There is No Natural Religion

254:, but Blake was the first to use such a method to create both words and designs mixed together on the same plate. Apart from the unique aesthetic effects possible, a major advantage of relief etching was that Blake could print the material himself. Because the text was in relief, the pressure needed for printing was constant, unlike in intaglio printing, where different pressures were needed to force the paper into the furrows, depending on size. Additionally, intaglio etchings and engravings were printed with great pressure, but in relief etching, because the printed material was a raised surface rather than incised lines, considerably less pressure was required. As such, relief etching tackled the problem of the division of labour of publishing. Blake's new method was autographic; "it permitted—indeed promoted—a seamless relationship between conception and execution rather than the usual divisions between invention and production embedded in 18th-century print technology, and its economic and social distinctions among authors, printers, artists and engravers. Like drawings and manuscripts, Blake's relief etchings were created by the direct and positive action of the author/artist's hand without intervening processes". Blake served as artist, engraver, printer 1938:

unwilling to believe in the identity of God and Man." For Harold Bloom, because Blake is able to see the identity of God and man, the rejection of Locke and the tenets of deism makes way for a system in which "to see the infinite in all things is to see God because it is to see as God sees, which Blake believes is the only way to see God. But to see as God sees, man must himself be infinite, a state to be attained only by the individual utterly possessed by the Poetic character." Similarly, "there is no natural religion, according to Blake, because no man reasoning from fallen nature can come to see that "the real man, the imagination" and God are the same. Religion must be "revealed" in the sense that Revelation means the consuming of natural appearance by a more imaginative vision." Along these same lines, Eaves, Essick and Viscomi argue that, for Blake, natural religion is a "contradiction in terms antithetical to religious belief. Natural religion is derived from experience provided by the fallen senses, not from the Poetic Genius. Thus it is not a religion and cannot be included in the 'all' of

1878:

But through his natural or bodily organs." Because of this, Man can only understand that which he has already encountered (i.e. he cannot understand something he has not encountered, because to do so would involve faculties beyond the physical senses); Man "can only compare & judge of what he has already perceiv'd." Man cannot even extrapolate new comprehensions by combining old ones; "From a perception of only 3 sense or 3 elements none could deduce a fourth or fifth." Thus, because man is limited by organic physicality ("None could have other than natural or organic thoughts if he had none but organic perceptions"), both his thoughts and his desires are so limited; "Mans desires are limited by his perceptions. none can desire what he has not perceiv'd." As such, "The desires & perceptions of man untaught by any thing but organs of sense, must be limited to organs of sense." Overall, Series a serves as a declaration of extreme empiricism, which goes much further than any of the empiricist theorists ever took it.

1882:"Reason or the ratio of all we have already known. is not the same as it shall be when we know more." Blake points out that Man is fundamentally desirous of discovering more and moving beyond the bounds of his specific physicality, which is nothing more than a restriction; "The bounded is loathed by its possessor." As a result, Man yearns to know that which he does not yet know because "Less than all cannot satisfy Man." However, Man should never desire more than he can possess, because "if any could desire what he is incapable of possessing, despair must be his eternal lot." However, because Man tends to desire the infinite, thus "the desire of Man being Infinite the possession is Infinite & himself Infinite." That is to say, if Man can only desire what he can possess, yet he desires the infinite, then he must be able to possess the infinite. Blake takes from this that if Man's desires and possessions can be infinite, then Man too must be Infinite, and, by extension, Man can see the Infinite. Indeed, 465:

head on the right, whereas plate b3 is a mirror image, a figure with his head on the left; "this visual reversal complements the sudden change of philosophical perspective in the accompanying text." The plates are also ideologically in direct opposition; they both deal with perceptions and organs of sense, but whereas a9 asserts that man can experience through such organs only, b3 states that this is patently false, and perceptions can go beyond organs of sense. Plate b4 elaborates on this theory, and plate b12 fulfils the prophecy of what will happen "when we know more." Thus the series forms a coherent, if brief, statement. As to the question of why Blake omitted the rest of the plates, Eaves, Essick and Viscomi argue that plates b6-11 deal with issues which thematically wouldn't fit into the abridgement—hence the 1794 print represents a streamlined version of the overall thesis; "a statement on the empiricist theory of perception followed by its direct and forceful rebuttal."

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designated Plate b2 and assigned to Series b). Keynes also assigned the three plates from 1794 which were reprinted in 1795 to Series b, designating them b3, b4 and b12. As such, Series b comprises eleven plates, with at least one plate missing (Plate b5; III). In 1978, David Bindman suggested that there are more plates missing from Series b than just Plate 5, as he argued that the last three plates (Application, Conclusion and 'Therefore') are thematically isolated, suggesting more missing plates which should come after Plate b8 (VII). Bindman also saw the missing title page from Series a as important, arguing that although Series a was printed with the same title plate as Series b, there is no direct evidence that

352:, and as such, there is no definitive order (except where the plates are numbered). Despite this lack of definitive order however, the sequence of the plates from the 1794 print is generally agreed to be the frontispiece, followed by the title page, then the Argument, then the plates numbered I–VI, followed by the plates reprinted in 1795. The order of the twelve plates from the 1795 print is generally agreed to be the frontispiece, followed by the title page, then the plates numbered I–VII, followed by the Conclusion, Application and the 'Therefore' plate. Traditionally, Blakean scholars tended to place the Conclusion after the Application, but since Mary Johnson and John E. Grant in 1979, this has been reversed. 1946:

perceptions" allow. If it were not for desires reaching beyond the sensate, Man would be trapped in a self-imposed empiricist prison. For Blake, expanding the prison or accumulating more will not bring any respite, as only the Infinite will satisfy Man. If we could not attain the infinite, we would be in eternal despair, but because we are not, Blake reasons that we thus must be able to attain the Infinite, and as such, Man becomes Infinite himself; "Locke's principle of a reciprocal and mutually validating relationship among the mind, the sense organs, and their objects has been converted into a similarly structured reciprocity among infinite desire, its infinite object, and its infinite desirer."

858: 799: 22: 318:, after Blake's death, using unbound leaves found amongst Blake's possessions. Additionally, it was once thought that impressions from the 1794 print made up the majority of plates in Copy E, Copy F, Copy H, Copy I, Copy J and Copy K. However, in 1993, Joseph Viscomi proved that all but five of the plates in these copies are imitations. Copy E, Copy J and Copy K are composed entirely of imitations. Copy F and Copy H have two original impressions each, and the rest are imitations. Copy I has one original plate (a9; reproduced below as Plate a9 from Copy G is damaged). Viscomi believes the imitations may have been commissioned by the publisher 1196: 1781: 1819: 1838: 876:

He too appears to be reading. Numerous tiny figures can also be seen in the vicinity of the words "The Argument". Furthest on the left, a figure leans against the vertical of the "T" in "The". Moving to the right, another figure, possibly winged, hovers above the space between "The" and "Argument". Next, a figure leans against the left diagonal of the "A". Another figure stands by the right diagonal of the "A" reaching up to the right towards a bird above the "u" and "m." Additionally, the first and last letters of the heading expand out into vines, as does the final "n" in "Education" in the main text.

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perceiving through his bodily organs (his eyes). The dog may carry the symbolic association that Man's organic perceptions are no better or different than animals', i.e. if Man limits himself to his organic senses and adheres to the principals of Empiricism, he is no different, or better, than a mere animal; it is only by the acceptance of the spiritual and the imagination, faculties unavailable to animals and unique to Man, that he can rise above a strictly physical existence. Blake would return to this concept in the

1556: 985: 1280: 91: 1505: 1426: 1377: 1083: 1020: 944: 1465: 893: 1314: 333:, often touching the text and design outlines with pen. This ink and wash work may have been executed in 1818, along with the addition of the frame lines, although this cannot be ascertained for certain. Several of the plates also bear evidence of rudimentary colour printing, a method with which Blake was experimenting in the 1790s, and these plates may represent his first attempts at this technique (whereby he used coloured inks to print rather than black). Several of the plates also feature examples of 216:. The acid was then poured off, the wax was removed, and the raised part of the plate was covered with ink before finally being pressed onto the paper in the printing press. This method allowed expressive effects which were impossible to achieve via intaglio. The major disadvantage was that text had to be written backwards as whatever was on the plate would print in reverse when pressed onto the paper. The dominant theory as to how Blake solved this problem is simply that he 326:

impression. The black ink framing lines in Copy L are thought to have been added at a later date, possibly in 1818, just prior to when Blake gave the plates to John Linnell. It has been suggested that the framing lines may have been added due to the discrepancy between the size of the plates and the size of the paper (each plate is roughly 5.4 x 4 cm.; each page is 37.8 x 27 cm). In all copies other than Copy L, the plates are roughly 14 x 11 cm.

1340: 1052: 375:' attempt in 1971, and many of his decisions are still followed by modern editors. Keynes's most important, and controversial, editorial choice was to rigidly divide the two printing sessions into two distinct series, which came to be known as Series a and Series b. Specifically, he used the later addition of the framing lines in Series b (i.e. the 1795 print) to help him establish that Series as distinct from Series a (i.e. the 1794 print). 212:

surface, Blake wrote and drew directly onto the plate with an acid-resistant material known as a stop-out. He would then embed the plate’s edges in strips of wax to create a self-contained tray and pour the acid about a quarter of an inch deep, thus causing the exposed parts of the plate to melt away, and the design and/or text to remain slightly above the rest of the plate, i.e. in relief, like a modern

456:), they come at the end; plates numbered I & II to refute the theories of the previous plates, followed by the 'Therefore' plate to bring the work to a close. As such, Eaves, Essick and Viscomi argue that the 1794 print represents a twelve-plate abridgement (the twelve plates are a1, a2/b2, a3-9, b3-4 and b12). They argue that "the b-series plates provide a brief but bold refutation of the 1887:

again"; i.e. Man is made to do more than perceive and experience through the senses only. Furthermore, to see the Infinite is to see God, which is to transcend the sensate ("the Ratio"); "He who sees the Infinite in all things sees God. He who sees the Ratio only sees himself only." Therefore, for Man to see God, he must be as God, and as such, "God becomes as we are that we may be as he is."

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latter is emphasised by the barren tree and other vegetation that curve over the figure as though to entrap him." Essick sees the illustration as a visual pun; the literal application of Reason to the earth (represented by the ground) itself. David Bindman speculates that Blake may have been inspired in this image by an engraving he had done in 1782 after a

971:" as introduced on that plate. If this is so, the image here could represent the struggle between physical limits (represented by the restraining mother) and the desires which necessarily transcend those limits (as explained in Series b). Regarding the prominent image of the tree, David Bindman believes that it is bare to symbolise the rigid " 883:(from Copies A, B and D). The picture is probably a symbolic depiction of the education mentioned in the text. However, even here, Blake introduces a sense of contrariness, as the figures mingled amongst the text "may suggest a source of education more energetic and spiritual than can be provided by the books and vegetation below." 434:, Robert N. Essick and Joseph Viscomi argue that the two Series are one, and the only difference between the 1794 and 1795 prints is that the 1794 print is an abridged version of the whole, and only the second half of the work was printed in 1795. They argue that "the existence of only one title, as well as the 2032:

The extreme empiricism of Series a closely mirrors some of the theories espoused by Locke and Bacon. For example, Blake's assertion that Man cannot deduce any other senses is specifically based on Bacon; "Man, being the servant and interpreter of nature, can do and understand so much and so much only

1881:

Series b however, completely refutes the basic concepts of empiricism. It begins by declaring that "Mans perceptions are not bounded by organs of perception, he perceives more than sense (thou' ever so acute) can discover." As such, Man can indeed discover aspects beyond his own immediate experience;

1877:

One of the most immediately obvious aspects of the two series is how they fundamentally contradict one another. In Series a, Blake explicitly states that Man is purely physical and limited to that physicality; "Naturally he is only a natural organ subject to sense", and he "cannot naturally Perceive.

906:

An old man, naked, leans on a walking stick and looks down at a dog on the ground, which looks up at him. In the background can be seen a hill and a clump of trees. A tree also grows on the right margin, a branch of which forms a canopy over the old man. Another branch extends to the top of the plate

325:

From the 1795 printing, there is only one known set of impressions (Copy L), now held in the Morgan Library. However, although this second printing also contains 12 plates (with one missing), only four plates from the 1794 print were reprinted. The remaining seven plates are known only in this single

211:

Blake's great innovation in relief etching was to print from the relief, or raised, parts of the plate rather than the intaglio, or incised, parts. Whereas intaglio methods worked by creating furrows into which the acid was poured to create 'holes' in the plate and the ink then poured over the entire

2094:

as forming a fundamental statement of intent for Blake, a kind of pre-emptive outline of his future work, "a summarised statement of the doctrines of the engraved canon." Similarly, Morris Eaves, Robert N. Essick and Joseph Viscomi state that they "contain some of Blake's most fundamental principles

2054:

we have received from Sensation or Reflection." Blake ironically rejects this notion, arguing instead that just as Man cannot deduce more senses than he has, he cannot deduce ideas beyond those immediately perceivable by the senses. This claim, that Man cannot desire anything beyond his senses (such

1181:

A man lies flat on the ground, his face turned upwards, his arms are at his side. His head rests on what seems to be a cushion. Above and to the right is a small and difficult-to-discreet figure hovering in the air, who seems to be reaching towards the left. Vines fill the spaces both left and right

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From Copy G. As with Plate a5 (II), the boy reaching for the swan could represent the theme of "Mans desires". Bindman argues that the absence of the restraining mother figure from a5 is important here as it suggests that the boy has freed himself from physical constraints, and is now free to pursue

1009:

From Copy G. The presence of the putto, and his gesture of pointing heavenward may indicate the spiritual perceptions beyond the reach of the "3 senses". However, as Bindman notes, it is significant that the man does not look at or reach towards the putto or the sky. As such, if the putto or what he

875:

In the main picture, a woman is seated in a chair. Her legs are crossed and she holds a book, from which she appears to be reading. On the right stands a young girl, also holding a book from which she reads. On the left, a young boy is lying on the ground with his torso propped up on his left elbow.

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From Copy G. In the six known original impressions of this plate, "The Author & Printer W Blake" has been printed at the bottom of the page, but in Copy G, the text has been obscured by wash. Also, in all six impressions, the phrase is written in reverse, presumably because Blake forgot to write

468:

A major question related to the 1795 print is why did Blake only print Series b (or under Eaves, Essick and Viscomi's terms, the second half of the overall work). There are two possibilities. Perhaps he did print the entire work, but Series a (i.e. the first half) was lost. The second theory is that

2070:

as having an influence on Blake's thoughts. In a more general sense, "Blake sees the school of Bacon and Locke as the foundation of natural religion, the deistic attempt to prove the existence of God on the basis of sensate experience and its rational investigation." To that end, Blake "manipulates

1945:

In Blake's ironic treatment of empirical doctrines and natural religion, a key element introduced in Series b is desire; "the rational mind, merely a mechanical manipulation or "ratio" of sense experience, "shall be" transformed as spiritual enlightenment advances and we discover more than "organic

1041:

From Copy G. The image could depict the "organic perceptions" mentioned in the text—the piper is creating his art by means of an organic process. However, although he creates his art via his physical organs, it is a process dependent on imagination, and as such, Bindman believes the birds symbolise

464:

principles offered on the preceding pages and indicate the irony with which Blake offers the first group of aphorisms." They especially argue that the abridgement theory is supported by plates a9 and b3, which is the crossover point from irony to refutation. Plate a9 depicts a prone figure with his

443:

found within it is only revealed when it is contrasted with Series b and thus, were it to be interpreted alone, "Blake would have appeared to contemporary readers as an advocate of the very position he is attacking." This argument has been accepted by several modern editors of Blake's work, such as

1937:

distinguishes between "natural" and "revealed" religion, the former being the vision of God which man develops with his fallen reason, and the later the vision communicated to him by inspired prophets. To Blake, there is no natural religion. The only reason people believe in it is because they are

2027:

on Every one of these Books I wrote my Opinions & on looking them over find that my Notes on Reynolds in this Book are exactly Similar. I felt the Same Contempt & Abhorrence then; that I do now. They mock Inspiration & Vision Inspiration & Vision was then & now is & I hope

1579:

From Copy L. The man is representative of all Men, and is rising from the physical to embrace the unseen Infinite, having shaken off the chains restraining him in the previous plate. Also important is that "for the first time in the illustrations, the main human figure expresses the energy of the

378:

In Keynes' reordering, Series a comprises eight plates, one of which is missing (Plate a2 (title page); this is because the title page from the 1794 print is actually a version of the title page from the 1795 print, and as the title is thought to suit Series b better than Series a, it tends to be

1886:

to see the Infinite is a perversion of Man's true nature, as defined by the Poetic Genius; "If it were not for the Poetic or Prophetic character. the Philosophic & Experimental would soon be at the ratio of all things & stand still, unable to do other than repeat the same dull round over

1621:

Vines, possibly with leaves, fill the spaces above, below, and on both sides of the heading. Leafless vines fill the spaces on both the right and left margins of the plate. More vines grow near the bottom of the plate on each side of the last line. The vines enter the text at two points; a small

1213:

Below the text, a man lies on a bed, facing outwards towards the reader. He seems to have lines of radiance emanating from his head. Several vines decorate the spaces all around the heading ("Therefore"). Another vine descends down the right margin near the third and fourth lines of text. On the

1149:

From Copy G. Continuing the theme of reading from the previous plate, this picture is a mirror-image of the last one, but with subtle differences, which carry great thematic weight; "the vegetation near his head seems stunted, but the energetic scroll-like form above his body and the way the 'M'

963:

In the main picture at the bottom of the plate, a woman kneels on the ground, holding onto the waist of a small child, probably male. The child is reaching towards a small bird which seems to be flying away from him. At the top of the plate, a branch from a bare tree divides the heading from the

712:

it is important to remember that the images are not necessarily literal depictions of the text; "the philosophical propositions offer little visual imagery or even named objects. These qualities may have determined the relative independence of many of the designs from the accompanying text. The

1677:

as "Locke's Reason, closed within the 'Closet' of the mind while the triangle is one of the simple ideas that in Locke’s system provide the primary building blocks of knowledge." For Eaves, Essick and Viscomi, the plate depicts enslavement to "abstract reason and bondage to material nature. The

754:

On the right, two young men, both naked, stand by a tree. The man farthest to the left holds a shepherd's crook in his right hand. On the left is seated an elderly couple, both wearing gowns. Another tree can be seen on the left margin, with its branches forming a canopy over the couple. In the

207:

had been experimenting with a method to allow him to reproduce handwriting via an etched plate, and Blake incorporated Cumberland's method into his own relief etching; treating the text as handwritten script rather than mechanical letterpress, and thus allowing him to make it a component of the

1185:

From Copy G. It is impossible to say if the man is sleeping or dead. Irrespective of this however, again, Blake can be seen contrasting the limited world of physicality below (the man himself) with the energetic world above (the twirls both immediately above the man and above the text itself).

2045:

in Bodies, howsoever constituted, whereby they can be taken notice of, besides Sounds, Tastes, Smells, visible and tangible Qualities. And had Mankind been made but with four Senses, the Qualities then, which are the Object of the Fifth Sense, had been as far from our Notice, Imagination, and

910:

From Copy G. Three of the six original impressions of this plate are in colour (from Copies C, G and M; although all three differ from one another in their colouration), and three are in monochrome (from Copies A, B and D). The image is a metaphorical depiction of the text, with the old man

558:

Although it is possible that plate b1 served as a divider between the two series, Eaves, Essick and Viscomi believe it was a tailpiece to the overall work. In that position, it would mirror the only other full plate design (the frontispiece). Also, the graphical content would suggest it as a

270:

is one of the most complex and ambiguous of all of Blake's illuminated manuscripts. What is known for certain is that there were two printing sessions; one in 1794, and one in 1795, when a large paper copy was printed as part of a deluxe edition of Blake's collected illuminated manuscripts.

1490:

At the top of the plate, vines fill the spaces to both the left and the right of the heading. At the bottom of the plate, to both the left and right of the last word, "Man", which is on a line on its own, hover two small figures, each of which seem to be praying. Vines grow around both

759:

it in mirror lettering. In three of the six impressions (from Copies D, G and M) the young man's staff has been drawn in with black ink after the print; in the other three (from Copies A, B and C), the staff cannot be seen. Eaves, Essick and Viscomi believe the image has connections to

220:. Another theory, suggested by David Bindman, is that Blake wrote his (acid-resistant) text on a sheet of paper the correct way around, and then pressed the paper onto the plate, thus reversing the text and producing the same result as if had he written it backwards in the first place. 1037:

A man sits on the ground with his back against a tree, playing a pipe. He wears a hat decorated with feathers. The landscape on the right features a small hill and a grove of trees. A single tree extends up the left margin. Three birds fly above the text and on each side of the

1967:, when he hired Blake to engrave the frontispiece. Blake became so enamoured of Lavater's work that on the inside cover of his own copy of the book, he inscribed both his name and Lavater's, and drew a heart encompassing them. Blake also extensively annotated his own copy of 1150:

beginning the text bursts into vegetative form hint at energetic perceptions beyond the vision of this "bounded" reader." Thus the 'barrier' formed by the tree in the previous plate is absent here, suggesting the possibility of the freedom of Man's spiritual faculties.

680:; italic text "was easier to execute since it required fewer independent strokes. And since the resulting dense matrix of lines provided better support for the inking dabber, italic permitted a shallower etch." Blake introduced italic script on plate a3 of 314:). All 87 impressions of the twelve plates have been colour printed in reddish-brown ink on the same type of paper. However, only Copy G (reproduced below) contains impressions of all 12 plates, although this copy was not assembled by Blake himself, but by 1454:

From Copy L. The only plate in Blake's two series in which there is no image of any kind, other than the vines at the top and bottom. However, the energetic vegetation could be interpreted as symbolising an escape from the "dull round" of empiricism.

234:

Blake himself referred to relief etching as "printing in the infernal method, by means of corrosives melting apparent surfaces away, and displaying the infinite which was hid." A contemporary description of the method was provided by Blake's friend,

1494:

From Copy L. The two figures serve to complement the energetic vegetation introduced in the last plate. Whereas there, only vegetation was depicted as inherently energetic, here, the form of Man is introduced, as he also begins to reject empiricism.

1898:." In line with this way of thinking, S. Foster Damon suggests that "the first series states John Locke's philosophy of the five senses until it becomes self-evidently absurd." A similar conclusion is reached by Denise Vultee, who argues that both 2083:, and perhaps other founders of what has become the comparative study of religion, to argue for the existence of a universal and supra-rational 'Poetic Genius' that expresses itself through the shared (though ever various) forms of all religions." 438:

1794 abridgement containing plates from both groups, suggest that the work was etched not as two separate Series but as a single work arranged into two parts, the second answering the first." If this is correct, Series a cannot stand alone, as the

1288:

A man with long hair stands on the left, facing right, his left arm extended out horizontally. Lying on the ground in front of him is another man, reaching up towards the extended hand of the standing man. In the background can be seen two Gothic

1533:

From Copy L. The presence of the shackle and chains suggests imprisonment and confinement. Additionally, the posture of the man and the way he clutches his head, suggests the "despair" mentioned in the text. Blake would reuse this image in both

1006:, visible from the waist up, appears behind the man's legs, and reaches towards the man's shoulder with his left hand. His right hand is pointed upwards. A tree grows on the right margin and branches out both above and below the heading. 278:

was etched in 1788, whether Blake had printed it prior to 1794 is unknown. However, the fact that it is not mentioned in his 'To the Public' address of October 1793, where he listed all of his extant manuscripts up to that time except

180:, which meant that the design's outline was traced with a needle through an acid-resistant 'ground' which had been poured over the copperplate. The plate was then covered with acid, and the engraver went over the incised lines with a 196:

Frustrated with this method, Blake seems to have begun thinking about a new method of publishing at least as early as 1784, as in that year a rough description of what would become relief etching appears in his unpublished satire,

2095:

and reveal the foundation for later development in his thought and art." W.H. Stevenson calls them "a very early statement of fundamental opinions held all his life." As an example of how Blake returned to the specific themes of

492:

Taking all of this into consideration, it is possible, however tentative, to suggest what the original appearance of the overall work may have been when first etched in 1788. Eaves, Essick and Viscomi propose the following order:

567:

where we become as God is; "the work therefore ends with its most hopeful and religious concept, the restoration of humanity to spiritual life" insofar as "the plate holds out the promise of a resurrection from the 'death' of

184:

to allow the acid to bite into the furrows and eat into the copper itself. The acid would then be poured off, leaving the design incised on the plate. The engraver would then engrave the plate's entire surface with a web of

152:

were the exceptions to the norm insofar as they tended to engrave their own material. A further division in the process was that text and images were handled by different artisans; text was printed by means of a movable

127:

During the 1770s, Blake had come to feel that one of the major problems with reproducing artwork in print was the division of labour by which it was achieved; one person would create a design (the artist), another would

1673:, "Ratio, in Blake's use, means an abstract image or ghost of an object, which in the aggregate makes up the universe of death which is the natural experience of most men." Similarly, for Peter Otto, the plate depicts 1102:

A man lies on the ground with his upper body propped up on his arms, holding his head in his left hand. Long grass grows in front of him and a tree grows behind the grass. The tree branches both above and below the

1145:

At the bottom of the plate, a gowned man with a beard lies on the ground, reading from a book. On the left is the stump of a tree. The first letter on the first line, "M", extends into a vine and reaches up to the

2015: 1244:, for the act is eternal and is always going on." Robert N. Essick believes the design perfectly reflects the text; "the Word (Blake's text) becomes the flesh (branches, leaves, etc); the flesh becomes the Word." 451:

An important component of Keynes' theory was that the three plates from the 1794 print reprinted in 1795, formed a part of Series b, not Series a. However, if they are included with Series a (such as in Bindman's

934:(1514). As in the previous plate, with the small figures interacting with the text, "Blake has established an opposition between limited perceptions on the ground below the text and livlier, freer motifs above." 1575:

At the bottom of the plate, a young man (very possibly the same man from the previous plate) seems to rise from the earth, his hands reaching out for something unseen. He seems to be looking above him, into the

1217:

From Copy G. Although there is no way of knowing if the man is living or dead, the motif of the beams of radiance suggest he may be Christ, and thus the "God" who "becomes as/we are, that we/may be as he/is."

1412:

Presumably there was once a plate containing III. Eaves, Essick and Viscomi suggest that it most likely dealt with the reintroduction of desire so as to free it from the constraints imposed upon it in Series

2018:

is founded on the Opinions of Newton & Locke on this Treatise Reynolds has grounded many of his assertions. in all his Discourses I read Burkes Treatise when very Young at the same time I read Locke on

616:

are not because of an earlier date of composition, but because of the increased complexity of the plates, with such complexity demonstrating Blake growing in confidence from the more rudimentary plates for

2050:, can possibly be." However, Locke did argue that Man could build on simple ideas and create a complex concept of spirituality; "Moral Beings and Notions are founded on, and terminated in these simple 390:

Keynes' editorial decisions have been supported by most scholars since 1971, and editors of Blake's collected work in particular tend to adhere to the division into two distinct series'; for example,

4390: 4333: 1790:

From Copy B. An alternate version of plate a1 in which the man's staff has not been drawn in ink after the print. Note that the backwards writing in the colophon is visible in this impression.

1232: 879:

From Copy G. Three of the six original impressions of this plate are in colour (from Copies C, G and M; although all three differ from one another in their colouration), and three are in

239:; "writing his poetry, and drawing his marginal subjects of embellishments in outline upon the copper-plate with an impervious liquid, and then eating the plain parts or lights away with 227:

after printing. Because of this aspect, a major component of relief etching was that every page of every book was a unique piece of art; no two copies of any page in Blake's entire

1662:

inscribed on the ground. On the left margin stands a tree, one of its branches arching over the man, another extending up the margin and dividing the text from the header above it.

1684: 231:

are identical. Variations in the actual print, different colouring choices, repainted plates, accidents during the acid bath etc., all led to multiple examples of the same plate.

4543: 329:

In numerous cases in both the 1794 print and the 1795 print, it seems as if the acid has eaten away too much of the relief, and Blake has had to go over sections with ink and

1069:

In the main image, a boy moves towards a stream, his arms outstretched, reaching towards a swan in the water. A tree grows on the left margin and branches above the heading.

337:, a technique where Blake would literally cut into the stop-out to create tiny furrows, which would be eaten away by the acid, creating a streak effect in the final print. 4399: 387:

would seem to be the title of Series b, and its content would be compatible with such a title; but there would then be no reason why Series a should have the same title."

144:

attached to each job; engraving was not seen as an especially exalted profession, and was instead regarded as nothing more than mechanical reproduction. Artists like

4472: 2123:; "Historians pretend, who being weakly organized themselves, cannot see either miracle or prodigy; all is to them a dull round of probabilities and possibilities." 820:

From Copy G. There are seven figures in the arches surrounding the title. Most are impossible to identify, but the largest figure, in the centre, appears to be the

1451:

At the top of the plate, a vine fills the space above the text and to both the left and the right of the heading. A vine also runs along the bottom of the plate.

56: 2310: 3082: 777:, and the elderly man on the left may be sitting on a form of flutter-column "which suggests a classical setting and culture identified with the origins of 319: 4405: 1993:

The importance of Francis Bacon, Isaac Newton and John Locke is paramount to the work, and it is known that Blake despised empiricism from an early age.

1625:

From Copy L. Although, like Plate b6, this plate contains only vines, they are intermingled with the text in a way quite unlike any of the other plates.

104: 1959: 907:

and separates the heading and the first line of text. At the far end of this branch, sits a tiny human figure, with a number of birds flying above him.

481:

would have come between and disrupted the symmetrical relationship between the companion works." In support of this theory is the fact that Copy L of

4339: 1622:

self-contained vine appears between "-tal" and "would" in line 5, and the vine on the right margin extends into the text at the word "all" on line 6.

1692:, which depicts a young child measuring some triangles. Eaves, Essick and Viscomi suggest Blake may have been building on Raphael's depiction of 1010:

points at represent spiritual perceptions, the man is ignoring both of them, and concentrating instead on what his organic senses can perceive.

1214:

left, the last letter of "may" extends into a small vine. Vines also surround the final word on the plate, "is", which is on a line on its own.

967:

From Copy G. The image of the child reaching for the bird is similar to the picture on Plate a8 (V), and as such may represent the concept of "

2033:

as he has observed in fact or in thought of the course of nature beyond this he neither knows anything nor can do anything" and Locke; "it is

4626: 1042:

the music of the poet, flying upwards into infinite air and thus beyond the organic perceptions which seem to triumph in the previous plate.

371:

In 1886, William Muir attempted to impose an order on the various plates, but his efforts were not universally accepted. More successful was

4040: 477:, a work in ten plates. Both are positive statements of Blake's principles; the presence of the ironic first sequence of propositions from 2107: 349: 78:

points out, "his newly invented form now changed the nature of his expression. It had enlarged his range; with relief etching, the words

4324: 176:

was also commonly used for layering in such aspects as landscape and background. All traditional methods of engraving and etching were

652:

Further evidence for Keynes's hypothesis is discussed by Eaves, Essick and Viscomi, who, in counterpoint to Bindman, see the style of

3488:

Otto, Peter. "Nebuchadnezzar's Sublime Torments: William Blake, Arthur Boyd and the East", in Steve Clark and Masashi Suzuki (eds.),

813:

The Gothic structure in which the title is embedded may be a church façade or a tomb canopy. The words of the title are incorporated

290:

The 1794 printing consists of 87 known impressions of a total of twelve plates. These impressions comprise the majority of Copy A (

102:

In 1822, Blake completed a short two-page dramatic piece which would prove to be the last of his illuminated manuscripts, entitled

781:

philosophies. The differences in age and clothing between the two sets of figures structurally parallel the juxtaposition between

3575: 2020: 116:

was 1788". It is almost universally agreed amongst Blakean scholars, that the "Original Stereotype" to which he here refers was

4289: 4273: 3544: 1665:

From Copy L. The man measuring the triangle refers to the concept of "the Ratio" as mentioned in the text. "Ratio" is from the

1918:

or "natural religion", which looked to the material world for evidence of God's existence, Blake offers as an alternative the

4511: 3647: 2028:

will always Remain my Element my Eternal Dwelling place. how can I then hear it Contemnd without returning Scorn for Scorn

70:

represent Blake's first successful attempt to combine image and text via relief etching, and are thus the earliest of his

4527: 3785: 1300:, 12:17. The arches in the background suggest the setting may be a church, and seem to bear a resemblance to the tomb of 1654:

At the bottom of the plate, a bearded man with long hair kneels on the ground and leans forward. His right hand holds a

3998: 3915: 3722: 473:; "the decision to delete the first sequence may have been motivated by a desire to create an eleven-page companion to 4316: 3505:

Sandler, Florence. "'Defending the Bible': Blake, Paine, and the Bishop on the Atonement", in David V. Erdman (ed.)

168:, which was thought to give a more accurate impression of the original picture than the previously dominant method, 4646: 4561: 4296: 3500:

The poetical works of William Blake; a new and verbatim text from the manuscript engraved and letterpress originals

1929:

However, as well as attacking the theories of empiricism, Blake also engages with the concept of natural religion.

1301: 590:

The poetical works of William Blake; a new and verbatim text from the manuscript engraved and letterpress originals

2322: 3984: 3820: 2248: 1971:, and a number of critics have noted parallels between the Lavater annotations and Blake's own aphorisms in both 4631: 4361: 4348: 773: 2055:

as transcendence), is going much further than either Locke or Bacon, neither of whom made any such assertion.

1979:. S. Foster Damon specifically points to Lavater's first two aphorisms as having a strong influence on Blake; 4486: 3895: 3408: 2059: 4268: 608:

was the earlier of the two, based on what he saw as its "greater technical imperfection." In his 1978 book,

4355: 4110: 3991: 1530:

on the right ankle. His head is bowed over, looking at the ground and he clutches his head with both hands.

236: 1106:

From Copy I (the impression in Copy G is damaged). The posture of the figure is indicative of traditional

4384: 4088: 4033: 3855: 3568: 2119:

who murdered Jesus" (52: "To the Deists"). He also repeats the important phrase "dull round" in his 1809

2024: 857: 295: 1894:

as "an early and fundamental statement of philosophical beliefs, expressed in the rational language of

563:

of the title page. It also serves as an illustration of plate b12 ('Therefore') insofar as it depicts a

3770: 1964: 930: 311: 307: 1526:

Below the text, a naked man, very muscular, sits on the ground, chains running from each ankle, and a

223:

Blake could also colour the plates themselves in coloured inks before pressing them or tint them with

4651: 4493: 4081: 3860: 3845: 3019: 2993: 2951: 2884: 2838: 2812: 2786: 2746: 2711: 2685: 2641: 2615: 2573: 2390: 1986:

Mankind differ as much in essence as they do in form, limbs, and senses - and only so, and not more".

798: 21: 1990:

To these points, Blake has annotated "This is true Christian philosophy far above all abstraction.

1227: 1195: 3516:(Longman Group: Essex, 1971; 2nd ed. Longman: Essex, 1989; 3rd ed. Pearson Education: Essex, 2007) 3349:

The Illuminated Blake: William Blake's Complete Illuminated Works with a Plate-by-Plate Commentary

1780: 1702:(1511). Blake himself would use this image as the basis for two of his later planographic prints, 140:

it (the publisher). It was unusual for artists to engrave their own designs, due primarily to the

4621: 4479: 3780: 3495: 3431: 593: 1818: 4656: 4310: 4026: 3927: 3752: 3561: 1837: 916: 821: 469:

he may have printed only Series b as he wanted it to exist as a companion to the 1795 print of

177: 149: 71: 1983:

Know, in the first place, that mankind agree in essence, as they do in their limbs and senses.

745: 4566: 4465: 4062: 3795: 3628: 3621: 3539: 3443: 2318: 1954: 912: 199: 145: 113: 109: 62: 1159: 684:, a script which he would use throughout the 1790s. Other evidence for an earlier dating of 51: 4592: 4370: 4069: 3790: 3747: 3702: 3682: 3667: 3294: 1895: 1698: 1119: 154: 3444:

Life of William Blake, "Pictor ignotus". With selections from his poems and other writings

2105:(1804–1810), he writes "This Natural Religion! this impossible absurdity" (40:13), and in 426:

However, Keynes' theories have not been accepted by all Blakean scholars. For example, in

8: 4377: 4282: 3850: 3830: 3800: 3697: 3692: 3438: 1856: 1659: 560: 299: 224: 604:

in his 'Appendix to the Prophetic Books'. However, in 1971, Geoffrey Keynes argued that

4641: 4535: 4211: 4012: 4005: 3938: 3880: 2112: 1655: 1634: 1542: 1536: 1293: 1279: 767:

as a whole. They suggest the posture of the man on the far right may be modelled after

1589: 4580: 4572: 3945: 3875: 3775: 3672: 3614: 2080: 1725: 1674: 1313: 1110:. The vegetation above him could symbolise the upper limits of physical perceptions. 1002:

A man with a beard sits on the ground, reaching to the left with both arms. A winged

841: 837: 833: 204: 181: 2228:

See Bindman (1978), Bindman (2000) and Viscomi (2003) for more specific information.

334: 3977: 3840: 3717: 1799: 1745:

From Copy L. Same plate as printed in 1794, except for the size and framing lines.

1689: 1400:

From Copy L. Same plate as printed in 1794, except for the size and framing lines.

1367:

From Copy L. Same plate as printed in 1794, except for the size and framing lines.

1330:

From Copy L. Same plate as printed in 1794, except for the size and framing lines.

782: 612:, David Bindman initially disagreed with Keynes, arguing that the imperfections in 303: 4587: 4519: 4424: 4196: 4019: 3952: 3805: 3737: 3677: 3478: 3457: 3404: 3387: 2000: 1679: 1219: 629:

in almost all modern anthologies of Blake's work; for example, Alicia Ostriker's

403: 391: 372: 330: 3447:(London: Macmillan, 1863; 2nd ed. 1880; rpt. New York: Dover Publications, 1998) 4636: 4303: 4161: 4131: 4126: 3900: 3890: 3835: 3815: 2063: 1926:

is a "mockery of rationalism and an insistence on Man's potential infinitude."

1708: 1297: 760: 661: 485:

was printed on the same paper and in the same ink as the only existing copy of

291: 251: 217: 190: 169: 2153:

See, for example, Bindman (1978: 468), Erdman (1982: 790); Ackroyd (1995: 115)

1555: 984: 688:

is that many of the individual letters themselves lean to the left, unlike in

105:

The Ghost of Abel A Revelation In the Visions of Jehovah Seen by William Blake

4615: 4151: 3970: 3870: 3865: 3810: 3732: 3727: 3712: 3707: 3584: 3533: 3464:(London: Nonesuch Press, 1957; 2nd ed. Oxford: Oxford University Press, 1966) 3426: 3344: 3284: 3245: 3243: 2975: 2973: 2912: 2910: 2908: 2906: 2866: 2864: 2862: 2860: 2667: 2665: 2663: 2597: 2595: 2494: 2492: 2478: 2476: 2372: 2370: 2368: 2366: 2101: 2005: 1930: 1907: 1504: 1425: 1376: 1241: 1082: 1019: 943: 669: 141: 90: 75: 47: 1464: 1339: 1051: 892: 250:, and copper relief etching had been practised in the early 18th century by 4231: 2076: 2012: 1950: 1911: 1670: 564: 431: 360: 345: 315: 213: 161: 82:

like those of God upon the tables of law, Blake could acquire a new role."

3240: 2970: 2903: 2857: 2660: 2592: 2489: 2473: 2363: 554:

Plate b1 (full plate design usually treated as a frontispiece to Series b)

4186: 4176: 4166: 3687: 3412:(Princeton: Princeton University Press, 1954; 2nd ed. 1969; 3rd ed. 1977) 2067: 1919: 1223: 1107: 778: 461: 240: 4334:

The Four and Twenty Elders Casting their Crowns before the Divine Throne

4191: 4156: 4146: 3742: 2072: 1237: 880: 786: 768: 569: 457: 243:

considerably below them so that the outlines were left as Stereotype."

137: 74:. As such, they serve as a significant milestone in Blake's career; as 3885: 3825: 2116: 165: 129: 79: 3299:

A Blake Bibliography: Annotated Lists of Works, Studies and Blakeana

1934: 814: 692:. This was a common problem in mirror writing, and its presence in 189:, before pouring the ink onto the plate and transferring it to the 186: 133: 43: 700:

suggests Blake was only learning how to overcome it as he worked.

50:, written in 1788. Following on from his initial experiments with 4221: 4206: 4201: 4136: 3394:(Hanover: University Press of New England 1965; revised ed. 1988) 2215:

The exact method is described in great detail in Joseph Viscomi,

1527: 925: 673: 412:

The Illuminated Blake: William Blake's Complete Illuminated Works

247: 173: 3553: 3399:

Blake's Illuminated Books, Volume 3: The Early Illuminated Books

3224:, ed. Peter H. Nidditch (Oxford: Clarendon Press, 1975), 2.28.14 2219:(Princeton: Princeton University Press, 1993), chapters 4 and 18 639:

Blake's Illuminated Books, Volume 3: The Early Illuminated Books

428:

Blake's Illuminated Books, Volume 3: The Early Illuminated Books

4216: 4171: 4121: 1914:, and Locke. Rejecting the rational empiricism of 18th-century 1693: 972: 968: 829: 825: 637:(1982), Morris Eaves', Robert N. Essick's and Joseph Viscomi's 359:

was not published until 1886, in a facsimile edition edited by

3519:

Viscomi, Joseph. "Illuminated Printing" in Morris Eaves (ed.)

3212:, ed. Peter H. Nidditch (Oxford: Clarendon Press, 1975), 2.2.3 924:

1795/1805). The posture of the man is based on a centurion in

832:

on the four front spires may be based on those of the tomb of

4447: 4181: 4141: 3462:

The Complete Writings of William Blake, with Variant Readings

3317:

Blake Books: Annotated Catalogues of William Blake's Writings

3083:"Illuminated Printing and other Illustrated Books, 1789-1792" 2360:(Princeton: Princeton University Press, 1993), chapters 21–22 1915: 1906:

are "part of Blake's lifelong quarrel with the philosophy of

1666: 1292:

From Copy L. The standing figure may be Christ, resurrecting

1003: 440: 160:

During Blake's training as a professional copy engraver with

4400:

The Wood of the Self-Murderers: The Harpies and the Suicides

3450:

Hilton, Nelson. "Blake's Early Works" in Morris Eaves (ed.)

3397:

Eaves, Morris; Essick, Robert N. and Viscomi, Joseph (eds.)

713:

links are thematic and metaphoric, not direct and literal."

4544:

Themes from William Blake's The Marriage of Heaven and Hell

4226: 828:

child, with two praying figures on her left and right. The

3392:

A Blake Dictionary: The Ideas and Symbols of William Blake

164:

during the 1770s, the most common method of engraving was

4473:

The Works of William Blake: Poetic, Symbolic and Critical

3351:(Ontario: General Publishing Company, 1974; 2nd ed. 1992) 1847:

An alternately coloured version of plate a4 from Copy C.

1809:

An alternately coloured version of plate a3 from Copy C.

1230:; "He indeed assumed humanity that we might become God" ( 497:

Plate a1 (frontispiece with elderly couple and shepherds)

157:, whereas images were engraved, two very different jobs. 98:(1822); note the writing in the colophon at bottom right. 3339:

The Stranger from Paradise: A Biography of William Blake

355:

After the original 1794 and 1795 printings, the text of

3454:(Cambridge: Cambridge University Press, 2003), 191–209 3200:, ed. John M. Robertson (London: Routledge, 1905), 259 2444: 2442: 2440: 2438: 2436: 2434: 1182:

of the heading, the one on the right may have berries.

3384:(Cambridge: Cambridge University Press, 2003), 85–109 2772: 2770: 2768: 542:

Plate b9 (VII. "The desires of Man being Infinit...")

344:

were assembled from loose plates sold anonymously at

3523:(Cambridge: Cambridge University Press, 2003), 37–62 2202: 2200: 2163: 2161: 2159: 509:

Plate a5 (II. "Man by his reasoning power alone...")

3380: . "Blake as a Painter" in Morris Eaves (ed.) 2431: 2269: 2267: 1416:No impressions of Plate b5 have ever been located. 524:

Plate b3 (I. "Mans perceptions are not bounded...")

2928: 2926: 2765: 2531: 2086:In relation to his later work, Northrop Frye sees 2048:any belonging to a Sixth, Seventh, or Eighth Sense 1236:, 54). However "where the theologians all use the 246:Relief etching was the same basic method used for 16:Series of philosophical aphorisms by William Blake 2197: 2156: 4613: 3125:Harold Bloom, "Commentary" in Erdman (1982: 895) 3044:Harold Bloom, "Commentary" in Erdman (1982: 894) 2264: 3371:The Complete Illuminated Books of William Blake 2923: 903:cieve, but through his natural or bodily organs 643:The Complete Illuminated Books of William Blake 521:Plate a9 (VI. "The desires and perceptions...") 416:The Complete Illuminated Books of William Blake 3421:The Complete Poetry and Prose of William Blake 1866:A monochrome version of plate a4 from Copy B. 1828:A monochrome version of plate a3 from Copy B. 635:The Complete Poetry and Prose of William Blake 408:The Complete Poetry and Prose of William Blake 3569: 3435:(Princeton: Princeton University Press, 1947) 645:(2003), and W. H. Stevenson's 3rd edition of 572:philosophy and into the life of the spirit." 4041:Jerusalem: The Emanation of the Giant Albion 3423:(New York: Anchor Press, 1965; 2nd ed. 1982) 2305: 2303: 2301: 621:. Most scholars however support Keynes, and 580:Until 1971, most editors tended to consider 383:is actually the correct title of Series a; " 3360:The Complete Graphic Works of William Blake 2108:Jerusalem The Emanation of the Giant Albion 1240:, as of a historical event, Blake uses the 763:, and is also symbolic of the structure of 610:The Complete Graphic Works of William Blake 518:Plate a8 (V. "Mans desires are limited...") 454:The Complete Graphic Works of William Blake 400:The Complete Graphic Works of William Blake 3576: 3562: 3509:(Cornwall: Locust Hill Press, 1990), 41–70 3432:Fearful Symmetry: A Study of William Blake 1658:, with which he seems to be measuring the 660:. They especially cite the use of upright 533:Plate b6 (IV. "The bounded is loathed...") 4448:Scholarship, in popular culture, and more 3080: 2298: 633:(1977), David V. Erdman's 2nd edition of 3521:The Cambridge Companion to William Blake 3452:The Cambridge Companion to William Blake 3382:The Cambridge Companion to William Blake 3341:(New Haven: Yale University Press, 2001) 366: 89: 20: 3301:(Oxford: Oxford University Press, 1964) 3222:An Essay Concerning Human Understanding 3210:An Essay Concerning Human Understanding 2016:Treatise on the Sublime & Beautiful 1226:, and the text as echoing the words of 539:Plate b8 (VI. "If any could desire...") 527:Plate b4 (II. "Reason or the ratio...") 489:, and also has the same framing lines. 4614: 4290:Europe Supported by Africa and America 1222:interprets this image as depicting an 512:Plate a6 (III. "From a perception...") 506:Plate a4 (I. "Man cannot conceive...") 4446: 4248: 4108: 3595: 3557: 1751: 536:Plate b7 (V. "If the many become...") 444:W.H. Stevenson in the 3rd edition of 421: 410:(1982), and Bindman's 2nd edition of 4627:18th-century illuminated manuscripts 4512:Serenade for Tenor, Horn and Strings 3490:The Reception of Blake in the Orient 3306:William Blake: The Critical Heritage 3178:See, for example, Hilton (2003: 195) 2415:See Mary Johnson and John E. Grant, 2058:Harold Bloom also cites the work of 1922:or "Poetic Genius"." In this sense, 4528:Songs and Proverbs of William Blake 4393:On the Morning of Christ's Nativity 3475:(London: William Blake Trust, 1971) 3373:(London: Thames & Hudson, 2000) 3362:(London: Thames & Hudson, 1978) 3237:(Garden City: Doubleday, 1963), 25 2111:(1804-1820), "Natural Religion and 1712:(where he mirrors the action; both 1706:(where he mirrors the posture) and 1669:for "Reason" ("Rationis"), and for 515:Plate a7 (IV. "None could have...") 112:of this text is "W Blakes Original 13: 3999:Visions of the Daughters of Albion 3596: 3549:article by Dana Day (Spring, 2010) 3492:(London: Continuum, 2006), 260–272 3401:(London: Tate Gallery Press, 1993) 3278: 1233:The Incarnation of the Word of God 14: 4668: 3583: 3527: 3483:William Blake: The Complete Poems 1872: 631:William Blake: The Complete Poems 396:William Blake: The Complete Poems 85: 4562:William Blake in popular culture 4407:Illustrations of the Book of Job 1953:was working on a translation of 1949:In terms of influences, in 1787 1855: 1836: 1817: 1798: 1779: 1724: 1633: 1588: 1554: 1503: 1463: 1424: 1375: 1338: 1312: 1278: 1194: 1158: 1118: 1081: 1050: 1018: 983: 942: 891: 856: 797: 755:distance, mountains are visible. 751:The Author & Printer W Blake 744: 588:. For example, in his 1905 book 559:tailpiece, as it returns to the 4276:Original Stories from Real Life 3985:The Marriage of Heaven and Hell 3502:(Oxford: Clarendon Press, 1905) 3330:(Oxford: Clarendon Press, 1978) 3319:(Oxford: Clarendon Press, 1977) 3265: 3256: 3227: 3215: 3203: 3190: 3181: 3172: 3163: 3150: 3137: 3128: 3119: 3110: 3101: 3074: 3065: 3056: 3047: 3038: 3012: 2986: 2944: 2935: 2877: 2831: 2805: 2779: 2739: 2730: 2704: 2678: 2634: 2608: 2566: 2553: 2540: 2518: 2505: 2460: 2451: 2422: 2409: 2383: 2350: 2337: 2285: 2276: 2255: 2249:The Marriage of Heaven and Hell 2240: 2231: 1997:1808, he annotated Volume 1 of 1682:design for the frontispiece of 1066:-sire what he has not perciev'd 656:as more confident than that of 4349:A Vision of the Last Judgement 2358:Blake and the Idea of the Book 2222: 2217:Blake and the Idea of the Book 2209: 2188: 2179: 2170: 2147: 2138: 1685:An Introduction to Mensuration 774:Hermes and the Infant Dionysus 530:Plate b5 (III. Untraced plate) 1: 4487:Blake: Prophet Against Empire 4297:The Night of Enitharmon's Joy 4109: 3896:The Voice of the Ancient Bard 3545:"God and the Poetic Genius", 3409:Blake: Prophet Against Empire 2126: 1250: 716: 676:writing on several plates of 136:it (the printer) and another 42:is a series of philosophical 3636:There is No Natural Religion 3535:There is No Natural Religion 3473:There is No Natural Religion 3024:There is No Natural Religion 2998:There is No Natural Religion 2956:There is No Natural Religion 2941:Quoted in Bindman (1974: 32) 2889:There is No Natural Religion 2843:There is No Natural Religion 2817:There is No Natural Religion 2791:There is No Natural Religion 2751:There is No Natural Religion 2716:There is No Natural Religion 2690:There is No Natural Religion 2646:There is No Natural Religion 2620:There is No Natural Religion 2578:There is No Natural Religion 2428:Bentley and Nurmi (1964: 61) 2395:There is No Natural Religion 2315:There is No Natural Religion 2261:Quoted in Bindman (1978: 14) 2131: 2092:There is No Natural Religion 1904:There is No Natural Religion 1892:There is No Natural Religion 870:Naturally he is only a natu- 765:There is No Natural Religion 627:There is No Natural Religion 586:There is No Natural Religion 479:There is No Natural Religion 385:There is No Natural Religion 381:There is No Natural Religion 357:There is No Natural Religion 287:, would suggest he had not. 276:There is No Natural Religion 122:There is No Natural Religion 68:There is No Natural Religion 39:There is No Natural Religion 27:There is No Natural Religion 7: 4089:Never pain to tell thy love 3089:. The William Blake Archive 3026:. The William Blake Archive 3000:. The William Blake Archive 2958:. The William Blake Archive 2891:. The William Blake Archive 2845:. The William Blake Archive 2819:. The William Blake Archive 2793:. The William Blake Archive 2753:. The William Blake Archive 2718:. The William Blake Archive 2692:. The William Blake Archive 2648:. The William Blake Archive 2622:. The William Blake Archive 2580:. The William Blake Archive 2397:. The William Blake Archive 1761: 1260: 1091:The desires & percepti- 872:ral organ subject to Sense. 844:, which Blake had sketched 789:in the text that follows." 726: 641:(1993), even Bindman's own 308:Morgan Library & Museum 296:Yale Center for British Art 132:it (the engraver), another 10: 4673: 2417:Blake's Poetry and Designs 1851: 1832: 1813: 1794: 1775: 1720: 1629: 1610:things. & stand still, 1584: 1550: 1499: 1459: 1420: 1404: 1371: 1334: 1308: 1274: 1190: 1154: 1114: 1077: 1046: 1014: 979: 938: 931:Deliverance of Saint Peter 887: 868:fitness but from education 866:Man has no notion of moral 852: 793: 740: 703: 312:Victoria and Albert Museum 4554: 4503: 4494:Witness Against the Beast 4457: 4453: 4442: 4416: 4259: 4255: 4244: 4117: 4104: 4079: 4054: 3962: 3925: 3914: 3761: 3658: 3645: 3606: 3602: 3591: 3514:Blake: The Complete Poems 3308:(London: Routledge, 1975) 3087:William Blake (1757–1827) 1896:18th-century philosophers 1890:David Bindman summarises 1770: 1767: 1269: 1266: 901:Man cannot naturally Per- 840:in the north transept of 735: 732: 647:Blake: The Complete Poems 575: 446:Blake: The Complete Poems 261: 4055:The Pickering Manuscript 3328:William Blake's Writings 2419:(New York: Norton, 1979) 2115:are the Religion of the 1758: 1604:-sophic & Experimen- 1257: 723: 398:(1977), David Bindman's 203:. Around the same time, 4647:Poetry by William Blake 4249: 3903:(found only in Copy BB) 3781:The Clod and the Pebble 3512:Stevenson, W. H. (ed.) 3485:(London: Penguin, 1977) 3291:(London: Vintage, 1995) 3198:The Philosophical Works 2144:Ackroyd (1995: 115–116) 2025:Advancement of Learning 1814:Plate a3 (The Argument) 1795:Plate a3 (The Argument) 1776:Plate a1 (frontispiece) 1721:Plate b12 ('Therefore') 1630:Plate b11 (application) 1275:Plate b1 (frontispiece) 1095:any thing but organs of 1093:-ons of man untaught by 1062:limited by his percepti 1034:but organic perceptions 1032:thoughts if he had none 1030:than natural or organic 999:-duce a fourth or fifth 741:Plate a1 (frontispiece) 551:Plate b12 ('Therefore') 548:Plate b11 (Application) 503:Plate a3 (The Argument) 350:Richard Monckton Milnes 72:illuminated manuscripts 4588:Catherine Blake (wife) 2030: 1598:If it were not for the 1585:Plate b10 (conclusion) 1570:is Infinite & him- 1304:in Westminster Abbey. 1097:sense, must be limited 995:only 3 senses or 3 ele 975:" dominating Mankind. 956:compare & judge of 545:Plate b10 (Conclusion) 348:on April 29, 1862, to 150:John Hamilton Mortimer 99: 34: 4632:Criticism of religion 4567:William Blake Archive 4466:Life of William Blake 4356:Descriptive Catalogue 4063:Auguries of Innocence 3992:The French Revolution 3796:The Little Girl Found 3629:All Religions are One 3622:An Island in the Moon 3540:William Blake Archive 3304:Bentley, G. E. (ed.) 3297:and Nurmi, Martin K. 2319:William Blake Archive 2121:Descriptive Catalogue 2088:All Religions are One 2010: 1940:All Religions are One 1900:All Religions are One 1645:-finite in all things 1602:character. the Philo- 1481:is the cry of a mista 1309:Plate b2 (title page) 1191:Plate b12 (Therefore) 1028:None could have other 997:-ments none could de- 794:Plate a2 (Title page) 623:All Religions are One 606:All Religions are One 582:All Religions are One 500:Plate a2 (title page) 475:All Religions are One 367:Series a and Series b 200:An Island in the Moon 118:All Religions are One 93: 63:All Religions are One 24: 4363:The Great Red Dragon 4070:The Mental Traveller 3791:The Little Girl Lost 3703:The Little Boy Found 3683:The Little Black Boy 3507:Blake and His Bibles 3439:Gilchrist, Alexander 3271:Stevenson (2007: 55) 3107:Ostriker (1977: 877) 2356:See Joseph Viscomi, 1699:The School of Athens 1614:than repeat the same 1580:vegetative motifs." 1568:-nite the possession 1515:-sire what he is in- 1479:-sess'd, More! More! 1099:to objects of sense. 993:From a perception of 668:contrasted with the 340:All known copies of 335:white line engraving 322:in the early 1860s. 57:The Approach of Doom 4385:Agony in the Garden 4378:The Ghost of a Flea 4283:The Ancient of Days 4082:Rossetti Manuscript 3851:The Little Vagabond 3831:My Pretty Rose Tree 3801:The Chimney Sweeper 3763:Songs of Experience 3753:On Another's Sorrow 3698:The Little Boy Lost 3693:The Chimney Sweeper 3187:Damon (1988: 16-17) 3169:Ackroyd (1995: 107) 3071:Bindman (1978: 467) 3020:"Copy L, object 10" 2885:"Copy L, object 11" 2448:Bindman (1978: 468) 2097:No Natural Religion 2046:Conception, as now 2021:Human Understanding 1977:No Natural Religion 1924:No Natural Religion 1920:imaginative faculty 1649:sees the Ratio only 1643:He who sees the In- 1608:at the ratio of all 1600:Poetic or Prophetic 1517:-capable of posses- 1483:ken soul, less than 1446:mill with complica- 1436:loathed by its pos- 1387:-tio of all we have 1354:perception, he per- 1170:-tio of all we have 1134:perception, he per- 958:what he has already 954:ing power. can only 853:Plate a3 (Argument) 710:No Natural Religion 698:No Natural Religion 690:No Natural Religion 682:No Natural Religion 678:No Natural Religion 654:No Natural Religion 619:No Natural Religion 598:No Natural Religion 561:gothic architecture 483:No Natural Religion 342:No Natural Religion 300:Library of Congress 285:No Natural Religion 268:No Natural Religion 266:Bibliographically, 108:. Inscribed in the 54:in the non-textual 4317:Illustrations for 4013:The Book of Ahania 4006:The Book of Urizen 3939:America a Prophecy 3881:A Little Girl Lost 3861:The Human Abstract 3846:The Garden of Love 3673:The Ecchoing Green 3660:Songs of Innocence 3648:Songs of Innocence 3547:Dartmouth Apologia 3235:Blake's Apocalypse 3062:Bindman (1974: 32) 2994:"Copy L, object 7" 2952:"Copy L, object 1" 2839:"Copy C, object 9" 2813:"Copy C, object 8" 2787:"Copy C, object 7" 2776:Bindman (1974: 29) 2747:"Copy C, object 6" 2736:Bindman (1974: 28) 2712:"Copy C, object 5" 2686:"Copy C, object 4" 2642:"Copy C, object 3" 2616:"Copy L, object 2" 2574:"Copy B, object 1" 2537:Erdman (1982: 789) 2391:"Copy Information" 2273:Bindman (1978: 14) 2237:Viscomi (2003: 43) 2206:Bindman (1978: 13) 2194:Viscomi (2003: 37) 2185:Bindman (1978: 12) 2176:Viscomi (2003: 41) 2167:Bindman (1978: 10) 2113:Natural Philosophy 1963:for the publisher 1752:Additional content 1660:foot of a triangle 1616:dull round over a- 1612:unable to do other 1606:-tal would soon be 1543:The Book of Urizen 1537:America a Prophecy 1519:sing, despair must 1485:All cannot satisfy 1477:the few, when pos- 1442:of a univere would 1350:-ons are not bound 1296:, as described in 1130:-ons are not bound 952:Man by his reason- 913:planographic print 422:One series or two? 406:'s 2nd edition of 320:Basil M. Pickering 187:crosshatched lines 100: 35: 4609: 4608: 4605: 4604: 4601: 4600: 4438: 4437: 4434: 4433: 4391:Illustrations of 4340:Illustrations of 4325:Illustrations of 4240: 4239: 4100: 4099: 4096: 4095: 4050: 4049: 3946:Europe a Prophecy 3910: 3909: 3876:A Little Boy Lost 3650:and of Experience 3615:Poetical Sketches 3134:Bloom (1982: 894) 2932:Damon (1988: 402) 2325:on 3 October 2006 2282:Bindman (2000: 7) 2081:Paul Henri Mallet 1999:The Works of Sir 1870: 1869: 1749: 1748: 1675:Nebuchadnezzar II 1651:sees himself only 1475:-come the same as 1438:-sessor, The same 1391:not the same that 1389:already known, is 1385:Reason or the ra- 1356:-cieves more than 1248: 1247: 1174:not the same that 1172:already known, is 1168:Reason or the ra- 1136:-cieves more than 1064:ons. none can de- 842:Westminster Abbey 838:Earl of Lancaster 834:Edmund Crouchback 787:revealed religion 205:George Cumberland 96:The Ghost of Abel 4664: 4652:Swedenborgianism 4576:(1983 monologue) 4480:Fearful Symmetry 4455: 4454: 4444: 4443: 4257: 4256: 4246: 4245: 4106: 4105: 3978:The Book of Thel 3923: 3922: 3718:The Divine Image 3656: 3655: 3604: 3603: 3593: 3592: 3578: 3571: 3564: 3555: 3554: 3479:Ostriker, Alicia 3470: 3458:Keynes, Geoffrey 3418: 3405:Erdman, David V. 3388:Damon, S. Foster 3379: 3368: 3357: 3336: 3325: 3314: 3272: 3269: 3263: 3260: 3254: 3247: 3238: 3231: 3225: 3219: 3213: 3207: 3201: 3194: 3188: 3185: 3179: 3176: 3170: 3167: 3161: 3154: 3148: 3141: 3135: 3132: 3126: 3123: 3117: 3114: 3108: 3105: 3099: 3098: 3096: 3094: 3078: 3072: 3069: 3063: 3060: 3054: 3053:Otto (2006: 264) 3051: 3045: 3042: 3036: 3035: 3033: 3031: 3016: 3010: 3009: 3007: 3005: 2990: 2984: 2977: 2968: 2967: 2965: 2963: 2948: 2942: 2939: 2933: 2930: 2921: 2914: 2901: 2900: 2898: 2896: 2881: 2875: 2868: 2855: 2854: 2852: 2850: 2835: 2829: 2828: 2826: 2824: 2809: 2803: 2802: 2800: 2798: 2783: 2777: 2774: 2763: 2762: 2760: 2758: 2743: 2737: 2734: 2728: 2727: 2725: 2723: 2708: 2702: 2701: 2699: 2697: 2682: 2676: 2669: 2658: 2657: 2655: 2653: 2638: 2632: 2631: 2629: 2627: 2612: 2606: 2599: 2590: 2589: 2587: 2585: 2570: 2564: 2557: 2551: 2544: 2538: 2535: 2529: 2522: 2516: 2509: 2503: 2496: 2487: 2480: 2471: 2464: 2458: 2455: 2449: 2446: 2429: 2426: 2420: 2413: 2407: 2406: 2404: 2402: 2387: 2381: 2374: 2361: 2354: 2348: 2341: 2335: 2334: 2332: 2330: 2321:. Archived from 2307: 2296: 2289: 2283: 2280: 2274: 2271: 2262: 2259: 2253: 2252:(1790); Plate 14 2244: 2238: 2235: 2229: 2226: 2220: 2213: 2207: 2204: 2195: 2192: 2186: 2183: 2177: 2174: 2168: 2165: 2154: 2151: 2145: 2142: 1960:Aphorisms on Man 1859: 1840: 1821: 1802: 1783: 1756: 1755: 1728: 1690:John Bonnycastle 1647:sees God. He who 1637: 1592: 1558: 1513:If any could de- 1507: 1467: 1428: 1393:it shall be when 1379: 1358:sense (tho' ever 1352:-ed by organs of 1342: 1316: 1282: 1255: 1254: 1198: 1176:it shall be when 1162: 1138:sense (tho' ever 1132:-ed by organs of 1122: 1085: 1060:Mans desires are 1054: 1022: 987: 946: 895: 860: 817:into the design. 801: 748: 721: 720: 304:Houghton Library 218:wrote in reverse 25:Title page from 4672: 4671: 4667: 4666: 4665: 4663: 4662: 4661: 4612: 4611: 4610: 4597: 4550: 4520:Ten Blake Songs 4499: 4458:Scholarly works 4449: 4430: 4425:Visionary Heads 4412: 4274:Engravings for 4261: 4251: 4236: 4113: 4092: 4075: 4046: 4020:The Book of Los 3958: 3953:The Song of Los 3929: 3917: 3906: 3757: 3649: 3641: 3598: 3587: 3582: 3530: 3468: 3416: 3377: 3366: 3355: 3334: 3323: 3312: 3281: 3279:Further reading 3276: 3275: 3270: 3266: 3262:Frye (1947: 14) 3261: 3257: 3248: 3241: 3232: 3228: 3220: 3216: 3208: 3204: 3196:Francis Bacon, 3195: 3191: 3186: 3182: 3177: 3173: 3168: 3164: 3155: 3151: 3142: 3138: 3133: 3129: 3124: 3120: 3116:Frye (1947: 44) 3115: 3111: 3106: 3102: 3092: 3090: 3081:Denise Vultee. 3079: 3075: 3070: 3066: 3061: 3057: 3052: 3048: 3043: 3039: 3029: 3027: 3018: 3017: 3013: 3003: 3001: 2992: 2991: 2987: 2978: 2971: 2961: 2959: 2950: 2949: 2945: 2940: 2936: 2931: 2924: 2915: 2904: 2894: 2892: 2883: 2882: 2878: 2869: 2858: 2848: 2846: 2837: 2836: 2832: 2822: 2820: 2811: 2810: 2806: 2796: 2794: 2785: 2784: 2780: 2775: 2766: 2756: 2754: 2745: 2744: 2740: 2735: 2731: 2721: 2719: 2710: 2709: 2705: 2695: 2693: 2684: 2683: 2679: 2670: 2661: 2651: 2649: 2640: 2639: 2635: 2625: 2623: 2614: 2613: 2609: 2600: 2593: 2583: 2581: 2572: 2571: 2567: 2558: 2554: 2545: 2541: 2536: 2532: 2523: 2519: 2510: 2506: 2497: 2490: 2481: 2474: 2465: 2461: 2456: 2452: 2447: 2432: 2427: 2423: 2414: 2410: 2400: 2398: 2389: 2388: 2384: 2375: 2364: 2355: 2351: 2342: 2338: 2328: 2326: 2309: 2308: 2299: 2290: 2286: 2281: 2277: 2272: 2265: 2260: 2256: 2245: 2241: 2236: 2232: 2227: 2223: 2214: 2210: 2205: 2198: 2193: 2189: 2184: 2180: 2175: 2171: 2166: 2157: 2152: 2148: 2143: 2139: 2134: 2129: 2060:Anthony Collins 2001:Joshua Reynolds 1875: 1754: 1739: 1737: 1736:we are, that we 1735: 1733: 1732: 1680:Thomas Stothard 1650: 1648: 1646: 1644: 1642: 1641: 1617: 1615: 1613: 1611: 1609: 1607: 1605: 1603: 1601: 1599: 1597: 1596: 1571: 1569: 1567: 1566:Man being Infi- 1565: 1563: 1562: 1522: 1520: 1518: 1516: 1514: 1512: 1511: 1486: 1484: 1482: 1480: 1478: 1476: 1474: 1473:If the many be- 1472: 1471: 1447: 1445: 1443: 1441: 1440:dull round even 1439: 1437: 1435: 1433: 1432: 1394: 1392: 1390: 1388: 1386: 1384: 1383: 1361: 1359: 1357: 1355: 1353: 1351: 1349: 1347: 1346: 1324: 1322: 1320: 1253: 1220:S. Foster Damon 1209: 1207: 1206:we are, that we 1205: 1203: 1202: 1177: 1175: 1173: 1171: 1169: 1167: 1166: 1141: 1139: 1137: 1135: 1133: 1131: 1129: 1127: 1126: 1098: 1096: 1094: 1092: 1090: 1089: 1065: 1063: 1061: 1059: 1058: 1033: 1031: 1029: 1027: 1026: 998: 996: 994: 992: 991: 973:reasoning power 959: 957: 955: 953: 951: 950: 902: 900: 899: 871: 869: 867: 865: 864: 809: 807: 805: 719: 708:When analysing 706: 662:roman lettering 578: 424: 404:David V. Erdman 392:Alicia Ostriker 373:Geoffrey Keynes 369: 264: 88: 17: 12: 11: 5: 4670: 4660: 4659: 4654: 4649: 4644: 4639: 4634: 4629: 4624: 4622:1788 documents 4607: 4606: 4603: 4602: 4599: 4598: 4596: 4595: 4590: 4585: 4577: 4569: 4564: 4558: 4556: 4552: 4551: 4549: 4548: 4540: 4532: 4524: 4516: 4507: 4505: 4501: 4500: 4498: 4497: 4490: 4483: 4476: 4469: 4461: 4459: 4451: 4450: 4440: 4439: 4436: 4435: 4432: 4431: 4429: 4428: 4420: 4418: 4414: 4413: 4411: 4410: 4403: 4396: 4388: 4381: 4374: 4367: 4359: 4352: 4345: 4337: 4330: 4322: 4319:Night-Thoughts 4314: 4311:Nebuchadnezzar 4307: 4300: 4293: 4286: 4279: 4271: 4269:Relief etching 4265: 4263: 4253: 4252: 4242: 4241: 4238: 4237: 4235: 4234: 4229: 4224: 4219: 4214: 4209: 4204: 4199: 4194: 4189: 4184: 4179: 4174: 4169: 4164: 4159: 4154: 4149: 4144: 4139: 4134: 4129: 4124: 4118: 4115: 4114: 4102: 4101: 4098: 4097: 4094: 4093: 4086: 4084: 4077: 4076: 4074: 4073: 4066: 4058: 4056: 4052: 4051: 4048: 4047: 4045: 4044: 4037: 4030: 4023: 4016: 4009: 4002: 3995: 3988: 3981: 3974: 3966: 3964: 3960: 3959: 3957: 3956: 3949: 3942: 3934: 3932: 3920: 3912: 3911: 3908: 3907: 3905: 3904: 3901:A Divine Image 3898: 3893: 3891:The School Boy 3888: 3883: 3878: 3873: 3868: 3863: 3858: 3853: 3848: 3843: 3838: 3836:Ah! Sun-flower 3833: 3828: 3823: 3818: 3813: 3808: 3803: 3798: 3793: 3788: 3783: 3778: 3776:Earth's Answer 3773: 3767: 3765: 3759: 3758: 3756: 3755: 3750: 3745: 3740: 3735: 3730: 3725: 3720: 3715: 3710: 3705: 3700: 3695: 3690: 3685: 3680: 3675: 3670: 3664: 3662: 3653: 3643: 3642: 3640: 3639: 3632: 3625: 3618: 3610: 3608: 3607:Early writings 3600: 3599: 3597:Literary works 3589: 3588: 3581: 3580: 3573: 3566: 3558: 3552: 3551: 3542: 3529: 3528:External links 3526: 3525: 3524: 3517: 3510: 3503: 3493: 3486: 3476: 3471: . (ed.) 3465: 3455: 3448: 3436: 3427:Frye, Northrop 3424: 3419: . (ed.) 3413: 3402: 3395: 3385: 3374: 3369: . (ed.) 3363: 3358: . (ed.) 3352: 3345:Bindman, David 3342: 3331: 3320: 3309: 3302: 3295:Bentley, G. E. 3292: 3285:Ackroyd, Peter 3280: 3277: 3274: 3273: 3264: 3255: 3239: 3233:Harold Bloom, 3226: 3214: 3202: 3189: 3180: 3171: 3162: 3149: 3136: 3127: 3118: 3109: 3100: 3073: 3064: 3055: 3046: 3037: 3011: 2985: 2969: 2943: 2934: 2922: 2902: 2876: 2856: 2830: 2804: 2778: 2764: 2738: 2729: 2703: 2677: 2659: 2633: 2607: 2591: 2565: 2552: 2539: 2530: 2517: 2504: 2488: 2472: 2459: 2450: 2430: 2421: 2408: 2382: 2362: 2349: 2336: 2311:"Introduction" 2297: 2284: 2275: 2263: 2254: 2239: 2230: 2221: 2208: 2196: 2187: 2178: 2169: 2155: 2146: 2136: 2135: 2133: 2130: 2128: 2125: 2064:Matthew Tindal 1988: 1987: 1984: 1965:Joseph Johnson 1874: 1873:Interpretation 1871: 1868: 1867: 1864: 1862: 1860: 1853: 1849: 1848: 1845: 1843: 1841: 1834: 1830: 1829: 1826: 1824: 1822: 1815: 1811: 1810: 1807: 1805: 1803: 1796: 1792: 1791: 1788: 1786: 1784: 1777: 1773: 1772: 1769: 1766: 1763: 1760: 1753: 1750: 1747: 1746: 1743: 1741: 1734:God becomes as 1729: 1722: 1718: 1717: 1704:Nebuchadnezzar 1663: 1652: 1638: 1631: 1627: 1626: 1623: 1619: 1593: 1586: 1582: 1581: 1577: 1573: 1572:-self Infinite 1559: 1552: 1551:Plate b9 (VII) 1548: 1547: 1531: 1524: 1521:be his eternal 1508: 1501: 1497: 1496: 1492: 1488: 1468: 1461: 1457: 1456: 1452: 1449: 1434:The bounded is 1429: 1422: 1418: 1417: 1414: 1410: 1408: 1406: 1405:Plate b5 (III) 1402: 1401: 1398: 1396: 1380: 1373: 1369: 1368: 1365: 1363: 1348:Mans percepti- 1343: 1336: 1332: 1331: 1328: 1326: 1317: 1310: 1306: 1305: 1302:John of Eltham 1290: 1286: 1283: 1276: 1272: 1271: 1268: 1265: 1262: 1259: 1252: 1249: 1246: 1245: 1215: 1211: 1204:God becomes as 1199: 1192: 1188: 1187: 1183: 1179: 1163: 1156: 1152: 1151: 1147: 1143: 1128:Mans percepti- 1123: 1116: 1112: 1111: 1104: 1100: 1086: 1079: 1075: 1074: 1070: 1067: 1055: 1048: 1044: 1043: 1039: 1035: 1023: 1016: 1012: 1011: 1007: 1000: 988: 981: 980:Plate a6 (III) 977: 976: 965: 961: 947: 940: 936: 935: 917:Nebuchadnezzar 908: 904: 896: 889: 885: 884: 877: 873: 861: 854: 850: 849: 818: 811: 802: 795: 791: 790: 761:Ancient Greece 756: 752: 749: 742: 738: 737: 734: 731: 728: 725: 718: 715: 705: 702: 584:as later than 577: 574: 556: 555: 552: 549: 546: 543: 540: 537: 534: 531: 528: 525: 522: 519: 516: 513: 510: 507: 504: 501: 498: 423: 420: 368: 365: 310:) and Copy M ( 292:British Museum 263: 260: 252:Elisha Kirkall 191:printing press 170:line engraving 87: 86:Relief etching 84: 52:relief etching 15: 9: 6: 4: 3: 2: 4669: 4658: 4657:William Blake 4655: 4653: 4650: 4648: 4645: 4643: 4640: 4638: 4635: 4633: 4630: 4628: 4625: 4623: 4620: 4619: 4617: 4594: 4591: 4589: 4586: 4583: 4582: 4578: 4575: 4574: 4570: 4568: 4565: 4563: 4560: 4559: 4557: 4553: 4546: 4545: 4541: 4538: 4537: 4533: 4530: 4529: 4525: 4522: 4521: 4517: 4514: 4513: 4509: 4508: 4506: 4502: 4496: 4495: 4491: 4489: 4488: 4484: 4482: 4481: 4477: 4475: 4474: 4470: 4468: 4467: 4463: 4462: 4460: 4456: 4452: 4445: 4441: 4427: 4426: 4422: 4421: 4419: 4415: 4409: 4408: 4404: 4402: 4401: 4397: 4395: 4394: 4389: 4387: 4386: 4382: 4380: 4379: 4375: 4373: 4372: 4368: 4366: 4364: 4360: 4358: 4357: 4353: 4351: 4350: 4346: 4344: 4343: 4342:Paradise Lost 4338: 4336: 4335: 4331: 4329: 4328: 4323: 4321: 4320: 4315: 4313: 4312: 4308: 4306: 4305: 4301: 4299: 4298: 4294: 4292: 4291: 4287: 4285: 4284: 4280: 4278: 4277: 4272: 4270: 4267: 4266: 4264: 4258: 4254: 4247: 4243: 4233: 4230: 4228: 4225: 4223: 4220: 4218: 4215: 4213: 4210: 4208: 4205: 4203: 4200: 4198: 4195: 4193: 4190: 4188: 4185: 4183: 4180: 4178: 4175: 4173: 4170: 4168: 4165: 4163: 4160: 4158: 4155: 4153: 4150: 4148: 4145: 4143: 4140: 4138: 4135: 4133: 4130: 4128: 4125: 4123: 4120: 4119: 4116: 4112: 4107: 4103: 4090: 4085: 4083: 4078: 4071: 4067: 4064: 4060: 4059: 4057: 4053: 4043: 4042: 4038: 4036: 4035: 4031: 4029: 4028: 4027:The Four Zoas 4024: 4022: 4021: 4017: 4015: 4014: 4010: 4008: 4007: 4003: 4001: 4000: 3996: 3994: 3993: 3989: 3987: 3986: 3982: 3980: 3979: 3975: 3973: 3972: 3968: 3967: 3965: 3961: 3955: 3954: 3950: 3948: 3947: 3943: 3941: 3940: 3936: 3935: 3933: 3931: 3924: 3921: 3919: 3913: 3902: 3899: 3897: 3894: 3892: 3889: 3887: 3884: 3882: 3879: 3877: 3874: 3872: 3871:A Poison Tree 3869: 3867: 3866:Infant Sorrow 3864: 3862: 3859: 3857: 3854: 3852: 3849: 3847: 3844: 3842: 3839: 3837: 3834: 3832: 3829: 3827: 3824: 3822: 3819: 3817: 3814: 3812: 3811:The Sick Rose 3809: 3807: 3804: 3802: 3799: 3797: 3794: 3792: 3789: 3787: 3786:Holy Thursday 3784: 3782: 3779: 3777: 3774: 3772: 3769: 3768: 3766: 3764: 3760: 3754: 3751: 3749: 3746: 3744: 3741: 3739: 3736: 3734: 3731: 3729: 3726: 3724: 3723:Holy Thursday 3721: 3719: 3716: 3714: 3713:A Cradle Song 3711: 3709: 3708:Laughing Song 3706: 3704: 3701: 3699: 3696: 3694: 3691: 3689: 3686: 3684: 3681: 3679: 3676: 3674: 3671: 3669: 3666: 3665: 3663: 3661: 3657: 3654: 3652: 3651: 3644: 3638: 3637: 3633: 3631: 3630: 3626: 3624: 3623: 3619: 3617: 3616: 3612: 3611: 3609: 3605: 3601: 3594: 3590: 3586: 3585:William Blake 3579: 3574: 3572: 3567: 3565: 3560: 3559: 3556: 3550: 3548: 3543: 3541: 3537: 3536: 3532: 3531: 3522: 3518: 3515: 3511: 3508: 3504: 3501: 3497: 3496:Sampson, John 3494: 3491: 3487: 3484: 3480: 3477: 3474: 3466: 3463: 3459: 3456: 3453: 3449: 3446: 3445: 3440: 3437: 3434: 3433: 3428: 3425: 3422: 3414: 3411: 3410: 3406: 3403: 3400: 3396: 3393: 3389: 3386: 3383: 3375: 3372: 3364: 3361: 3353: 3350: 3346: 3343: 3340: 3332: 3329: 3321: 3318: 3310: 3307: 3303: 3300: 3296: 3293: 3290: 3286: 3283: 3282: 3268: 3259: 3252: 3246: 3244: 3236: 3230: 3223: 3218: 3211: 3206: 3199: 3193: 3184: 3175: 3166: 3159: 3153: 3146: 3140: 3131: 3122: 3113: 3104: 3088: 3084: 3077: 3068: 3059: 3050: 3041: 3025: 3021: 3015: 2999: 2995: 2989: 2982: 2976: 2974: 2957: 2953: 2947: 2938: 2929: 2927: 2919: 2913: 2911: 2909: 2907: 2890: 2886: 2880: 2873: 2867: 2865: 2863: 2861: 2844: 2840: 2834: 2818: 2814: 2808: 2792: 2788: 2782: 2773: 2771: 2769: 2752: 2748: 2742: 2733: 2717: 2713: 2707: 2691: 2687: 2681: 2674: 2668: 2666: 2664: 2647: 2643: 2637: 2621: 2617: 2611: 2604: 2598: 2596: 2579: 2575: 2569: 2562: 2556: 2549: 2543: 2534: 2528:(1993: 40–41) 2527: 2521: 2514: 2508: 2501: 2495: 2493: 2485: 2479: 2477: 2470:(1993: 24–25) 2469: 2463: 2457:Keynes (1971) 2454: 2445: 2443: 2441: 2439: 2437: 2435: 2425: 2418: 2412: 2396: 2392: 2386: 2379: 2373: 2371: 2369: 2367: 2359: 2353: 2346: 2340: 2324: 2320: 2316: 2312: 2306: 2304: 2302: 2294: 2288: 2279: 2270: 2268: 2258: 2251: 2250: 2243: 2234: 2225: 2218: 2212: 2203: 2201: 2191: 2182: 2173: 2164: 2162: 2160: 2150: 2141: 2137: 2124: 2122: 2118: 2114: 2110: 2109: 2104: 2103: 2102:Milton a Poem 2098: 2093: 2089: 2084: 2082: 2078: 2075:mythology of 2074: 2069: 2065: 2061: 2056: 2053: 2049: 2044: 2040: 2036: 2029: 2026: 2023:& Bacons 2022: 2017: 2014: 2009: 2007: 2006:Edmond Malone 2003: 2002: 1996: 1991: 1985: 1982: 1981: 1980: 1978: 1974: 1973:All Religions 1970: 1966: 1962: 1961: 1956: 1955:J. K. Lavater 1952: 1947: 1943: 1941: 1936: 1933:argues that " 1932: 1931:Northrop Frye 1927: 1925: 1921: 1917: 1913: 1909: 1905: 1901: 1897: 1893: 1888: 1885: 1879: 1865: 1863: 1861: 1858: 1854: 1850: 1846: 1844: 1842: 1839: 1835: 1831: 1827: 1825: 1823: 1820: 1816: 1812: 1808: 1806: 1804: 1801: 1797: 1793: 1789: 1787: 1785: 1782: 1778: 1774: 1764: 1757: 1744: 1742: 1730: 1727: 1723: 1719: 1715: 1711: 1710: 1705: 1701: 1700: 1695: 1691: 1687: 1686: 1681: 1676: 1672: 1668: 1664: 1661: 1657: 1653: 1639: 1636: 1632: 1628: 1624: 1620: 1594: 1591: 1587: 1583: 1578: 1574: 1564:The desire of 1560: 1557: 1553: 1549: 1545: 1544: 1539: 1538: 1532: 1529: 1525: 1509: 1506: 1502: 1500:Plate b8 (VI) 1498: 1493: 1489: 1469: 1466: 1462: 1458: 1453: 1450: 1444:soon become a 1430: 1427: 1423: 1421:Plate b6 (IV) 1419: 1415: 1411: 1409: 1407: 1403: 1399: 1397: 1381: 1378: 1374: 1372:Plate b4 (II) 1370: 1366: 1364: 1360:so acute) can 1344: 1341: 1337: 1333: 1329: 1327: 1318: 1315: 1311: 1307: 1303: 1299: 1295: 1291: 1287: 1284: 1281: 1277: 1273: 1263: 1256: 1243: 1242:present tense 1239: 1235: 1234: 1229: 1225: 1221: 1216: 1212: 1200: 1197: 1193: 1189: 1184: 1180: 1164: 1161: 1157: 1155:Plate b4 (II) 1153: 1148: 1144: 1140:so acute) can 1124: 1121: 1117: 1113: 1109: 1105: 1101: 1087: 1084: 1080: 1078:Plate a9 (VI) 1076: 1073:his desires. 1071: 1068: 1056: 1053: 1049: 1045: 1040: 1036: 1024: 1021: 1017: 1015:Plate a7 (IV) 1013: 1008: 1005: 1001: 989: 986: 982: 978: 974: 970: 966: 962: 948: 945: 941: 939:Plate a5 (II) 937: 933: 932: 927: 923: 919: 918: 914: 909: 905: 897: 894: 890: 886: 882: 878: 874: 863:The Argument 862: 859: 855: 851: 847: 843: 839: 835: 831: 827: 823: 819: 816: 812: 803: 800: 796: 792: 788: 784: 780: 776: 775: 770: 766: 762: 757: 753: 750: 747: 743: 739: 729: 722: 714: 711: 701: 699: 695: 694:All Religions 691: 687: 686:All Religions 683: 679: 675: 671: 667: 666:All Religions 663: 659: 658:All Religions 655: 650: 648: 644: 640: 636: 632: 628: 624: 620: 615: 614:All Religions 611: 607: 603: 602:All Religions 599: 595: 591: 587: 583: 573: 571: 566: 562: 553: 550: 547: 544: 541: 538: 535: 532: 529: 526: 523: 520: 517: 514: 511: 508: 505: 502: 499: 496: 495: 494: 490: 488: 487:All Religions 484: 480: 476: 472: 471:All Religions 466: 463: 459: 455: 449: 447: 442: 437: 433: 429: 419: 417: 413: 409: 405: 401: 397: 393: 388: 386: 382: 376: 374: 364: 362: 358: 353: 351: 347: 343: 338: 336: 332: 327: 323: 321: 317: 313: 309: 305: 301: 297: 293: 288: 286: 282: 281:All Religions 277: 272: 269: 259: 257: 253: 249: 244: 242: 238: 232: 230: 226: 221: 219: 215: 209: 206: 202: 201: 194: 192: 188: 183: 179: 175: 171: 167: 163: 158: 156: 151: 147: 143: 142:social status 139: 135: 131: 125: 123: 119: 115: 111: 107: 106: 97: 92: 83: 81: 77: 76:Peter Ackroyd 73: 69: 65: 64: 59: 58: 53: 49: 48:William Blake 45: 41: 40: 32: 28: 23: 19: 4579: 4571: 4542: 4534: 4526: 4518: 4510: 4492: 4485: 4478: 4471: 4464: 4423: 4406: 4398: 4392: 4383: 4376: 4369: 4362: 4354: 4347: 4341: 4332: 4326: 4318: 4309: 4302: 4295: 4288: 4281: 4275: 4039: 4032: 4025: 4018: 4011: 4004: 3997: 3990: 3983: 3976: 3969: 3951: 3944: 3937: 3806:Nurse's Song 3771:Introduction 3762: 3738:Nurse's Song 3668:The Shepherd 3659: 3646: 3635: 3634: 3627: 3620: 3613: 3546: 3534: 3520: 3513: 3506: 3499: 3489: 3482: 3472: 3461: 3451: 3442: 3430: 3420: 3407: 3398: 3391: 3381: 3370: 3359: 3348: 3338: 3327: 3316: 3305: 3298: 3288: 3267: 3258: 3250: 3234: 3229: 3221: 3217: 3209: 3205: 3197: 3192: 3183: 3174: 3165: 3157: 3152: 3144: 3139: 3130: 3121: 3112: 3103: 3091:. 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Retrieved 2323:the original 2314: 2292: 2287: 2278: 2257: 2247: 2242: 2233: 2224: 2216: 2211: 2190: 2181: 2172: 2149: 2140: 2120: 2106: 2100: 2096: 2091: 2087: 2085: 2077:Jacob Bryant 2057: 2051: 2047: 2042: 2038: 2037:for any one 2035:not possible 2034: 2031: 2011: 2008:, and wrote 2004:, edited by 1998: 1994: 1992: 1989: 1976: 1972: 1968: 1958: 1951:Henry Fuseli 1948: 1944: 1939: 1928: 1923: 1903: 1899: 1891: 1889: 1883: 1880: 1876: 1852:Plate a4 (I) 1833:Plate a4 (I) 1738:may be as he 1716:1795/1805). 1713: 1707: 1703: 1697: 1683: 1671:Harold Bloom 1541: 1535: 1460:Plate b7 (V) 1448:-ted wheels. 1395:we know more 1335:Plate b3 (I) 1231: 1208:may be as he 1178:we know more 1115:Plate b3 (I) 1047:Plate a8 (V) 929: 921: 915: 888:Plate a4 (I) 845: 824:holding the 815:diegetically 772: 764: 709: 707: 697: 693: 689: 685: 681: 677: 665: 657: 653: 651: 646: 642: 638: 634: 630: 626: 622: 618: 613: 609: 605: 601: 597: 594:John Sampson 589: 585: 581: 579: 565:resurrection 557: 491: 486: 482: 478: 474: 470: 467: 453: 450: 445: 435: 432:Morris Eaves 427: 425: 415: 414:(1992), and 411: 407: 399: 395: 389: 384: 380: 377: 370: 361:William Muir 356: 354: 341: 339: 328: 324: 316:John Linnell 289: 284: 280: 275: 273: 267: 265: 255: 245: 233: 228: 225:watercolours 222: 214:rubber stamp 210: 198: 195: 162:James Basire 159: 126: 121: 117: 103: 101: 95: 67: 61: 55: 38: 37: 36: 30: 26: 18: 4584:(1989 play) 3928:continental 3688:The Blossom 3093:20 November 3030:15 December 3004:15 December 2962:15 December 2895:15 December 2849:15 December 2823:15 December 2797:15 December 2757:15 December 2722:15 December 2696:15 December 2652:15 December 2626:15 December 2584:15 December 2401:15 December 2329:20 November 2068:John Toland 1768:Description 1640:Application 1540:(1793) and 1267:Description 1224:Incarnation 822:Virgin Mary 779:rationalist 733:Description 462:materialist 306:), Copy G ( 302:), Copy D ( 298:), Copy C ( 294:), Copy B ( 258:publisher. 248:woodcutting 155:letterpress 146:James Barry 4616:Categories 4581:In Lambeth 4262:and prints 4192:Palamabron 4157:Golgonooza 4147:Enitharmon 3930:prophecies 3743:Infant Joy 3253:(1993: 27) 3160:(1993: 33) 3147:(1993: 31) 2983:(1993: 32) 2920:(1993: 40) 2874:(1993: 39) 2675:(1993: 38) 2605:(1993: 37) 2563:(1993: 14) 2550:(1993: 12) 2515:(1993: 24) 2502:(1993: 23) 2486:(1993: 25) 2380:(1993: 21) 2347:(1993: 22) 2127:References 2041:any other 2039:to imagine 1595:Conclusion 1251:1795 print 1238:past tense 1228:Athanasius 1108:melancholy 881:monochrome 769:Praxiteles 717:1794 print 241:aquafortis 237:J.T. Smith 114:Stereotype 94:Page 2 of 29:, printed 4642:Engraving 4365:paintings 4327:The Grave 4260:Paintings 4111:Mythology 3916:Prophetic 3886:To Tirzah 3841:The Lilly 3826:The Tyger 3821:The Angel 2295:(1993: 9) 2132:Citations 2117:Pharisees 2073:syncretic 2043:Qualities 1969:Aphorisms 1731:Therefore 1201:Therefore 960:perceiv'd 625:precedes 600:prior to 458:empirical 346:Sotheby's 274:Although 166:stippling 80:inscribed 44:aphorisms 4593:Ancients 4536:The Lamb 4417:Sketches 3678:The Lamb 3460:. (ed.) 3337: . 3326: . 3315: . 1935:Theology 1546:(1794). 1491:figures. 1362:discover 1325:RELIGION 1146:heading. 1142:discover 1103:heading. 1038:heading. 810:RELIGION 696:but not 649:(2007). 448:(2007). 430:(1993), 418:(2003). 402:(1978), 178:intaglio 110:colophon 60:(1787), 4555:Related 4504:Musical 4222:Urthona 4207:Thiriel 4202:Tharmas 4197:Spectre 4137:Bromion 3816:The Fly 3748:A Dream 3538:at the 2013:Burke's 1656:compass 1528:shackle 1323:NATURAL 1294:Lazarus 1289:arches. 1285:No text 969:Desires 926:Raphael 830:finials 808:NATURAL 783:natural 704:Content 674:cursive 596:places 570:Lockean 208:image. 174:Etching 138:publish 130:engrave 120:and/or 4547:(1998) 4539:(1982) 4531:(1965) 4523:(1958) 4515:(1943) 4304:Newton 4217:Urizen 4212:Tiriel 4172:Leutha 4162:Grodna 4132:Beulah 4127:Albion 4122:Ahania 4034:Milton 3971:Tiriel 3856:London 3733:Spring 3498:(ed.) 3481:(ed.) 3467: 3415: 3376: 3365: 3354: 3347:(ed.) 3333: 3322: 3311: 3251:et al. 3249:Eaves 3158:et al. 3156:Eaves 3145:et al. 3143:Eaves 2981:et al. 2979:Eaves 2918:et al. 2916:Eaves 2872:et al. 2870:Eaves 2673:et al. 2671:Eaves 2603:et al. 2601:Eaves 2561:et al. 2559:Eaves 2548:et al. 2546:Eaves 2526:et al. 2524:Eaves 2513:et al. 2511:Eaves 2500:et al. 2498:Eaves 2484:et al. 2482:Eaves 2468:et al. 2466:Eaves 2378:et al. 2376:Eaves 2345:et al. 2343:Eaves 2293:et al. 2291:Eaves 1912:Newton 1771:Notes 1759:Number 1709:Newton 1694:Euclid 1270:Notes 1258:Number 848:1774. 836:, 1st 826:Christ 736:Notes 724:Number 670:italic 576:Dating 262:Copies 229:oeuvre 4637:Deism 4573:Blake 4182:Luvah 4152:Fuzon 4142:Enion 3963:Other 3918:books 3728:Night 3289:Blake 2246:From 2099:, in 2052:Ideas 1916:deism 1908:Bacon 1762:Image 1667:Latin 1618:-gain 1321:is NO 1319:THERE 1261:Image 1004:putto 964:text. 806:is NO 804:THERE 727:Image 441:irony 182:burin 134:print 4371:Pity 4232:Vala 4227:Utha 4080:The 3926:The 3095:2012 3032:2016 3006:2016 2964:2016 2897:2016 2851:2016 2825:2016 2799:2016 2759:2016 2724:2016 2698:2016 2654:2016 2628:2016 2586:2016 2403:2016 2331:2012 2090:and 2071:the 2066:and 1975:and 1902:and 1765:Text 1576:sky. 1298:John 1264:Text 785:and 730:Text 460:and 331:wash 283:and 148:and 66:and 33:1794 4250:Art 4187:Orc 4177:Los 4167:Har 3469:——— 3417:——— 3378:——— 3367:——— 3356:——— 3335:——— 3324:——— 3313:——— 1957:'s 1942:." 1884:not 1696:in 1688:by 1561:VII 1523:lot 1487:Man 990:III 928:'s 664:in 394:'s 256:and 46:by 4618:: 3441:. 3429:. 3390:. 3287:. 3242:^ 3085:. 3022:. 2996:. 2972:^ 2954:. 2925:^ 2905:^ 2887:. 2859:^ 2841:. 2815:. 2789:. 2767:^ 2749:. 2714:. 2688:. 2662:^ 2644:. 2618:. 2594:^ 2576:. 2491:^ 2475:^ 2433:^ 2393:. 2365:^ 2317:. 2313:. 2300:^ 2266:^ 2199:^ 2158:^ 2079:, 2062:, 1995:c. 1910:, 1740:is 1714:c. 1510:VI 1431:IV 1413:a. 1382:II 1210:is 1165:II 1088:VI 1025:IV 949:II 922:c. 846:c. 771:' 672:, 592:, 436:c. 363:. 193:. 172:. 124:. 4091:" 4087:" 4072:" 4068:" 4065:" 4061:" 3577:e 3570:t 3563:v 3097:. 3034:. 3008:. 2966:. 2899:. 2853:. 2827:. 2801:. 2761:. 2726:. 2700:. 2656:. 2630:. 2588:. 2405:. 2333:. 1470:V 1345:I 1125:I 1057:V 920:( 898:I 31:c

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