“在某种程度上可以在上帝、先知和人民之间进行协商”的未来(18)。科根用这一视角来解读布莱克在18世纪90年代作品的发展。她认为，他从《法国大革命》中政治上的细微差别转向了《自由之歌》和《美国的预言》中更为决定论的模式，她将这种模式描述为“启示录”。《法国大革命》是一种与流放前的预言模式一致的政治微妙方式。但是，当革命被暴力吞没，预定的历史高潮未能到来时(这种失败在欧洲被描述为预言)，他在所谓的乌里岑书中转向了宇宙学的解释——乌里岑的第一部书、阿哈尼亚书和洛斯之书。这些作品将洛斯描绘成一个堕落的先知，他与乌里岑共谋创造了一个有缺陷的宇宙，从一开始就注定了预言的失败。Blake试图在Vala/ The Four Zoas中解决这一僵局，但他强加的基督教天意方案带来了一种“超越”的解决方案，与最初的zoa-发散叙事不相容。然后，他必须最后一次重塑自己，通过洛斯与布莱克本人的合并，将预言的超越和内在维度结合起来，正如1802年11月22日给托马斯·巴茨的信中所描述的那样，后来又被纳入弥尔顿和耶路撒冷。
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In 2011 a stained-glass window commemorating Blake’s three-year residence on the Sussex coast was consecrated in the parish church of St. Mary’s, Felpham. A Norman building dating to c. 1100, St. Mary’s is a short walk from the thatched cottage that Blake and Catherine occupied between 1800 and 1803. The Blake memorial window was commissioned by St. Mary’s parish council in 2007 and was funded by the generous contributions of Felpham parishioners and Blake enthusiasts and by donations raised through local charitable events celebrating the 250th anniversary of Blake’s birth. The window was designed by the artist Meg Lawrence, whose work also includes painting with an egg-based tempera medium on wood panels, a medium similar to the one that Blake used, with animal glue and gum Arabic as the binding agents instead of egg, for some of his 1799 illustrations of the Bible.
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The stimulus for this investigation of manuscript variants in one of Blake’s Notebook poems arises from an unlikely quarter: Kurt Vonnegut’s God Bless You, Mr. Rosewater (1965). Vonnegut’s use of Blake is purposeful. In Slaughterhouse-Five the narrator states (by way of Kilgore Trout) that “William Blake” was “[Eliot] Rosewater’s favorite poet” (99), and in a 1977 interview in the Paris Review Vonnegut specifically notes, “I was thirty-five before I went crazy about Blake.” In Rosewater, Eliot Rosewater, traumatized by his experience in World War II, dedicates his life and extraordinary wealth to a compensatory form of philanthropy for the population of Rosewater, Indiana. Eliot has written his personal manifesto on the step risers leading up to his office to remind himself and his clients of his life’s purpose and personal vision. His manifesto is identified in Vonnegut’s text only as “a poem by William Blake” (65). The poem is traditionally referred to by its first line, “The Angel that presided o’er my birth,” as rendered in Keynes’s Nonesuch edition, almost certainly Vonnegut’s source. Obscuring Blake’s rhyme scheme, Vonnegut separates the three-line poem into twelve sections, one for each riser.
{"title":"Deciphering Blake’s “The Angel that presided o’er my birth”","authors":"David W. Ullrich","doi":"10.47761/biq.109","DOIUrl":"https://doi.org/10.47761/biq.109","url":null,"abstract":"The stimulus for this investigation of manuscript variants in one of Blake’s Notebook poems arises from an unlikely quarter: Kurt Vonnegut’s God Bless You, Mr. Rosewater (1965). Vonnegut’s use of Blake is purposeful. In Slaughterhouse-Five the narrator states (by way of Kilgore Trout) that “William Blake” was “[Eliot] Rosewater’s favorite poet” (99), and in a 1977 interview in the Paris Review Vonnegut specifically notes, “I was thirty-five before I went crazy about Blake.” In Rosewater, Eliot Rosewater, traumatized by his experience in World War II, dedicates his life and extraordinary wealth to a compensatory form of philanthropy for the population of Rosewater, Indiana. Eliot has written his personal manifesto on the step risers leading up to his office to remind himself and his clients of his life’s purpose and personal vision. His manifesto is identified in Vonnegut’s text only as “a poem by William Blake” (65). The poem is traditionally referred to by its first line, “The Angel that presided o’er my birth,” as rendered in Keynes’s Nonesuch edition, almost certainly Vonnegut’s source. Obscuring Blake’s rhyme scheme, Vonnegut separates the three-line poem into twelve sections, one for each riser.","PeriodicalId":39620,"journal":{"name":"Blake - An Illustrated Quarterly","volume":"8 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-12-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88548336","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}
Harriet Mathew and her husband, the Reverend Anthony Stephen Mathew, are well known as patrons of William Blake and John Flaxman. As J. T. Smith wrote, about 1784 the house of “Mrs. Mathew, … No. 27, in Rathbone-place, was then frequented by most of the literary and talented people of the day,” and Flaxman’s sister-in-law Maria Denman wrote that A. S. Mathew’s wife “was the intimate associate of Mrs. Montague, Mrs. Barbauld, Mrs. Chapone, Mrs. Brooke, &c.” However, a search over fifty years revealed no clear reference to A. S. Mathew or to his wife in the records of Anna Letitia Barbauld, James Boswell, Fanny Burney, Mrs. Chapone, Benjamin Robert Haydon, Angelica Kauffman, Mrs. Montagu, George Romney, Hester Thrale, or Horace Walpole, many of them notorious gossips.
{"title":"The Mathews as Patrons","authors":"G. E. Bentley, Jr.","doi":"10.47761/biq.104","DOIUrl":"https://doi.org/10.47761/biq.104","url":null,"abstract":"Harriet Mathew and her husband, the Reverend Anthony Stephen Mathew, are well known as patrons of William Blake and John Flaxman. As J. T. Smith wrote, about 1784 the house of “Mrs. Mathew, … No. 27, in Rathbone-place, was then frequented by most of the literary and talented people of the day,” and Flaxman’s sister-in-law Maria Denman wrote that A. S. Mathew’s wife “was the intimate associate of Mrs. Montague, Mrs. Barbauld, Mrs. Chapone, Mrs. Brooke, &c.” However, a search over fifty years revealed no clear reference to A. S. Mathew or to his wife in the records of Anna Letitia Barbauld, James Boswell, Fanny Burney, Mrs. Chapone, Benjamin Robert Haydon, Angelica Kauffman, Mrs. Montagu, George Romney, Hester Thrale, or Horace Walpole, many of them notorious gossips.","PeriodicalId":39620,"journal":{"name":"Blake - An Illustrated Quarterly","volume":"26 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-12-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81746025","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 recent years Barry has gained serious attention, with a major exhibition of his works in Cork, Ireland, in 2005, a monograph that year by David G. C. Allan, and extensive discussion of his aims and contributions by Martin Myrone in Bodybuilding: Reforming Masculinities in British Art, 1750–1810 (2005) and Daniel R. Guernsey in The Artist and the State, 1777–1855: The Politics of Universal History in British and French Painting (2007). This growing interest began with the publication of William L. Pressly’s The Life and Art of James Barry in 1981, followed by a major exhibition of Barry’s work at the Tate in 1983 and John Barrell’s numerous references to Barry in his 1986 study, The Political Theory of Painting from Reynolds to Hazlitt. In this volume, Dunne and Pressly have collected fourteen essays from various hands, including Allan, Myrone, Guernsey, and Barrell, addressing a wide range of topics and questions involving Barry’s life and art. If the essays do not speak in one voice, they complement each other to a great extent.
{"title":"Tom Dunne and William L. Pressly, eds., James Barry, 1741–1806: History Painter","authors":"Dennis M. Read","doi":"10.47761/biq.105","DOIUrl":"https://doi.org/10.47761/biq.105","url":null,"abstract":"In recent years Barry has gained serious attention, with a major exhibition of his works in Cork, Ireland, in 2005, a monograph that year by David G. C. Allan, and extensive discussion of his aims and contributions by Martin Myrone in Bodybuilding: Reforming Masculinities in British Art, 1750–1810 (2005) and Daniel R. Guernsey in The Artist and the State, 1777–1855: The Politics of Universal History in British and French Painting (2007). This growing interest began with the publication of William L. Pressly’s The Life and Art of James Barry in 1981, followed by a major exhibition of Barry’s work at the Tate in 1983 and John Barrell’s numerous references to Barry in his 1986 study, The Political Theory of Painting from Reynolds to Hazlitt. In this volume, Dunne and Pressly have collected fourteen essays from various hands, including Allan, Myrone, Guernsey, and Barrell, addressing a wide range of topics and questions involving Barry’s life and art. If the essays do not speak in one voice, they complement each other to a great extent.","PeriodicalId":39620,"journal":{"name":"Blake - An Illustrated Quarterly","volume":"24 1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-12-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78315224","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}
Going back more than thirty years, Dennis Read has published articles large and small about the activities of Blake’s associate Robert Hartley Cromek (1770–1812); in the most important of these, “The Rival Canterbury Pilgrims of Blake and Cromek: Herculean Figures in the Carpet” (Modern Philology, 1988), he showed that contrary to the account assembled by Gilchrist and echoed by most of Blake’s subsequent biographers, who hold that Cromek stole the idea from Blake, Blake’s Chaucer picture and engraving were conceived and created in response to the painting by Thomas Stothard and the projected engraving after it. Now Read has gathered together much of what else he has found out about Cromek in a more comprehensive biography that concentrates on the busy final decade of Cromek’s life, arguing persuasively that Cromek has been (somewhat) misunderstood.
{"title":"Dennis M. Read, R. H. Cromek, Engraver, Editor, and Entrepreneur","authors":"Alexander S. Gourlay","doi":"10.47761/biq.102","DOIUrl":"https://doi.org/10.47761/biq.102","url":null,"abstract":"Going back more than thirty years, Dennis Read has published articles large and small about the activities of Blake’s associate Robert Hartley Cromek (1770–1812); in the most important of these, “The Rival Canterbury Pilgrims of Blake and Cromek: Herculean Figures in the Carpet” (Modern Philology, 1988), he showed that contrary to the account assembled by Gilchrist and echoed by most of Blake’s subsequent biographers, who hold that Cromek stole the idea from Blake, Blake’s Chaucer picture and engraving were conceived and created in response to the painting by Thomas Stothard and the projected engraving after it. Now Read has gathered together much of what else he has found out about Cromek in a more comprehensive biography that concentrates on the busy final decade of Cromek’s life, arguing persuasively that Cromek has been (somewhat) misunderstood.","PeriodicalId":39620,"journal":{"name":"Blake - An Illustrated Quarterly","volume":"27 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-12-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75553628","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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