William Blake: The Critical Heritage

William Blake: The Critical Heritage

G. E. Bentley Jr.

Language: English

Pages: 331

ISBN: 2:00086283

Format: PDF / Kindle (mobi) / ePub

OCR text.

The Critical Heritage gathers together a large body of critical sources on major figures in literature. Each volume presents contemporary responses to a writer's work, enabling student and researcher to read the material themselves.


Part I Blake’s Life
1 General comments
2 External events
3 Politics
4 Visions
5 Madness
6 ‘He is always in Paradise’

Part II Writings
7 Reviews of Malkin’s account of Blake (1806)
8 General comments
9 Poetical Sketches (1783)
10 The Book of Thel (1789)
11 The French Revolution (1791)
12 Songs of Innocence and of Experience (1789, 1794)
13 America (1793) and Europe (1794)
14 Descriptive Catalogue (1809)
15 Jerusalem (1804–?20)

Part III Drawings
16 General comments

Part IV Engraved designs
17 General comments
18 Salzmann, Elements of Morality (1791)
19 Burger, Leonora (1796)
20 Cumberland, Thoughts on Outline (1796)
21 Stuart and Revett, Antiquities of Athens, vol. III, 1794
22 Young, Night Thoughts (1797)
23 Hayley, Essay on Sculpture (1800)
24 Hayley, Designs to a Series of Ballads (1802)
25 Hayley, Life...of William Cowper (1803)
26 Hayley, Triumphs of Temper (1803)
27 Hoare, Academic Correspondence (1804)
28 Hayley, Ballads (1805)
29 Blair, The Grave (1808)
General comments, 1805–63
General comments, 1810–26
30 The Prologue and Characters of Chaucer’s Pilgrims (1812)
31 Virgil, Pastorals (1821)
32 Remember Me! (1825, 1826)
33 Illustrations of The Book of Job (1826)
34 Blake’s Illustrations of Dante (?1838)

Part V General essays on Blake
35 B.H.MALKIN, A Father’s Memoirs of his Child, 1806
36 H.C.ROBINSON, ‘William Blake, artist, poet and religious mystic’, Vaterländisches Museum, translated, 1811
37 Obituary in Literary Gazette, 1827
38 Obituary in Literary Chronicle, 1827
39 ALLAN CUNNINGHAM, ‘William Blake’ in his Lives of... British Painters, 1830
40 ANON., ‘The inventions of William Blake, painter and poet’, London University Magazine, 1830
41 ANON., ‘The last of the supernaturalists’, Fraser’s Magazine, 1830
42 FREDERICK TATHAM, ‘Life of Blake’, ?1832

Part VI Forgotten Years: References to William Blake 1831– 62



Œuvres complètes

Selected Poems (Penguin Classics)

The Kingmaker's Daughter (The Cousins' War, Book 4)




















reproductions of Blake’s art’, Blake Newsletter, vol. III (1969, 1970), pp. 24–41, 64–70, and supplement pp. 1–23, 1–21, 1– 3. With the aid of such catalogues, the Blake student can find most of the important Blake designs in public collections. Even the most industrious student, however, cannot visit or hold in mind the extended riches of these great collections. He must therefore depend upon reproductions for much of his work. The most important books illustrating Blake’s art are Illustrations

free vent to the hell that is in him; and hence, the madness even of the meanest, is terrific. But no madness can long be considered either really Poetic or Artistical. Of the worst aspect of Blake’s genius it is painful to speak. In his ‘Prophecies of America,’ his ‘Visions of the Daughters of Albion,’ and a host of unpublished 58 THE CRITICAL HERITAGE drawings, earthborn might has banished the heavenlier elements of Art, and exists combined with all that is monstrous and diabolical. In the

Even Blake’s good friends found the Catalogue puzzling, (d) Young George Cumberland wrote to his father on 14 October 1809: Blakes has published a Catalogue of Pictures being the ancient method of Frescoe Painting Restored.—you should tell Mr Barry to get it, it may be the means of serving your Friend[;] it sells for 2/6. and may be had of J.Blake. 28. Broad S? Golden Square at his Brothers—the Book is a great curiosity. He [h]as given Stothard a compleat set down— (e) To which his father replied

and for the merit of the execution than for the achievement of the design and for the sublime intelligence which reigns in the allegories. Two celebrated artists have contributed to the completion of these engravings: William Black [sic], the designer, whose portrait adorns the frontispiece, and Louis Schiavonetti, the engraver, whose graver has served to interpret so many master-works. Anyone may follow the hackneyed paths of artistic execution: they are true poets who can recognize the secret

TIGER. Tiger, Tiger, burning bright, In the forest of the night! What immortal hand or eye Could frame thy fearful symmetry? In what distant deeps or skies, Burnt the fire of thine eyes? On what wings dare he aspire? What the hand dare seize the fire? 154 THE CRITICAL HERITAGE And what shoulder, and what art, Could twist the sinews of thy heart? When thy heart began to beat, What dread hand forged thy dread feet?1 What the hammer? What the chain? In what furnace was thy brain? What the anvil?

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