As one expects of Oxford University Press, these two new selected editions of works by Blake are competently and thoughtfully executed. One also expects critical and editorial conservatism from Oxford; although both editors have freshened the introductions and notes and organized the works in original ways, these editions offer few innovations even in comparison with Bentley’s 1978 two-volume Oxford edition. Indeed, it could be said that in presenting the visual aspects of Blake’s work the new ones are even less adventurous, in that there appear to be fewer supplementary images of Blake’s actual words and designs in the Otto volume, and except for a detail image of a page on the cover, none at all in Shrimpton’s. This apparent regression may be due to the advent of alternative means of promulgating Blake’s work, which have made clear color images of illuminated pages widely available, especially in the sophisticated and fairly inexpensive Princeton/Blake Trust volumes, single-work facsimile editions, and, even more significantly, in the vast resources of the online William Blake Archive. Given that incorporating monochromatic snippets or even whole pages from illuminated books increases the cost and complexity of publishing, distorts the reader’s experience of the Blakean page, and provides only a small portion of Blake’s visual component, it makes sense for conventional publishers to refer interested readers to the archive or facsimiles rather than trying to convey the full visual aspect of his work in a mostly typographic text. That said, the recent editions of Blake works that combine thorough notes, full-size color images of all pages, and sophisticated transcriptions of the texts are much more satisfactory for most purposes than partially visual editions, and there is reason to wonder whether the world needs another collection that barely acknowledges the visual dimension.
{"title":"Peter Otto, ed., William Blake; Nicholas Shrimpton, ed., William Blake: Selected Poems","authors":"Alexander S. Gourlay","doi":"10.47761/biq.264","DOIUrl":"https://doi.org/10.47761/biq.264","url":null,"abstract":"As one expects of Oxford University Press, these two new selected editions of works by Blake are competently and thoughtfully executed. One also expects critical and editorial conservatism from Oxford; although both editors have freshened the introductions and notes and organized the works in original ways, these editions offer few innovations even in comparison with Bentley’s 1978 two-volume Oxford edition. Indeed, it could be said that in presenting the visual aspects of Blake’s work the new ones are even less adventurous, in that there appear to be fewer supplementary images of Blake’s actual words and designs in the Otto volume, and except for a detail image of a page on the cover, none at all in Shrimpton’s. This apparent regression may be due to the advent of alternative means of promulgating Blake’s work, which have made clear color images of illuminated pages widely available, especially in the sophisticated and fairly inexpensive Princeton/Blake Trust volumes, single-work facsimile editions, and, even more significantly, in the vast resources of the online William Blake Archive. Given that incorporating monochromatic snippets or even whole pages from illuminated books increases the cost and complexity of publishing, distorts the reader’s experience of the Blakean page, and provides only a small portion of Blake’s visual component, it makes sense for conventional publishers to refer interested readers to the archive or facsimiles rather than trying to convey the full visual aspect of his work in a mostly typographic text. That said, the recent editions of Blake works that combine thorough notes, full-size color images of all pages, and sophisticated transcriptions of the texts are much more satisfactory for most purposes than partially visual editions, and there is reason to wonder whether the world needs another collection that barely acknowledges the visual dimension.","PeriodicalId":39620,"journal":{"name":"Blake - An Illustrated Quarterly","volume":"38 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-07-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82429481","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}
At the first ever World of Bob Dylan symposium in May-June 2019 in Tulsa, Oklahoma, Betsy Bowden, one of the founders of Dylan criticism, called for the development of a critical language that not only recognizes the similarities between songs and poems, but also respects their differences. Rock and Romanticism: Blake, Wordsworth, and Rock from Dylan to U2, edited by James Rovira, participates in this development by connecting Romantic-period poetry to rock-’n’-roll songs, although that is not its primary agenda. Instead, Rovira says that the book “seeks not only to demonstrate the influence of Romantic literature on rock, which is already the subject of much attention, but to argue that rock itself is a late-twentieth-century expression of Romanticism” (xi-xii). He grounds this argument in the work of Robert Sayre and Michael Löwy, and most of the contributors acknowledge a debt to them as well. Sayre and Löwy defined Romanticism as “‘opposition to capitalism in the name of pre-capitalist values’” (quoted in Rovira xiii), and Rovira uses this definition to describe Romanticism “not as an era but as a response to historical conditions in a condition/response model” (xv). Liberated from the limits of a Romantic period, the essays in the collection “assume that Romanticism continues into the present as an essential feature of modern culture and takes on a specific, musical transformation in the period following World War II” (xiv). The persuasiveness of the collection depends largely on how one views the persuasiveness of that understanding of Romanticism.
{"title":"James Rovira, ed., Rock and Romanticism: Blake, Wordsworth, and Rock from Dylan to U2","authors":"R. Yoder","doi":"10.47761/biq.258","DOIUrl":"https://doi.org/10.47761/biq.258","url":null,"abstract":"At the first ever World of Bob Dylan symposium in May-June 2019 in Tulsa, Oklahoma, Betsy Bowden, one of the founders of Dylan criticism, called for the development of a critical language that not only recognizes the similarities between songs and poems, but also respects their differences. Rock and Romanticism: Blake, Wordsworth, and Rock from Dylan to U2, edited by James Rovira, participates in this development by connecting Romantic-period poetry to rock-’n’-roll songs, although that is not its primary agenda. Instead, Rovira says that the book “seeks not only to demonstrate the influence of Romantic literature on rock, which is already the subject of much attention, but to argue that rock itself is a late-twentieth-century expression of Romanticism” (xi-xii). He grounds this argument in the work of Robert Sayre and Michael Löwy, and most of the contributors acknowledge a debt to them as well. Sayre and Löwy defined Romanticism as “‘opposition to capitalism in the name of pre-capitalist values’” (quoted in Rovira xiii), and Rovira uses this definition to describe Romanticism “not as an era but as a response to historical conditions in a condition/response model” (xv). Liberated from the limits of a Romantic period, the essays in the collection “assume that Romanticism continues into the present as an essential feature of modern culture and takes on a specific, musical transformation in the period following World War II” (xiv). The persuasiveness of the collection depends largely on how one views the persuasiveness of that understanding of Romanticism.","PeriodicalId":39620,"journal":{"name":"Blake - An Illustrated Quarterly","volume":"67 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-04-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84068163","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}
Arms outstretched, standing on a mottled rock with legs spread apart, one slightly bent backward, and with multicolored rays shining behind him, “Albion Rose” greeted viewers entering the Tate Blake retrospective. The title comes from the inscription “Albion rose from where he labourd at the Mill with Slaves” on a later state of this plate, which includes the signature “WB inv 1780.” Since the first state was etched in the mid-1790s, this visionary dating suggests Blake’s emancipation from his apprenticeship as an engraver (1772–79). Casting aside the artisan printmaker who was central to the previous Tate exhibition (2000–01) and to William Blake: Apprentice and Master at the Ashmolean (2014–15), the 2019–20 exhibition started with Blake’s enrollment in the Royal Academy (1779–85?). Placed on the threshold of the exhibition, “Albion Rose” articulated a shared idiom of art practice through a dynamic, almost dancing allusion to Leonardo’s Vitruvian Man, while the red, yellow, and blue rays radiating outward behind him brought to mind a prismatic color wheel.
{"title":"William Blake, Tate Britain, 11 September 2019–2 February 2020; Martin Myrone and Amy Concannon, with an afterword by Alan Moore, William Blake","authors":"Luisa Calé","doi":"10.47761/biq.257","DOIUrl":"https://doi.org/10.47761/biq.257","url":null,"abstract":"Arms outstretched, standing on a mottled rock with legs spread apart, one slightly bent backward, and with multicolored rays shining behind him, “Albion Rose” greeted viewers entering the Tate Blake retrospective. The title comes from the inscription “Albion rose from where he labourd at the Mill with Slaves” on a later state of this plate, which includes the signature “WB inv 1780.” Since the first state was etched in the mid-1790s, this visionary dating suggests Blake’s emancipation from his apprenticeship as an engraver (1772–79). Casting aside the artisan printmaker who was central to the previous Tate exhibition (2000–01) and to William Blake: Apprentice and Master at the Ashmolean (2014–15), the 2019–20 exhibition started with Blake’s enrollment in the Royal Academy (1779–85?). Placed on the threshold of the exhibition, “Albion Rose” articulated a shared idiom of art practice through a dynamic, almost dancing allusion to Leonardo’s Vitruvian Man, while the red, yellow, and blue rays radiating outward behind him brought to mind a prismatic color wheel.","PeriodicalId":39620,"journal":{"name":"Blake - An Illustrated Quarterly","volume":"36 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-04-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82185742","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 2019 market began propitiously with the discovery, and offer for sale by the London dealer Peter Harrington, of a previously unrecorded copy of Edward Young’s Night Thoughts with Blake’s engravings hand colored. This January surprise was followed in the next month by the Art Institute of Chicago’s acquisition of Blake’s The Day of Judgment, a watercolor illustration to Robert Blair’s The Grave. Many copies of Blake’s Job engravings appeared throughout 2019 and one notable rarity among his commercial book illustrations, Elizabeth Blower’s Maria: A Novel, came to auction in December. A receipt written by Thomas Butts and signed by Blake fetched a high price at a Parisian auction.
{"title":"Blake in the Marketplace, 2019","authors":"R. Essick","doi":"10.47761/biq.256","DOIUrl":"https://doi.org/10.47761/biq.256","url":null,"abstract":"The 2019 market began propitiously with the discovery, and offer for sale by the London dealer Peter Harrington, of a previously unrecorded copy of Edward Young’s Night Thoughts with Blake’s engravings hand colored. This January surprise was followed in the next month by the Art Institute of Chicago’s acquisition of Blake’s The Day of Judgment, a watercolor illustration to Robert Blair’s The Grave. Many copies of Blake’s Job engravings appeared throughout 2019 and one notable rarity among his commercial book illustrations, Elizabeth Blower’s Maria: A Novel, came to auction in December. A receipt written by Thomas Butts and signed by Blake fetched a high price at a Parisian auction.","PeriodicalId":39620,"journal":{"name":"Blake - An Illustrated Quarterly","volume":"360 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-04-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76425626","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}
Given the facts of Richard Edwards’s life, I was surprised to read in the Tate Britain exhibition catalogue (p. 105), “After Edwards’s demise (he had become insane), Blake seems to have acquired a stock of the Night Thoughts publication and hand-coloured these for patrons, creating a luxurious new version of the illustrations for them.” There is no record of Richard going mad, nor of any issues with his bookshop and publishing activities. His brother James had a fashionable and immensely popular shop nearby and took over his stock when Richard accepted a government appointment. It is possible that the uncolored Night Thoughts remainders were given to Blake in part payment for his work with Richard Edwards at this time and not, as the Tate catalogue states, after Richard’s demise, since Blake and Edwards died in the same year, 1827, Blake in August and Richard in October.
{"title":"The Publisher Not Mad","authors":"Karen Mulhallen","doi":"10.47761/biq.254","DOIUrl":"https://doi.org/10.47761/biq.254","url":null,"abstract":"Given the facts of Richard Edwards’s life, I was surprised to read in the Tate Britain exhibition catalogue (p. 105), “After Edwards’s demise (he had become insane), Blake seems to have acquired a stock of the Night Thoughts publication and hand-coloured these for patrons, creating a luxurious new version of the illustrations for them.” There is no record of Richard going mad, nor of any issues with his bookshop and publishing activities. His brother James had a fashionable and immensely popular shop nearby and took over his stock when Richard accepted a government appointment. It is possible that the uncolored Night Thoughts remainders were given to Blake in part payment for his work with Richard Edwards at this time and not, as the Tate catalogue states, after Richard’s demise, since Blake and Edwards died in the same year, 1827, Blake in August and Richard in October.","PeriodicalId":39620,"journal":{"name":"Blake - An Illustrated Quarterly","volume":"76 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86585873","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 Comic Almanack of 1838 might seem an unusual place to find a writer thinking like William Blake, but a poem for the month of June gives two views of the charity children who attended an annual service in St. Paul’s Cathedral that have some interesting similarities to those represented by Blake’s two “Holy Thursday” poems. “The Martyrdom of St. Paul’s” and its background fill out the context for Blake’s poems of innocence and experience, suggesting that he was not entirely alone in wondering whether the children involved were being exploited rather than assisted. The 1838 poem read in context helps us to see Blake’s use of the title “Holy Thursday” as a calculated choice, and thus those who suggest that at the time of writing the first poem Blake himself identified closely with his narrator’s aesthetic response to the sight may be reading overinnocently. I will first outline what is known of the background to the “Holy Thursday” poems in Blake’s time, then use the poem from the Comic Almanack to understand what would have been expected of the children.
{"title":"Blake’s “Holy Thursday” and “The Martyrdom of St. Paul’s”","authors":"Clare A. Simmons","doi":"10.47761/biq.252","DOIUrl":"https://doi.org/10.47761/biq.252","url":null,"abstract":"The Comic Almanack of 1838 might seem an unusual place to find a writer thinking like William Blake, but a poem for the month of June gives two views of the charity children who attended an annual service in St. Paul’s Cathedral that have some interesting similarities to those represented by Blake’s two “Holy Thursday” poems. “The Martyrdom of St. Paul’s” and its background fill out the context for Blake’s poems of innocence and experience, suggesting that he was not entirely alone in wondering whether the children involved were being exploited rather than assisted. The 1838 poem read in context helps us to see Blake’s use of the title “Holy Thursday” as a calculated choice, and thus those who suggest that at the time of writing the first poem Blake himself identified closely with his narrator’s aesthetic response to the sight may be reading overinnocently. I will first outline what is known of the background to the “Holy Thursday” poems in Blake’s time, then use the poem from the Comic Almanack to understand what would have been expected of the children.","PeriodicalId":39620,"journal":{"name":"Blake - An Illustrated Quarterly","volume":"10 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-01-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83612035","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}
Blake’s respect for the interconnected yet sovereign identity of each and every thing resonates with recent scholarship that attempts to rethink our notions about materialism and agency. In particular, it accords with the cross-disciplinary turn to theories of the network, a form embraced in recent years for its capacity to expose otherwise hidden connections and patterns. The network form has proven especially useful to ecological theory and criticism as a nonbinary and nonanthropocentric model of description. Its advocates argue that it avoids the totalizing tendency of categorical labels like “nature” and “culture,” and that it shifts attention to the agency of individual entities, both human and nonhuman. In what follows, I examine Blake’s representation of the network of correspondences, noting along the way its similarities to and differences from ecological criticism and recent theories of the network, especially Latour’s ANT and Alexander Galloway and Eugene Thacker’s network theory. I focus on these two theories in particular because they exemplify a celebratory and a critical view of networks, respectively. I argue that Blake, like his present-day counterparts, sees in the network a way of expressing ecological interconnection that is nonbinary, nonlinear, and radically inclusive, but that this same “flat” ontology enables and even contributes to the desire for mastery and the possibility of tyranny. In drawing out such threads, I aim to demonstrate, first, that the figure of the network provides a novel way to read Blake as an ecological poet; secondly, that Blake’s specifically ambivalent ecological vision provides useful insights into the pitfalls and assumptions of current network theories; and thirdly, that networks have a premodern dimension that prefigures applications of the network we are familiar with today.
{"title":"Network Theory and Ecology in Blake’s Jerusalem","authors":"J. Hagan","doi":"10.47761/biq.251","DOIUrl":"https://doi.org/10.47761/biq.251","url":null,"abstract":"Blake’s respect for the interconnected yet sovereign identity of each and every thing resonates with recent scholarship that attempts to rethink our notions about materialism and agency. In particular, it accords with the cross-disciplinary turn to theories of the network, a form embraced in recent years for its capacity to expose otherwise hidden connections and patterns. The network form has proven especially useful to ecological theory and criticism as a nonbinary and nonanthropocentric model of description. Its advocates argue that it avoids the totalizing tendency of categorical labels like “nature” and “culture,” and that it shifts attention to the agency of individual entities, both human and nonhuman. In what follows, I examine Blake’s representation of the network of correspondences, noting along the way its similarities to and differences from ecological criticism and recent theories of the network, especially Latour’s ANT and Alexander Galloway and Eugene Thacker’s network theory. I focus on these two theories in particular because they exemplify a celebratory and a critical view of networks, respectively. I argue that Blake, like his present-day counterparts, sees in the network a way of expressing ecological interconnection that is nonbinary, nonlinear, and radically inclusive, but that this same “flat” ontology enables and even contributes to the desire for mastery and the possibility of tyranny. In drawing out such threads, I aim to demonstrate, first, that the figure of the network provides a novel way to read Blake as an ecological poet; secondly, that Blake’s specifically ambivalent ecological vision provides useful insights into the pitfalls and assumptions of current network theories; and thirdly, that networks have a premodern dimension that prefigures applications of the network we are familiar with today.","PeriodicalId":39620,"journal":{"name":"Blake - An Illustrated Quarterly","volume":"76 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-01-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81050085","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}
As editor of this collection, Haggarty recognizes the categorical and theoretical complexities of the undertaking and has wisely determined not to worry about them too much. She has assembled an impressive array of Romanticists and Blake specialists, most of them wise veterans, to write almost two-score essays in four broad overlapping categories of contexts or quasi-contexts. The result is very successful overall, even if reading it straight through is a bit like working one’s way through an encyclopedia from A to Z. The entries offer not only various contexts but also various (largely untheorized) conceptions of context itself. Most provide cogent, tactful reviews of insights from selected recent work clustered around recognized topics, and the quality of the essays is such that, for the next decade or so, I expect that readers will be peeking into the index and table of contents as the first step in exploring a new topic in Blake, or to remind themselves of other angles when a given critical approach is not helping, or to gather their thoughts before teaching a class. It will be particularly useful to beginners in Blake studies who need sound, authoritative generalizations about him, his work, and his times as a foundation for more particular discussions.
{"title":"Sarah Haggarty, ed., William Blake in Context","authors":"Alexander S. Gourlay","doi":"10.47761/biq.250","DOIUrl":"https://doi.org/10.47761/biq.250","url":null,"abstract":"As editor of this collection, Haggarty recognizes the categorical and theoretical complexities of the undertaking and has wisely determined not to worry about them too much. She has assembled an impressive array of Romanticists and Blake specialists, most of them wise veterans, to write almost two-score essays in four broad overlapping categories of contexts or quasi-contexts. The result is very successful overall, even if reading it straight through is a bit like working one’s way through an encyclopedia from A to Z. The entries offer not only various contexts but also various (largely untheorized) conceptions of context itself. Most provide cogent, tactful reviews of insights from selected recent work clustered around recognized topics, and the quality of the essays is such that, for the next decade or so, I expect that readers will be peeking into the index and table of contents as the first step in exploring a new topic in Blake, or to remind themselves of other angles when a given critical approach is not helping, or to gather their thoughts before teaching a class. It will be particularly useful to beginners in Blake studies who need sound, authoritative generalizations about him, his work, and his times as a foundation for more particular discussions.","PeriodicalId":39620,"journal":{"name":"Blake - An Illustrated Quarterly","volume":"51 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-01-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78308402","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":"Blake and Bloom, a Memorial Note","authors":"Kenneth I. Gross","doi":"10.47761/biq.246","DOIUrl":"https://doi.org/10.47761/biq.246","url":null,"abstract":"","PeriodicalId":39620,"journal":{"name":"Blake - An Illustrated Quarterly","volume":"3 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-01-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78322992","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}
Kathryn S. Freeman’s A Guide to the Cosmology of William Blake, like S. Foster Damon’s A Blake Dictionary, is an encyclopedia of terms, works, characters, and figures relevant to Blake’s corpus, one especially useful to newcomers to Blake’s works who are trying to find their way through the labyrinth of his mythology. Supplements have been published since Damon’s time, including Alexander Gourlay’s “A Glossary of Terms, Names, and Concepts in Blake” in The Cambridge Companion to William Blake (2003), which he republished in expanded form on the William Blake Archive website, but nothing has appeared until now on the scale of the 181 entries Freeman has written. Her guide is neither as comprehensive as Damon’s dictionary nor limited only to entries strictly relevant to Blake’s cosmology, so it is perhaps best understood as her own selective updating of Damon’s entries and a correction of some omissions in Damon, such as a much-needed separate entry for Catherine Blake.
{"title":"Kathryn S. Freeman, A Guide to the Cosmology of William Blake","authors":"James Rovira","doi":"10.47761/biq.247","DOIUrl":"https://doi.org/10.47761/biq.247","url":null,"abstract":"Kathryn S. Freeman’s A Guide to the Cosmology of William Blake, like S. Foster Damon’s A Blake Dictionary, is an encyclopedia of terms, works, characters, and figures relevant to Blake’s corpus, one especially useful to newcomers to Blake’s works who are trying to find their way through the labyrinth of his mythology. Supplements have been published since Damon’s time, including Alexander Gourlay’s “A Glossary of Terms, Names, and Concepts in Blake” in The Cambridge Companion to William Blake (2003), which he republished in expanded form on the William Blake Archive website, but nothing has appeared until now on the scale of the 181 entries Freeman has written. Her guide is neither as comprehensive as Damon’s dictionary nor limited only to entries strictly relevant to Blake’s cosmology, so it is perhaps best understood as her own selective updating of Damon’s entries and a correction of some omissions in Damon, such as a much-needed separate entry for Catherine Blake.","PeriodicalId":39620,"journal":{"name":"Blake - An Illustrated Quarterly","volume":"7 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-01-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90295278","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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