This major work of historical and interpretative scholarship draws upon fresh evidence to set the Songs in a new perspective. Blake's etchings are substantially discussed alongside the poems they illustrate. The plates of both Innocence and Experience are considered in detail as Blake's response to social circumstances between 1782 and 1794. The reader is asked to re-think the nature of 'the Two Contrary States', and the relationship of the designs to the understanding of Blake.
The first section of this book follows Blake out of the family haberdashery shop, where his parents tacitly and unwittingly shaped his future as a poet; then into (and out of) the custody of Basire, Moser, and the Medway militia. The book then turns back to the days of Samuel Pepys for the crowning of King Mob, and for the formulation of systems of social control, particularly directed at the young. Gardner traces the exploitation of children (both poor and "the better sort") through the century and Blake's familiar knowledge of the rescue of workhouse children in his parish which he chronicled in Innocence. It was these turbulent decades that fostered Blake's reactions to what he saw in the city around him, and which became the poems and designs in Innocence and Experience. For Blake, "the terrible desart of London" was where the triad of State, Church and Imperial Commerce set the foundations of privilege and oppression. Respite from this for Blake lay among the Surrey hills south of the Thames, and in "organised Innocence". Illustrated with maps, drawings and engravings of the period this part demonstrates how remarkably Blake's vision responded to his times. The second part of this book includes complete facsimiles of two copies of each of fifty-four plates in the Songs set.
This study applies Kierkegaardian anxiety to Blake's creation myths to explain how Romantic era creation narratives are a reaction to Enlightenment models of personality.
The collection of essays presented in this volume represents some of the best recent critical work on William Blake as poet, prophet, visual artist, and social and political critic of his time. The critical range that is represented includes examples of Marxist, New Historicist, Feminist and Psychoanalytical approaches to Blake. Taken together, the essays consider all areas and moments of Blake's career as poet, from the early lyrics to his later epic poems, and they have been chosen to reveal not only the range of Blake's concerns but also to alert the reader to the rich variety of contemporary criticism that is devoted to him. Although the majority of essays are devoted to Blake as poet, others consider his work as printmaker, illustrator, and visionary artist. However severely individual essays choose to judge him, ultimately all the contributions to this book affirm Blake as one of the great geniuses of English art and letters. William Blake provides a valuable introduction by one of Britain's foremost critics and will be welcomed by students wanting to familiarise themselves with the work of Blake.
Though usually classified as a Romantic, Blake subverts and dissolves the binaries on which Romanticism turns: self and other, art and nature, country and city. Rather than reject the city outright like many of his contemporaries, Blake embraces it as the intricate workshop of human imagination. Each chapter of this book focuses on a specific text of Blake's that illustrates a particular conception of metaphorical embodiment of the city. These shifting metaphors emphasize the construction of all human environments and the need for imaginative labor to build and interpret them. This study seeks to bridge a gap between transcendent and historicist readings of Blake while at the same time challenging assumptions that still color our view of the city in the twenty-first century. Jennifer Davis Michael is Associate Professor of English at the University of the South.
The books in this A Level poetry series contain a glossary and notes on each page. The approach encourages students to develop their own responses to the poems, and an A Level Chief Examiner offers exam tips. This text contains selected poems of William Blake.
The subject of Romanticism, Memory, and Mourning could not be timelier with Zizek’s recent proclamation that we are ’living in the end times’ and in an era which is preoccupied with the process and consequences of ageing. We mourn both for our pasts and futures as we now recognise that history is a continuation and record of loss. Mark Sandy explores the treatment of grief, loss, and death across a variety of Romantic poetic forms, including the ballad, sonnet, epic, elegy, fragment, romance, and ode in the works of poets as diverse as Smith, Hemans, Blake, Wordsworth, Coleridge, Byron, Shelley, Keats, and Clare. Romantic meditations on grief, however varied in form and content, are self-consciously aware of the complexity and strength of feelings surrounding the consolation or disconsolation that their structures of poetic memory afford those who survive the imaginary and actual dead. Romantic mourning, Sandy shows, finds expression in disparate poetic forms, and how it manifests itself both as the spirit of its age, rooted in precise historical conditions, and as a proleptic power, of lasting transhistorical significance. Romantic meditations on grief and loss speak to our contemporary anxieties about the inevitable, but unthinkable, event of death itself.
