1297:
jingoism. Instead, Erdman argues that "there are many indications of Blake's general prophetic intent in these scenes; yet if we forget to ask what historical climax they point toward, we may be quite puzzled that Blake's Edward and his brave and battle-ready warriors appear to be undertaking their invasion of the vineyards of France under favourable auspices, marching with jingoistic complacency towards a great slaughter of enemy troops and to be getting by what they represent to each other as glorious and fully justifiable murder." Similarly, Alicia
Ostriker refers to the piece as "an ironic treatment of military values urged in the name of high ideals."
809:"My silks and fine array" contrasts sharply with the next two poems; "Song: 'Love and harmony combine'", which celebrates a natural love in which the lovers are depicted as trees with intertwining branches and roots ("Love and harmony combine,/And around our souls intwine,/While together thy branches mix with mine,/And our roots together join") and the similarly themed "Song: 'I love the jocund dance'" ("I love our neighbours all,/But, Kitty, I better love thee;/And love them I ever shall;/But thou art all to me").
571:, the advertisement was written by "Henry Mathew", which most critics take to mean Anthony Stephen Mathew; "Mrs Mathew was so extremely zealous in promoting the celebrity of Blake, that upon hearing him read some of his earlier efforts in poetry, she thought so well of them as to request the Rev. Henry Mathew, her husband, to join Mr. Flaxman in his truly kind offer of defraying the expense of printing them; in which he not only acquiesced, but with his usual urbanity, wrote the following advertisement."
1109:; England's actions prior to and during the war received widespread condemnation from the majority of the people, especially in London, where numerous protests were held against it. Blake was very much of the popular opinion that England was the oppressor and that the American people were fighting a righteous battle for their freedom. Erdman argues that in 'Gwin', "the geography is sufficiently obscure so that "the nations of the North" oppressed by King Gwin may easily be compared to the nations of
22:
1345:
482:
1397:"the sucking infant lives to die in battle; the weeping mother feeds him for the slaughter" and "the trembling sinews of old age must work the work of death against their progeny." However, the poem concludes on an optimistic note; "O yet may Albion smile again, and stretch her peaceful arms and raise her golden head, exultingly." The source for this possibility of renewal however is never revealed.
563:
requisite to such a revisal of these sheets as might have rendered them less unfit to meet the public eye. Conscious of the irregularities and defects to be found in almost every page, his friends have still believed that they possessed a poetical originality, which merited some respite from oblivion. These their opinions remain, however, to be now reproved or confirmed by a less partial public.
1133:. Susan J. Wolfson also sees the poem as primarily metaphorical; "the revenge-tale enacted by two symbolic figures is less the ballad's point than the universal carnage that displaces all hope of political reform this bloodbath may not so much pale politics into visionary history as evoke an appalling visionary politics, a transhistorical anxiety about the human cost of historical conflict."
128:, even in the magazine's index of "Books noticed", which listed every book published in London each month, signifying that the publication of the book had gone virtually unnoticed. Nevertheless, Blake himself was proud enough of the volume that he was still giving copies to friends as late as 1808, and when he died, several unstitched copies were found amongst his belongings.
1254:, which is spoken of as a commercial value by the English lords. For example, several times they boast that England is the home of Liberty and is protected by Liberty, yet they also proudly claim that "England is the land favour'd by Commerce" (Sc.2 l.30). This treatment of Liberty has been identified as mockery of a similar, but non-ironic, treatment in James Thomson's
185:, also introduced their own emendations. Due to the extreme rarity of the original publication, these emendations often went unnoticed, thus giving rise to a succession of variant readings on the original content. Subsequent versions repeated or added to these changes, despite what later commentators described as obvious misreadings. However, in 1905,
606:, and is depicted as a strong youth with "ruddy limbs and flourishing hair", who brings out artists' passions and inspires them to create. In later poems, Orc's fiery red hair is often mentioned as one of his most distinguishing characteristics; "The fiery limbs, the flaming hair, shot like the sinking sun into the western sea" (
1185:
and wanton cruelty ensue, provoking a summary call for law and order and fair play Miming the forms of children's rhymes, he even implies the genesis of man's designs in childish games, whose local mischief, tricks and blood-letting confusions rehearse worldly power-plays." This is most evident in the poem's concluding lines:
839:, which describes madness as being a peculiarly English theme) and the world which the singer seeks to leave. Frye is also an admirer of the poem and argues that "a maddened world of storm and tempest is the objective counterpart of madness in the human mind; and the madman is mad because he is locked up in his own
85:, and paid for by Anthony Stephen Mathew and his wife Harriet, dilettantes to whom Blake had been introduced by Flaxman in early 1783. Each individual copy was hand-stitched, with a grey back and a blue cover, reading "POETICAL SKETCHES by W.B." It was printed without a table of contents and many pages were without
1184:
Predicting the close bond between form and content which would prove so important an aspect of his later
Illuminated Books, in this simple story of a children's game, Blake uses the structure to carry his metaphorical intent; "Blake's tidy couplets report a game of all sound and no eye, where tyranny
1535:
writing. According to Erdman, it is "an allegorical genealogy of Pride and Shame and Policy and "the
Kingdoms of the World & all their Glory," it shows Blake revolving the problem of man's fate in terms that link imperial pride and individual frustration." For Damon, it is an attempt "to outline
843:
or inside, and cannot bear to see anything. In order to have his world a consistently dark one, he is compelled to rush frantically around the spinning earth forever, keeping one jump ahead of the rising sun, unable even to sleep in his everlasting night." Alexander
Lincoln likens the poem to 'Song:
395:
can be epitomised by noting Blake's first achievements in the greatest of his projects: to give definite form to the strong workings of imagination that produced the cloudy sublime images of the earlier poets of sensibility. In the best poems of Blake's youth, the sublime feelings of poets like Gray
1273:
Beyond the investigation into notions of
Liberty and the reasons for the invasion, David V. Erdman argues that the theme of the play is the bloodshed and hardship for the common people which will result, despite Edward's belief that the war provides ordinary men with a chance to be heroes; "the key
1433:
seen as a type of the artist who struggles against the materialism of his own age – and is doomed to be seduced by it before finally achieving his mission. The vulnerability of the would-be deliverer suggests that spiritual captivity is a state through which the strongest of mortals must pass." In
1432:
The final piece in the volume, 'Samson', has received little critical attention over the years. Andrew
Lincoln, however, has identified it as perhaps introducing a pseudo-biographical element into Blake's work and argues that it "is an early experiment in prophetic narrative. Blake's Samson can be
1396:
In 'King John', which Erdman reads as a document of
English protest against the American War, Blake becomes even more explicit regarding his detestation of war. Depicting an almost apocalyptical wilderness, Blake laments how "brother in brother's blood must bathe." England has become a place where
1269:
The character of
William his Man may be a representative of Blake himself, as he is the only character in the play who questions the morality of the invasion beyond the ostensible explanation of Liberty; "I should be glad to know if it was not ambition that brought over our King to France to fight
1156:
sees 'An
Imitation of Spencer' as "an early attempt on Blake's part to define his poetic vocation." The poem follows 'To the Muses' in its mockery of Augustan poetry, accusing such poetry of consisting of "tinkling rhimes and elegances terse." This is contrasted with the power of more accomplished
852:
As with the contrast between "My silks and fine array" on one hand and "Love and harmony combine" and "I love the jocund dance" on the other, Blake again opposes the pleasure of love with its opposite in 'Song: "Fresh from the dewy hill, the merry year'" and 'Song: "When early morn walks forth in
562:
The following sketches were the production of untutored youth, commenced in his twelfth, and occasionally resumed by the author till his twentieth year; since which time, his talents having been wholly directed to the attainment of excellence in his profession, he has been deprived of the leisure
1300:
Regarding the fact that Blake never completed the play, and hence did not depict the
English victory, Susan J. Wolfson argues that "Blake's refusal to report these outcomes functions systematically as a refusal of triumphalism, the mode of nationalistic self-satisfaction. His sketch draws us in,
1321:
are made very much explicit in 'Prologue, Intended for a dramatic piece of King Edward the Fourth' and 'Prologue to King John'. 'Edward the Fourth', which Frye calls "the first real statement of Blake's revolutionary politics," uses the refrain "Who can stand" to enquire into the possibility of
1296:
Erdman, however, sees it as impossible that the author of such bitter and anti-imperialist tracts as 'Prologue, Intended for a dramatic piece of King Edward the Fourth', 'Prologue to King John' and 'Couch of Death', could possibly be expressing genuine sentiments in this apparent celebration of
1292:
is the frankness with which Blake admits that economic conditions are the cause of the war. Industry, commerce, agriculture, manufacture and trade are the gods directing the conflict, but the conflict is glorious and the gods worthy of worship. There seems to be no use looking for irony here."
337:
For all the derivative material, the book is a work of genius in its daring figures, its metrical experiments, its musical tone." Damon also writes, "Historically, Blake belongs – or began – in the Revolutionary generation, when the closed heroic couplet was exhausted, and new subjects and new
189:
produced the first scholarly edition of Blake's work, in which he returned to the original texts, also taking into account Blake's own handwritten corrections. As such, most modern editors tend to follow Sampson's example and use the original 1783 publication as their control text.
1136:
The name Gordred was probably taken from Chatterton's 'Godred Crovan' (1768). Margaret Ruth Lowery suggests that Blake took more from Chatterton than simply the name of Gordred, arguing that there are many parallels in theme and imagery between Chatterton's story of a
766:(representative of love and passion). Damon reads it as "a protest against marriage," and notes that the imagery in the poem, particularly the phrases "silken net" and "golden cage" predict Blake's later metaphorical uses of nets and enclosures. For example, in
415:
Susan J. Wolfson goes even further, seeing the volume as a statement of Blake's antipathy towards the conventions of the day and an expression of his own sense of artistic aloofness; "He serves up stanzas that cheerfully violate their paradigms, or refuse
307:
is not regarded as a great piece of work, "it is of the highest importance to us, partly because it shows Blake's symbolic language in an emergent and transitional form, and partly because it confirms that Blake is organically part of his literary age."
411:
in general, Ackroyd argues that "it would be quite wrong to approach Blake's poetry with a Romantic belief that he is engaged in an act of confessional lyricism or brooding introversion This is not the poetry of a melancholy or self-absorbed youth."
1477:, under the section title 'Further Sketches'; "then She bore Pale desire…" and "Woe cried the muse…". These two poems are extant on seven MS pages in Blake's handwriting and dateable to the early 1780s, but nothing else is known about them.
689:
written in a specific genre; in this case, the genre is Gothic, and the poem adheres to its conventions so rigidly, it may in fact be a parody. The opening lines, for example, are almost clichéd in their observance of Gothic conventions;
439:
Similarly, W. H. Stevenson argues that "there is little direct borrowing, and it would be truer to say that, even at this early stage, he is experimenting with verse forms and has formed for himself a style as individual as Collin's and
717:
According to Benjamin Heath Malkin, this poem was written prior to Blake's fourteenth birthday, and as such, "How sweet" may be his oldest extant poem. Despite his young age, the poem includes allusions to mythological figures such as
321:
1025:
Presented as a warning for tyrannical kings, the longer lyric poem 'Gwin, King of Norway' represents Blake's first engagement with revolution, a theme which would become increasingly important in his later verse, such as
1301:
instead, to the various critical perspectives on the interests that impel England's history of military adventurism." She goes on to point out that "Blake's perspective is not the conservative lens of eighteenth-century
1274:
to the is the great Death which lies in wait for the warriors of Edward's ill-starred invasion of France." Erdman believes the play is wholly ironic, and challenges critics who have read it literally and accused it of
1484:
simply because there is no other collection with which to associate them. His decision, however, is by no means the norm amongst Blake's editors. For example, R.H. Shepherd did not include them in his publication of
1668:
For more information on the variations between different editions, see the collations in, for example, Sampson (1905), Keynes (1957 and 1966), Erdman (1965 and 1982), Ostriker (1977) and Stevenson (1971, 1989 and
1455:
inscribed "from Mrs Flaxman May 15, 1784", are three handwritten poems which, since John Sampson in 1905, have been attributed to Blake. The three poems, "Song 1st by a shepherd", "Song 2nd by a Yound Shepherd"
905:
Northrop Frye calls the contrasts between these various poems an "attempt to work out an antithesis of innocence and experience," and as such, they serve as a thematic antecedent of Blake's later work.
61:. The book was never published for the public, with copies instead given as gifts to friends of the author and other interested parties. Of the forty copies, fourteen were accounted for at the time of
3375:
3318:
774:
and Orc, the Eternals cover mortal earth with a roof "called Science" (Chap: V: Verse 12). Subsequently, after exploring the earth, Urizen spreads out "the net of Religion" (Chap VIII: Verse 9).
1531:"then She bore Pale desire…" begins with a small letter and the first line is not indented, so it is clear that at least one page is missing. Harold Bloom believes it to be an experiment in
987:
1322:
nobility amidst war and destruction. It then imagines that even God wonders from where all the conflict has come, with Blake pointing his finger directly at those he holds responsible;
1783:
For more information on these four poems and their relation to Blake's later mythology, see Harold Bloom, "Commentary" in Erdman (1982: 968), Frye (1947: 182), and Lowery (1940: 82-86)
1416:, perhaps written by Blake to be inserted later. Specifically, the poem is seen as the second song of the minstrel, whose first song closes the fragment with a passionate evocation of
1420:, the supposed founder of Britain. "War Song" continues to urge troops to battle and, like the minstrel's first song, is usually interpreted as parody and an ironic celebration of
139:'s edition in 1868. However, prior to that, several of the individual poems had been published in journals and anthologised by Blake's early biographers and editors. For example,
650:
1597), lines 285-295, 'To the Evening Star' is described by S. Foster Damon as "pure Romanticism, way ahead of its time." Harold Bloom identifies it as perhaps Blake's earliest
558:
The work begins with an 'Advertisement' which explains that the contents were written by Blake in his youth and, therefore, any "irregularities and defects" should be forgiven:
3528:
1462:] and "Song 3 by an old shepherd" are not in Blake's handwriting, but are thought to be of his composition insofar as "Song 2nd" is an early draft of "Laughing Song" from
1117:
In 'Gwin', the rising up of the oppressed behind the "troubl'd banners" of their deliverer "Gordred the giant" parallels the hope that some American champion would prove the
632:, insofar as winter is depicted as a giant who "strides o'er the groaning rocks;/He withers all in silence, and his hand/Unclothes the earth, and freezes up frail life." In
3384:
914:'To The Muses' represents an attack on contemporary poetry, using the language and cadence of Augustan verse to mock that very style of writing. Blake describes how the
1278:. Margaret Ruth Lowery, for example, believes that it expresses "a 'boylike' delight in the picturesqueness of war." S. Foster Damon calls it "uncritically patriotic."
1389:
1796, he inscribed a colour etching with "When the senses are shaken/And the Soul is driven to madness. Page 56". This is a reference to the original publication of
3457:
1361:
293:
is far from Blake's best work, it does occupy an important position in Blakean studies, coming as it does at the very outset of his career. In 1947, for example,
118:
noted that the publication contained several obvious misreadings and numerous errors in punctuation, suggesting that it was printed with little care and was not
350:
with his fellow Elizabethans were Blake's staples from the first; to them we must add the wildness of Ossian, the music of Chatterton, the balladry of Percy's
399:
Frye, Damon and Bloom are all in agreement that Blake was, at least originally, very much of his age, but this is by no means a universally accepted opinion.
3611:
2485:
620:, as it is the only one of the four seasons Blake allows to speak directly, which it does in a "jolly voice." Finally, Winter serves as an antecedent for
3390:
169:, instead incorporating several of his own emendations. Many subsequent editors of Blake included extracts in their collections of his poetry, such as
3324:
782:"A pastiche of Elizabethan imagery", possibly to the point of parody, "My silks" deals with the popular Elizabethan topic of the transience of love;
847:
590:, each one represented by the respective season, where "abstract personifications merge into the figures of a new myth." Spring seems to predict
940:
The poem also contains Blake's first reference to a topic with which he would deal several times in his subsequent work; the four elements,
3025:
1013:
3309:
2494:
368:
is also in agreement with this assessment, seeing the book as very much of its particular epoch; a period he dates from the death of
1532:
2524:
638:(1795), Urizen is depicted as a giant striding over the land spreading winter throughout the cities of men (Chap. VIII: Verse 6).
2560:
2509:
578:
accompanying a copy of the book; "his education will plead sufficient excuse to your liberal mind for the defects of his work."
122:
by Blake (thus the numerous handwritten corrections in printed copies). Gilchrist also notes that it was never mentioned in the
3274:
3258:
586:
The opening four poems, invocations to the four seasons, are often seen as offering early versions of four of the figures of
598:, who comes to heal "our love-sick land that mourns" with "soft kisses on her bosom." Summer is perhaps an early version of
3496:
2632:
651:
853:
sober grey"'. In particular, the third stanza of each poem stands in diametric opposition to one another. The first reads
403:, for example, sees the poems as fundamentally divorced from the dominant poetic formulas of the day. Speaking of 'To the
3616:
3512:
2770:
844:"How Sweet I roam'd from field to field"' insofar as both deal with "states of mental captivity described from within."
2983:
2900:
2707:
274:
3301:
1050:(1795). In 'Gwin', Blake points out how the ordinary man must become a revolutionary to suppress political tyranny;
3621:
3546:
3281:
2449:
The poetical works of William Blake; a new and verbatim text from the manuscript engraved and letterpress originals
1114:
269:
1312:
384:
in their imitations of Spenser, Shakespeare and Milton, and goes beyond them in venturing more strenuously on the
2969:
2805:
1524:(which is also the name used by Gilchrist). "Woe cried the muse" was first published in 1925 in Geoffrey Keynes'
608:
239:
49:, written between 1769 and 1777. Forty copies were printed in 1783 with the help of Blake's friends, the artist
3346:
3333:
804:
3471:
2880:
2306:
3253:
835:
refers to it as an "intellectual satire" on both the concept of mad songs (six of which appeared in Percy's
3340:
3095:
2976:
2620:
1242:'s war with France which began in 1337. Written in loose blank verse, the play is set the night before the
587:
568:
99:
848:'Song: "Fresh from the dewy hill, the merry year"' and 'Song: "When early morn walks forth in sober grey"'
475:('A War Song to Englishmen') and three prose poems ('The Couch of Death', 'Contemplation', and 'Samson').
3369:
3073:
3018:
2840:
2553:
1435:
3606:
2755:
174:
104:
3478:
3066:
2845:
2830:
685:'Fair Elenor' has attracted critical attention insofar as it is one of the very few poems in Blake's
148:
1266:
proclaim/What Kings supported by almighty love/And people fired with liberty can do" (iv:865-867).
381:
1513:
1489:
in 1868. In his 1905 edition of the collected works, Sampson mentioned them in his Introduction to
347:
143:
included 'Song: "How sweet I roam'd from field to field"' and 'Song: "I love the jocund dance"' in
2468:(Longman Group: Essex, 1971; 2nd ed. Longman: Essex, 1989; 3rd ed. Pearson Education: Essex, 2007)
489:
showing 'Mad Song' (note the handwritten correction in line 7; "beds" has been changed to "bryds")
3464:
2765:
2444:
2329:
299:
186:
124:
1282:
interprets it as an "extended defence of war and national interests." Northrop Frye sees it as "
114:
Even given the modest standards by which the book was published, it was something of a failure.
69:
in 1957. In March 2011, a previously unrecorded copy was sold at auction in London for £72,000.
3295:
3011:
2912:
2737:
2546:
2437:
and English Imperial Poetry", in Jackie DiSalvo, G.A. Rosso, and Christopher Z. Hobson (eds.),
2285:
1356:
1327: O who hath caused this?
1313:'Prologue, Intended for a dramatic piece of King Edward the Fourth' and 'Prologue to King John'
1302:
1086:
758:
595:
227:
219:
207:
203:
170:
136:
54:
3551:
3450:
3047:
2780:
2613:
2606:
2341:
1305:
that would expose liberty as lawlessness, but a modern lens of suspicion about the motivated
1247:
1239:
1231:
254:
244:
161:
140:
3577:
3355:
3054:
2775:
2732:
2687:
2667:
2652:
2233:
1505:(1977), makes no reference at all to either piece throughout the volume. W.H. Stevenson in
2342:
Life of William Blake, "Pictor ignotus". With selections from his poems and other writings
1409:, insofar as it depicts the victims of the plague and hardship brought about by the war.
8:
3362:
3267:
2835:
2815:
2785:
2682:
2677:
2336:
1263:
1106:
945:
283:
156:
115:
3520:
3196:
2997:
2990:
2923:
2865:
1440:
1259:
1046:
1028:
840:
634:
421:
388:
373:
182:
1243:
752:
Northrop Frye argues that the poem functions as a precursor to Blake's version of the
89:. Of the twenty-two extant copies, eleven contain corrections in Blake's handwriting.
3565:
3557:
2930:
2860:
2760:
2657:
1424:
bloodlust. Erdman interprets it as "a parody of the battle songs of modern Britain."
1126:
1034:
478:
The nineteen lyric poems are grouped together under the title "Miscellaneous Poems":
231:
1921:
William Blake: The Illuminated Books, Volume 2: Songs of Innocence and of Experience
65:' census in 1921. A further eight copies had been discovered by the time of Keynes'
2962:
2825:
2702:
1284:
727:
259:
1412:
The ballad 'A War Song to Englishmen' is usually interpreted as forming a part of
380:
as "a workshop of Blake's developing imaginative ambitions as he both follows the
3572:
3504:
3409:
3181:
3004:
2937:
2790:
2722:
2662:
2412:
2384:
2302:
2292:
1509:(1971, 1989 and 2007), mentions them in a footnote, but does not reproduce them.
1153:
1098:
1040:
816:
812:
629:
385:
359:
312:
62:
2422:
Phillips, Michael. "William Blake and the 'Unincreasable Club': The Printing of
2345:(London: Macmillan, 1863; 2nd ed. 1880; rpt. New York: Dover Publications, 1998)
1587:
574:
The following year, in 1784, Flaxman sounded a similar sentiment in a letter to
3288:
3146:
3116:
3111:
2885:
2875:
2820:
2800:
1417:
1352:
1008:
863:
575:
429:
369:
355:
279:
249:
235:
82:
58:
21:
3600:
3136:
2955:
2855:
2850:
2795:
2717:
2712:
2697:
2692:
2569:
2396:
Windows of the Morning: A Critical Study of William Blake's Poetical Sketches
2391:(London: Nonesuch Press, 1957; 2nd ed. Oxford: Oxford University Press, 1966)
2324:
2223:
1344:
1110:
1004:
712:
441:
400:
330:
294:
46:
1501:, indexed them separately and dated them both 1777. Alicia Ostriker, in her
918:, once so active amongst the poets of old, now seem to have left the earth;
3216:
2471:
Wolfson, Susan J. "Blake's Language in Poetic Form" in Morris Eaves (ed.),
2454:
1279:
1130:
1090:
1017:(1820), Blake describes the original formation of the elements (30:27-40).
468:
456:
365:
119:
108:
50:
3171:
3161:
3151:
2672:
2310:(Princeton: Princeton University Press, 1954; 2nd ed. 1969; 3rd ed. 1977)
1142:
617:
613:
599:
467:('Prologue, Intended for a dramatic piece of King Edward the Fourth'), a
464:
334:
223:
211:
178:
94:
3319:
The Four and Twenty Elders Casting their Crowns before the Divine Throne
805:'Song: "Love and harmony combine"' and 'Song: "I love the jocund dance"'
3176:
3141:
3131:
2727:
1659:, Bentley and Nurmi give an extensive publication history of each poem.
1421:
1056:
771:
603:
433:
215:
86:
1405:
Erdman believes that the prose poem 'The Couch of Death' is a coda to
1400:
77:
The original 1783 copies were seventy-two pages in length, printed in
2870:
2810:
1443:
as "the strongest of men, the Samson shorn by the Churches" (22:50).
1122:
625:
581:
425:
153:
Lives of the most eminent British Painters, Sculptors, and Architects
2321:(New York: Anchor Press, 1965; 2nd ed. 1982; Newly revised ed. 1988)
2238:
A Blake Bibliography: Annotated Lists of Works, Studies and Blakeana
1497:(1957 and 1966) Geoffrey Keynes included them but divided them from
1439:(1810), Blake would again allude to the Samson legend, referring to
1375:
The Accusers of Theft Adultery Murder: A Scene in the Last Judgement
1093:
one in which the stronghold of political liberty is the independent
991:(1793), Blake would assign each element a visual representation. In
159:
included 'Song: "When early morn walks forth in sober grey"' in his
93:
is one of only two works by Blake to be printed conventionally with
2505:, Fourth Series, 17:3 (Autumn, 1936), 354-360 (subscription needed)
1306:
1275:
753:
655:
404:
1288:
in blank verse." He further states, "the most puzzling feature of
1164: Envy and Hate, that thirst for human gore:
329:
as "a book of the revolutionary period, a time of seeking for non-
3206:
3191:
3186:
3121:
1591:
1520:, where it was rewritten into verse and appeared under the title
1251:
1138:
1000:
737: Then, laughing, sports and plays with me;
591:
481:
2538:
2372:
Speak Silence: Rhetoric and Culture in Blake's Poetical Sketches
1473:, David Erdman assigns two additional incomplete prose poems to
1250:. Blake ironically presents the invasion as a noble crusade for
929: The sound is forc'd, the notes are few!
3201:
3156:
3106:
1118:
1094:
828:
621:
472:
339:
264:
78:
38:
777:
3432:
3166:
3126:
2389:
The Complete Writings of William Blake, with Variant Readings
2377:
Hilton, Nelson. "Blake's Early Works" in Morris Eaves (ed.),
2256:
Blake Books: Annotated Catalogues of William Blake's Writings
1557:
Margaret Ruth Lowery, "A Census of Copies of William Blake's
1235:
967: Where the melodious winds have birth;
953:
941:
763:
723:
417:
343:
42:
3385:
The Wood of the Self-Murderers: The Harpies and the Suicides
2013:
See Lowery (1940), Chapter II, for many specific comparisons
1512:"then She bore pale desire" was first published in 1904, by
432:, and line-endings so unorthodox as to strain a practice of
81:
by John Flaxman's aunt, who owned a small print shop in the
3529:
Themes from William Blake's The Marriage of Heaven and Hell
3211:
2183:
Sampson (1905), Ostriker (1977: 876) and Erdman (1982: 851)
996:
995:, the four elements are personified as the sons of Urizen (
949:
915:
831:. Harold Bloom, who feels it is the most "Blakean" poem in
719:
396:
and Collins find a radiant adequacy of visionary outline."
165:(1863). Gilchrist, however, did not reproduce Blake's text
2297:
A Blake Dictionary: The Ideas and Symbols of William Blake
1536:
the spiritual decay of mankind in the course of history."
963: Or the green corners of the earth,
3458:
The Works of William Blake: Poetic, Symbolic and Critical
1458:
1309:, craft and intentional designs in the cant of Liberty."
925: That bards of old enjoy'd in you!
547:
2299:(Hanover: Brown University Press 1965; revised ed. 1988)
2278:
The Stranger from Paradise: A Biography of William Blake
2348:
Gleckner, Robert F. "Antithetical Structure in Blake's
2147:
See Erdman (1982: 672 and 889) and Erdman (1977: 19n30)
2057:
2055:
1894:
1892:
1809:
1807:
536:'Song: "When early morn walks forth in the sober grey'"
151:
published 'Gwin, King of Norway' and 'To the Muses' in
2381:(Cambridge: Cambridge University Press, 2003), 191-209
2283:
Chayes, Irene H. "Blake and the Seasons of the Poet",
1745:
1743:
1493:
but did not include them in the collection itself. In
1145:, and Blake's of a revolution against a Norse tyrant.
1070: And sounds the trumpet shrill;
741: And mocks my loss of liberty.
730:. Bloom sees it as Blake's first Song of Experience.
436:
already controversial in eighteenth century poetics."
1065: And leaves the trading shore:
1061: To wade thro' fields of gore;
879:
This is strongly contrasted with the following song:
770:, after the Fall of Los and Urizen, and the birth of
2475:(Cambridge: Cambridge University Press, 2003), 63-84
2052:
1889:
1834:
1832:
1830:
1828:
1804:
1770:
1768:
1719:
Harold Bloom, "Commentary" in Erdman (1982: 967-968)
1697:
1695:
1693:
1615:
1613:
1611:
1609:
1573:
1571:
972: Beneath the bosom of the sea
815:
speculates that Kitty could be Blake's future wife,
789: Let winds and tempests beat:
2107:
2105:
2103:
1740:
1401:'The Couch of Death' and 'A War Song to Englishmen'
278:(1765). Blake shows especial antipathy towards the
1074: To heave the bloody bill.
582:'To Spring', 'To Summer', 'To Autumn', 'To Winter'
533:'Song: "Fresh from the dewy hill, the merry year'"
289:Although scholars are generally in agreement that
2367:(Baltimore: Johns Hopkins University Press, 1982)
1923:(Princeton: Princeton University Press, 1998), 12
1825:
1765:
1690:
1606:
1568:
1385:Blake was evidently quite proud of this piece as
1333:Hear it not, Heaven, thy Ministers have done it!
3598:
2192:Harold Bloom, "Commentary" in Erdman (1982: 970)
2100:
1838:Harold Bloom, "Commentary" in Erdman (1982: 969)
1774:Harold Bloom, "Commentary" in Erdman (1982: 968)
1393:and refers to lines 2-3 of 'Edward the Fourth'.
1317:The moral judgements which are kept implicit in
713:'Song: "How sweet I roam'd from field to field"'
695:The bell struck one, and shook the silent tower;
665:Blue curtains of the sky, scatter thy silver dew
515:'Song: "How sweet I roam'd from field to field'"
663:Smile on our loves; and, while thou drawest the
646:Possibly inspired by Spenser's "Epithalamion" (
2319:The Complete Poetry and Prose of William Blake
1331:The Kings and Nobles of the Land have done it!
886:Whisp'ring faint murmurs to the scanty breeze,
858:So when she speaks, the voice of Heaven I hear
827:'Mad Song' is often regarded as Blake's first
315:concurs with Frye's opinion. In the entry for
2554:
2405:: A New Approach to Blake's Earliest Poems",
2333:(Princeton: Princeton University Press, 1947)
1565:, Fourth Series, 17:3 (Autumn, 1936), 354-360
624:, limiter of men's desires and embodiment of
3612:Cultural depictions of Edward III of England
3026:Jerusalem: The Emanation of the Giant Albion
1471:Complete Poetry & Prose of William Blake
1168:Vile savage minds that lurk in lonely cell.
1148:
701:A hollow groan ran thro' the dreary vaults.
193:
1014:Jerusalem The Emanation of the Giant Albion
884:Oft when the summer sleeps among the trees,
868:Each village seems the haunt of holy feet.
860:So when we walk, nothing impure comes near;
342:were being sought out. The cadences of the
2561:
2547:
2535:, 31 (1980), 183-192 (subscription needed)
2398:(Connecticut: Yale University Press, 1940)
2330:Fearful Symmetry: A Study of William Blake
1915:
1913:
1855:
1853:
1369:1796); 2nd state of a piece also known as
894:That made my love so high, and me so low.
890:A youth doth walk in stolen joy and pride,
697:The graves give up their dead: fair Elenor
3433:Scholarship, in popular culture, and more
1162:Such is sweet Eloquence, that does dispel
1020:
956:(although he replaces fire with Heaven);
892:I curse my stars in bitter grief and woe,
699:Walk'd by the castle gate, and looked in.
667:On every flower that shuts its sweet eyes
616:, the prophetic genius and embodiment of
2520:, 26 (1975), 19-33 (subscription needed)
2473:The Cambridge Companion to William Blake
2433:Rosso, G.A. "Empire of the Sea: Blake's
2379:The Cambridge Companion to William Blake
2374:(Michigan: Wayne University Press, 1996)
2280:(New Haven: Yale University Press, 2001)
1343:
1219:
1101:sees the poem as a direct antecedent of
888:I walk the village round; if at her side
641:
480:
362:are to be found in Blake's first book."
20:
2428:Bulletin of the New York Public Library
2240:(Oxford: Oxford University Press, 1964)
1910:
1850:
1208:Then laws were made to keep fair play.
1192:And those who play should stop the same
135:as a volume remained unpublished until
3599:
3275:Europe Supported by Africa and America
2495:A Census of Copies of William Blake's
2401:McGowan, James. "The Integrity of the
1495:The Complete Writings of William Blake
1329:O who can answer at the throne of God?
1179:
1063:The merchant binds his brows in steel,
485:Page from an original 1783 edition of
471:prologue ('Prologue to King John'), a
103:in 1791, which was to be published by
67:The Complete Writings of William Blake
3431:
3233:
3093:
2580:
2542:
2459:William Blake: The Politics of Vision
1446:
1246:, a significant turning point in the
1194:By wholesome laws; such as: all those
1125:." Erdman thus compares Gordred with
1105:and thus containing allusions to the
1085:For Frye, "Gordred the giant leads a
927:The languid strings do scarcely move!
372:in 1744 to the first major poetry of
111:and was thus not actually published.
16:Collection of poetry by William Blake
3497:Serenade for Tenor, Horn and Strings
2245:William Blake: The Critical Heritage
1762:(1845), quoted in Bentley (1975: 48)
1089:the rebellion seems to be largely a
1068:The shepherd leaves his mellow pipe,
791:Then down I'll lie, as cold as clay.
545:'An Imitation of Spencer' [
131:After the initial 1783 publication,
3513:Songs and Proverbs of William Blake
3378:On the Morning of Christ's Nativity
2441:(New York: Garland, 1998), 251-272.
1200:When men were first a nation grown;
1166:And cause in sweet society to dwell
988:For Children: The Gates of Paradise
762:(1796), where the sun is seized by
346:, the misunderstood Milton and the
333:inspiration, a preparation for the
107:. However, it never got beyond the
13:
2984:Visions of the Daughters of Albion
2581:
2365:Blake's Prelude: Poetical Sketches
2217:
1480:Erdman includes the two pieces in
1202:Lawless they liv'd—till wantonness
1198:Stand in his stead; as long a-gone
1190:Such are the fortunes of the game,
1072:The workman throws his hammer down
970:Whether on chrystal rocks ye rove,
923:How have you left the antient love
739:Then stretches out my golden wing,
612:, 25:13). Autumn seems to predict
521:'Song: "Love and harmony combine'"
358:of Walpole. All the principles of
275:Reliques of Ancient English Poetry
14:
3633:
2568:
2479:
2417:William Blake: The Complete Poems
1503:William Blake: The Complete Poems
1451:On the blank leaves of a copy of
1270:for his right" (Sc.4: ll.20-21).
1226:The unfinished dramatic fragment
1206:And one man lay in another's way,
974:Wand'ring in many a coral grove
961:Whether in Heav'n ye wander fair,
909:
778:'Song: "My silks and fine array"'
735:He loves to sit and hear me sing,
524:'Song: "I love the jocund dance'"
518:'Song: "My silks and fine array'"
463:), a prologue to another play in
3547:William Blake in popular culture
3392:Illustrations of the Book of Job
2487:William Blake: Dreamer of Dreams
680:
391:Perhaps the unique freshness of
97:; the only other extant work is
3261:Original Stories from Real Life
2970:The Marriage of Heaven and Hell
2451:(Oxford: Clarendon Press, 1905)
2269:(Oxford: Clarendon Press, 1978)
2258:(Oxford: Clarendon Press, 1977)
2204:
2195:
2186:
2177:
2168:
2159:
2150:
2141:
2132:
2123:
2114:
2091:
2082:
2073:
2064:
2043:
2034:
2025:
2016:
2007:
1998:
1989:
1980:
1971:
1962:
1953:
1944:
1935:
1926:
1901:
1880:
1871:
1862:
1841:
1816:
1795:
1786:
1777:
1752:
1731:
1722:
1713:
1704:
1681:
1672:
1588:"Bonhams Auction 18784; Lot 24"
965:Or the blue regions of the air,
609:The Marriage of Heaven and Hell
198:Blake's literary influences in
145:A Father's Memoirs of his Child
3334:A Vision of the Last Judgement
2461:(New York: Random House, 1959)
2356:, 20:2 (Summer, 1981), 143-162
2289:, 11:3 (Autumn, 1972), 225-240
1662:
1649:
1640:
1631:
1622:
1580:
1551:
1204:And liberty began t' increase;
1196:Who on the blinded man impose,
756:myth in 'Night the Second' of
72:
1:
3472:Blake: Prophet Against Empire
3282:The Night of Enitharmon's Joy
3094:
2881:The Voice of the Ancient Bard
2409:, 8:2 (Summer, 1979), 121-144
2307:Blake: Prophet Against Empire
1539:
1526:The Writings of William Blake
822:
658:vision of calm and harmony;
594:, the peaceful embodiment of
527:'Song: "Memory, hither come'"
57:, at the request of his wife
2621:There is No Natural Religion
2439:Blake, Politics, and History
2430:, 80:1 (January, 1976), 6-18
1646:Bentley and Nurmi (1964: 55)
1544:
7:
3074:Never pain to tell thy love
1469:In his 1965 edition of the
1427:
447:
37:is the first collection of
10:
3638:
3617:English poetry collections
2510:The Reputation of Blake's
1349:When the senses are shaken
793:True love doth pass away!
787:When I my grave have made,
3539:
3488:
3479:Witness Against the Beast
3442:
3438:
3427:
3401:
3244:
3240:
3229:
3102:
3089:
3064:
3039:
2947:
2910:
2899:
2746:
2643:
2630:
2591:
2587:
2576:
2533:Review of English Studies
2529:Finally Arrive in America
2518:Review of English Studies
2501:', Margaret Ruth Lowery,
2466:Blake: The Complete Poems
2370:Greenberg, Mark L. (ed.)
2247:(London: Routledge, 1975)
1516:in the August edition of
1507:Blake: The Complete Poems
1149:'An Imitation of Spencer'
654:in its presentation of a
202:include, amongst others,
194:Influences and importance
3040:The Pickering Manuscript
2267:William Blake's Writings
1514:William Michael Rossetti
866:, and each calm retreat;
3622:Poetry by William Blake
3234:
2888:(found only in Copy BB)
2766:The Clod and the Pebble
2419:(London: Penguin, 1977)
2394:Lowery, Margaret Ruth.
2230:(London: Vintage, 1995)
1533:stream of consciousness
1373:(1st state - 1793) and
1362:A Large Book of Designs
588:Blake's later mythology
459:, a dramatic fragment (
428:; rhythms that disrupt
3573:Catherine Blake (wife)
2464:Stevenson, W.H. (ed.)
2354:Studies in Romanticism
2286:Studies in Romanticism
1941:Erdman (1988: 416-417)
1792:Lowery (1940: 100-102)
1760:A Book for a Rainy Day
1382:
1342:
1258:(1735), e.g. "Cressy,
1217:
1177:
1083:
1021:'Gwin, King of Norway'
983:
938:
903:
877:
802:
759:Vala, or The Four Zoas
750:
710:
678:
565:
542:'Gwin, King of Norway'
490:
171:Dante Gabriel Rossetti
55:Anthony Stephen Mathew
29:
3552:William Blake Archive
3451:Life of William Blake
3341:Descriptive Catalogue
3048:Auguries of Innocence
2977:The French Revolution
2781:The Little Girl Found
2614:All Religions are One
2607:An Island in the Moon
2516:', Michael Phillips,
2435:King Edward the Third
2236:and Nurmi, Martin K.
2004:Wolfson (2003: 75-76)
1919:Andrew Lincoln (ed.)
1347:
1324:
1319:King Edward the Third
1290:King Edward the Third
1228:King Edward the Third
1221:King Edward the Third
1187:
1159:
1052:
958:
920:
881:
855:
784:
732:
692:
660:
642:'To the Evening Star'
560:
506:'To the Evening Star'
484:
461:King Edward the Third
455:consists of nineteen
255:The Castle of Otranto
162:Life of William Blake
141:Benjamin Heath Malkin
100:The French Revolution
24:
3348:The Great Red Dragon
3055:The Mental Traveller
2776:The Little Girl Lost
2688:The Little Boy Found
2668:The Little Black Boy
2531:', Raymond H. Deck,
2337:Gilchrist, Alexander
2243:Bentley, G.E. (ed.)
2165:Erdman (1977: 77-79)
2061:Ostriker (1977: 874)
2022:Ostriker (1977: 873)
1995:Erdman (1977: 17-21)
1898:Ostriker (1977: 872)
1813:Ostriker (1977: 871)
1678:Ostriker (1977: 870)
1657:A Blake Bibliography
1637:Gilchrist (1998: 42)
1141:tyrant invading the
1059:does leave his plow,
382:poets of sensibility
376:in 1789. Bloom sees
3370:Agony in the Garden
3363:The Ghost of a Flea
3268:The Ancient of Days
3067:Rossetti Manuscript
2836:The Little Vagabond
2816:My Pretty Rose Tree
2786:The Chimney Sweeper
2748:Songs of Experience
2738:On Another's Sorrow
2683:The Little Boy Lost
2678:The Chimney Sweeper
2097:Schorer (1959: 165)
1886:Stevenson (2007:11)
1749:Stevenson (2007: 3)
1180:'Blind-Man's Bluff'
1107:American Revolution
1087:workers' revolution
430:metrical convention
208:Shakespearean drama
157:Alexander Gilchrist
116:Alexander Gilchrist
3302:Illustrations for
2998:The Book of Ahania
2991:The Book of Urizen
2924:America a Prophecy
2866:A Little Girl Lost
2846:The Human Abstract
2831:The Garden of Love
2658:The Ecchoing Green
2645:Songs of Innocence
2633:Songs of Innocence
2138:Erdman (1988: 439)
2129:Wolfson (2003: 77)
2079:Lowery (1940: 127)
2049:Erdman (1988: 423)
2040:Wolfson (2003: 73)
2031:Erdman (1988: 421)
1977:Erdman (1988: 418)
1968:Erdman (1988: 417)
1950:Erdman (1988: 417)
1932:Erdman (1988: 416)
1877:Erdman (1988: 413)
1847:Erdman (1988: 413)
1822:Erdman (1988: 411)
1801:Erdman (1988: 410)
1737:Wolfson (2003: 68)
1728:Ackroyd (1995: 54)
1628:Erdman (1982: 846)
1619:Ackroyd (1995: 94)
1577:Keynes (1966: 883)
1518:The Monthly Review
1464:Songs of Innocence
1447:Additional Content
1441:Emanuel Swedenborg
1383:
1248:Hundred Years' War
1047:The Book of Ahania
1029:America a Prophecy
993:The Book of Urizen
768:The Book of Urizen
669:In timely sleep.
635:The Book of Urizen
554:'Blind-man's Buff'
491:
407:' in specific and
374:William Wordsworth
348:poetic Shakespeare
204:Elizabethan poetry
30:
3607:1783 poetry books
3594:
3593:
3590:
3589:
3586:
3585:
3423:
3422:
3419:
3418:
3376:Illustrations of
3325:Illustrations of
3310:Illustrations of
3225:
3224:
3085:
3084:
3081:
3080:
3035:
3034:
2931:Europe a Prophecy
2895:
2894:
2861:A Little Boy Lost
2635:and of Experience
2600:Poetical Sketches
2527:Poetical Sketches
2512:Poetical Sketches
2497:Poetical Sketches
2424:Poetical Sketches
2403:Poetical Sketches
2350:Poetical Sketches
2210:Damon (1988: 104)
2201:Erdman (1977: 50)
2174:Erdman (1977: 72)
2156:Erdman (1977: 16)
2120:Erdman (1977: 64)
2088:Damon (1988: 228)
2070:Erdman (1977: 63)
1959:Damon (1988: 117)
1868:Damon (1988: 297)
1758:From J.T. Smith,
1710:Damon (1988: 332)
1701:Damon (1988: 331)
1559:Poetical Sketches
1499:Poetical Sketches
1491:Poetical Sketches
1487:Poetical Sketches
1482:Poetical Sketches
1475:Poetical Sketches
1453:Poetical Sketches
1391:Poetical Sketches
1127:George Washington
1035:Europe a Prophecy
862:Each field seems
833:Poetical Sketches
652:Song of Innocence
487:Poetical Sketches
453:Poetical Sketches
409:Poetical Sketches
393:Poetical Sketches
317:Poetical Sketches
311:Writing in 1965,
305:Poetical Sketches
291:Poetical Sketches
232:Thomas Chatterton
200:Poetical Sketches
133:Poetical Sketches
91:Poetical Sketches
53:and the Reverend
34:Poetical Sketches
27:Poetical Sketches
3629:
3561:(1983 monologue)
3465:Fearful Symmetry
3440:
3439:
3429:
3428:
3242:
3241:
3231:
3230:
3091:
3090:
2963:The Book of Thel
2908:
2907:
2703:The Divine Image
2641:
2640:
2589:
2588:
2578:
2577:
2563:
2556:
2549:
2540:
2539:
2413:Ostriker, Alicia
2385:Keynes, Geoffrey
2362:
2316:
2303:Erdman, David V.
2293:Damon, S. Foster
2275:
2264:
2253:
2211:
2208:
2202:
2199:
2193:
2190:
2184:
2181:
2175:
2172:
2166:
2163:
2157:
2154:
2148:
2145:
2139:
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2127:
2121:
2118:
2112:
2111:Frye (1947: 180)
2109:
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1996:
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1986:Frye (1947: 181)
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1907:Frye (1947: 179)
1905:
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1859:Frye (1947: 178)
1857:
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1699:
1688:
1687:Frye (1947: 177)
1685:
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1620:
1617:
1604:
1603:
1601:
1599:
1584:
1578:
1575:
1566:
1555:
1414:Edward the Third
1407:Edward the Third
1340:
1285:Rule, Britannia!
1215:
1175:
1081:
981:
936:
901:
875:
800:
748:
708:
676:
602:, the spirit of
322:Blake Dictionary
300:Fearful Symmetry
268:(1761–1765) and
260:James Macpherson
149:Allan Cunningham
3637:
3636:
3632:
3631:
3630:
3628:
3627:
3626:
3597:
3596:
3595:
3582:
3535:
3505:Ten Blake Songs
3484:
3443:Scholarly works
3434:
3415:
3410:Visionary Heads
3397:
3259:Engravings for
3246:
3236:
3221:
3098:
3077:
3060:
3031:
3005:The Book of Los
2943:
2938:The Song of Los
2914:
2902:
2891:
2742:
2634:
2626:
2583:
2572:
2567:
2482:
2360:
2314:
2273:
2262:
2251:
2220:
2218:Further reading
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2214:
2209:
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2200:
2196:
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2187:
2182:
2178:
2173:
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2164:
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1954:
1949:
1945:
1940:
1936:
1931:
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1918:
1911:
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1594:. 22 March 2011
1586:
1585:
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1576:
1569:
1556:
1552:
1547:
1542:
1449:
1430:
1403:
1371:Our End is come
1341:
1338:
1335:
1332:
1330:
1328:
1315:
1244:Battle of Crécy
1224:
1216:
1213:
1210:
1207:
1205:
1203:
1201:
1199:
1197:
1195:
1193:
1191:
1182:
1176:
1173:
1170:
1167:
1165:
1163:
1154:Alicia Ostriker
1151:
1099:David V. Erdman
1082:
1079:
1076:
1073:
1071:
1069:
1067:
1066:
1064:
1062:
1060:
1041:The Song of Los
1023:
982:
979:
976:
973:
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969:
968:
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937:
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896:
893:
891:
889:
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885:
876:
873:
870:
867:
861:
859:
850:
825:
817:Catherine Blake
813:W. H. Stevenson
807:
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798:
795:
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780:
749:
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740:
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715:
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683:
677:
674:
671:
668:
666:
664:
644:
630:conventionality
584:
450:
424:, or play with
335:Romantic period
325:, he refers to
313:S. Foster Damon
284:Augustan poetry
228:William Collins
220:Thomas Fletcher
196:
175:A. C. Swinburne
75:
63:Geoffrey Keynes
17:
12:
11:
5:
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3359:
3352:
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3322:
3315:
3307:
3304:Night-Thoughts
3299:
3296:Nebuchadnezzar
3292:
3285:
3278:
3271:
3264:
3256:
3254:Relief etching
3250:
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2897:
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2886:A Divine Image
2883:
2878:
2876:The School Boy
2873:
2868:
2863:
2858:
2853:
2848:
2843:
2838:
2833:
2828:
2823:
2821:Ah! Sun-flower
2818:
2813:
2808:
2803:
2798:
2793:
2788:
2783:
2778:
2773:
2768:
2763:
2761:Earth's Answer
2758:
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2638:
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2617:
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2603:
2595:
2593:
2592:Early writings
2585:
2584:
2582:Literary works
2574:
2573:
2566:
2565:
2558:
2551:
2543:
2537:
2536:
2521:
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2491:
2481:
2480:External links
2478:
2477:
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2452:
2442:
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2420:
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2399:
2392:
2382:
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2325:Frye, Northrop
2322:
2317: . (ed.)
2311:
2300:
2290:
2281:
2270:
2259:
2248:
2241:
2231:
2224:Ackroyd, Peter
2219:
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2015:
2006:
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1418:Brutus of Troy
1402:
1399:
1353:British Museum
1336:
1325:
1314:
1311:
1223:
1218:
1211:
1188:
1181:
1178:
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1150:
1147:
1077:
1053:
1022:
1019:
1011:is earth). In
977:
959:
932:
921:
911:
910:'To the Muses'
908:
897:
882:
871:
856:
849:
846:
824:
821:
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779:
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733:
714:
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693:
682:
679:
672:
661:
643:
640:
583:
580:
576:William Hayley
556:
555:
552:
543:
540:
539:'To the Muses'
537:
534:
531:
528:
525:
522:
519:
516:
513:
510:
507:
504:
501:
498:
495:
449:
446:
370:Alexander Pope
356:Gothic fiction
303:that although
280:closed couplet
250:Horace Walpole
236:Edmund Spenser
195:
192:
137:R. H. Shepherd
125:Monthly Review
105:Joseph Johnson
74:
71:
59:Harriet Mathew
25:Title page of
15:
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4:
3:
2:
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3331:
3329:
3328:
3327:Paradise Lost
3323:
3321:
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3314:
3313:
3308:
3306:
3305:
3300:
3298:
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3138:
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3128:
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3115:
3113:
3110:
3108:
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3097:
3092:
3088:
3075:
3070:
3068:
3063:
3056:
3052:
3049:
3045:
3044:
3042:
3038:
3028:
3027:
3023:
3021:
3020:
3016:
3014:
3013:
3012:The Four Zoas
3009:
3007:
3006:
3002:
3000:
2999:
2995:
2993:
2992:
2988:
2986:
2985:
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2940:
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2935:
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2928:
2926:
2925:
2921:
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2916:
2909:
2906:
2904:
2898:
2887:
2884:
2882:
2879:
2877:
2874:
2872:
2869:
2867:
2864:
2862:
2859:
2857:
2856:A Poison Tree
2854:
2852:
2851:Infant Sorrow
2849:
2847:
2844:
2842:
2839:
2837:
2834:
2832:
2829:
2827:
2824:
2822:
2819:
2817:
2814:
2812:
2809:
2807:
2804:
2802:
2799:
2797:
2796:The Sick Rose
2794:
2792:
2789:
2787:
2784:
2782:
2779:
2777:
2774:
2772:
2771:Holy Thursday
2769:
2767:
2764:
2762:
2759:
2757:
2754:
2753:
2751:
2749:
2745:
2739:
2736:
2734:
2731:
2729:
2726:
2724:
2721:
2719:
2716:
2714:
2711:
2709:
2708:Holy Thursday
2706:
2704:
2701:
2699:
2698:A Cradle Song
2696:
2694:
2693:Laughing Song
2691:
2689:
2686:
2684:
2681:
2679:
2676:
2674:
2671:
2669:
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2661:
2659:
2656:
2654:
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2648:
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2622:
2618:
2616:
2615:
2611:
2609:
2608:
2604:
2602:
2601:
2597:
2596:
2594:
2590:
2586:
2579:
2575:
2571:
2570:William Blake
2564:
2559:
2557:
2552:
2550:
2545:
2544:
2541:
2534:
2530:
2528:
2522:
2519:
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2500:
2498:
2492:
2490:
2488:
2484:
2483:
2474:
2470:
2467:
2463:
2460:
2456:
2455:Schorer, Mark
2453:
2450:
2446:
2445:Sampson, John
2443:
2440:
2436:
2432:
2429:
2425:
2421:
2418:
2414:
2411:
2408:
2407:Blake Studies
2404:
2400:
2397:
2393:
2390:
2386:
2383:
2380:
2376:
2373:
2369:
2366:
2358:
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2282:
2279:
2271:
2268:
2260:
2257:
2249:
2246:
2242:
2239:
2235:
2234:Bentley, G.E.
2232:
2229:
2225:
2222:
2221:
2207:
2198:
2189:
2180:
2171:
2162:
2153:
2144:
2135:
2126:
2117:
2108:
2106:
2104:
2094:
2085:
2076:
2067:
2058:
2056:
2046:
2037:
2028:
2019:
2010:
2001:
1992:
1983:
1974:
1965:
1956:
1947:
1938:
1929:
1922:
1916:
1914:
1904:
1895:
1893:
1883:
1874:
1865:
1856:
1854:
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1819:
1810:
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1798:
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1755:
1746:
1744:
1734:
1725:
1716:
1707:
1698:
1696:
1694:
1684:
1675:
1665:
1658:
1655:In Part I of
1652:
1643:
1634:
1625:
1616:
1614:
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1610:
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1523:
1519:
1515:
1510:
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1504:
1500:
1496:
1492:
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1472:
1467:
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1461:
1460:
1454:
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1437:
1425:
1423:
1419:
1415:
1410:
1408:
1398:
1394:
1392:
1388:
1380:
1377:(3rd state -
1376:
1372:
1368:
1364:
1363:
1359:etching from
1358:
1354:
1350:
1346:
1334:
1323:
1320:
1310:
1308:
1304:
1298:
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1291:
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1281:
1277:
1271:
1267:
1265:
1261:
1257:
1253:
1249:
1245:
1241:
1238:depiction of
1237:
1233:
1232:Shakespearean
1229:
1222:
1209:
1186:
1169:
1158:
1155:
1146:
1144:
1140:
1134:
1132:
1128:
1124:
1120:
1116:
1113:oppressed by
1112:
1111:North America
1108:
1104:
1100:
1096:
1092:
1088:
1075:
1058:
1051:
1049:
1048:
1043:
1042:
1037:
1036:
1031:
1030:
1018:
1016:
1015:
1010:
1006:
1002:
998:
994:
990:
989:
975:
957:
955:
951:
947:
943:
930:
919:
917:
907:
895:
880:
869:
865:
854:
845:
842:
838:
834:
830:
820:
818:
814:
810:
794:
783:
775:
773:
769:
765:
761:
760:
755:
742:
731:
729:
725:
721:
702:
691:
688:
681:'Fair Elenor'
670:
659:
657:
653:
649:
639:
637:
636:
631:
627:
623:
619:
615:
611:
610:
605:
601:
597:
593:
589:
579:
577:
572:
570:
567:According to
564:
559:
553:
550:
549:
544:
541:
538:
535:
532:
529:
526:
523:
520:
517:
514:
512:'Fair Elenor'
511:
508:
505:
502:
499:
496:
493:
492:
488:
483:
479:
476:
474:
470:
466:
462:
458:
454:
445:
443:
437:
435:
431:
427:
423:
419:
413:
410:
406:
402:
401:Peter Ackroyd
397:
394:
390:
387:
383:
379:
375:
371:
367:
363:
361:
357:
353:
349:
345:
341:
336:
332:
328:
324:
323:
318:
314:
309:
306:
302:
301:
296:
295:Northrop Frye
292:
287:
285:
281:
277:
276:
271:
267:
266:
261:
257:
256:
251:
248:(1726–1730),
247:
246:
241:
240:James Thomson
237:
233:
229:
225:
221:
217:
213:
209:
205:
201:
191:
188:
184:
180:
176:
172:
168:
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158:
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150:
146:
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129:
127:
126:
121:
117:
112:
110:
106:
102:
101:
96:
92:
88:
84:
80:
70:
68:
64:
60:
56:
52:
48:
47:William Blake
44:
40:
36:
35:
28:
23:
19:
3564:
3556:
3527:
3519:
3511:
3503:
3495:
3477:
3470:
3463:
3456:
3449:
3408:
3391:
3383:
3377:
3368:
3361:
3354:
3347:
3339:
3332:
3326:
3317:
3311:
3303:
3294:
3287:
3280:
3273:
3266:
3260:
3024:
3017:
3010:
3003:
2996:
2989:
2982:
2975:
2968:
2961:
2954:
2936:
2929:
2922:
2791:Nurse's Song
2756:Introduction
2747:
2723:Nurse's Song
2653:The Shepherd
2644:
2631:
2619:
2612:
2605:
2599:
2598:
2532:
2526:
2517:
2511:
2502:
2496:
2486:
2472:
2465:
2458:
2448:
2438:
2434:
2427:
2423:
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2018:
2009:
2000:
1991:
1982:
1973:
1964:
1955:
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1937:
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1920:
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1882:
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1633:
1624:
1596:. Retrieved
1582:
1562:
1558:
1553:
1530:
1525:
1522:The Passions
1521:
1517:
1511:
1506:
1502:
1498:
1494:
1490:
1486:
1481:
1479:
1474:
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1395:
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1386:
1384:
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1374:
1370:
1366:
1360:
1355:), a colour
1348:
1326:
1318:
1316:
1299:
1295:
1289:
1283:
1280:Mark Schorer
1272:
1268:
1255:
1227:
1225:
1220:
1189:
1183:
1161:
1152:
1135:
1131:Thomas Paine
1102:
1091:middle class
1084:
1054:
1045:
1039:
1033:
1027:
1024:
1012:
1007:is fire and
992:
986:
984:
960:
939:
922:
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904:
883:
878:
857:
851:
836:
832:
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734:
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694:
686:
684:
662:
647:
645:
633:
607:
585:
573:
566:
561:
557:
546:
509:'To Morning'
486:
477:
460:
452:
451:
438:
414:
408:
405:Evening Star
398:
392:
377:
366:Harold Bloom
364:
351:
331:neoclassical
326:
320:
316:
310:
304:
298:
297:declared in
290:
288:
273:
270:Thomas Percy
263:
253:
243:
199:
197:
187:John Sampson
166:
160:
155:(1830), and
152:
144:
132:
130:
123:
113:
98:
90:
76:
66:
51:John Flaxman
33:
32:
31:
26:
18:
3569:(1989 play)
2913:continental
2673:The Blossom
2514:, 1783-1863
2503:The Library
1598:20 November
1563:The Library
1339:Lines 13-16
1214:Lines 61-70
1174:Lines 31-34
1143:Isle of Man
1115:King George
1080:Lines 45-52
1044:(1795) and
935:Lines 13-16
900:Lines 11-16
874:Lines 13-16
799:Lines 15-18
747:Lines 13-16
618:imagination
503:'To Winter'
500:'To Autumn'
497:'To Summer'
494:'To Spring'
465:blank verse
457:lyric poems
360:Romanticism
319:in Damon's
245:The Seasons
224:Thomas Gray
212:John Milton
183:E. J. Ellis
179:W. B. Yeats
95:typesetting
87:half titles
73:Publication
3601:Categories
3566:In Lambeth
3247:and prints
3177:Palamabron
3142:Golgonooza
3132:Enitharmon
2915:prophecies
2728:Infant Joy
1540:References
1456: [
1240:Edward III
1234:-inspired
1057:husbandman
999:is water,
980:Lines 5-11
916:nine muses
823:'Mad Song'
772:Enitharmon
604:Revolution
569:J.T. Smith
530:'Mad Song'
469:prose poem
434:enjambment
426:eye-rhymes
354:, and the
216:Ben Jonson
109:proof copy
3350:paintings
3312:The Grave
3245:Paintings
3096:Mythology
2901:Prophetic
2871:To Tirzah
2826:The Lilly
2811:The Tyger
2806:The Angel
2254: .
1561:, 1783",
1545:Citations
1422:patriotic
1303:formalism
1264:Agincourt
1123:New World
707:Lines 1-4
675:Lines 5-8
626:tradition
596:sensation
422:off-rhyme
120:proofread
3578:Ancients
3521:The Lamb
3402:Sketches
2663:The Lamb
2525:Blake's
2387:. (ed.)
2363: .
2276: .
2265: .
1466:(1789).
1428:'Samson'
1357:intaglio
1337:—
1307:rhetoric
1276:jingoism
1260:Poitiers
1212:—
1172:—
1157:poetry;
1078:—
1038:(1794),
1032:(1793),
1003:is air,
978:—
933:—
898:—
872:—
841:Selfhood
837:Antiques
797:—
745:—
705:—
673:—
656:pastoral
448:Contents
442:Akenside
378:Sketches
352:Reliques
327:Sketches
258:(1764),
167:verbatim
147:(1806),
3540:Related
3489:Musical
3207:Urthona
3192:Thiriel
3187:Tharmas
3182:Spectre
3122:Bromion
2801:The Fly
2733:A Dream
2489:article
1592:Bonhams
1256:Liberty
1252:Liberty
1121:of the
1103:America
1001:Thiriel
754:Phaëton
592:Tharmas
389:sublime
386:Hebraic
340:rhythms
3532:(1998)
3524:(1982)
3516:(1965)
3508:(1958)
3500:(1943)
3289:Newton
3202:Urizen
3197:Tiriel
3157:Leutha
3147:Grodna
3117:Beulah
3112:Albion
3107:Ahania
3019:Milton
2956:Tiriel
2841:London
2718:Spring
2499:, 1783
2447:(ed.)
2415:(ed.)
2359:
2313:
2272:
2261:
2250:
1436:Milton
1236:ironic
1119:Samson
1095:yeoman
1009:Grodna
829:satire
728:Psyche
622:Urizen
473:ballad
265:Ossian
83:Strand
79:octavo
39:poetry
3558:Blake
3167:Luvah
3137:Fuzon
3127:Enion
2948:Other
2903:books
2713:Night
2228:Blake
1669:2007)
1381:1809)
1230:is a
1139:Norse
1005:Fuzon
954:earth
942:water
764:Luvah
724:Cupid
687:œuvre
551:]
444:'s".
420:, or
418:rhyme
344:Bible
43:prose
3356:Pity
3217:Vala
3212:Utha
3065:The
2911:The
1600:2012
1129:and
1055:The
997:Utha
952:and
950:fire
864:Eden
726:and
720:Eros
628:and
181:and
41:and
3235:Art
3172:Orc
3162:Los
3152:Har
2426:",
2361:———
2352:",
2315:———
2274:———
2263:———
2252:———
1528:.
1459:sic
1097:."
985:In
946:air
614:Los
600:Orc
548:sic
282:of
272:'s
262:'s
252:'s
242:'s
45:by
3603::
2457:.
2339:.
2327:.
2295:.
2226:.
2102:^
2054:^
1912:^
1891:^
1852:^
1827:^
1806:^
1767:^
1742:^
1692:^
1608:^
1590:.
1570:^
1387:c.
1379:c.
1367:c.
1262:,
948:,
944:,
819:.
722:,
648:c.
286:.
238:,
234:,
230:,
226:,
222:,
218:,
214:,
210:,
206:,
177:,
173:,
3076:"
3072:"
3057:"
3053:"
3050:"
3046:"
2562:e
2555:t
2548:v
2523:'
2508:'
2493:'
1602:.
1365:(
1351:(
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
