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William Blake

Early Life
The archetype of the Creator is a familiar sight in the work of Blake's. Here, the figure Urizen demiurgic prays before world he has forged. The Song of Los is the third in a series of illuminated books painted by Blake and his wife, collectively known as the Continental Prophecies.
William Blake was born at 28 Broad Street, London, England on November 28, 1757, to a middle-class family. He was the third of seven children, from whom two died in infancy. Blake's father, James, was a Hosier. William never attended school, and was educated at home by his mother Catherine Armitage Blake Wright. The Blakes were dissenters, and be regarded as having belonged to the Moravian Church. The Bible was an early and major influence on Blake, a source of inspiration and continued throughout his life.
Blake began engraving copies of drawings of Greek antiquities purchased for him by his father, a practice that was then preferred to the actual drawing. Within these drawings Blake found his first exposure to classical constitute the work of Raphael, Michelangelo, Marten Heemskerk and Albrecht Drer. His parents knew enough of his unique character that he was not sent to school but was registered in character education. He read avidly on subjects of his own choosing. During this time, Blake was also making explorations into poetry, his early work displays knowledge of Ben Jonson and Edmund Spenser.
Apprenticeship to Basire
On August 4, 1772, James Blake was the doctrine Basire of Great Queen Street, engraver for a period of seven years. At the end of this time at the age of 21, he became a professional engraver. No record survives a serious disagreement or conflict between the two during the period of Blake's apprenticeship. However, Peter Ackroyd's biography notes that Blake was later Basire name to a list of artistic adversariesnd then cross it out. That aside, Basire style The engraving was of a kind held to be old-fashioned at the time, and Blake's statement in this outmoded form may have been detrimental to gaining from the activities or recognition in later life.
After two years Basire his pupil for images from the Gothic churches in London copy (it is possible that this task was intended to break up a fight between Blake and James Parker fellow pupil), and his experience at Westminster Abbey contributed to the formation of his artistic style and ideas, the Abbey of his time decorated with armor, painted funeral effigies and varicoloured wax museum. Ackroyd notes that "the most immediate [impression] would have been vague brightness and color. "In the long afternoons Blake spent sketching in the Abbey, he was occasionally interrupted by the boys of Westminster School, one of whom" tormented "Blake so much One afternoon he knocked the boy off a scaffold to the ground, "where he fell with great violence". More Blake saw visions in the Abbey, a grand procession of monks and priests, while he heard "the chant of plain-song and coral."
The Royal Academy
On October 8, 1779, Blake was a student at the Royal Academy in Old Somerset House, near the beach. As long as the conditions of his study required no payment, he was expected to deliver his own material throughout the period of six years. There, he rebelled against what he saw as the unfinished style of fashionable painters such as Rubens, championed by the school the first president, Joshua Reynolds. Over time, Blake was Reynolds' attitude toward hate art, especially his pursuit of "general truth" and "general beauty." Reynolds wrote in his discourse that the 'tendency to generalize abstractions and classification, is the great glory of the human spirit, "said Blake, marginalia in his personal copy, that "generalized to be an idiot, it particularize is the Alone Distinction of Merit". Blake also disliked Reynolds' apparent humility, which he held a form of hypocrisy. By fashionable Reynolds oil painting, Blake preferred the Classical precision of his early influences, Michelangelo and Raphael.
Gordon Riots
Blake's first biographer, Alexander Gilchrist records that in June 1780, Blake was walking towards Basire shop in Great Queen Street when he was swept by a raging mob Newgate Prison in North Africa stormed London. They attacked the prison gates with shovels and pickaxes, set the building ablaze, releasing the prisoners within. Blake was reportedly in the front rank of the crowd during the attack. These riots, in response to a bill to repeal the sanctions against Roman Catholicism, later known as the Gordon Riots. They led to a flurry of legislation the government of George III, and the establishment of the first police force.
Despite Gilchrist's insistence that Blake was "forced" to accompany the crowd, Some biographers have argued that he accompanied the impulsive, or supported it as a revolutionary act. In contrast, Jerome McGann argues that the riots were reactionary, and that the events would have provoked "horror" in Blake.
Marriage and early career
Oberon, Titania and Puck with Fairies Dancing (1786)
In 1782 Blake met John Flaxman, who his patron, and Catherine Boucher, who was his wife. At that time, Blake was recovering from a relationship that had resulted in a rejecting his marriage proposal. He told the story of his heartbreak for Catherine and her parents, Catherine and he asked, "Do you pity me?" When she responded affirmatively, he declared, "I will love you." Blake married Catherine, who was five years younger than him on August 18, 1782 in St. Mary's Church, Battersea. Illiterate, Catherine signed her marriage contract with an 'X'. The original marriage certificate can still be viewed in the church where a commemorative stained glass window was installed between 1976 and 1982. Later, in addition to teaching Catherine to read and write, Blake trained her as an engraver. His whole life she would prove an invaluable support him, helping his enlightened work print and maintain his spirits in much misery.
At this time George Cumberland, one of the founders of the National Gallery, was an admirer of Blake's work. Blake's first collection of poems, poetic sketches, was published circa 1783. After his father's death, William and his brother Robert opened a print shop in 1784 and began working with the radical publisher Joseph Johnson. Johnson's house was a meeting place for some of the leading English intellectual dissidents of the time: theologian and scientist Joseph Priestley, philosopher Richard Price, artist John Henry Fuseli early feminist Mary Wollstonecraft and the American revolutionary Thomas Paine. Along with William Wordsworth and William Godwin, Blake had great hopes for the French and American revolutions and wearing a Phrygian cap in solidarity with the French revolutionaries, but despaired with the rise of Robespierre and the Reign of Terror in France. In 1784, Blake also made up his unfinished manuscript, an island in the Mon
Blake illustrated original stories from real life (1788, 1791) by Mary Wollstonecraft. They seem to have shared some views on sexual equality and the institution of marriage, but there is no evidence no doubt that they actually met. In 1793 the visions of the Daughters of Albion, Blake condemned the cruel absurdity of enforced chastity and marriage without love and defended women's right to self-complete.
Relief etching
In 1788, at age 31, Blake began to experiment with relief etching, a method he would use for most of his books, paintings, producing pamphlets and, of course, his poems, including his longer 'prophecies' and his masterpiece the "Bible." The process is also referred to as enlightened and printing finished products such as illuminated books or prints. Illuminated printing involved writing the text of the poems on copper plates with pens and brushes, using an acid-resistant medium. Illustrations could appear alongside words in the manner of earlier illuminated manuscripts. He then etched the plates in acid to dissolve away the untreated copper and leave the design standing in relief (hence the name).
This is a reversal of the normal method of etching, where the lines of the design are exposed to the acid, and the plate printed by the intaglio method. Relief etching, that Blake invented, later became an important commercial printing method. The pages printed from these plates was then hand-colored in water colors and glued to a volume. Blake used illuminated printing for most of his famous works, including songs of innocence and experience, The Book of Thel, The Marriage of Heaven and Hell, and Jerusalem.
Engravings
A 2005 study of Blake's surviving records revealed He made frequent use of a technique known as "repoussage" which is a means of destruction of error by hammering them out through the back of the plate. This discovery puts pressure on Blake's own assessment of his abilities and those of admirers and may also help explain why some of the work of Blake's long took to complete.
Later life and career
Blake's marriage to Catherine remained a close and devoted one until his death. Catherine Blake learned to write, and she helped him to his poems printed color. Gilchrist refers to "stormy times" in the early years of marriage. Some biographers have suggested that Blake tried to bring a concubine in the conjugal bed in accordance with the beliefs of the Swedenborgian Society, but other scholars have dismissed these theories and guesses. first William and Catherine's daughter and last child could be described in the book of Thel Thel who was regarded as dead.
Felpham
Hecate, 1795. Blake's vision to Hecate, the Greek goddess of black magic and the underworld
In 1800, Blake moved to a cottage at Felpham in Sussex (now West Sussex) to take up a job illustrating the works of William Hayley, a minor poet. It was in this cottage that Blake Milton wrote a poem (published between 1805 and 1808). The preface of this work includes a poem begins with "And did those feet in ancient time", the words for the anthem was "Jerusalem". Over time, Blake came to resent his new patron, come to believe that Hayley was not interested in being an artist, and preoccupied with "the more routine of business." Blake's dissatisfaction with Hayley is speculated to have influenced Milton: a poem in which Blake wrote that "Corporeal Friends are Spiritual enemies" (3:26).
Blake's difficulty with authority came to a head in August 1803, when he was involved in a physical altercation with a soldier called John Schofield. Blake was not only charged with assault, but also expressing seditious and treasonous expressions against the King. Schofield claimed that Blake had exclaimed, "Damn the king. The soldiers are all slaves." Blake would be approved in the Chichester assizes of the charges. According to a report in the Sussex county paper, "The fantastic nature of [the evidence] was so obvious that … acquittal came. "Schofield was later depicted in" spirit forged handcuffs "in an illustration to Jerusalem.
Return to London
Blake's The Great Red Dragon and the woman clothed with the Sun (1805) is one of a series of illustrations of Revelation 12.
Blake returned to London in 1804 and began writing and Jerusalem (18,041,820) to illustrate his most ambitious work. Given the idea of portraying the characters in Chaucer's Canterbury Tales, Blake approached the dealer Robert Cromek, with a view marketing an engraving. Knowing that Blake was too eccentric to produce a popular work, Cromek immediately commissioned Thomas Stothard, a friend of Blake, the idea argue. When Blake learned that he cheated, he broke contact with Stothard. He has also set up an independent exhibition in his brother's haberdashery shop at 27 Broad Street in the Soho district London. The exhibition was intended to market its own version of the Canterbury illustration (titled The Canterbury Pilgrims), along with other works. As a result, he wrote his Descriptive Catalogue (1809), which contains what Anthony Blunt has called a "brilliant analysis" of Chaucer. It is frequently anthologised as a classic of Chaucer criticism. It also contained detailed explanations of his other paintings.
The exhibition itself was very poorly attended, not the sale of temperas and watercolors. Her only review In The examiner was hostile.
He was introduced by George Cumberland to a young artist named John Linnell. By Linnell he met Samuel Palmer, who belonged to a group of artists who themselves Shoreham Ancients. This group shared Blake's rejection of modern trends and his belief in a spiritual and artistic New Age. At the age of 65 years Blake began work on illustrations for the book of Job. These works were later admired by Ruskin, who compared Blake positively to Rembrandt, and Vaughan Williams, based ballet Job: A Masque for Dancing on a selection of illustrations.
Later in his life Blake began to sell a large number of his works, particularly his Bible illustrations, Thomas Butts, a patron who saw Blake more as a friend than a man whose work held artistic merit, this was typical of the opinions held of Blake throughout his life.
Divine Comedy Dante's
The commission for Dante's Divine Comedy came to Blake in 1826 by Linnell, with the ultimate aim of producing a series of engravings. Blake's death in 1827 would cut the company, and only a handful of watercolors were completed, with only seven of the engravings arriving at the evidence. Even so, they have called Praise:
"[T] he Dante watercolors are among the richest achievements of Blake, fully with the problem of illustrating a poem of this complexity. The mastery of watercolor has reached an even higher level than before, and is used to extraordinary effect in differentiating the atmosphere of the three countries in the poem. "
Blake's The Lovers' Whirlwind illustrates Hell in Canto V of Dante's Inferno
Blake's illustrations of the poem are not merely accompanying work, but seem rather critical review, or furnish comment on any spiritual or moral aspects of the text.
Since the project was never completed, Blake's own intentions are obscured. Some indicators, however, strengthen the impression that the pictures in their entirety Blake himself would take issue with the text they accompany: In the margins of Homer With the sword and his companions, Blake notes, "Every thing in Dantes Comedia shows that for tyrannical Purposes he has this world the foundation of the Goddess All & Nature & not the Holy Spirit. "Blake seems to dissent from Dante's admiration for the poetic works of the ancient Greeks, and the apparent glee which Dante allots punishments in Hell (as evidenced by the grim humor of the Cantos).
At the same time, Blake shared Dante's distrust of materialism and the corrupting nature of power, and clearly enjoyed the opportunity to change the mood and the images of the work of Dante's visual representation. Even if he seemed near death, central preoccupation Blake was his feverish work on the illustrations to Dante's Inferno, he is said to have spent one of the very last shillings he possessed on a pencil to continue sketches.
Death
Monument near Blake's unmarked grave in London
On the day of his death, Blake worked relentlessly on his Dante series. Eventually it is reported, he stopped working and turned to his wife, who was in tears by his bed. Beholding her Blake is reportedly shouted, "Stay Kate! Real me I will draw your portrait for you once an angel to me. "After this portrait (now lost), Blake put his tools and began to sing hymns and verses. At six that evening, After promising his wife that he would always be with her Blake died. Gilchrist reports that a female tenant in the same house, in its present manner, said: "I have been with death, not of man but of a blessed angel. "
George Richmond gives the following account of the death of Blake in a letter to Samuel Palmer:
He died … In a most glorious manner. He said he went to that country he had wished to see his life and expressed himself happy, hoping for salvation through Jesus Christ, just before He died His face was fair. Brighten'd his eyes and he burst out singing the things he saw in the sky.
Catherine paid for the funeral of Blake's with money lent to her by Linnell. He was buried five days after his death on the eve of his wedding anniversary five fortieths, the funeral of the votes are ground in Bunhill Fields, where his parents were buried there. Present at the ceremonies were Catherine, Edward Calvert, George Richmond, Frederick Tatham and John Linnell. After Blake's death, Catherine moved Tatham's house as a housekeeper. During this period, she thought she was regularly visited by the spirit of Blake's. She continued selling his illuminated works and paintings, but would entertain any business transaction without first "consulting Mr. Blake." On the day of her death in October 1831, she was so calm and cheerful as her husband, and called him "if he were alone in the next room, saying she was coming to him, and it would not be long now."
At her death, was Blake's manuscripts inherited by Frederick Tatham, who burned some of those he considered heretical or politically radical. Tatham had become Irvingite, one of the many fundamentalist movements of the 19th century, and was severely opposed any work that "hit of blasphemy." Sexual images in a number of Blake's drawings were also cleared by John Linnell.
Since 1965, had the exact location of the grave William Blake's lost and forgotten, while tombstones were removed to create a new lawn. Today Blake grave is commemorated by a stone that reads "Near by lie the remains of the poet-painter William Blake and his wife Catherine 1757-1827 Sophia 1762-1831". This memorial is approximately 20 meters distance from the actual site of Blake's grave, which is not marked. However, members of the Friends of William Blake rediscovered the location of the grave and Blake are planning a memorial on the site.
Blake is now recognized as a saint in the Ecclesia Catholica Gnostica. The Blake Prize for Religious Art was established in his honor in Australia in 1949. In 1957 a memorial was established in Westminster Abbey in memory of him and his wife.
Development of Blake's views
Because Blake's later poetry includes a personal mythology with complex symbolism, his late work is less known than his earlier work more accessible. Recent Vintage anthology edited by Blake directed by Patti Smith strongly on the earlier work, like many critical studies, as William Blake by DG Gillham.
The earlier work is particularly rebellious character, and can be seen as a protest against dogmatic religion. This is especially remarkable in the marriage of Heaven and Hell, where Satan is almost the hero in rebellion against an authoritarian deity impostor. In later works, such as Milton and Jerusalem, Blake carves a distinctive vision of a humanity redeemed by self-sacrifice and forgiveness, while maintaining its previous negative attitude to the rigid and morbid authoritarianism of traditional religion. Not all readers of Blake disagree on how much continuity exists between Blake's earlier and later works.
Analyst June Singer wrote that the late work of Blake is a development of the ideas were first introduced in his earlier works show, that the humanitarian goal of achieving personal wholeness of body and mind. The last part of the extended Blake's edition of The Unholy Bible study suggests that the later works are in fact the "bible of Hell was promised in the marriage of Heaven and Hell. Blake's poem on final "Jerusalem", she writes:
[T] he promise of the divine in man, made in the marriage of heaven and hell, met last.
However, John Middleton Murry notes discontinuity between marriage and the end of the work, in that while the beginning Blake focused on a "purely negative opposition between energy and reason," Blake later concepts of self-sacrifice and forgiveness is emphasized as the way to the interior wholeness. This distance from the sharp dualism of Marriage of Heaven and Hell is seen in particular through the humanization of the character of Urizen in his later works. Middleton is characteristic Blake later found to have "mutual understanding" and "mutual forgiveness".
Religious beliefs
Blake's Ancient of Days. The 'Old of Days "is described in Chapter 7 of the book of Daniel.
Although Blake's attacks on conventional religion were shocking in his own time, his rejection of religiosity was not a rejection of religion as such. His vision of orthodoxy is evident in the marriage of Heaven and Hell, a series of texts written in imitation of biblical prophecy. It lists several Blake Proverbs of Hell, including the following:
Prisons are built with stones of Law, brothels with bricks of religion.
As the caterpillar chooses the fairest leaves to lay her eggs, so the priest lays his curse on the fairest joys.
In The Eternal Gospel, Jesus is not present Blake as a philosopher or traditional messianic figure, but as a highly creative being, over dogma, logic and even morality:
If he was the Antichrist, Creeping Jesus,
He would have done anything to please us:
Gone sneaking into synagogues
And not used the elders and priests like dogs,
But humble as a lamb or a donkey,
Obedient to Caiaphas.
God wants not man to humble
Jesus, for Blake, symbolizes the unity and vital relationship between God and humanity: "[A] lle had originally one language and one religion:. This was the religion of Jesus, the eternal gospel preach the Gospel of Jesus antiquity. "
Blake designed his own mythology, largely contained in his prophetic books. Within that Blake describes a number of characters, including "Urizen", "Enitharmon ',' Bromion" and "Luvah. This mythology seems to have a basis in the Bible and in Greek mythology, and accompanies his ideas about the eternal gospel.
"I have a system, or enslav'd by another human being. I will not Reason & Compare: my business is to create ".
Words uttered by Los in Blake's Jerusalem: The emanation of the Giant Albion.
One of the strongest objections to orthodox Christianity Blake is that he felt encouraged the suppression of natural desires discouraged and earthly joy. In a vision of the Last Judgement, Blake says:
Men are admitted into Heaven not because they have curbed their passions & govern'd or no passions, but because they farmed their minds. The treasures of heaven are not negations of Passion, but reality of Intellect, from which all the passions unbridled resulting in their eternal glory.
One may also be words on religion in the marriage of heaven and hell:
All Bibles or sacred codes have been the causes of these errors.
1. That man has two real existing principles Viz: a Body & a Soul.
2. That energy, called Evil, is alone from the body, and that reason, called Good, is alone from the soul.
3. That God will torment Man in Eternity for following his energy.
But these opposites that True
1. Man has no body distinct from his soul that called Body is a portion of Soul discern'd by the five senses, the chief inlets of soul in this age group.
2. Energy is the only life and the Body and reason is the bound or outside the circumference of Energy.
3. Energy is Eternal Delight.
The Body of Abel found by Adam and Eve, c. 1825. Watercolor on wood.
Blake is not subscribe to the notion of a separate body from the soul, and they have the rule of the soul, but sees the body as an extension of the soul derived from the 'award' of the senses. Thus the emphasis orthodoxy places on the denial of bodily urges is a mistake born of dualistic misunderstanding of the relationship between body and soul, somewhere else he describes Satan as the "State of Error" and then save as.
Blake against the fallacies of theological thinking that pain excuses, excuses and recognize evil injustice itself. He abhorred renunciation, which he associated with religious repression and sexual repression, in particular: ".. Prudence is a rich ugly old maid court of Disability He / she who desires but acts not, breeds pestilence "He saw the term" sin "as a trap to bind men's desires (the roses Garden of Love), and believed that restraint in obedience to an externally imposed moral code was against the spirit of life
Abstinence sows sand all over
The ruddy limbs and flaming hair,
But gratified Desire
Plant fruit & beauty there.
He did not adopt a doctrine of God as Lord, an entity separate from and superior to man, this is clearly shown in his words about Jesus Christ: "He is the only God … and so am I, and so are you." A telling sentence in the marriage of Heaven and Hell is men forgot that all deities reside in the human breast. "This is very much in line with his belief in freedom and equality in society and between the sexes.
Blake and Enlightenment Philosophy
Blake had a complex relationship with the Enlightenment philosophy. Through his visionary religious beliefs, Blake against the Newtonian view of the universe. This mentality is reflected in an excerpt from Blake's Jerusalem:
Blake's Newton (1795) demonstrates his opposition to the "single vision" of scientific materialism: Newton fixes his eye on a compass (reminiscent of Proverbs 8:27, an important passage for Milton) writing on a scroll that appears to project his own head.
I turn my eyes to the schools and universities in Europe
And there you see the loom of Locke whose Woof rages dire Washd by the Water-wheels of Newton. black cloth in the heavy wreaths folds about each nation, cruel works of many Wheels I view, wheel without wheel, with cogs tyrannic Moving by compulsion display: not as in Eden: which Wheel within Wheel in freedom run in harmony and peace.
Blake also believes that the paintings of Sir Joshua Reynolds, that the naturalistic fall of light on objects to images, products were completely out of the "vegetative eye, and he saw Locke and Newton as the true ancestors of aesthetic Sir Joshua Reynolds' ". The popular taste in the England of that time these paintings was satisfied with mezzotints, prints produced by a process that an image of thousands of tiny dots on the page created. Blake saw an analogy between this and Newton's particle theory of light. Accordingly Blake never used the technique, rather than choosing a method of engraving in flowing pure line development, to insist that the
a line or feature is not formed by chance a Line is a line in his
Smallest Subdivision [s] Strait or Crooked It is itself & Not Intermeasurable or by something else as Job.
Despite his opposition to the Enlightenment principles, Blake thus arrived with a linear aesthetic that was in many ways more similar to the neoclassical engravings by John Flaxman than the works of the Romantics, with whom he often classified.
Therefore Blake is also seen as a lighting artist and poet, in the sense that he consistent with that movement rejecting the received ideas, systems, services and traditions. On the other hand he was critical of what he perceived as the elevation of reason to status of an oppressive authority. In his critique of reason, justice and uniformity should be taken against Blake is the lighting, but it has also argued that, in a dialectical sense that he is the spirit of enlightenment rejection of external authority used to narrow conceptions of the Enlightenment to criticize.
Rating
Creative mindset
Northrop Frye, Blake commented on the consistency of strongly held views, notes that Blake himself says that his notes on [Joshua] Reynolds, written at fifty, his "Exactly same "to which Locke and Bacon, written when he was 'very Young'. Even phrases and verses will later come back as much as forty years. Consistency in maintaining what he believed to be true was itself one of its guiding principles … Consistency, or foolish or otherwise, is one of the main concerns of Blake, as self-contradiction ' is always one of his most disparaging remarks ".
Blake's "A Negro Hung Alive by the ribs to a gallows, an illustration JG Stedman, Narrative, a five years' expedition against the rebellious blacks of Suriname (1796).
Blake abhorred slavery and believed in racial and sexual equality. Several of his poems and paintings give an idea of universal humanity: "If all people are equal (tho 'infinitely various)". In a poem, narrated by a black child, equal white and black bodies are described as shady groves of clouds that exist only to teach a "bear the beams of love":
When I from black, and he from white cloud free,
And around the tent of God like lambs we joy,
I'll shade him from the fire until he can bear
To lean in joy upon our Father's knee;
And I'll stand and stroke his silver hair,
And like him, and he will love me.
In a poem, The Book of Thel, Blake questioned the necessity of life, which is seen as an elegy to his dead newborn daughter.
"Oh the life of this our spring! Therefore, the lotus of the water disappears?
Why children disappear from the spring, born but to smile and fall?
Blake maintained an active interest in social and political events of his life, and social and political statements are often present in its mystical symbolism. His views on what he saw as oppression and restriction of rightful freedom extended to the church. His spiritual beliefs are embodied in songs of Experience (1794), in which he distinguishes between the Old Testament God, whose restrictions he rejected, and the New Testament God (Jesus Christ in Trinitarianism), whom he saw as a positive influence.
Visions
From a young age, William Blake claimed to see visions. The first these visions may have occurred as early as age four, when, according to an anecdote, the young artist "saw God" as God "his head toward the window," allowing Blake to break into screaming. At the age of eight or ten in Peckham Rye, London, Blake claimed to see "a tree filled with angels, bright angelic wings bespangling each branch as stars. "According to Blake's Victorian biographer Gilchrist, he returned home and reported this vision, and he only escaped being thrashed by his father for telling a lie by the intervention of his mother. Although all evidence suggests that his parents were largely supportive, his mother seems particularly have been true, and some of the early drawings and poems of Blake decorated the walls of her room. On another occasion, Blake watched haymakers at work, and thought that he saw angelic figures walking among them.
The ghost of a flea, 1819-1820. Having informed astrologer John Varley paintings of his visions of the apparitions, Blake was then persuaded to paint one of them. Varley's anecdote of Blake and his vision of the spirit of the flea became known.
Blake claims experience visions throughout his life. They were often associated with beautiful religious themes and imagery, and therefore may have inspired him to continue working and spiritual pursuits. Certainly, religious concepts and imagery figure central to Blake's works. God and Christianity constituted the intellectual center of his writings, which he inspired. Moreover, Blake believed that he was personally instructed and encouraged by Archangels are artistic works, which he claimed were actively read and enjoyed by Archangels to create the same. In a letter to William Hayley, dated May 6, 1800, Blake writes:
I know that our deceased friends are more real to us than if they were obvious to our mortal part. Thirteen years ago I lost a brother, and with his spirit I converse daily and hourly in the spirit, and seeing him in my memory, in the region of my imagination. I hear his advice, and even now write from his dictation.
In a letter to John Flaxman, dated September 21, 1800, Blake writes:
[The city] Felpham is a sweet place for study because it is more spiritual than London. The sky opens surrounded on all sides her golden Gates, its doors are not obstructed by vapors, voices of Celestial inhabitants are more distinctly heard, and they are more visible, and my Cottage is also a shadow of their houses. My wife and sister are both well, courting Neptune for an embrace … I'm more famous in heaven for my work than I could well understand. In my studies & Chambers brains are filled with books and pictures of old, which I wrote and painted in ages of Eternity before my mortal life; & that work, the joy & Study of Archangels.
In a letter to Thomas Butts, dated April 25, 1803, Blake writes:
Now may I say what I might not anyone else would dare to say: I can only carry on my visionary studies unannoy'd in London, and I can talk to my friends in Eternity, faces see, dream dreams and prophecy & speak Parables & unobserv'd free from the doubts of other mortals, perhaps Doubts procedure of kindness, but Doubts are always pernicious, Especially when we Doubt our Friends.
In a vision of the Last Judgement Blake writes:
Maladministration. Truth is eternal. Error or Creation will be burned and then, and not before, the Truth of Eternity appear. It is currently Burnt Men no longer about to behold. I assert for My Self that I am not the outer creation and see that the obstacle for me & not occur, it is like dirt on my feet, no part of me. "What," it will be Question'd, "When the sun rises, you do not see anything of a disk of fire as a Guinea?" Oh no, no, I see an innumerable company of the Heavenly host crying, 'Holy, holy, holy is the Lord God Almighty. " I question not my Corporeal or vegetative Eye more than I would Question a Window on Sight. I look thro 'it & Not count.
William Wordsworth said: "There was no doubt that this poor man was mad, but there is something in the madness of this man which interests me more than the sanity of Lord Byron and Walter Scott. "
DCWilliams (1899-1983) said that Blake was a romantic with a critical eye on the world, he insisted that Blake's Songs of Innocence were created as a view of an ideal, somewhat utopian view while he used the Songs of Experience, the suffering and loss caused by the nature of the society and the world of his time to show.
General cultural influence
Main article: William Blake in popular culture
Blake's work was almost neglected a century after his death, but his reputation came in the 20th century, both from rehabilitated by critics such as John Middleton Murry and Northrop Frye, but also due to an increasing number classical composers like Benjamin Britten and Ralph Vaughan Williams adaptation of his works.
Much like in June Singer argued that Blake's thoughts on human nature greatly anticipate and parallel the thinking of the psychoanalyst Carl Jung, Jung although Blake's work dismissed as "an artistic production than a lifelike representation of unconscious processes. "
Blake had an enormous influence on the beat poets of the 1950s and the counterculture of the 1960s, often cited by such rudimentary figures as a good poet Allen Ginsberg and songwriter Bob Dylan. Much of the central ideas of the famous fantasy trilogy by Philip Pullman's His Dark Materials, rooted in the world of Blake's The Marriage of Heaven and Hell.
In the broader culture of Blake's poetry put to music by popular composers. It is especially popular musicians in the years since 1960. Blake's engravings have great influence on modern graphic novel.
Bibliography
Illuminated Books
William Blake's portrait in profile, from Songs of Innocence and Experience, published 1794
c.1788: All religions are one
There is no natural religion
1789: Songs of Innocence and of experience
The Book of Thel
17901793: The Marriage of Heaven and Hell
1793-1795: Continental Prophecies
1793: Visions of the Daughters of Albion
America a Prophecy
1794: Europe a Prophecy
The First Book of Urizen
Songs of Experience
1795: The Book of Los
The Song of Los
The Book of Ahania
c.1804.1811: Milton a Poem
18041820: Jerusalem, the emanation of the Giant Albion
Non-illuminated
1783: Poetic Sketches
1784-5: a Island in the Moon
1789: Tiriel
1791: The French Revolution
1797: The Four usual like
Illustrated by Blake
1791: Mary Wollstonecraft, Original Stories from real life
1797: Edward Young, Night Thoughts
1805-1808: Robert Blair, The Grave
1808: John Milton, Paradise Lost
1819-1820: John Varley, Visionary Heads
1821: RJ Thornton, Virgil
1823-1826: The Book of Job
1825-1827: Dante, The Divine Comedy (Blake died in 1827, these watercolors have not yet completed)
Blake
Peter Ackroyd (1995). Blake. Sinclair-Stevenson. ISBN 1-85619-278-4.
Donald Ault (1974). Visionary Physics: Blake's Response to Newton. University of Chicago. ISBN 0-226-03225-6.
(1987). Narrative Unbound: Re-Vision William Blake's The Four usual like. Station Hill Press. ISBN 1886449759.
GE Bentley Jr. (2001). The Stranger from paradise: a biography of William Blake. Yale University Press. ISBN 0-300-08939-2.
Harold Bloom (1963). Blake Apocalypse. Doubleday.
Jacob Bronowski (1972). William Blake and the era of the revolution. Routledge and K. Paul. ISBN 0-7100-7277-5 (hardcover) ISBN 0-7100-7278-3 (Pbk.)
(1967). William Blake, 1757-1827, a man without a mask. Haskell House Publishers.
GK Chesterton (1920). William Blake. House of Stratus ISBN 0-7551-0032-8.
S. Foster Damon (1979). A Blake Dictionary. Shambhala. ISBN 0-394-73688-5.
David V. Erdman (1977). Blake: Prophet Against Empire: A Poet's interpretation of the history of his own time. Princeton University Press. ISBN 0-486-26719-9.
Irving Fiske (1951). "Bernard Shaw's Debt to William Blake." (Shaw Society)
Northrop Frye (1947). Fearful Symmetry. Princeton Univ Press. ISBN 0-691-06165-3.
Alexander Gilchrist, Life and Work of William Blake, (second edition, London, 1880) (reissued by Cambridge University Press, 2009. ISBN 9781108013697)
James King (1991). William Blake: his life. St. Martin's Press. ISBN 0-312-07572-3.
Benjamin Heath Malkin (1806). Memoirs of a father his child.
Peter Marshall (1988). William Blake: Visionary Anarchist ISBN 0-900384-77-8
Blake, William, William Blake's Works in Conventional Typography, Ed. GE Bentley, Jr., 1984. Facsimile ed. Scholars' Facsimile & Reprints, ISBN 9780820113883.
WJT Mitchell (1978). Blake's Composite Art: A Study of the Illuminated Poetry. Yale University Press. ISBN 0-691-01402-7.
Victor N. Paananen (1996). William Blake. Twayne Publishers. ISBN 0-8057-7053-4.
George Anthony Rosso Jr. (1993). Blake's Prophetic Workshop: An investigation into the four usual like. Associated University Presses. ISBN 0-8387-5240-3.
GR Sabri-Tabrizi (1973). Eaven and the ell of William Blake (New York, International Publishers)
June Singer, The Unholy Bible: Blake, Jung and the collective unconscious (Sigo Press, 1986)
Sheila A. Spector (2001). "Wonders Divine": the development Blake's Kabbalistic Myth (Bucknell UP)
Algernon Charles Swinburne, William Blake: a critical essay, (London, 1868)
EP Thompson (1993). Witness against the Beast. Cambridge University Press. ISBN 0-521-22515-9.
WM Rossetti (editor), the poetic works by William Blake (London, 1874)
AGB Russell (1912). Engravings of William Blake.
Basil the Slincourt, William Blake (London, 1909)
Joseph Viscomi (1993). Blake and the idea of the Book, (Princeton UP). ISBN 0-691-06962-X.
David Weir (2003). Brahma in the West: William Blake and the Oriental Renaissance, (SUNY Press)
Jason Whittaker (1999). William Blake and the Myths of Britain, (Macmillan)
William Butler Yeats (1903). Ideas of Good and Evil. Contains essays.
References
^ Frye, Northrop and Denham, Robert D. Collected Works of Northrop Frye. 2006, pp 11-12.
^ Jones, Jonathan (4/25/2005). "Blake's heaven". The Guardian. http://www.guardian.co.uk/arts/critic/feature/0, 1169,1469584,00. html.
^ Thomas, Edward. A Literary Pilgrim in England. 1917, p. 3.
^ Yeats, WB The Collected Works of WB Yeats. 2007, p. 85.
^ Wilson, Mona. Life by William Blake. The Nonesuch Press, 1927. p.167.
^ The New York Times Guide to essential knowledge. 2004, p. 351.
^ Blake, William. Blake's "America, a prophecy ", and" Europe, a Prophecy ". 1984, p. 2.
^ Kazin, Alfred (1997). "An Introduction to William Blake." http://www.multimedialibrary.com/Articles/kazin/alfredblake.asp. 09/23/2006 fetched.
^ Blake, William and Rossetti, William Michael. The poetic works of William Blake: lyrical and Miscellaneous. 1890, p. xi.
^ Blake, William Rossetti, William Michael. The poetic works of William Blake: lyrical and Miscellaneous. 1890, p. XIII.
^ Marshall, Peter (January 1, 1994). William Blake: Visionary Anarchist (Revised edition ed.). Freedom Press. ISBN 0900384778.
^ Poets.org / William Blake, retrieved online June 13, 2008
Abc ^ Bentley, Gerald Eades and Bentley Jr., G. William Blake: The Critical Heritage. 1995, p. 34-5.
Ab ^ Raine, Kathleen (1970). World of Art: William Blake. Thames & Hudson. ISBN 0-500-20107-2.
^ 43, Blake, Peter Ackroyd, Sinclair-Stevenson, 1995
^ Blake, William. The poems of William Blake. 1893, page xix.
^ 44, Blake, Ackroyd
^ Blake, William Tatham, Frederick. The letters of William Blake: Together with a life. 1906, page 7.
^ Erdman, David V. The Complete Poetry and Prose of William Blake (second edition ed) .. p. 641. ISBN 0-385-15213-2.
^ Gilchrist, A Life of William Blake, London, 1842, p. 30
^ Erdman, David, the Prophet Against Empire, p. 9
^ McGann, J. "Have betrayed Blake the French Revolution, Presenting Poetry: Composition, Publication, Reception, Cambridge University Press, 1995, p.128
^ "St. Mary's Parish Church website ". http://home.clara.net/pkennington/VirtualTour/windows_modern.htm # Blake." St Mary's Modern Stained Glass "
Reproduction of 1783 ^ Edition: Tate Publishing, London, ISBN 978 185437 768 5
^ Biography of William Blake and Henry Fuseli, retrieved on May 31, 2007.
^ Kennedy, Mave, Art Historian dents image of William Blake, engraver – 04/18/2005. Retrieved 7/6/2009.
^ Bentley, G. E, Blake Records, p 341
^ Gilchrist, Life of William Blake, 1863, p. 316
^ Schuchard, MK, Why Mrs Blake Cried, Century, 2006, p. 3
^ Ackroyd, Peter Blake, Sinclair-Stevenson, 1995 82
^ Damon, Samuel Foster (1988). A Blake Dictionary
Ab ^ Blake, William. Milton a poem, and the Final Illuminated Works. 1998, p. 14-5.
^ Wright, Thomas. Life of William Blake. 2003, p. 131.
^ The Gothic Life of William Blake: 1757-1827
^ Lucas, EV (1904). Highways and byways in Sussex. Macmillan. ASIN B-C-0008-5GBS.
^ Peterfreund, Stuart, noise the city in Blake's Prophetic Books, ELH – Volume 64, Number 1, Spring 1997, p. 99-130
^ Anthony Blunt, The Art of William Blake, P 77
^ Peter Ackroyd, "Genius spurned: doomed exhibition is Blake's back," The Times Saturday Review, April 4, 2009
^ Bindman, David. "Blake as a painter" in The Cambridge Companion to William Blake, Morris Eaves (ed.), Cambridge, 2003, p. 106
^ Blake Records, p. 341
^ Ackroyd, Blake, 389
^ Gilchrist, The Life of William Blake, London, 1863, 405
^ Grigson, Samuel Palmer, p. 38
^ Ackroyd, Blake, 390
^ Blake Records, p. 410
^ Ackroyd, Blake, p. 391
^ Marsha Keith Schuchard, Why Mrs Blake cried: Swedenborg, Blake and the sexual basis of spiritual vision, p. 10-20
^ "Friends of Blake home. Friends of Blake. http://www.friendsofblake.org/home.htm. 07/31/2008 fetched.
^ "Coming up – William Blake". BBC Inside Out. 02/09/2007. http://www.bbc.co.uk/insideout/london/series11/week5_healthy_living_working.shtml. 08/01/2008 fetched.
^ Tate United Kingdom. "William Blake's London". http://www.tate.org.uk/learning/learnonline/blakeinteractive/lambeth/london_05.html. 26/08/2006 fetched.
^ The Unholy Bible, June Singer, p. 229.
^ William Blake, Murry, p. 168.
^ "A personal mythology parallel the Old Testament and the Greek mythology ".. Bonnefoy, Yves Roman and European Mythologies 1992, page 265.
^ Damon Samuel Foster (1988). A Blake Dictionary (Revised Edition). Brown University Press. p. 358. ISBN 0874514363.
^ Makdisi, Saree. William Blake and the impossible history of 1790 years. 2003, p. 226-7.
^ Altizer, Thomas JJ The New Apocalypse: The Radical Christian Vision of William Blake. 2000, p. 18.
^ Blake, William. Proverbs of Hell, from The Complete Poetry and Prose of William Blake. 1982, page 35.
^ Blake, Gerald Eades Bentley (1975). William Blake: The Critical Heritage. London: Routledge & K. Paul. p. 30. ISBN 0710082347.
^ Baker-Smith, Dominic. Between Dream and Nature: Essays on Utopia and dystopia. 1987, p. 163.
^ Kaiser, Christopher B. Creational theology and the history of science. 1997, p. 328.
^ Jerusalem Plate 15, lines 14-20 complete works of William Blake Online
* ^ Ackroyd, Peter (1995). Blake. London: Sinclair-Stevenson. p. 285. ISBN 1-85619-278-4.
^ Essick, Robert N. (1980). William Blake, graphic artist. Princeton, NJ: Princeton University Press. p. 248.
^ Letter to George Cumberland, April 12, 1827 complete works William Blake Blake's reference to his line illustrations in the book of Job, often considered his artistic masterpiece.
^ Colebrook, C. Blake 1: The Enlightenment William Blake Received on October 1, 2008
^ Northrop Frye, fearful Symmetry: A Study of William Blake, 1947, Princeton University Press
^ Blake, William and Rossetti, William Michael. The poetic works of William Blake: lyrical and Miscellaneous. 1890, p. 81-2.
^ A Blake Dictionary, Damon, Samuel Foster
Abc ^ Bentley, Gerald Eades and Bentley Jr., G. William Blake: The Critical Heritage. 1995, p. 36-7.
^ Ab Langridge, Irene. William Blake: A study of his life and Art Work. 1904, p. 48-9.
^ Blake, William. Complete writings with variant readings. 1969, p. 617.
^ John Ezard (06/07/2004). "Blake's vision on show". The Guardian. http://arts.guardian.co.uk/news/story/0,, 1254856.00. html # article_continue. 24/03/2008 fetched.
^ Letter to Nanavutty, November 11, 1948, quoted by Hiles, David. Jung, William Blake and our response to Job 2001. http://www.psy.dmu.ac.uk/drhiles/pdf S / Microsoft Word – Jung paper.web.pdf, retrieved December 13, 2009
Secondary sources
External links
Poems of William Blake Poetry Archive
William Blake on BBC Poetry Season
Works by or about William Blake in libraries (WorldCat catalog)
Works of William Blake at Project Gutenberg
An archive of an exhibition of his work in the National Gallery of Victoria
Ch'an Buddhism and the prophetic poetry of William Blake
Contents, The Complete Poetry and Prose of William Blake edited by David V. Erdman
See Blake's notebook online using the British Library, the page turning system (requires Shockwave).
online resource on William Tate Blake with notes for teachers
The recent rediscovery of the grave site of William Blake's
www.William Blake.org-128 works by William Blake
The William Blake Archive, a hypermedia archive sponsored by the Library of Congress and is supported by the University of North Carolina at Chapel Hill.
The searchable edition William Blake Erdman, the full archive of poetry and prose of William Blake
William Blake and Visual Culture: A special issue of the journal imagetext
William Blake Collection the Harry Ransom Center at the University of Texas at Austin
Free scores by William Blake in the Choral Public Domain Library (ChoralWiki)
Input index for William Blake Poet's Corner
Archive of William Blake exhibit, National Gallery of Victoria, Melbourne, Australia
vde
Romantic
Culture
Bohème Ossian Romantic nationalism Wallenrodism
Literature
Almeida Garrett Anderson Blake Bryant Burns Byron Chateaubriand Coleridge Cooper Eichendorff Espronceda Foscolo Goethe Brothers Grimm Heine Hoffmann Hlderlin Hawthorne Hugo Irving Keats Kleist, Jean Paul Krasiski Larra Lamartine Leopardi Lermontov Mickiewicz Musset Nerval Malczewski Manzoni Norwid Oehlenschlger Novalis Poe Pushkin Scott M. Schiller Shelley Shelley OJ Shevchenko Sowacki Madame de Stal Stendhal Tieck Wordsworth Zhukovsky Zorilla
Music
Alkan Auber Beethoven Bellini Berlioz Berwald Chopin David Ferdinand David Flicien Donizetti Field Franck Glinka Halvy Kalkbrenner Liszt Loewe Marschner Mhul Moscheles Mendelssohn Meyerbeer Paganini Rossini Schubert Schumann Thalberg Verdi Wagner Weber
Philosophy and aesthetics
Coleridge Goethe Schiller Müller A. Feuerbach Fichte F. Schlegel Schlegel Schleiermacher Tieck Wackenroder
Arts
Blake Briullov Constable Corot Dahl Delacroix Friedrich Fuseli Dsseldorf School Gricault Goya Hudson River School Martin Leutz Michaowski Nazareth traffic Ward Palmer Runge Turner Wiertz
Architecture
National romantic Gothic Revival style
Age of Enlightenment
Realism
vde
William Blake

Literary works
Early writings
Poetic sketches an island the Moon
Songs of Innocence
and Experience
Unique to
Songs of Innocence
Introduction The Shepherd The Ecchoing Green The Little Black Boy The Blossom Laughing Song A Cradle Song Night Spring a dream anothers Sorrow
Unique to
Songs of Experience
Introduction Earth's Answer the root ball and the Pebble The Sick Rose The Fly The Angel My Pretty Rose Tree Ah! Sun-Flower The Lilly The Garden of Love The Little Vagabond London A Poison Tree A Little Girl Lost To Tirzah The School Boy The Voice of the ancient bard
Paired poems
Nurse's Song Infant Joy The Lamb Holy Thursday Holy Thursday The Chimney Sweep The little boy lost little boy found the Divine Image The Little Girl Lost The Little Girl Found The Tyger The Human Abstract Infant Sorrow
Prophetic
Books
The continental
prophecies
Europe a Prophecy America a Prophecy The Song of Los
Other
The Marriage of Heaven and Hell The Book of Thel The Book of Ahania The Book of Urizen Jerusalem: The emanation of the Giant Albion Milton a poem The Book of Los The Four Visions usual like of the Daughters of Albion The French Revolution
The Pickering
Manuscript
Auguries of innocence The Mental Traveler The Crystal Cabinet

Mythology
Ahania Albion Bromion Enion Enitharmon Fuzon Grodna Har Hela Leutha Los Luvah Orc Spectre Tharmas Thiriel Tiriel Urizen Urthona Utah Vala

Arts
Paintings and Prints
Relief Nebuchadnezzar etching Descriptive Catalogue The four and twenty elders casting their crowns before the Throne Divine spirit of a flea The Great Red Dragon Paintings Illustrations of Paradise Lost Illustrations of the Book of Job illustrations of The Divine Comedy the wood of the Self-Murderers: The Harpies and suicides Illustrations of On the Morning of Christ's Birth A Vision the Last Judgement Newton original stories from real life, the Ancient of Days
The Ancients
Samuel Palmer Edward Calvert Frederick Tatham George Richmond John Linnell

Criticism and scholarship
Scholars and critics
Peter Ackroyd Donald Ault Harold Bloom S. Foster Damon David V. Erdman Northrop Frye Alexander Gilchrist EP Thompson Geoffrey Keynes
Scientific works
Life of William Blake, Fearful Symmetry Blake: Prophet Against Empire witness against the Beast

Wikimedia
Wiktionary Blake Blake on Wikibooks Blake Blake on Wikipedia Commons Wikisource Blake Blake on Wikinews
Person Data
NAME
Blake, William
Alternative Names
SHORT DESCRIPTION
Poet painter, graphic artist
DATE OF BIRTH
November 28, 1757
PLACE OF BIRTH
London, England
DATE OF DEATH
August 12, 1827
PLACE OF DEATH
London, England
Categories: William Blake | 1757 births | 1827 deaths | Artist authors | British vegetarians | English anarchists | English painters | English poets | English graphic designers | English Swedenborgians | Christian mystics | Mythopoeic writers | People from Soho | Prophets | Romantic artists | Romantic poets | Writers who illustrated their own writing | English dissenter Hidden categories: Wikipedia semi-protected pages | Wikipedia articles in which text of a brief biographical Dictionary of English Literature About the Author

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