William Blake

Early
The archetype of the Creator is a familiar image in Blake's work. Here, the demiurge-figure Urizen pray before the world has forged. The Song of Los is the third in a series of illuminations 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. It was the third of seven children, two of whom died in infancy. Blake's father, James, was a knitter. William never attended school, and was educated at home by his mother Catherine Armitage Blake Wright. The Blakes were Dissenters, and is believed to have belonged to the Moravian Church. The Bible was an early and profound influence on Blake, and would remain a source of inspiration throughout his life.
Blake began to burn copies of drawings of Greek antiquities purchased for him by his father, a practice that was then preferred to actual levels. Within these drawings Blake found his first exposure to the classical forms through the work of Raphael, Michelangelo, Marten Heemskerk and Albrecht Dreros. His parents knew enough of his headstrong temperament that he was not to school but was enrolled in drawing classes. He read avidly on subjects of their choice. During this time, Blake was also making explorations into poetry; early work displays knowledge of Ben Jonson and Edmund Spenser.
Learning Basire
On August 4, 1772, Blake became apprenticed to engraver James Basire Great Queen Street, for a term of seven years. At the end of this period, at the age of 21 years, was to become a professional engraver. No record of any serious disagreement or conflict between the two during the learning of Blake. However, Peter Ackroyd's biography notes that Blake was later to add a name Basire artistic adversariesnd list then delete. Apart from this, the style of engraving was Basire a species considered obsolete at the time, and instruction Blake fashioned in this way could have been harmful to its acquisition of work or recognition in later life.
After two years he sent his apprentice Basire to copy images of Gothic churches in London (it is possible that this task was created to break up a fight between James Blake and Parker, his fellow apprentice) and their experiences in Westminster Abbey contributed to the formation of his artistic style and ideas, the Abbey of his day was decorated with armor, painted effigies funeral and colored wax. Ackroyd notes that "] [immediate impression that they have faded in brightness and color." In the long afternoons spent Blake drawing on the abbey, was interrupted at times by the boys of Westminster School, one of whom "tormented" Blake So one afternoon he called the child of a scaffold on the ground "on which he fell with terrible violence." Blake saw visions in the Abbey, a great procession of monks and priests as he heard "the sound of chant and the coral."
The Royal Academy
On October 8, 1779, Blake began studying at the Royal Academy Old Somerset House, near the Strand. While the terms of their study requires no payment was expected to supply their own material throughout the period of six years. There, he rebelled against what they saw as the unfinished style of fashionable painters such as Rubens, championed by the school's first president, Joshua Reynolds. With the time, Blake came to detest Reynolds' attitude toward art, especially his pursuit of "general truth" and "general beauty." Reynolds wrote in their speeches that the provision "to abstractions, to generalizing and classification, is the great glory of the human mind," Blake said on the margins copy it to your staff, that "generalization is to be an idiot particularize is the alone distinction of Merit." Blake also disliked Reynolds apparent humility, he held to be a form of hypocrisy. Oil Painting Against Fashion Reynolds, 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 the store Basire Great Queen Street where was swept away by a raging mob that stormed Newgate Prison in London. They attacked the prison gates with shovels and pickaxes, set fire to the building, and released prisoners inside. Blake was reportedly in the first row of the crowd during the attack. These disturbances, in response to a parliamentary bill revoking the penalties against Roman Catholicism, later came to be known as the Gordon riots. Produced a wave of legislation from the government of George III, as well as creating the police first.
Although Gilchrist's insistence that Blake was "forced" to accompany the crowd, some biographers have argued that accompanied is impulsive, or supported it as a revolutionary act. By contrast, Jerome McGann argues that the riots were reactionaries, and that events have caused "outrage" Blake.
Early marriage and
Oberon, Titania and Puck with Fairies Dancing (1786)
In 1782, Blake met John Flaxman, who became his patron, and Catherine Boucher, who would become his wife. At that time, Blake was recovering from a relationship that culminated in the refusal of his marriage proposal. He recounted the story of her heartbreak for Catherine and her parents, after which Catherine asked, "Do you pity me?" When she answered affirmatively, said: "So, I love you." Blake married Catherine, who was five years younger than him on 18 August 1782 at St. Mary's Church, Battersea. Illiterate Catherine signed his contract of marriage with an 'X'. The original marriage certificate can still be seen in the church, where a stained glass memorial window was installed between 1976 and 1982. Later, in addition to teaching Catherine to read and write, Blake his training as an engraver. Throughout his life was to prove an invaluable aid to him, helping to print his illuminated works and maintaining his spirit through many misfortunes.
At this time George Cumberland, one of the founders of Gallery National became an admirer of Blake's work. first collection of poems by Blake, Poetic Sketches, was published around 1783. After the death of his father, William and his brother Robert opened a print shop in 1784 and began working with radical publisher Joseph Johnson. Johnson's house was a meeting place for some major English intellectual dissidents of the time: theologian and scientist Joseph Priestley, the philosopher Richard Price, the artist John Henry Fuseli early feminist Mary Wollstonecraft and American revolutionary Thomas Paine. Along with William Wordsworth, and William Godwin, Blake was great hope in the French and American revolutions and wearing a Phrygian cap on solidarity with the French revolutionaries, but despaired with the rise of Robespierre and the Reign of Terror in France. In 1784 Blake wrote his unfinished manuscript on One Island the Moon.
Blake illustrates Original Stories from Real Life (1788, 1791) by Mary Wollstonecraft. They seem to have shared some views on sexual equality and the institution marriage, but there is no evidence to prove beyond doubt that they actually met. In 1793, Visions of the Daughters of Albion, Blake condemned the cruel absurdity of chastity forced and loveless marriage and defended the right of women to self-fulfillment.
Relief etching
In 1788, at age 31, Blake began to experiment with relief etching, a method used to produce most of his books, paintings, brochures and, of course, his poems, including his and 'prophecies' and his masterpiece of the Bible. " The process is also known as illuminated printing, and final products 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. The illustrations may appear next to the words of earlier way of illuminated manuscripts. Then, engraving plates in acid to dissolve 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 acids, and the plate printed by the intaglio method. Relief etching, Blake invented later became an important method of commercial printing. The pages printed from these plates then had to be hand painted in water colors and stitched together to form a volume. Blake used illuminated printing for most of his best known works, including songs of innocence and experience, The Book of Thel, The Marriage of Heaven and Hell, and Jerusalem.
Engravings
A 2005 study of survivors of the plates Blake showed he made frequent use of a technique known as "embossing", which is half to erase mistakes hammer knocking out the back plate. This discovery puts pressure on Blake's own assessment of their skills as well as fan and also may help explain why some of the works of Blake took so long to complete.
A life and career
Blake's marriage to Catherine remained a close and dedicated to his death. Blake teaches Catherine to write, and she helped color his poems printed. Gilchrist refers to "stormy times" in the first years of marriage. Some biographers have suggested that Blake tried to bring a concubine in the double bed in accordance with the Swedenborg Society's beliefs, but other scholars have rejected these theories as conjecture. William and Catherine's first child and last child Thel could be described in the Book of Thel who was conceived as dead.
Felpham
Hecate, 1795. Blake's vision of Hecate, Greek goddess of black magic and the underworld
In 1800, Blake moved to a cottage at Felpham in Sussex (now West Sussex) of undertake work that illustrates the works of William Hayley, one minor poet. It was in this house that Blake wrote Milton: a poem (published between 1805 and 1808). The preface of this book includes a poem that begins "And the feet in ancient times", which became the words to the hymn "Jerusalem". Over time, Blake came to resent his new patron, coming to believe that Hayley was not interested in true art, and worried about "the monotony of business Meer." the Blake's disenchantment with Hayley has been speculated that have influenced Milton: a poem in which Blake wrote that "Friends are enemies spiritual body" (3:26).
problems with the authority of Blake came to a head in August 1803, when he got into a physical altercation with one soldier called John Schofield. Blake was charged not only assault but also with uttering seditious expressions and treason against the King. Schofield said that Blake had said: "Damn the king. The soldiers are all slaves. "Blake cleared in the Chichester assizes of the charges. According to a report in the Sussex County," The character invented [the test] was … so obvious that an acquittal resulted. "Schofield was later described in a suit to mind forged wives" in an illustration Jerusalem.
Back to London
Blake 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 illustrating Jerusalem (18,041,820), his most ambitious. Having conceived the idea of portraying the characters in Chaucer's Canterbury Tales, Blake approached the businessman Robert Cromek, with a view to marketing an engraving. Knowledge that Blake was too eccentric to produce a popular work, quickly Cromek commissioned Thomas Stothard, a friend of Blake, to execute the concept. When Blake learned that he had been duped, he stopped contact with Stothard. Also An exhibition in the dry goods store independent of his brother on 27 Broad Street in the Soho district of London. The exhibition was designed to market their own version of the illustration of Canterbury (Canterbury entitled The Pilgrims), along with other works. As a result, he wrote his Descriptive Catalogue (1809), which contains what Anthony Blunt has called for an analysis of "brilliant" of Chaucer. It is regularly anthologized as a classic of Chaucer criticism. It also contains detailed explanations of his other paintings.
The exhibition itself, however, was very limited assistance, the sale of any of the tempera or watercolor. Your test only, in The Examiner, was hostile.
Was introduced by George Cumberland to a young artist named John Linnell. Through Linnell met Samuel Palmer belonged to a group of artists who called the former Shoreham. This group shared Blake's rejection of modern trends and his belief in a spiritual and artistic New Era. At the age of 65 years Blake began work on illustrations for the book of Job. These works were later admired by Ruskin, which compared favorably Blake Rembrandt, and Vaughan Williams, who based his ballet Job: A mask for Dance in a selection of illustrations.
Later in his life Blake began to sell a large number of his works, especially his illustrations of the Bible, Thomas Butts, a patron who saw Blake as a friend rather than a man whose work held merit art, which was typical of the views of Blake throughout his life.
Dante's Divine Comedy
The commission for Dante's Divine Comedy came to Blake in 1826 by Linnell, with the ultimate aim of producing a series of prints. Blake's death in 1827 cut short the company, and only a handful of watercolors were completed, with only seven of the prints form reaching the test. Still, have attracted praise:
"[T] he Dante watercolors are among the richest achievement Blake, participate fully with the problem of representation of 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 states of being in the poem. "
Blake Whirlwind of Lovers illustrates Hell in Canto V Dante's Inferno
Illustrated by Blake's poem is not merely accompanying the works, but rather appear to critically review or provide comment, a, spiritual or moral aspects of the text.
Because the project was never completed, the intention of Blake itself may be obscured. Some indicators, however, reinforce the impression that Blake's illustrations in full would take issue with the accompanying text: In the margin of Homer With the Sword and his companions, Blake notes, "Every thing in Dantes Comedia shows that, for the purposes tyrannical world has made this the foundation of all nature and the goddess, not the Holy Spirit." Blake seems to dissent from Dante's admiration of the poetry of the ancient Greeks, and the apparent joy that assigns punishments in Dante's Inferno (as evidenced the black humor of the songs).
At the same time, Blake shared Dante's distrust of materialism and the corrupting nature of power, and clearly relished the opportunity to represent the atmosphere and imagery of Dante's work pictorially. Although he seemed about to die, the central concern of Blake was his feverish work in the illustrations for Dante's Inferno, is said to have passed one of the last shillings he possessed on a pencil to continue drawing.
Death
Monument near Blake's unmarked grave in London
On the day of his death, Blake worked relentlessly on his Dante series. Finally, reportedly stopped working and turned to his wife, who wept at his bedside. Beholding her, Blake is said to have exclaimed, "Stay Kate! Keep as you are I will draw your portrait for you has ever been an angel to me. "Having completed this portrait (now lost), Blake laid down his tools and began to sing hymns and verses. At six p.m., after promising his wife to be with her always, Blake died. Gilchrist reports that a female lodger in the same house, present at maturity said, "I've been to facing death, not a man but of a blessed angel."
George Richmond gives the following account of Blake's death in a letter to Samuel Palmer:
He died … in a more glorious way. He said he was going to that country had wanted his whole life to see happy and expressed the hope of salvation through Jesus Christ shortly before his death his face turned into fair. Her eyes began to sing Brighten'dy of the things he saw in the sky.
Catherine paid to attend Blake's funeral with money lent to her by Linnell. He was buried five days after his death on the eve of his forty-fifth wedding anniversary in the cemetery dissidents in Bunhill Fields, where his parents were buried. Present at the ceremony were Catherine, Edward Calvert, George Richmond, Frederick Tatham and John Linnell. After Blake's death, Catherine moved to Tatham's house as a housekeeper. During this period, he believed that it was regularly visited by the spirit of Blake. She continued selling his illuminated works and paintings, but to entertain any trade without "consulting Mr. Blake." On the day of his death in October 1831, she was so quiet and cheerful, like her husband, and shouted "as if only in the next room to say he was coming to him and would not long time now. "
At his death, Blake's manuscripts were inherited by Frederick Tatham, who burned several of those who considered heretical or politically too radical. Tatham had become a Irvingites, one of many fundamentalist movements of the 19th Century and is strongly opposed to any job that "smelled of blasphemy." sexual imagery in a series of drawings by Blake also was removed by John Linnell.
Since 1965, the exact location of William Blake's grave had been lost and forgotten while the stones were taken to create a new lawn. Today, Blake's grave is commemorated by a stone that reads "Nearby are the remains of the poet and painter William Blake and his wife Catherine 1757-1827 Sophia 1762-1831. This tombstone is located about 20 meters from the actual place of bass Blake, that is not marked. However, members the Friends of William Blake have rediscovered the location of the tomb of Blake and the intention of placing a permanent memorial at the site.
Blake is now recognized as a saint in the Gnostic Ecclesia Catholica. The Blake Prize for religious art in his honor was established in Australia in 1949. In 1957 a memorial was erected in Westminster Abbey, in memory of him and his wife.
Considers that the development Blake
Because poetry after Blake's private mythology contains a complex symbolism, his last works has been less than published his first works more accessible. The newly harvested anthology edited by Patti Smith Blake focuses largely on earlier work, Like many critics as William Blake studies by DG Gillham.
Previous work is mainly at a rebel, and can be seen as a protest against dogmatic religion. This is especially noticeable in The Marriage of Heaven and Hell in which Satan is about the hero rebelling against impostor authoritarian deity. In later works such as Milton and Jerusalem, Blake sculpts a peculiar way of a humanity redeemed by the sacrifice and forgiveness, while maintaining its previous negative attitude toward morbid rigid authoritarianism of traditional religion. Not all readers of Blake to agree on the amount of continuity between the works Blake front and rear.
Singer June psychoanalyst has written to work late Blake shows a development of ideas first introduced in his previous works, namely the humanitarian goal of achieving personal wholeness of body and spirit. The final section of the expanded edition of Blake Unholy Bible study suggests that the works post are actually the "Bible of Hell," he vowed in The Marriage of Heaven and Hell. As Blake's last poem "Jerusalem" writes:
[T] he promise of the divine in man, made in The Marriage of Heaven and Hell, is at last fulfilled.
However, John Middleton Murry observed discontinuity between marriage and working late in Blake are the first focused on a "purely negative opposition between energy and Reason," the latest Blake emphasized the notions of self-sacrifice and forgiveness as the path to inner fulfillment. This waiver sharper dualism Marriage of Heaven and Hell evidenced in particular by the humanization of the character of Urizen in the later works. Blake Middleton later characterizes as having found "Mutual Understanding" and "mutual forgiveness."
Religious views
Blake Old Days. The "Ancient of Days" is described in Chapter 7 of the Paper Daniel.
Although Blake's attacks on conventional religion were shocking in their time, their rejection of religiosity was not a rejection of religion per se. His view of orthodoxy is evident in "The Marriage of Heaven and Hell, a series of written texts in imitation of biblical prophecy. There, lists Blake Proverbs of Hell several, 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 Everlasting Gospel, Blake does not present Jesus as a philosopher or a figure messianic tradition, but as a creative being supreme over the dogmas, logic and ethics, including:
If he'd been Antichrist, Creeping Jesus
Would have to do something for us, please:
Gone sneaking into synagogues
And do not use the Elders and Priests Like dogs,
But humble like a lamb or a donkey
Obey himself to Caiaphas.
God does not want the humble man
Jesus, Blake, symbolizes the vital relationship and unity between divinity and humanity: "[a] ll originally had one language and one religion is the religion of Jesus, the everlasting Gospel. preaches Joined the Gospel of Jesus. "
Blake designed his own mythology, which appears largely in his prophetic books. Within those Blake described a series of characters, including "Urizen", "Enitharmon ',' Bromion 'and' Luvah. This mythology seems to have a basis in the Bible and Greek mythology, and accompanies his ideas on the everlasting gospel.
"I must create a system or be enslaved by another man. I will not Reason & Compare: my business to create. "
The words of Blake's Jerusalem: The Emanation of the Giant Albion.
One of the strongest objections to Christianity Blake Orthodox is that he was driven to the suppression of natural desires and discouraged earthly joy. In a vision of Judgement, Blake says:
Men are admitted in heaven because they have curbed and governed their passions or have no passions, but because they have cultivated their understanding. The treasures of heaven are not negations of passion, but realities of intellect, of which the passions unbridled Emanate in eternal glory.
One may also note his words about religion in The Marriage of Heaven and Hell:
All Bibles or sacred codes have been the cause of the following errors.
1. That man has two real existing principles Viz: a Body & Soul one.
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 follow their energies.
But following Opposed to these are True
1. The man has no body distinct from his soul for that call'd Body is a portion of Alma discern'd by the five senses, the main entrances of the Soul in this age.
2. Energy is the only life is the Body and Reason is the circumference or outward bound of Energy.
3. Energy is eternal delight.
The Body of Abel Found by Adam and Eve, c. 1825. Watercolor on wood.
Blake subscribe to the notion of a distinct body from the soul, and which are subject to the rule of the soul, but sees the body as an extension of the soul from the "discernment" of the senses. Thus, the emphasis orthodoxy requires the denial of bodily urges, is a mistake born of error dualistic relationship between body and soul elsewhere describes Satan as the "failed state" and as beyond salvation.
Blake was opposed to the sophistry of theological thinking the pain excuses, admit the wrong and apologizes for injustice. He hated the dedication, which he associated with religious repression and sexual repression particular: "Prudence is a rich ugly girl courted by incapacity. / He who desires but acts not, breeds pestilence." He saw the concept of 'sin' mode a trap to force the men desires (the brambles in the garden of love), and believes that moderation in obedience to a moral code imposed from the outside was against the spirit of life:
Abstinence sows sand everywhere
The limbs and blonde hair of fire,
But desire fulfilled
Plants and fruits the beauty there.
He did not hold to the doctrine of God as Lord, an independent and superior to mankind, which is shown clearly in the words of Jesus: "He is the only God … and me too, and you too." A telling phrase in The Marriage of Heaven and Hell is "men forgot that All deities reside in the human heart. "This is very much in line with its belief in freedom and equality in society and gender.
Blake and philosophy of Lights
Blake had a complex relationship with the philosophy of the Enlightenment. Due to their religious visionary, Blake opposed the Newtonian View the universe. This mentality is reflected in an excerpt from Blake's Jerusalem:
Blake Newton (1795) demonstrates his opposition to the "single view" of materialism scientist: Newton set his sights on a compass (Proverbs 8:27 recalling an important way of Milton) to write on a scroll which seems draft his own head.
I turn my eyes to the schools and universities in Europe
And behold the Loom of Locke whose Woof rages dire Washd by water wheels of Newton. In the cloth heavy black crowns doubles every nation; cruel works of many wheels I can see, wheel without wheel, with gears in motion by tyrannical force one another, not like those who in Eden: Wheel to Wheel in freedom revolve in harmony and peace.
Blake also believed that the paintings of Sir Joshua Reynolds, describing the natural fall of light on objects, were entirely products of the eye "vegetative" and saw Locke and Newton as "the real progenitors of" aesthetic Sir Joshua Reynolds. The popular taste in England at the time of the paintings and was satisfied with half measures, prints produced by a process that creates an image of thousands of small dots on the page. Blake saw an analogy between this and the Newtonian theory of light particles. Consequently, Blake never used the technique, opting more either develop a method of etching fluid exclusively online, insisting that
a line or guideline is not formed by chance, a line is a line its
Barrio least [s] Strait or twisted it himself and not Intermeasurable with or anything else That is Job.
Despite their opposition to early of the Enlightenment, and Blake was in a linear aesthetic that was in many ways more similar to Neoclassical engravings, John Flaxman that the works of Romantic, with which is often classified.
So Blake has also been seen as a lighting artist and poet, in the sense he was in agreement with the movement's rejection of received ideas, systems, authorities and traditions. On the other hand, was critical of what he perceived as the elevation of right to the status of an oppressive authority. In his critique of reason, law and uniformity Blake has had to oppose the lighting, but it has also arguing that in a dialectical sense, used the light of the spirit of rejection of external authority to criticize the narrow conceptions of enlightenment.
Assessment
Creative thinking
Northrop Frye, commenting on the consistency of strong opinions Blake, Blake notes that "it is said that his notes on [Joshua] Reynolds, written in the fifties, 'Exactly similar to those of Locke and Bacon, written when he was' very young'. Even phrases and verses reappear as much as forty years later. Consistency in maintaining what it believes to be true in itself was one of its guiding principles … Consistency, then, foolish otherwise, is one of the major concerns of Blake, as well as the self-contradiction "is always one of the most derogatory comments."
Blake A hung black ribs live on the gallows ", an illustration of JG Stedman Narrative of a Five Years Expedition, rebelled against blacks in Surinam (1796).
Blake abhorred slavery and believed in racial and sexual equality. Several of his poems and paintings express a notion of universal humanity: "Like all men are the same (tho 'infinitely various) ". In one poem, narrated by a black child, white body and black alike describe as shady trees or clouds, which exist only up to a learning "to take the beams of love":
When from the black, and he from white cloud free,
And around the tent of God like lambs that joy,
I'll shade him from the heat till he can bear
Relying on the joy of our Father in the knee;
And then I'll stay and stroke his silver hair,
And be like him, and then I love it.
In a poem, The Book of Thel, Blake questioned the necessity of life that is believed to be a elegy for his newborn daughter dead.
"O life of this our spring! Why fades the lotus of the water?
Why wilt These children of the spring, born but to smile & fall?
Blake maintains an active interest in social and political events throughout their life, and social and statements policies are often present in its mystical symbolism. Their views about what he saw as oppression and restriction of rightful freedom extended to the Church. His spiritual beliefs are evidenced in Songs of Experience (1794), which distinguishes between the Old Testament God, whose restrictions he rejected, and the New Testament God (Jesus Christ in Trinitarianism), whom he viewed as a positive influence.
Visions
From an early age, William Blake claimed to have seen visions. The first of these views can be already occurred at the age of four when, according to an anecdote, the young artist "saw God" when God "put his head out the window, causing Blake to get into shouting. By the age of eight or ten Peckham Rye, London, Blake said he saw "a tree filled with angels, bright angelic wings bespangling all its branches as the stars. "According to Blake Victorian biographer Gilchrist, returned home and reported this vision, and only ceased to be thrashed by his father for telling a lie through his mother's intervention. Despite all the evidence suggests that parents were largely supportive, his mother seems to have been particularly well, and several early drawings and poems by Blake adorned the walls of your room. On another occasion, Blake watched reapers at work, and thought he saw angelic figures walking among them.
The ghost of a flea, 1819-1820. After informing painter astrologer John Varley, his visions of apparitions, Blake was later persuaded to paint one of them. Varley story of Blake and his vision of the ghost of a flea became well known.
Blake said to experience visions throughout his life. They are often associated with beautiful religious themes and images, which may have inspired him more with the spiritual works and activities. Certainly, religious concepts and images of figure central in the works of Blake. God and Christianity constituted the intellectual center of his writings, which was inspired. In addition, Blake believed that he personally instructed and encouraged by Archangels to create his artistic works, which he said were read actively and Archangels enjoyed it. In a letter to William Hayley, dated May 6, 1800, Blake writes:
I know that our deceased friends are actually more with us than when they were apparent to our mortal part. Thirteen years ago I lost a brother, and his spirit converse daily and hourly in the spirit I see in my memory, in the region of my imagination. I hear his advice, and even I now write from his dictation.
In a letter to John Flaxman, dated September 21, 1800, Blake writes:
[City] Felpham is a sweet place for study, because more spiritual than London. Heaven opens here on all sides of his gold Gates, windows are not obstructed by vapors voices of celestial inhabitants are more clearly heard, and its most clearly seen, and my house is also a shadow of their houses. My wife and sister are well, courting Neptune for an embrace … I am most famous in heaven for my works of what may well conceive. In my brain are studies and chambers filled with books and pictures of the old, which I wrote and painted in ages of Eternity before my mortal life and works are the delight of the study and the Archangels.
In a letter to Thomas Butts, dated April 25, 1803, Blake writes:
Now I can tell you, so you might not dare to tell anyone: I can only carry on my visionary studies in unannoy'd London, and I can talk to my friends in Eternity, visions, dreams and prophecies and parables speak unobserv'dy free to the doubts of other mortals, perhaps from kindness doubts, but doubts are always pernicious, especially when doubt our friends.
In a vision of Judgement Blake wrote:
The error is created. Truth is eternal. Error, or Creation, burned, and then and only then, the truth or eternity will appear. The burns man leaves to contemplate. I hereby affirm my Self that I have here the creation outwards and that for me an obstacle and no action, is like the earth at my feet, no part of me. "What," will Question'd, "When the Sun rises, do not you see a round disc of fire like a Guinea?" Oh, no, no, I see an innumerable company of heavenly host crying, "Holy, Holy, Holy is the Lord God Almighty." No doubt my bodily eyes or growing over what would be the question on the view of a window. I look thro 'it, not him.
William Wordsworth said: "No 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), Blake said it was a romantic with a critical view of the world, said Blake Songs of Innocence were made as a view of an ideal, utopian vision thing while he uses the Songs of Experience to show the suffering and loss that is the nature of society and the world of his time.
General Cultural influence
Main article: William Blake in popular culture
Blake's work was neglected for nearly a century after his death, but his reputation become momentum in the 20th century, both being rehabilitated by critics as John Middleton Murry and Northrop Frye, but also because a growing number of classical composers such as Benjamin Britten and Ralph Vaughan Williams to adapt his works.
Many such as June Singer have argued that Blake thought about human nature largely anticipate and parallel thinking of the psychoanalyst Carl Jung, but Jung rejected Blake's works as "an artistic production rather than an authentic representation of the processes unconscious. "
Blake had an enormous influence on the Beat poets of the 1950s and the counterculture of the 1960s, often being cited by figures as seminal as beat poet Allen Ginsberg and songwriter Bob Dylan. Much of the central ideas of the popular fantasy trilogy by Phillip Pullman Dark Materials His have their roots in the world of Blake's Marriage of Heaven and Hell.
In the poetry of Blake's broader culture has been set to music by popular composers. It has been especially popular with musicians from the 1960s. Blake engravings have also had a significant influence on the modern graphic novel.
Bibliography
Lit books
William Blake Portrait in Profile, from Songs of Innocence and Experience, published 1794
c.1788: All religions are one
No religion natural
1789: Songs of Innocence and Experience
The Book of Thel
17901793: The Marriage of Heaven and Hell
1793-1795: Continental prophecies
1793: Visions of the Daughters of Albion
American prophecy
1794: Europe of Prophecy
The First Book of Urizen
Songs of Experience
1795: The Book of
The Song of Los
The Book of Ahani
c.1804.1811 a poem of Milton
18041820: Jerusalem the Emanation of the Giant Albion
Without illumination
1783: Poetic Sketches
1784-5: An Island in the Moon
1789: Tiriel
1791: The French Revolution
1797: The Four Zoas
Blake Illustrated by
1791: Mary Wollstonecraft, Original Stories from real life
1797: Thoughts Edward Young, Night
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 Job
1825-1827: Dante, The Divine Comedy (Blake died in 1827 with these unfinished watercolors)
In Blake
Peter Ackroyd (1995). Blake. Stevenson Sinclair. 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 Blake William Four Zoas. 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 Revelation. Doubleday.
Jacob Bronowski (1972). William Blake and the Age of Revolution. Routledge and K. paul. ISBN 0-7100-7277-5 (hardcover) ISBN 0-7100-7278-3 (paper)
(1967). William Blake, 1757-1827, a man without a mask. Haskell House Publishers.
GK Chesterton (1920). William Blake. Stratus House ISBN 0-7551-0032-8.
S. Damon Foster (1979). A Blake Dictionary. Shambhala. ISBN 0-394-73688-5.
David V. Erdman (1977). Blake: Prophet against Empire: The interpretation of a poet in the history of their own time. Princeton University Press. ISBN 0-486-26719-9.
Irving Fiske (1951). "The Bernard Shaw's debt to William Blake. "(Shaw Society)
Northrop Frye (1947). Terrible symmetry. Princeton Univ Press. ISBN 0-691-06165-3.
Alexander Gilchrist, Life and Works 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). A Father's Memoirs of his child.
Peter Marshall (1988). William Blake: ISBN 0-900384-77-8 Visionary Anarchist
Blake, William, William Blake's Works in Conventional Typography, ed. GE Bentley, Jr., 1984. Facsimile ed., Scholars Facsimiles & Reprints, ISBN 9780820113883.
WJT Mitchell (1978). Art consists of Blake: a study of poetry lit. 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: One study of the four Zoas. Associated University Presses. ISBN 0-8387-5240-3.
GR Sabri-Tabrizi (1973). The elbow eaven and 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 of Blake's Kabbalistic Myth (Bucknell UP)
Algernon Charles Swinburne Blake, William: a critical essay, (London, 1868)
EP Thompson (1993). Witness Against the Beast. Cambridge University Press. ISBN 0-521-22515-9.
WM Rossetti (ed.), The poetry of William Blake, (London, 1874)
AGB Russell (1912). Engravings of William Blake.
Slincourt Basil 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 Renaissance East (SUNY Press)
Jason Whittaker (1999). William Blake and the Myths of Britain, (Macmillan)
William Butler Yeats (1903). The ideas of good and evil. Contains essays.
References
^ Frye, Northrop and Denham, Robert D. Complete 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 England. 1917, p. 3.
^ Yeats, WB The Collected Works of WB Yeats. 2007, p. 85.
^ Wilson, Mona. The life of William Blake. Nonesuch Press, 1927. p.167.
^ The New York Times guide to essential knowledge. 2004, p. 351.
^ Blake, William. "Blake America a Prophecy" and "Europe, a prophecy." 1984, p. 2.
^ Kazin, Alfred (1997). "Introduction to William Blake." http://www.multimedialibrary.com/Articles/kazin/alfredblake.asp. Retrieved 09/23/2006.
^ Blake, William and Rossetti, William Michael. The poetry of William Blake: Lyrical and Miscellaneous. 1890, p. xi.
^ Blake, William and Rossetti, William Michael. The poetic works of William Blake Opera 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, accessed online June 13, 2008
Abc ^ Bentley, Gerald Eades and Bentley Jr., G. William Blake: The critical heritage. 1995: 34-5.
Ab ^ Raine, Kathleen (1970). The 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, and Tatham, Federico. Letters of William Blake: With a lifetime. 1906, page 7.
^ Erdman, David V. The complete poetry and prose of William Blake (2 No Edition ed.). p. 641. ISBN 0-385-15213-2.
^ Gilchrist, A, The Life of William Blake, London 1842, p. 30
^ Erdman, David, Prophet Against Empire p. 9
^ McGann, J. "Blake is betraying the French Revolution," presentation of Poetry: Composition, Publication, Reception, University Cambridge Press, 1995, p.128
^ "Website of the Parish Church of St Mary." http://home.clara.net/pkennington/VirtualTour/windows_modern.htm Blake #. "Santa María modern stained glass"
^ Reproduction of 1783 Edition: Tate Publishing, London, ISBN 978 185 437 768 5
^ Biography William Blake and Henry Fuseli, retrieved May 31, 2007.
^ Kennedy, Mave, historian of art students from the image of William Blake, engraver – 18/04/2005. Retrieved on 07/06/2009.
^ 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, p. 82
^ Damon, Samuel Foster (1988). A Blake Dictionary
Ab ^ Blake, William. A poem by Milton, and the final lit Works. 1998, p. 14-5.
^ Wright, Thomas. Life of William Blake. 2003, p. 131.
^ Gothic Life William Blake: 1757-1827
^ Lucas, EV (1904). Highways and roads in Sussex. Macmillan. ASIN B-0008-5GBS-C.
^ Peterfreund, Stuart, the noise of the city's books Blake's prophetic, ELH – Volume 64, Issue 1 Spring 1997 pp. 99-130
^ Blunt, Anthony, The Art of William Blake, p 77
^ Peter Ackroyd, "Genius despised: Exposure convicted Blake is 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's London, 1863 405
^ Grigson, Samuel Palmer, p. 38
^ Ackroyd, Blake, 390
^ Blake Records, p. 410
^ Ackroyd, Blake, p. 391
^ Schuchard Marsha Keith, Why Mrs Blake cried: Swedenborg Blake and the sexual basis of spiritual vision, pp. 1-20
^ "Friends Blake's homepage. Friends of Blake. http://www.friendsofblake.org/home.htm. Retrieved on 2008-07-31.
^ "Coming Up – William Blake." Inside BBC Out. 2007-02-09. http://www.bbc.co.uk/insideout/london/series11/week5_healthy_living_working.shtml. Retrieved on 2008-08-01.
^ Tate Britain. "London is William Blake." http://www.tate.org.uk/learning/learnonline/blakeinteractive/lambeth/london_05.html. Retrieved on 2006-08-26.
^ The Unholy Bible, June Singer, p. 229.
^ William Blake, Murry, P. 168.
^ "A parallel personal mythology mythology of the Old Testament and the Greek" Bonnefoy, Yves. and European mythologies. 1992, p. 265.
^ Damon, Samuel Foster (1988). Blake A Dictionary (Revised Edition). Brown University Press. p. 358. ISBN 0874514363.
^ Makdisi, Saree. William Blake and the impossible history of the 1790s. 2003, p. 226-7.
^ Thomas JJ Altizer New Revelation: The radical Christian vision of William Blake. 2000 page 18.
^ Blake, William. Proverbs of Hell, through 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 Physics. 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, engraver. Princeton, NJ: Princeton University Press. p. 248.
^ Letter to George Cumberland, April 12th 1827 Complete Works Online William Blake Blake refers to his illustrations of the book of Job, often considered his masterpiece.
^ Colebrook, C. Blake 1: William Blake Illustration Accessed on October 1, 2008
^ Northrop Frye, fearful symmetry: a study by William Blake, 1947, Princeton University Press
^ Blake, William and Rossetti, William Michael. The poetry of William Blake: Lyrical and Miscellaneous. 1890, p. 81-2.
^ A Dictionary of Blake, Samuel Foster Damon
Abc ^ Bentley, Gerald Eades and Bentley Jr., G. William Blake: The critical heritage. 1995: 36-7.
Ab ^ Langridge, Irene. William Blake: a study of his life and work of art. 1904, page 48-9.
^ Blake, William. Complete writings with variant readings. 1969, page 617.
^ John Ezard (2004-07-06). "The vision of Blake in the program." The Guardian. http://arts.guardian.co.uk/news/story/0,, 1254856.00. html # article_continue. Retrieved on 2008-03-24.
Nanavutty ^ Letter, November 11, 1948, quoted by Hiles, David. Jung, William Blake and our response to Job in 2001. http://www.psy.dmu.ac.uk/drhiles/pdf s' / Microsoft Word – paper.web.pdf Jung, retrieved December 13, 2009
Secondary sources
References
William Blake Poems Poetry Archive
William Blake Poetry at the BBC season
Works by or about William Blake in libraries (WorldCat catalog)
Works by William Blake at Project Gutenberg
An archive of an exhibition of his work at the National Gallery of Victoria
Ch'an Buddhism and the poems of William Blake's prophetic
Contents, The Complete Poetry and Prose of William Blake edited by David V. Erdman
View Blake line Using portable Shut down system pages (British Library Shockwave required).
Tate online resource on William Blake with notes for teachers
The recent rediscovery of the location of the grave of William Blake
Blake.org www.William-128 works by William Blake
The William Blake Archive, a hypermedia file sponsored by the Library of Congress and with the support of the University of North Carolina at Chapel Hill.
Search edition of William Blake File Erdman Poetry complete and prose of William Blake
William Blake and Visual Culture: Special Issue of the journal ImageText
William Blake Collection at the Harry Ransom Center, University of Texas at Austin
Free sheet music for William Blake in the Coral Public Domain Library (Coral)
Index entry in William Blake Poet's Corner
William Blake Archive exhibition, National Gallery of Victoria, Melbourne, Australia
EV
Romanticism
Culture
Ossian Bohemia Wallenrodism romantic nationalism
Literature
Almeida Garrett Andersen Bryant Blake Burns Byron Chateaubriand Coleridge Cooper Eichendorff Espronceda Foscolo Goethe Grimm Brothers Heine Hoffmann Hlderlin Hawthorne Hugo Irving Keats Kleist Jean Paul Malczewski Krasiski Lamartine Leopardi Larra Lermontov Manzoni Mickiewicz Musset Nerval Novalis Norwid Oehlenschlger Poe Pushkin Schiller Scott M. PB Shelley Shelley Stendhal Mrs. Shevchenko Sowacki Wordsworth Zhukovsky Zorrilla Tieck Stal
Music
Alkan Beethoven Bellini Flicien Auber Berlioz Berwald Chopin David Ferdinand Donizetti Field Franck Glinka David Kalkbrenner Loewe Marschner Halvy Liszt Mendelssohn Meyerbeer Paganini Rossini Mhul Moscheles Schubert Schumann Thalberg Verdi Wagner Weber
Philosophy and aesthetics
Feuerbach Fichte Coleridge Goethe Schiller Müller Schleiermacher Tieck AF Wackenroder Schlegel Schlegel
Art
Blake Dahl Düsseldorf Briullov Constable Corot School Delacroix Friedrich Fuseli Gricault Goya Hudson River School Leutze Nazarene movement Michaowski Martin Palmer Runge Turner Wiertz Ward
Architecture
Gothic Revival National Romantic Style
Enlightenment
Realism
EV
William Blake

Literary works
Early writings
Poetic stubs An Island in the Moon
Songs of Innocence
& Experience
Unique
Songs of Innocence
Introduction Ecchoing Pastor Green Book Little Black Boy The Blossom Laughing Song Lullaby Spring Night Dream On anothers pain
Unique
Songs of Experience
Introduction Earth's Answer The Clod and the Pebble The Sick Rose The Fly The Angel My Pretty Rose Tree Ah! Sol-La Flor Lilly The Garden of Love The Little Vagabond London A Poison Tree A Little Girl Lost Tirzah The School Boy The Voice of the ancient bard
Paired poems
Nurse joy of rhyme The Lamb Holy Thursday Holy Thursday The Chimney Sweeper The Little Boy lost child found the divine image of the girl lost The Little Girl Found The Human Abstract The Tiger Child Pain
Prophetic
Books
The continental
prophecies
United States Europe a Prophecy Prophecy The Song of Los
Other
Weddings Heaven and Hell The Book of Thel The Book of Ahani The Book of Urizen Jerusalem: The Emanation of the Giant Albion Milton a Poem The Four Zoas Book of Visions Daughters of Albion The French Revolution
The Pickering
Manuscript
Auguries of innocence The Mental Traveler, The Crystal Cabinet

Mythology
Albion Ahani Bromion Enion Enitharmon Fuzon Grodna Har Hela Leutha Luvah Orcs Tharmas Spectrum Utah Thiriel Tiriel Urthona Vala Urizen

Art
Paintings and prints
Relief etching Descriptive Catalogue Nebuchadnezzar four elders casting their crowns before the throne of God The ghost of a flea Great Red Dragon Paintings Illustrations Illustrations of Paradise Lost Book of Job illustrations of The Divine Comedy The wood of the self-Murderers: the Harpies and illustrations Suicides On the morning of the Nativity A Vision of Christ of the Last Judgement Newton stories of real life original The Ancient of Days
Los Antiguos
Samuel Palmer Edward Calvert Frederick Tatham George Richmond John Linnell

Criticism and scholarship
Scholars and critics
Peter Ackroyd Donald Ault Harold Bloom S. David Damon V. Foster Erdman Northrop Frye Alexander Gilchrist EP Thompson Geoffrey Keynes
Scholarly works
The life of William Blake fearful symmetry Blake: Prophet against Empire Witness Against the Beast

Wikimedia
Blake Blake Blake in Wikipedia to Wikibooks Wikiquote Blake Blake Blake at Wikinews Commons Wikisource
Persondata
NAME
Blake, William
ALTERNATIVE NAMES
SHORT DESCRIPTION
Poet, painter, engraver
BIRTH DATE
November 28, 1757
PLACE OF BIRTH
London, England
DATE OF DEATH
August 12, 1827
PLACE OF DEATH
London, England
Categories: William Blake | 1757 births | Authors 1827 deaths | Artist | UK Vegetarian | English anarchists | English painters | poets | English writers | English Swedenborgians | Mystics Christian | Mythopoeic writers | People from Soho Prophets | | Romantic artists | Romantic poets | Writers who illustrated their own writing | English DissentersHidden Categories: Wikipedia pages semi-protected | Wikipedia articles incorporating text of a short Biographical Dictionary of English Literature About the Author

I am a professional editor from
China Product
, and my work is to promote a free online trade platform.
http://www.himfr.com/ contain a great deal of information about

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