William Blake the designer: The reception of Robert Blair's “Graveˮ in Serbia

It was in 2015 that the Blair edition featuring Blake's design first appeared in the Serbian language. Simultaneously, it was the first time in Serbia that Blake was approached solely as an artist, and not as a poet, i. e. not as the author of The Marriage of Heaven and Hell (1793) or Songs of Innocence and of Experience (1789)—works he was mainly recognised for there. The aim of this article is to bring the figure of William Blake the designer closer to the Serbian reader, and to set it apart from the previously dominant figure of Blake the poet, when it comes to his reception in that country. Our conclusions point towards Blake the designer acting as a constructive reader, deconstructing the meaning of Blair's poem which he designed, confirming the notion by Morris Eaves (1980) that Blake was his own sole audience. We also tend to examine the hitherto neglected relationships that exist between English Graveyard Poetry and the so-called “Serbian Graveyard Poetry”.