Blake in Our Time is a magnificent tribute to G. E. Bentley, Jr.—one of the titans in Blake studies of the last, as well as current, century—whose work has “shifted the focus of Blake criticism from formalism and symbolism to the ‘Minute Particulars’ of Blake’s life and work,” with Bentley thus launching what is here described as “now the most productive field of inquiry in Blake studies” ([3]). Were the title not already in service, this anthology might better be called Blake in His Time inasmuch as its core chapters fix attention on Blake’s friends, patrons, and fellow artists: Stephen and Harriet Mathew, John Flaxman, William Hayley, Thomas Butts, George Cumberland, and George Richmond. On the other hand, the title as we have it drives the idea that a principal activity of Blake studies in our time is the re-situation of the poet in his own time and, with that, the rehabilitation of text and context. Even more, the title underscores the paradox that the preoccupation of Blake studies in our time is with Blake in his own time; that only after we return Blake to his original cultural context does he emerge as a poet speaking powerfully to our own age from a frontier of religious speculation and through an ideology that has survived its own apparent demise. Among the many outstanding essays in this volume, those by Robert N. Essick, Mary Lynn Johnson, Martin Butlin, and Morton D. Paley are especially illuminating, while the coda, by Jerome McGann, holds its own bright light in Bentley’s sunshine.
《布莱克在我们的时代》是对小g·e·本特利(G. E. Bentley, jr .)的致敬之作，他是上个世纪和当前布莱克研究的巨人之一，他的作品“将布莱克批评的焦点从形式主义和象征主义转移到布莱克生活和工作的‘细微细节’上”，本特利由此启动了这里所描述的“现在布莱克研究中最有成效的研究领域”([3])。如果书名不是已经在使用，这本选集可能更适合被称为布莱克的时代，因为它的核心章节关注布莱克的朋友、赞助人和艺术家同行:斯蒂芬和哈里特·马修、约翰·弗拉克斯曼、威廉·海利、托马斯·巴茨、乔治·坎伯兰和乔治·里士满。另一方面，我们所看到的标题推动了这样一种观点，即我们这个时代布莱克研究的一项主要活动是重新定位诗人在他自己的时代，并由此恢复文本和语境。更重要的是，这个标题强调了一个悖论:我们这个时代对布莱克研究的重点是他自己那个时代的布莱克;只有当我们将布莱克回归到他最初的文化背景中，他才会以诗人的身份出现，从宗教思辨的前沿，通过一种从明显的消亡中幸存下来的意识形态，向我们这个时代有力地说话。在本卷众多杰出的文章中，罗伯特·n·埃西克、玛丽·林恩·约翰逊、马丁·布特林和莫顿·d·佩利的文章特别有启发意义，而杰罗姆·麦克甘的结束语在本特利的阳光下也有自己的亮点。
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In the past decade, we have seen examinations of the more marginal works (sometimes literally so) in William Blake’s oeuvre. For example, Blake’s epic Jerusalem has long been considered more or less his valedictory work, but in 2003’s The Traveller in the Evening: The Last Works of William Blake (Oxford), Morton Paley charted Blake’s productions after that supposed farewell, and in the process created a valuable introduction for readers interested in examining those relatively neglected materials. In 2009 Hazard Adams offered a similar overview of Blake’s marginalia in Blake’s Margins: An Interpretive Study of the Annotations (McFarland). In William Blake on His Poetry and Painting: A Study of A Descriptive Catalogue, Other Prose Writings and Jerusalem, Adams “continues the study of William Blake’s prose writings begun with Blake’s Margins” (1). Poetry and Painting looks at Blake’s prose works with a particular focus on his remarks on art and poetry. Part I includes seven essays on, respectively, A Descriptive Catalogue, A Vision of the Last Judgment, A Public Address, On Homers Poetry and On Virgil, Laocoön, Blake’s letters, and “The Early Tractates.” Part II comprises three essays, the first considering Blake’s attitudes on poetry, on his own poetry, and on other poets, the second on his prose and Jerusalem, and the third on his impact on William Butler Yeats and James Joyce.
在过去的十年里，我们看到了对威廉·布莱克(William Blake)全部作品中较为边缘的作品(有时确实如此)的审查。例如，布莱克的史诗《耶路撒冷》长期以来或多或少被认为是他的告别作品，但在2003年出版的《夜晚的旅行者:威廉·布莱克最后的作品》(牛津)中，莫顿·佩利(Morton Paley)列出了布莱克在所谓的告别之后的作品，并在此过程中为有兴趣研究那些相对被忽视的材料的读者提供了有价值的介绍。2009年，Hazard Adams在《Blake’s margin: a Interpretive Study of the Annotations》(McFarland)中对Blake的旁注进行了类似的概述。在《威廉·布莱克论他的诗歌和绘画:对一个描述性目录、其他散文作品和耶路撒冷的研究》一书中，亚当斯“继续从布莱克的《边际》开始对威廉·布莱克的散文作品进行研究”(1)。《诗歌和绘画》着眼于布莱克的散文作品，特别关注他对艺术和诗歌的评论。第一部分包括七篇论文，分别是，描述性目录，最后审判的愿景，公开演讲，荷马诗歌和维吉尔，Laocoön，布莱克的信件，和“早期论文”。第二部分包括三篇文章，第一篇考虑布莱克对诗歌的态度，对他自己的诗歌和其他诗人的态度，第二篇讨论他的散文和耶路撒冷，第三篇讨论他对威廉·巴特勒·叶芝和詹姆斯·乔伊斯的影响。
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The Book of Urizen as a rewriting, or reinterpretation, of the Genesis myth has long been important to Blake studies in terms of understanding the very crux of Blakean mythology and the nature of what has come to be known as Blake’s bible. By essentially reading the act of “genesis” (what one might normally associate with an establishment of order and origin) as a kind of reverse creation myth, Blake suggests in Urizen that the birth of humanity emerges at the moment of its fall. Hence, what was once a story of creation out of chaos becomes for Blake a visionary apocalypse. I use the term “visionary” here not simply because Urizen acts as Blake’s artistic vision of man’s genesis, but because, for Blake, the nature of our origins as apocalypse is dependent upon the fall of our perceptions, on a collapse of both human and divine vision. If the Blakean fall predates an exile of humanity from paradise, then it becomes divine in origin, stemming from acts of godly creation. Blake’s radical mythology essentially can be read as a critique of aesthetics and of our standards of both divine and artistic creation. We know from the original Genesis myth that divine creation arises out of God’s command “Let there be light.” However, Blake’s anti-Genesis begins and ends in obscurity, in a world devoid of light that remains in darkness throughout all of Urizen’s acts of creation. Therefore, we can read The Book of Urizen as a story of blindness, or of the relationship that emerges between man and God as both lose their ability to perceive fully.
{"title":"“Bound ... by their narrowing perceptions”: Sympathetic Bondage and Perverse Pity in Blake’s The Book of Urizen","authors":"Sarah Eron","doi":"10.47761/biq.108","DOIUrl":"https://doi.org/10.47761/biq.108","url":null,"abstract":"The Book of Urizen as a rewriting, or reinterpretation, of the Genesis myth has long been important to Blake studies in terms of understanding the very crux of Blakean mythology and the nature of what has come to be known as Blake’s bible. By essentially reading the act of “genesis” (what one might normally associate with an establishment of order and origin) as a kind of reverse creation myth, Blake suggests in Urizen that the birth of humanity emerges at the moment of its fall. Hence, what was once a story of creation out of chaos becomes for Blake a visionary apocalypse. I use the term “visionary” here not simply because Urizen acts as Blake’s artistic vision of man’s genesis, but because, for Blake, the nature of our origins as apocalypse is dependent upon the fall of our perceptions, on a collapse of both human and divine vision. If the Blakean fall predates an exile of humanity from paradise, then it becomes divine in origin, stemming from acts of godly creation. Blake’s radical mythology essentially can be read as a critique of aesthetics and of our standards of both divine and artistic creation. We know from the original Genesis myth that divine creation arises out of God’s command “Let there be light.” However, Blake’s anti-Genesis begins and ends in obscurity, in a world devoid of light that remains in darkness throughout all of Urizen’s acts of creation. Therefore, we can read The Book of Urizen as a story of blindness, or of the relationship that emerges between man and God as both lose their ability to perceive fully.","PeriodicalId":39620,"journal":{"name":"Blake - An Illustrated Quarterly","volume":"45 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-12-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86338814","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}
This readable and compelling study, focusing on the tempestuous 1790s in England, Ireland, Scotland, and Europe and the culmination of events in the Irish uprising of 1798, yields important new insights on Blake and his historical context. Schuchard’s research in Moravian archives in 2001 (Davies, “William Blake in Contexts” 4) (with subsequent collaboration with Keri Davies) resulted in the announcement in 2004 in these pages of her startling discovery that Blake’s mother had attended the Moravian Church, and that the church took a decided interest in—as it did with all church members—Catherine Wright’s marriage to her first husband, Thomas Armitage. This, along with Schuchard’s further research on Blake and Moravianism and other sects in William Blake’s Sexual Path to Spiritual Vision, was sparked by the revelations in E. P. Thompson’s Witness against the Beast (120-21) and subsequently in Davies’s “William Blake’s Mother: A New Identification” about that first marriage. A Concatenation of Conspiracies expands upon this groundbreaking work.
{"title":"Marsha Keith Schuchard, A Concatenation of Conspiracies: “Irish” William Blake and Illuminist Freemasonry in 1798","authors":"J. McQuail","doi":"10.47761/biq.327","DOIUrl":"https://doi.org/10.47761/biq.327","url":null,"abstract":"This readable and compelling study, focusing on the tempestuous 1790s in England, Ireland, Scotland, and Europe and the culmination of events in the Irish uprising of 1798, yields important new insights on Blake and his historical context. Schuchard’s research in Moravian archives in 2001 (Davies, “William Blake in Contexts” 4) (with subsequent collaboration with Keri Davies) resulted in the announcement in 2004 in these pages of her startling discovery that Blake’s mother had attended the Moravian Church, and that the church took a decided interest in—as it did with all church members—Catherine Wright’s marriage to her first husband, Thomas Armitage. This, along with Schuchard’s further research on Blake and Moravianism and other sects in William Blake’s Sexual Path to Spiritual Vision, was sparked by the revelations in E. P. Thompson’s Witness against the Beast (120-21) and subsequently in Davies’s “William Blake’s Mother: A New Identification” about that first marriage. A Concatenation of Conspiracies expands upon this groundbreaking work.","PeriodicalId":39620,"journal":{"name":"Blake - An Illustrated Quarterly","volume":"94 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-10-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80710324","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 William Blake’s French Revolution (1791) there is a minor character who is identified only as “Aumont.” He makes his first appearance in lines 159-67, where he informs King Louis XVI and the nobles that the Abbé de Seyes has left the assembly hall and is making his way to the palace to speak to them. Aumont is mentioned a second time in lines 198-201, when Seyes actually arrives. In W. H. Stevenson’s annotated edition of Blake’s poetry, a footnote identifies this character as “the Duke of Aumont, later a commander of the National Guard in Paris, and in charge of the troops leading Louis from Versailles to Paris on 5 October [1789]—which B[lake] probably saw as a pro-revolutionary act, contradicting Aumont’s earlier membership in the Second Estate of Nobility.” Stevenson’s notes have been of great use to me over the years, but I have doubts about the usefulness of this particular note. For starters, I am not convinced that Stevenson has identified the right member of the House of Aumont, and even if he has identified the right individual, I feel confident that he has not selected the most relevant episode from that person’s life to highlight.
{"title":"The House of Aumont and Blake’s French Revolution","authors":"Matthew M. Davis","doi":"10.47761/biq.321","DOIUrl":"https://doi.org/10.47761/biq.321","url":null,"abstract":"In William Blake’s French Revolution (1791) there is a minor character who is identified only as “Aumont.” He makes his first appearance in lines 159-67, where he informs King Louis XVI and the nobles that the Abbé de Seyes has left the assembly hall and is making his way to the palace to speak to them. Aumont is mentioned a second time in lines 198-201, when Seyes actually arrives. In W. H. Stevenson’s annotated edition of Blake’s poetry, a footnote identifies this character as “the Duke of Aumont, later a commander of the National Guard in Paris, and in charge of the troops leading Louis from Versailles to Paris on 5 October [1789]—which B[lake] probably saw as a pro-revolutionary act, contradicting Aumont’s earlier membership in the Second Estate of Nobility.” Stevenson’s notes have been of great use to me over the years, but I have doubts about the usefulness of this particular note. For starters, I am not convinced that Stevenson has identified the right member of the House of Aumont, and even if he has identified the right individual, I feel confident that he has not selected the most relevant episode from that person’s life to highlight.","PeriodicalId":39620,"journal":{"name":"Blake - An Illustrated Quarterly","volume":"28 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-10-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73889194","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 National Gallery of Victoria (NGV) in Melbourne, Australia, is perhaps best known to Blake scholars for its magnificent suite of watercolors illustrating Dante’s Divine Comedy, which was purchased from the John Linnell sale at Christie’s in London in 1918. The NGV also holds a composite group of fourteen wood engravings that Blake designed and engraved for Dr. Robert Thornton’s Pastorals of Virgil, which were purchased in London in 1959 and are believed to have formed part of Linnell’s collection as well. At first glance, these wood engravings are underwhelming; four are quite poor impressions, and one is a unique hybrid between a print and an ink wash drawing. Nevertheless, extensive technical examination undertaken by the NGV’s paper conservation studio has revealed a range of printing imperfections, attributable to material choice and studio practices, which provide a tangible commentary on the complex history of Blake’s Virgil woodblocks and the various artists who printed from them.
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Fernando Castanedo’s bilingual critical edition of the ten poems from the so-called Pickering Manuscript is impressive, a sensitive translation into Spanish combined with scholarly commentary and apparatus of very high quality. This book will win Blake Spanish-speaking friends wherever it goes, but there may be some confusion about what’s in it.
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Mike Goode’s Romantic Capabilities: Blake, Scott, Austen, and the New Messages of Old Media is an engaging and sophisticated extension of “Blakespotting,” his 2006 PMLA article in which he argues for texts’ “latent meaningfulness,” a latency that reveals their “potential energies in other times and places” (“Blakespotting” 771). Romantic Capabilities further theorizes that core idea by bringing together insights from media studies with insights from literary studies to discuss a text’s “behavior” as it moves forward from its time and place of origin, interpreting its later behavior as a sign of its latent potentials at the time of composition. For this reason, Goode’s analysis of a literary work’s future behavior differs from a reception history: reception histories usually emphasize human agency, what people do with texts in their afterlives, while Goode emphasizes the agency of the text, which is why he frames his discussion in terms of the text’s latency or potential energies. In other words, inherent features of the text present at the time of composition influence, at least to an extent, how the text behaves in the future, outside of its original context. Romantic Capabilities does not reduce literary studies to media studies, or media studies to literary studies, but “seeks to open Romantic studies and media studies out to one another in order to generate insights of interest to both fields” (5). This opening out includes a resistance to defining media behavior only in terms of the text’s new medium, a resistance that takes the form of a commitment to close reading: “This book is committed to the idea that techniques of close-reading language and form matter to any discussion of how a text behaves and how much its behavior in a particular case has to do with what it says” (14).
Mike Goode的《浪漫能力:布莱克、斯科特、奥斯汀和旧媒体的新信息》是他2006年在PMLA发表的一篇文章“布莱克波特”的引人入胜和复杂的延伸，他在文章中主张文本的“潜在意义”，一种揭示文本“在其他时间和地点的潜在能量”的延迟(“布莱克波特”771)。《浪漫主义的能力》进一步将这一核心思想理论化，将媒体研究的见解与文学研究的见解结合起来，讨论文本从其起源的时间和地点向前发展的“行为”，将其后来的行为解释为其构成时潜在潜力的标志。因此，古德对文学作品未来行为的分析不同于接受史:接受史通常强调人的能动性，即人们在死后对文本所做的事情，而古德强调文本的能动性，这就是为什么他从文本的潜伏期或潜在能量的角度来构建他的讨论。换句话说，写作时文本的固有特征至少在一定程度上影响了文本在其原始上下文之外的未来行为。《浪漫主义能力》并没有将文学研究简化为媒介研究，也没有将媒介研究简化为文学研究，而是“试图将浪漫主义研究和媒介研究相互开放，以产生对两个领域都感兴趣的见解”(5)。这种开放包括对仅从文本的新媒介方面定义媒介行为的抵制，这种抵制采取了对细读的承诺的形式:“这本书致力于这样一种观点，即细读语言和形式的技巧对于任何关于文本行为的讨论都很重要，以及它在特定情况下的行为与它所说的内容有多大关系”(14)。
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With Blake and Conflict Palgrave Macmillan extends its role as the academic press now most consistently showcasing new Blake scholarship. The volume presents selected revised papers from a conference of the same title held in Oxford in 2006. Although it does not entirely surmount the miscellaneous quality that most conference anthologies have, synergies among several contributions provide a fairly strong thematic coherence. Sarah Haggarty and Jon Mee’s introduction outlines two kinds of conflict as salient for the volume, both involving the conversation of “Visionary forms dramatic” that Blake envisions in humanity’s future (Jerusalem 98, E 257). The first centers on ideological or intellectual conflict as an aspect of pluralistic harmony: Blake, the editors say, imagines “the kind of community that arises from the communication between differences” (4). A second, more mundane, type of conflict involves Blake’s contentious “relationships with his precursors and precursor texts,” and these too, for the editors, are relationships among “Contraries,” so that conflict emerges as a “risk inherent in fully engaging with the other” (4, 5). This breakdown, however, only partly accounts for the volume’s contents; more than half the essays involve “conflict” with recent views of Blake or Blake-like ideas as complicit with imperialism and its ideological categories, with elite political domination, or with masculinist gender conceptions. These essays suggest a turn away from a “complicit” Blake by at least some now working in the field.
{"title":"Sarah Haggarty and Jon Mee, eds., Blake and Conflict","authors":"Christopher Z. Hobson","doi":"10.47761/biq.88","DOIUrl":"https://doi.org/10.47761/biq.88","url":null,"abstract":"With Blake and Conflict Palgrave Macmillan extends its role as the academic press now most consistently showcasing new Blake scholarship. The volume presents selected revised papers from a conference of the same title held in Oxford in 2006. Although it does not entirely surmount the miscellaneous quality that most conference anthologies have, synergies among several contributions provide a fairly strong thematic coherence. Sarah Haggarty and Jon Mee’s introduction outlines two kinds of conflict as salient for the volume, both involving the conversation of “Visionary forms dramatic” that Blake envisions in humanity’s future (Jerusalem 98, E 257). The first centers on ideological or intellectual conflict as an aspect of pluralistic harmony: Blake, the editors say, imagines “the kind of community that arises from the communication between differences” (4). A second, more mundane, type of conflict involves Blake’s contentious “relationships with his precursors and precursor texts,” and these too, for the editors, are relationships among “Contraries,” so that conflict emerges as a “risk inherent in fully engaging with the other” (4, 5). This breakdown, however, only partly accounts for the volume’s contents; more than half the essays involve “conflict” with recent views of Blake or Blake-like ideas as complicit with imperialism and its ideological categories, with elite political domination, or with masculinist gender conceptions. These essays suggest a turn away from a “complicit” Blake by at least some now working in the field.","PeriodicalId":39620,"journal":{"name":"Blake - An Illustrated Quarterly","volume":"31 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-09-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77773918","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 There Is a Happiness That Morning Is, Mickle Maher has imagined a witty, amusing, and moving love story about two college professors, inspired by two of William Blake’s poems. The first poem, “Infant Joy” from Songs of Innocence, is taught by the exuberant Bernard (Colm O’Reilly). The second, “The Sick Rose” from Songs of Experience, is taught by the precise, severe Ellen (Diana Slickman). The college dean, James (Kirk Anderson), serves as the worm in this Garden of Eden. The audience serves as the students in the classroom. William Blake, eighteenth-century poet, is front, center stage. His poems, chalked with artistic flourish on a large blackboard which dominates the stage, are always in front of the student-audience. They are referred to again and again by the characters, speaking in verse. So skilled are the actors that this seems natural, while it adds texture and increases the emotions of the plot.
{"title":"Mickle Maher, There Is a Happiness That Morning Is (Theater Oobleck, Chicago, 2011)","authors":"M. Silverstein","doi":"10.47761/biq.91","DOIUrl":"https://doi.org/10.47761/biq.91","url":null,"abstract":"In There Is a Happiness That Morning Is, Mickle Maher has imagined a witty, amusing, and moving love story about two college professors, inspired by two of William Blake’s poems. The first poem, “Infant Joy” from Songs of Innocence, is taught by the exuberant Bernard (Colm O’Reilly). The second, “The Sick Rose” from Songs of Experience, is taught by the precise, severe Ellen (Diana Slickman). The college dean, James (Kirk Anderson), serves as the worm in this Garden of Eden. The audience serves as the students in the classroom. William Blake, eighteenth-century poet, is front, center stage. His poems, chalked with artistic flourish on a large blackboard which dominates the stage, are always in front of the student-audience. They are referred to again and again by the characters, speaking in verse. So skilled are the actors that this seems natural, while it adds texture and increases the emotions of the plot.","PeriodicalId":39620,"journal":{"name":"Blake - An Illustrated Quarterly","volume":"43 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-09-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87666145","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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