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When Blake Books11 G. E. Bentley, Jr., Blake Books: Annotated Catalogues of William Blake’s Writings in Illuminated Printing, in Conventional Typography and in Manuscript and Reprints thereof, Reproductions of his Designs, Books with his Engravings, Catalogues, Books he owned and Scholarly and Critical Works about him. (Oxford: Clarendon Press, 1977). went to press in July 1971, it was complete through 1970. In the years until its publication on 31 March 1977, a good deal more information on Blake was published, including over one hundred dissertation abstracts, and some obscure originals were discovered or rediscovered. This information was incorporated as far as possible in the text of Blake Books or in addenda to it (pp. 951-1001), but of course even these addenda, completed in the winter of 1976, were out of date when the book was published. Further, since I was in India, with very limited library resources, from June 1975 until March 1976, the effective terminus for the addenda was about April 1975, except for works which kind correspondents drew to my attention.

The present supplement, then, is intended to bring Blake Books up to date, incorporating all the relevant information available up to its publication on 31 March 1977.22 The largest lacunae are probably from foreign (particularly Japanese) publications such as the issue of Mizue, No. 816 ([Tokyo] 1973), 11-59 entirely devoted to Blake with 56 plates (I have been unable to obtain a copy or ascertain the contents), or newspaper accounts such as the scores of German reviews of the Hamburg and Frankfurt Blake exhibitions detailed in Blake, XI (1977), 48-9. The symbols and abbreviations are the same as those in A Blake Bibliography (1964) and Blake Books (1977).

The question of numbers for additions[e] to Blake Books is a vexing one. For new editions, the problem is simple enough; a second edition of, say, no. 190 is lettered B: 190B, and a fifth edition or printing of it is 190E. For new books and essays, however, it is not so easy. In Blake Books, there are some intercallations, e.g., a work which belongs between 109 and 110 is numbered A109, a second is B109, and so on. If a work should be later found which should go between A109 and B109, it would be numbered AA109, and a second, later intercallation would be AB109. This is obviously very clumsy. The problem is that the bibliography grows chronologically, whereas five of its six sections are organized alphabetically. The numbers of this supplement are based on those of Blake Books, though this becomes increasingly awkward, particularly for authors who are prolific and at other growth points such as Catalogues and Bibliographies.

In future, additions to Blake Books should probably be identified by Part and Section (e.g., I B for Part I Writings, Section B Collections and Selections, or VI for Part VI Biography and Criticism), the year, and the first word of the entry (Marriage or Essick). Thus an edition of The Writings of William Blake published in 1977 would be identified as “IB 1977 Writings”, and Bier, Jesse, “Blake’s Fortune-Cookie”, Enco Products News Bulletin, XLI (1959), 14-182, would be identified as “VI 1959 Bier”. This will create redundancies only when, say, Bier publishes two articles in 1959, an uncommon enough occurrence. In practice, this will mean that further supplements to Blake Books may appear with Part and Section heads, but that entries in each Section will need to be preceeded only by the date (not by a separate, arbitrary, number) — and this is already done in the present arrangement for Part IV Catalogues and Bibliographies. I hope that this will prove a simpler system capable of indefinite growth and ready identification.

I am grateful particularly to Dr. Raymond H. Deck, Jr. for sending me copies of the early Swedenborgian printings of Blake’s poems and to Mr Raymond Thompson for pointing out to me many facsimile reprints of Blake criticism.

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1 ‘The Accusers’ (copy J), from the Pennsylvania Academy of the Fine Arts deposited in the Philadelphia Museum of Art — a copy which has only recently been noticed by Blake scholars, see no. 1 here.   The figures are, as it were, other versions of ‘The Counsellor, King, Warrior. . . .’ for Blair’s Grave (1808).
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1. ‘The Accusers’ (1793; 1793; ?1810)
Copy State Watermark Size in cm Printing Colour
J 3 16.0 × 26.4 brownish-Black
COPY J: Binding: Loose.
HISTORY: (1) Acquired by John S. Phillips, who gave it in 1876 with the rest of his collection to (2) The Pennsylvania Academy of the Fine Arts, whose collections were placed on permanent deposit in 1955 in (3) The PHILADELPHIA MUSEUM OF ART.

3 | 3b | 3c | 3d | 3 There are no Blake numbers, but Jerusalem pl. 2, 46, America pl. 16, Jerusalem pl. 59, America pl. 14-15 (which were once stabbed together) are inscribed: ‘1.’, ‘Jerusalem 2[-6]’. For modern numbers, see the Binding of Book of Los pl. 5.

6. America (1793)
Copy Plates Leaves Watermarks Blake numbers Binding-order Leaf-size in cm Printing Colour
MORGAN 14-16 3 J Whatman / 1831 (15) 3 Loose3 24.3 × 30.0 (14) reddish-Brown
24.3 × 30.1 (15)
24.3 × 29.8 (16)

Pl. 14-16 (Morgan). HISTORY: The History is as in The Book of Los pl. 5.


*America a Prophecy. [Albuquerque, New Mexico, 1975.]

Two monotone sets of reproductions (one high-contrast, one medium contrast) of pl. 1-10, 12-14, 16-18 (copy E), pl. 11, 15, a-d (copy a) (pl. 1, d reproduced only once each), with a one-page prefatory statement by Morris Eaves & Morton D. Paley of Blake Newsletter explaining that the work is intended for the college classroom

4 Perhaps these 84 Commercial Engravings include the ‘45 [Blake] Engravings . . . from the Flaxman collection’ offered in a Quaritch list (Nov. 1886) for £3.16s.

16. The Book of Los (1795)
Copy Plates Leaves Watermarks Blake numbers Binding-order Leaf-size in cm Printing Colour
MORGAN 54 1 Loose3 24.3 × 28.2 Black

Pl. 5 (Morgan). COLOURING: The plate is colourprinted with some watercolour. The SUN is brick-Red (blackish), its BACKGROUND is bluish-Green, and the MAN is greyish-Pink.

VARIANTS: There is an ochre-Yellow cloud over the sun, and the colouring is confined to the design, not spreading beyond it as in copy A.

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BINDING: (1) Jerusalem pl. 2, 46, America pl. 16, Jerusalem pl. 59, America pl. 14-15 were numbered ‘1.’, ‘Jerusalem 2[-6]’ and stabbed together through three holes about 10.2 cm from the top and 4.0, 3.6 cm apart;55 Similar, probably by coincidence, to Innocence (L), Songs (Q, T1), and No Natural Religion (F). (2) These leaves were combined with others:

  1. Miscellaneous works not related to Blake: an engraving of Flaxman (I. Jackson-C. Turner) (f. 6) and an engraving of a drooping woman ([Fuseli]-J. Burnet), evidently for a title-page (f. 86);

  2. Cunningham’s life of Blake (1830), second edition (ff. 3 [a MS Titlepage], 5, 8, 11, 14, 17, 20, 23, 25, 28, 31, 34-5, 38, 40, 42, 45, 48, 51, 54, 57, 60, 63, 66), foliated in old Brown ink;

  3. Gilchrist’s life of Blake (1863 or 1880) designs (ff. 4, 7, 10, 13, 15, 19, 22, 27, 30, 37, 47, 50, 53, 56, 59, 61-2, 65, 67-8, 118-23);

  4. Letters about Blake from Bernard Barton of 2 February 1830 (f. 1) and from John Varley of December 1828 (loose in an envelope);

  5. Blake’s commercial engravings: Allen, History of England (1798) pl. 1-4 (ff. 16, 88-90);
    Allen, Roman History (1798) pl. 1-4 (ff. 143-6);
    Ariosto, Orlando Furioso (1783) pl. 1 (f. 43); Bellamy’s Picturesque Magazine (1793) pl. 1 (f. 87);
    Bible—Job pl. 18 (‘17’) ‘Proof’ (f. 49);
    Blair, The Grave (1808) frontispiece of Blake and pl. 11, 7, 9, 6, published proofs (ff. 2, 32-3, 36, 55);
    Cumberland, Thoughts on Outline (1796) half-title and pl. 1-3 (ff. 139-42);
    Enfield, The Speaker (1780) pl. 1 (f. 131); Gay, Fables (1793) pl. 7 (platemark: 17.4 × 27.5), 4 (17.3 × 27.7), 10 (17.7 × 27.7), 11 (17.7 × 27.7), 9, large paper (pl. 4, 7, 10-11) with engraved identifications at the bottom right (e.g., ‘V 1. P 125’) so far down they were removed with the platemarks when trimmed (ff. 73-77).
    Gough, Sepulchral Monuments (1786) pl. 10 (proof) (f. 132);
    Hayley, Essay on Sculpture (1800) pl. 3 (f. 72);
    Hayley, Life . . . of William Cowper (1803-4) pl. 2, 1, 4 (signed), 3, 5-6, (ff. 12, 26, 58, 69-71);
    Hayley, Life of George Romney (1809) pl. 1 (f. 46);
    Hayley, Triumphs of Temper (1803) pl. 1-6 (ff. 91-6);
    Hoare, Academic Correspondence (1804) pl. 1 (f. 128);
    Lavater, Aphorisms (1788) pl. 1 (f. 52);
    Malkin, Memoirs (1806) pl. 1 (f. 130);
    Novelist’s Magazine, IX (1782) pl. 1, 3, 2, VIII (1782) pl. 1-2, X (1783) pl. 1, 3, 2 (ff. 78-85);
    Rees, Cyclopaedia (1819) proof of unused variant of pl. 3 (f. 129);
    Shakspeare, Plays (1805) pl. 2, 1 (ff. 44, 97);
    Virgil, Pastorals (1821) pl. 1-27 (not in that order) (ff. 98-114);
    Wit’s Magazine, I (1784) pl. 1, 5, 4, 6, 3 (ff. 134-8);

  6. Blake’s separate plates: Anon-Blake, ‘Lavater’ (1800 [i.e., 1801]) final state (f. 117)—Keynes, Separate Plates, reports 7 copies;
    Cumberland’s card (1827) (removed from f. 124);
    Watteau-Blake, ‘Morning [and Evening] Amusement’ (1782) with imprint trimmed off (ff. 126-7)—Keynes reports 5 and 2 copies;
    Linnell-Blake, ‘Wilson Lowry’ (1825) final state (f. 125)—Keynes reports 10 copies;

  7. Blake’s writings:
    America pl. 16-14-15 (ff. 149, 151-2);
    Book of Los pl. 5 (f. 64);
    Europe pl. 2b, 6-7, 2a (ff. 24r, 39r-v, 41v);
    Jerusalem pl. 75, 28, 70, 2, 46, 59 (ff. 24v, 29, 41r, 147-8, 150);
    ‘Joseph of Arimathea Among the Rocks of Albion’ (I) second state (f. 9) (q.q.v.);

  8. Fly-leaves (3 at front, one at rear) and blank leaves (ff. 153-65) on unwatermarked woven paper 24.5 × 33 cm;

These leaves were mounted, inlaid to uniform size or inserted, and ‘BOUND BY A W BAIN’ in late 19th-Century(?) three-quarter Red morroco over Red pebble cloth, g.e.; the leaves with insertions (except for Cunningham and a few others) were numbered in pencil at the bottom left 1-121 (ff. 2-152);66 On the versos of most insertions except Cunningham are tiny letters at the bottom right which cumulatively and repeatedly seem to spell ‘rockheim’ (or ‘heimrock’), with some gaps and a few interventions of D, S, W, Y. I can see no pattern or meaning in these letters. The leaves were numbered consecutively in pencil at the top middle margin beginning with an earlier flyleaf before the leaves were trimmed, for a few trimmed numbers survive at the very top: e.g., ‘83’ on f. 82 and ‘108’ on f. 107. A few inserted leaves were later removed, before it came to the Morgan, from f. 18r (12.2 × 17.2 cm), f. 21 (Urizen pl. 3, 11.0 × 15.8 cm), f. 115 (leaf-size 24.3 × 28.8 cm, design-size 20.6 × 21.5 cm), f. 116 (leaf-size 24.3 × 28.5 cm, design-size 20.8 × 25.4 cm), f. 124 (24.2[?] × 28.8 cm), and f. 133 (21.3 × 28.5 cm). (The only known loose copy of Urizen pl. 3, in the Keynes [Fitzwilliam] collection, has different dimensions and history.) (3) After the volume was received by the Morgan Library, the leaves were foliated in pencil 1-165 at the top right corners by Mr Thomas Lange, the volume was disbound, the leaves were shaved at the inner margin, and some of the plates of Blake’s writings were separately mounted.

HISTORY: (1) W. H. Herriman (d. July 1918), whose bookplate is on the front cover, bequeathed it in 19207 to (2) The American Academy in Rome, whose library stamp is on f.3 and which sold it in 197677 According to Mr Thomas V. Lange of the Morgan, to whom I am deeply indebted for much information and kindness concerning this volume. to (3) The PIERPONT MORGAN LIBRARY.


§*The Book of Los [A]. London, 1976. The William Blake Trust.


Bogen, Nancy Ruth. ‘A Critical Edition of William Blake’s Book of Thel, with a New Interpretation.’ DAI, XXXII (1971), 908. Columbia Ph.D., 1968.

‘It is shown that Thel represents Blake’s point of view and is the heroine of the poem.’ The thesis was published as a book in 1971 (no. 27).

32. A Descriptive Catalogue (1809)

COPY C: HISTORY: (1) This may be the copy described in the catalogue of The English Portion of The Library of the Ven. Francis Wrangham (1826 [1827]), no. A538, and presumably sold when the rest of his library was dispersed in 1843 . . . .

COPY S: BINDING: The pseudonymous essay ‘On Needle-Work’ with which it is bound is by Mary Lamb.

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8 Pl. 2a has Jerusalem pl. 70 on the verso, pl. 2b has Jerusalem pl. 75 on the verso, and pl. 6-7 are printed back-to-back.

33. Europe (1794)
Copy c Plates Leaves Watermarks Blake numbers Binding-order Leaf-size in cm Printing Colour
PHILADELPHIA MUSEUM 13-14 1 Loose 23.6 × 31.4 bluish-Green
MORGAN 2a-b, 38 Loose 24.2 × 33.0 (2a-b) Black (greyish-Green) (2a) Black (2b)
6-7 24.2 × 32.9 (6-7) greyish-Black (6)
Black (bluish-Green) (7)

Pl. 2a (Morgan). VARIANTS: ‘a / PROPHECY’ and the central coils of the serpent have been largely erased to make way for a pencil and ink drawing of a man supported on his knees and elbows, from whose shoulders emerges the serpent, in place of his head. The addition is somewhat rough, and the serpent’s printed tail still shows, irrelevantly, at bottom right.

Europe pl.2, Jerusalem pl. 24. HISTORY: . . . (3) . . . At the death of the Earl of Crawford and Balcarres in 1975, it passed into (4) An Anonymous Collection. Pl. 2a-b, 6-7 (Morgan). HISTORY: The History is as in The Book of Los pl. 5.

COPY C pl. 14: HISTORY: The History is as in the ‘Order’ of the Songs.


*Europe: A Prophecy [H]. Introduction by G. E. Bentley, Jr. Normal, Illinois, 1976. Materials for the Study of William Blake: The American Blake Foundation Volume II.

A monotone facsimile with ‘A Bibliographical Introduction, (pp. 1-24) and Robert N. Essick, ‘A Check-List of Secondary Materials in English’ (pp. 25-31). In addition to the plates of copy H, the limited edition reproduces (a) pl. 1-2, 4, 7, 9, 11, 17-18, (b) pl. 2, 4, 5, 9-10, the Canberra pl. 1a-b, 2, the Crawford pl. 2, (c) pl. 18, and copies of ‘The Ancient of Days’ in the collections of the Whitworth Gallery and George Goyder, the Canberra, Crawford, Goyder, and Whitworth copies are in colour.

38. The First Book of Urizen (1794)

Pl. 2 DESIGN: A very similar design but reversed appears in the Night Thoughts watercolours (c. 1796), Night VII titlepage verso (without text).

COPY H: HISTORY: The History is as in the ‘Order’ of the Songs.

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51. The Ghost of Abel (1822)
Copy Plates Leaves Watermarks Blake numbers Binding-order Leaf-size in cm Printing Colour
E 1 1 Loose 24.5 × 34.5 Black


HISTORY: (1) Acquired some years ago by a dealer who had no knowledge of its previous history99 The pencil ‘2’ at the top right suggests that it was once associated with another leaf, though it bears no stab holes, and it probably has not been trimmed, for it is, marginally, the largest copy known. and who sold it to (2) The London dealer Andrew Edmunds who in turn sold it in 1977 to (3) Professor Robert N. Essick, from whom all this information derives.

10 Pl. 70 has Europe pl. 2a on the verso, and pl. 75 has Europe pl. 2b on the verso.

75. Jerusalem (1804-?20)
Copy Plates Leaves Watermarks Blake numbers Binding-order Leaf-size in cm Printing Colour
MORGAN 2, 28, 46, 59, 70, 75 610 Edmeads & Pine/ 1802 (28) Loose3 24.2 × 30.5 (2) reddish-Brown (2, 46, 59)
17.0 × 22.9 (28)
24.6 × 30.0 (46) greenish-Black (28)
24.4 × 29.7 (59)
24.2 × 33.0 (70) orangish-Brown (70, 75)
24.4 × 33.1 (75)

(Morgan): VARIANTS: Pl. 28. There is some scratchwork on the plate, and Brown ink marks the buttock-line on the right person and the leg-division of the left one. This version seems to be between Copy F and the final version.

Pl. 70 (Morgan): The design is touched with Black ink on the trilothon.

Pl. 75 (Morgan): The copperplate-maker’s mark is visible on the coils of the serpent, as Thomas Lange points out in TLS, 14 January 1977. The design is touched with Black ink.

Pl. 51. DESIGN: The sketch is now in the Hamburger Kunsthalle.

COPY J: HISTORY: . . . (5) Acquired by Charles J. Rosenbloom, who added his bookplate and bequeathed it in 1973 to (6) YALE UNIVERSITY LIBRARY.

Pl. 2, 28, 46, 59, 70, 75 (Morgan). HISTORY: The History is as in The Book of Los pl. 5.


*Jerusalem: The Emanation of the Giant Albion [D], 1804. [London, 1877.]

A facsimile. The publisher, who is not given, is evidently John Pearson, in whose Catalogue 58 (?1884) appears an advertisement for his facsimile of Jerusalem made from copy D. In the Quaritch List (Nov. 1886) is offered ‘Pearson’s reprint’ of Jerusalem which ‘was limited to 250 copies’.

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11 Only details of watermark, size, and printing colour are new 12 Most information about copy J comes from the owner, who believes it to be a posthumous impression on machine-made paper.

83. ‘Joseph of Arimathea Among the Rocks of Albion’ (1773; ?1785; ?1809)
Copy State Watermark Size in cm Printing Colour
H TRINITY COLLEGE11 2 24.2 × 31.0 Black
I MORGAN 2 15.9 × 27.7 Black
J Essick12 2 17.9 × 30.5 Black

VARIANTS: In copy I the plate has been reworked, and a light Grey watercolour wash has been added, especially in the background (as in several other copies—see Thomas Lange in TLS for 14 January 1977).

COPY I: HISTORY: The History is as in The Book of Los pl. 5.


HISTORY: (1) Sold at an anonymous sale at Sotheby’s (Hodgson’s Rooms) on 12 November 1976, lot 386 (with Blair’s Grave [?1870]), to (2) Professor Robert N. Essick.

84. ‘Laocoon’ (?1820)

COPY B: HISTORY: . . . (4) Charles J. Rosenbloom bequeathed it in 1973 to (5) The CARNEGIE INSTITUTE MUSEUM OF ART.


Marriage (F) was reproduced in the 1868 facsimile (see M. D. Paley, BNYPL [1976]).


*The Marriage of Heaven and Hell [H] with an Introduction and Commentary by Sir Geoffrey Keynes. London, N.Y., Paris, 1975. B. §*Die Vermählung von Himmel und Hölle—The Marriage of Heaven and Hell. Ed. Geoffrey Keynes. Munich & Paris, 1975.

A. Arnold Fawcus, ‘Publisher’s Note’ (p. viii), Keynes, ‘Summary’ of the Marriage (pp. v-vii), ‘Introduction’ (pp. ix-xiv), typeset text of the Marriage (pp. xv-xxviii), and colour reproduction of Marriage [H] with Keynes’s ‘Commentary’ on the versos of the plates and some reproductions from copy E.

B. In the German edition are Keynes, ‘Einfürung’, tr. Detlef W. Dörrbecker (p. 7 ff.) and the Marriage text tr. Lilian Schacherl; the Keynes ‘Introduction’ and the enlargements of Marriage details of the English edition are omitted in the German one.


Milton. Ed. E. R. D. Maclagen & A. G. B. Russell. . . . B. §Folcroft, Pennsylvania, 1973.

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The ‘Order’ of the Songs (?after 1818)

(*22) Europe (c) pl. 14 (verso pl. 13) . . . HISTORY: . . . (3 J2a) Europe (c) pl. 13-14 were bought in 1955 for $155 by the PHILADELPHIA MUSEUM OF ART. . . .

(3 L2) Urizen (H) was acquired by Charles J. Rosenbloom, who gave it in 1970 to (L3) YALE UNIVERSITY LIBRARY.

13 Pl. 20-21 are printed dos-a-dos. Almost all the information here comes from the Sotheby (Belgravia) catalogue of 5 April 1977, lots 207-10. 14 | 14b | 14c | 14d | 14e | 14 Each plate is cut down to the design. N.B. Pl. 5, 22b seem to be the only known copies of Innocence which are colour-printed.

139. Songs of Innocence and of Experience (1794)
Copy Plates Leaves Watermarks Blake numbers Leaf-size in cm Printing Colour
T2 32 1 32 12.1 × 15.8 brick-Red
Anon 5, 20-1, 22a-b 413 -5, [20-1], 22b 6.5 × 7.1 (5)14 coloured-printed (5, 22b)14
6.4 × 3.1 ([20-1])14 Brown [20-1]
7.5 × 2.8 (22a)14
6.9 × 4.2 (22b)14

Pl. 5, 20-1, 22a-b. BINDING: Cut down to the design and now loose.

HISTORY: (1) Sold by ‘a Lady’ at Sotheby’s (Belgravia), 5 April 1977, lots 207 (pl. 22a), 208 (pl. 20-1), *209 (pl. 22b), and *210 (pl.5). (2bi) Pl. 20-1 were for sale in August 1977 by the print firm of Lott & Gerrish in Alton (Hampshire) at £675. (N.B. No copy of Innocence or Songs printed dos-à-dos in Brown is missing pl. 20-1).

Pl. 10. DESIGN: A very similar design (but reversed and with many children) appears in the Night Thoughts watercolours (c. 1796), Night VIII, p. 32, illustrating Christ as ‘Great Legislator’.

Pl. 22, 28, 30, 40, 44-6, 48a-b. HISTORY: (1) ‘Vouched [and presumably sold] by Fred. Tatham’, according to the Quaritch list below; (2) Offered in a Quaritch list (Nov. 1886) for £5; (3) Sold anonymously at Sotheby’s, 9 Nov. 1964, lot 113, for £32 to Blackwell’s, who in turn sold them in 1965 to (4) G. E. Bentley, Jr.

Pl. 28. HISTORY: (1) Acquired by Sir Anthony Blunt and given by him with Songs (J) to (2) An Anonymous Collection.

COPY H: HISTORY: . . . (6) . . . At the death of the Earl of Crawford and Balcarres in 1975, it passed into (7) An Anonymous[e] Collection.

COPY J: HISTORY: . . . (8) . . . Sir Anthony Blunt gave it [about 1970] to (9) An Anonymous Collection.

COPY T2 pl. 32. BINDING: Loose.

HISTORY: . . . (2ci) Pl. 32 from T2 (the text uncoloured) was acquired at an anonymous Christie’s sale, 26 Oct. 1976, lot 236, by (2cii) Professor Robert N. Essick; (2di) Pl. . . . 33, 40, 42 from T2 are UNTRACED.

COPY W: BINDING: . . . George Richmond thought ‘Mrs. Blake . . . added [the border designs] . . . after Blake’s death’. Richmond’s hesitant attribution of the border designs to Mrs. Blake is, of course, half a century after the fact and may be wrong.

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Songs of Innocence and of Experience. Ed. Andrew M. Wilkinson. . . . G. §1970. H. §1971. I. §1974. J. 1976.


* Songs of Innocence and Experience [Z]. . . . B. § London, 1970. C. London, 1972. D. *Die Illuminationen zu den SONGS OF INNOCENCE and of EXPERIENCE: Lieder der Unschuld und der Erfahrung. Wiesbaden, 1972.

D. Geoffrey Keynes, ‘Einleitung’ (pp. 9-19); the edition is a colour facsimile published ‘In Verbindung met der Trianon Press.’

200. There is No Natural Religion (?1788)

COPY G1: HISTORY: . . . The Pierpont Morgan Library sold pl. a3-4, 6, b3 (with copy I pl. a9, b12) through Parke-Bernet, 24 May 1977, lot 153 to Argosy for $5,000, (4aiii) Professor Robert N. Essick (pl. a2, 9, b12) and (4aiv) The AMERICAN BLAKE FOUNDATION (Memphis, Tennessee) (pl. a4, 6, b3).

COPY I: HISTORY: . . . The Pierpont Morgan Library sold pl. a9, b12 (with copy G1 pl. a3-4, 6, b3) through Parke-Bernet, 24 May 1977, lot 153, to (7ai) Professor Robert N. Essick (pl. a3, 9, b12) and (7bi) The AMERICAN BLAKE FOUNDATION (Memphis, Tennessee) (pl. a4, 6, b3).

COPY K: HISTORY: . . . (3) Acquired by Charles J. Rosenbloom, who added his bookplate and bequeathed it in 1973 to (4) YALE UNIVERSITY LIBRARY.

203. Tiriel (?1789)

Tiriel Design No. 12, ‘Tiriel Dead before Hela’, was acquired in 1976 by John and Paul Herring.


A225. Auguries of Innocence together with the Rearrangement by Dr John Sampson and a Comment by Geoffrey Keynes Kt. Burford, 1975.

The poem is given in Blake’s order (pp. 3-7) and Sampson’s order (pp. 15-8), and ‘The Comment’ is pp. 9-13.

B236. ‘The Blossom.’ Boys’ and Girls’ Magazine, II, no. 4 ([Boston] Aug. 1843), 142.

A bowdlerized version.

C236. ‘The Blossom.’ The New Church Magazine for Children, I ([Boston] 1843), 126.

240. *A Choice of Blake’s Verses. Ed. Kathleen Raine. . . . B. London, 1972. C. N.Y. & London, 1973.

A246. ‘The Divine Image.’ The Dawn of Light, and Theological Inspector, I (April 1825), 144.

Not attributed to Blake.

B246. ‘The Divine Image.’ New Church Advocate, II (Dec. 1844), 191.

C246. ‘[The Divine Image, called] The Human Form.’ Heat and Light for the Nineteenth Century, I, no. 1 ([Boston] Sept. 1851), 32.

A247. ‘A Dream’ and ‘The Lily.’ The New Church Magazine for Children, I ([Boston] Nov. 1843), 159-60.

B247. ‘[A Dream, called] The Story of the Emmet. (A Dream)’ and *‘[A Cradle Song, called] The Baby.’ The Little Keepsake for 1844. Ed. Mrs. Pamela Chandler Colman. Boston, 1843. Pp. 34-7, 94-5.

In a story called ‘The Baby’, probably by Mrs. Colman, a child says to her mother:

‘Oh,[e] dear, I am afraid she is going to cry; may I sing that little song to her that I learnt in William Blake’s ‘Songs of Innocence’, mamma?’
‘Yes, Helen, you may, if it is not very long.’
‘No, mamma, it is not,—and it is all about a little baby.’

Helen does not remember the poem very well.

A253. ‘Evening Hymn.’ Boys’ and Girls’ Library, II ([Boston] 1844), 41.

A poem beginning ‘I know when I lie down to sleep, The Lord is near my bed’, falsely said to be ‘by William Blake’.

A255. Four Poems from William Blake’s Songs of Innocence. Los Angeles, 1968.

The publication bears ‘Holiday Greetings from Saul & Lillian Marks the Plantin Press Los Angeles: December 1968’.

A262. ‘Introduction to Songs of Innocence.’ Boys’ and Girls’ Magazine, II, no. 3 ([Boston] July 1843), 73-4.

A268. ‘The Lamb.’ The Retina, I, no. 6 ([Hamilton, Ohio] 21 Oct. 1843), 47.

B268. ‘The Lamb.’ The New Church Magazine for Children, I ([Boston] 1843), 59.

C268. *‘[The Lamb, called] The Child and Lamb.’ Boys’ and Girls’ Library, II ([Boston] 1844), 86-7.

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2 Europe (copy c), pl. 13, from the Philadelphia Museum of Art; the location of this copy was unknown for 40 years, though for the last 15 it has been in a public collection — see no. 125 here.   The bowing angels and the cloud shape are echoed, distantly, in the design of Christ ascending sketched in Vala pp. 16, 58 and engraved in Night Thoughts p. 65, and in the winged pudendum in Jerusalem pl. 58.
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D268. ‘The Lamb.’ The Little Truth-Teller: A New Church Magazine for Children, I, no. 5 ([Philadelphia] March 1846), 71.

A270. ‘Laughing Song.’ Boys’ and Girls’ Magazine, III, no. 2 ([Boston] Oct. 1843), 66.

273. ‘The Little Boy Lost’ and ‘The Little Boy Found.’ The Child’s Gem for 1845. Ed. Mrs. Pamela Chandler Colman. Boston, 1844. P. 64.

A273. Llibres Profètics de William Blake (Selecció). [Tr.] Maria Manent. Barcelona, 1976. Els Llibres de l’Escorpi Poesia, 33.

‘Prefaci’ (pp. 9-26), text (pp. 31-70).

A277. §The Mental Traveller. Iowa City, Iowa, 1967.

B277. §The Mental Traveller. Drawings by Emil Antonucci. N.Y. [?1970].

C277. Morning. Mountain View, California, 1976.

A broadside of Blake’s poem printed at The Artichoke Press in an edition of 40 copies ‘With the best wishes of Jonathan & Barbara Clark for the new year [i.e., 1977]’.

D277. ‘Night.’ The New Church Magazine for Children, VI ([Boston] Jan. 1848), 17-8.

11. 33-48 are omitted.

E277. *‘A Nurse’s Song’ [from Innocence]. Boys’ and Girls’ Magazine, III, no. 1 ([Boston] Sept. 1843), 9.

A much altered and debased version, with a woodblock related to Blake’s design.

F277. ‘Nurses’ Song’ [from Innocence]. New Church Magazine for Children, II (1844), 191.

A278. *Œuvres de William Blake. [Vol.] I: Esquisses Poétiques (extraits), Une Ile de la Lune, Chants d’Innocence et d’Expérience. Texte original présenté et traduit par Pierre Leyris. Paris, 1974. Aubier / Flammarion.

‘Avertissement’ (pp. 7-8), ‘Les Années de William Blake’ (pp. 9-17, chronological outline), ‘Introduction’ (pp. 21-43), perfunctory ‘Notes’ (pp. 285-98), and ‘Pièce Jointe: Le Procédé de Gravure de Blake’ extracted from Blunt’s Art of William Blake (1959) (pp. 299-301). English and French texts are on facing pages, the English text ‘fondée . . . sur celle de Geoffrey Keynes’ (p. 7).

B278. ‘On Another’s Sorrow.’ The Dawn of Light, and Theological Inspector, I (July 1825), 252.

Not attributed to Blake.

287. Blake’s Poems and Prophecies. Ed. Max Plowman. . . . G. London & N.Y., 1972.

294. The Poems of William Blake. Ed. John Sampson. . . . B. 1926.

299. The Poetical Works of William Blake, Lyrical and Miscellaneous. Ed. William Michael Rossetti. . . . D. §1882. E. §1885. F. §1888. G. §1890. H. §1890. I. 1893. J. 1911. K. [Title omits Lyrical and Miscellaneous] 1914. Bohn’s Popular Library.

300. The Poetical Works of William Blake. . . . Ed. John Sampson. . . . D. Boston, 1973.

306. *The Portable Blake. Ed. Alfred Kazin. N.Y., 1946. Viking Portable Library. B. Reprinted as *The Indispensable Blake. N.Y., 1950. C. Reprinted as The Portable Blake. N.Y., 1953. . . . H. N.Y., 1963. I? Reprinted as *The Essential Blake. London, 1968. . . . U. 21st printing. N.Y., 1974.

. . . U. The cover of the 1974 edition announces ‘a new bibliography by Aileen Ward’ which, however, is not present at least in some copies.

318. Selected Poems of William Blake. Ed. F. W. Bateson. . . . G. §London, 1968. H. London, 1974.

. . . B. The 1961 edition was corrected; the rest are reprints of it.

A318. *Selected Poetry. Ed. David V. Erdman. N.Y., Scarborough (Ontario), London, 1976. The Signet Classic Poetry Series.

‘A Note on this Edition’ is p. xiii, ‘Introduction’ pp. xix-xxix, the text based on Erdman’s Poetry and Prose (1975) with punctuation added occasionally (pp. 1-303). The Introduction is reprinted as ‘The Bravery of William Blake’ in Blake Newsletter, X, 1 (1976), no. 181.

B318. *Selected Poetry and Letters. Ed. A. S. Crehan. Oxford, 1976. Wheaton Studies in Literature.

T. Crehan, ‘General Preface’ (p. 8), ‘Introduction’ (pp. 12-61), ‘Notes’ (pp. 222-54), and ‘Critical Opinion’ 1809-1973 (pp. 255-63); an indifferent paperback edition based on Keynes. ‘Blake remains for us a type of the Sagittarean intellect’ (p. 61).

A328. ‘The Shepherd.’ New Church Magazine for Children, I ([Boston] 1843), 112.

B328. *the shepherd. [Berkeley Heights, New Jersey, 1932.]

A 2-leaf pamphlet bearing ‘cordial greetings of the season 1932-3’ from Joseph Ishill of the Oriel Press.

A344. §Twelve Poems. Ed. J. L. Carr. London, 1972. Florin Poet Series.

Presumably this is related to Carr’s William Blake [n.d.] also in the Florin Poet Series.

353. *William Blake. Ed. Vivian de Sola Pinto. . . . B. N.Y., 1965.

A356. §*William Blake. Ed. J. L. Carr. [n.p., n.d.] Mini Anthology of Poems. Florin Poets.

This is presumably related to Carr’s Twelve Poets (1972).

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3 Europe (copy c), pl. 14, from the Philadelphia Museum of Art.   Notice how Blake has striven to keep the text in solid masses by tucking the line turn-overs in the first and penultimate lines into spaces above the line rather than below the line where they would create a white space. The effect is of the serpent compressing the text.
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368. *Works by William Blake. . . . Reproduced in Facsimile from the Original Editions. One Hundred Copies printed for Private Circulation. [London] 1876 [?i.e., 1878].

The sponsor, who is not identified in the book, may be Andrew Chatto, whose ledgers (now with the firm of Chatto & Windus, transcribed by my friend Morton Paley, who generously, brought them to my attention) record an order on 17 Nov. 1877 for printing 100 sets of ‘Blake reproductions’ and binding them on 26 Jan. 1878 by Sotheran at a total cost of £139.10s. (The only other sets of reproductions of Blake known to have been made in England between 1868 and 1890 were the Pearson Jerusalem of 1877 [250 copies], the Muir Edition of the Works of Wm. Blake of 1884-90 [50 copies], and W. B. Scott’s 10 Etchings after Blake of 1878. Only the ‘1876’ Works corresponds to the Chatto ledger entry in bulk and number of copies printed; its titlepage date may have been an optimistic anticipation.)

370. The Complete Writings of William Blake. Ed. G. Keynes.

C-H. New material was added in 1966, 1969, 1971, and 1972, and there were corrections in 1971 and 1972.




386. L’Allegro (1954) and 393. Il Penseroso (1954). There are two issues of the same year of this pair of works, one by The Limited Editions Club and one by The Heritage Press, in each of which L’Allegro and Il Penseroso are bound dos-à-dos.

A392. *William Blake’s Illustrations for John Milton’s PARADISE REGAINED. With an Introduction by Joseph Anthony Wittreich, Jr. A Rowfant Keepsake: Christmas 1971. Cleveland, 1971.

Wittreich, ‘Blake’s Illustrations for Paradise Regained’ is on 4 unnumbered pages. The 12 plates from the Fitzwilliam set ‘are reproduced from Calm of Mind’, ed. Wittreich (1971).


A402. *Blake’s Visions of the Last Judgment. [Ed. Morton D. Paley for the] MLA Blake Seminar, 28 December 1975, Continental Room, Hilton Hotel, San Francisco, Discussion Leader, Morton D. Paley, Boston University. [Published by Blake Newsletter, 1975.]

Reproductions of 6 designs, ‘Editorial Note’ by Paley, and W. J. T. Mitchell, ‘Blake’s Visions of the Last Judgment: Some Problems in Interpretation’ (pp. [8-11]) intended to ‘stir debate’.

406. Heads of the Poets

Blake’s ‘Heads of the Poets’ are also reproduced in Concise Catalogue of British Paintings Volume I: British artists born before 1850 [in] Manchester City Art Gallery (1976), 9-15.

412. *William Blake by Martin Butlin. . . . D. 1975.


Bible: Job

A434. *Illustrations of the Book of Job. . . . [London, 1976.]

A portfolio of ‘proof’ engravings with a folder on which is printed: ‘This facsimile was produced in a limited edition by the Trianon Press in Paris and is offered for sale only in museums[e] and at Blake Trust exhibitions.’

B434. * The Book of Job illustrated by William Blake with a new introduction by Michael Marqusee. N. Y., London, Mississauga [Ontario], 1976. Paddington Masterpieces of the Illustrated Book.

Blair, Robert

435. The Grave (1808). [The list of announcements should be altered:]

There were announcements in :

  1. Arris’s Birmingham Gazette (28 July 1806), with a Prospectus ‘advert in this page’;

  2. *Birmingham Commercial Herald (28 July 1806), with a *Prospectus (‘Vide advert’), virtually identical to those in the Gazette;

  3. The Artist (1 Aug. 1807, p. 6);

  4. The Literary Panorama (Nov. 1807, column 304, saying it was ‘to be printed . . . [by] Ballantyne’);

  5. *Manchester Gazette and Public Advertiser (7 Nov. 1807), with a *Prospectus listing the 12 plates;

  6. *Wakefield Star and West-Riding Advertiser (27 May 1808, ‘printing . . . by BENSLEY’);

  7. Monthly Magazine (1 June 1808);

  8. *Bristol Gazette and Public Advertiser (9 June 1808);

  9. *Birmingham Gazette (30 June 1808);

  10. Athenaeum Magazine (June 1808);

  11. Monthly Literary Advertiser (9 July 1808);

  12. Edinburgh Review (Jan. 1809, p. 500);

as well as reviews in The Examiner (7 Aug. 1808), Antijacobin Review (Nov. 1808), and Monthly Magazine (1 Dec. 1808), the first two reviews virulently hostile. (The announcements marked with an asterisk [*] were pointed out to me by Dr Dennis Read.)

Pl. 11 ‘Death’s Door’ A proof, before the verse was added and with ‘Davis’ for ‘Davies’, is in Trinity College, Hartford, Connecticut. A single proof of this design etched by Blake himself is in the collection of the Carnegie Institute Museum of Art.

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Chaucer, Geoffrey

A443. *The Prologue to the Canterbury Tales of Geoffrey Chaucer. With an Engraving by William Blake of the Pilgrims in the following sequence . . . Los Angeles, 1975.

150 copies printed at The Plantin Press.

Flaxman, John

456. Hesiod (1817).

Designs for Hesiod pl. 3 (two of them), 7, 32-3, and an unengraved design (for before pl. 23) were offered for sale and reproduced in the catalogue of John Flaxman 10th March-8th April 1976 Presented by Christopher Powney and Heim Gallery (London) Ltd, no. 18-23 (the unengraved one retained by Mr Powney).

Flaxman, John

457. The Iliad. . . . F. Flaxman’s Illustrations to Homer Drawn by John Flaxman, engraved by William Blake and Others, Edited, With an Introduction and Commentary by Robert Essick and Jenijoy La Belle. N.Y., 1977.

. . . ‘Plate 2.’ . . . (A sketch in the collection of Professor Robert Essick is reproduced in the 1977 edition.) . . .

F. The 1977 edition consists of a useful ‘Introduction’ (pp. v-xiv), ‘Bibliography’ (pp. xv-xviii), plate by plate ‘Commentary’ (pp. xiv-xxxii), and reproductions of the 1805 Iliad and Odyssey slightly reduced (leaf-size 30.5 × 23 cm).

Pl. 2. The sketch for pl. 2 and a related drawing in the collection of Christopher Powney were offered for sale and reproduced in the catalogue of John Flaxman 10th March-8th April 1976 Presented by Christopher Powney and Heim Gallery (London) Ltd, no. 2, 75.

Hamilton, G.

A463. Gallery of British Artists, from the Days of Hogarth to the Present Time, or Series of 288 Engravings of their Most Approved Productions, Executed on Steel in the First Style of Outline, Selected, arranged, and accompanied with descriptive and explanatory Notices in English and French. In Four Volumes. Paris, 1837. (British Library)

A duplicate title-page reads: Galerie des Artistes Anglais, depuis Hogarth jusqu’a nos jours ou suite de 288 gravures de leurs productions les plus estimées, soigneusement grávee de Notes descriptives en Anglais et an Francais. En quatre volumes. Paris, 1837.

This is evidently just a re-issue of Hamilton’s English School (1830-32), misleadingly re-titled, without advertisement or explanatory matter other than for the designs, with the same number of plates (288), and the same Blake plates (numbered 181, 271) and explanations, in alphabetical order in Vol. I.

Lavater, John Caspar

480. Aphorisms on Man.

There were no plates in some copies of the ‘Third Edition’ of Dublin, 1790, and the frontispiece in other copies of the 1790 Dublin edition is copied after Blake with great fidelity by P. Maguire.

The Novelist’s Magazine, Vol. X-XI.


This edition is a curious bastard throughout, with very mixed and unacknowledged parentage. (a) For one thing, the irregular new dates on the plates (19 May to 21 Nov. 1811) seem to point to yet another edition, as yet untraced, of 1811, published presumably by Charles Cooke (1760-1816), whose imprint is on the plates. (b) For another, the two titlepages are not congruent, one citing T. Kelly as publisher with the date but no printer (Kelly was at 17 Paternoster Row from at least 18201515 | 15b | 15 W. B. Todd, A Directory of Printers . . . 1800-1840 (1972). ), and the other citing Charles Cooke as publisher with the printer but no date. Probably the work changed hands after Cooke’s death, but the second titlepage did not record the change—or the McGill set (the only one reported1616 The North American National Union Catalog lists a similar copy in the Library of Congress. ) is a mixed set. In any case, it almost certainly was not ‘STEREOTYPED . . . FOR T. KELLY’, though it may well have been ‘PRINTED FOR’ him. (c) For another, David Cock, who appears as the printer in the colophon to both volumes at 75 Dean Street, was at that address only in 1810-1815.15 Presumably Cock made the stereotype plates but did not print them at Dean Street after 1815. (Notice that Cock appears only on the undated ‘PRINTED FOR C. COOKE’ titlepage.) (d) For another, neither titlepage nor contents (e.g., the Advertisement on I, 5) acknowledges the relationship of this edition to the previous two-volume Harrison edition (n.d.) or to the original edition with these designs in The Novelist’s Magazine, Vol. X-XI (1783). (e) For another, the designs are the same as those in The Novelist’s Magazine, reduced from 28 to 15 and with some plates (presumably those irreparably worn) reengraved though bearing the names of the same designer (appropriately) and engraver (quite wrongly, presumably). For instance, Blake’s second plate was re-engraved and signed ‘Scatchard [i.e., Stothard] del.’ ‘Blake sculp.’, though it seems highly unlikely that the original engraver made this new plate.

The two plates which seem to be still Blake’s, though with the lines re-entered and the costumes changed considerably, are:

1. Without plate number (Vol. I, at p. 173), now inscribed ‘Scatchard del.’, ‘Letter 6. Vol. II. / Miss Byron paying a visit to / Emily in her Chamber. / Printed for C. Cooke, Paternoster Row, July 6. 1811.’ (Design size: 7.1 × 12.0 cm.)

3. Without plate number (Vol. II, at p. 217), now inscribed ‘Stothard R.A. del.’, ‘Letter. 19. Vol. II. / Charlotte and Caroline’s affecting interview with / their Brother Sir Charles Grandison. / Printed for C. Cooke, Paternoster Row, June 1. 1811.’ The original 1783 date is still dimly visible. (Design size: 7.1 × 11.6 cm.)

The 1815 edition was first described by Dr Christopher Heppner in Blake Newsletter, X (1977), 100-8, begin page 150 | back to top with the first and last versions of the three plates reproduced; for much other vital information I am indebted to the kindness of Elizabeth Lewis of the McGill Rare Book Room.

Rees, Abraham, ed.

489. Cyclopaedia (1802-20).

Pl. 8. A separate engraving for Miscellany (Gem Engraving) Plate XVIII in Vol. III, representing only the lower part of the published design, the two large busts and the profile view, unsigned, survives in an apparently unique proof (printed twice, on recto and verso of one leaf) in the collection of Blakeana with The Book of Los pl. 5 acquired in 1976 by The Pierpont Morgan Library. The date is probably about ‘1819’, as the published plate by Blake and W. Lowry was dated, it is watermarked J Wh / 18[ ]. The engraving is ‘extremely’ similar to the printed version, and we can only speculate, as Thomas Lange does in TLS for 14 January 1977, that Blake’s engraving did not leave sufficient space for Lowry to add the other designs which appear in the published version.

Stedman, J. G.

499. Narrative.

G. Amherst, Massachusetts, 1972.

The 1972 edition seems to be a reissue, by the University of Massachusetts Press, of the 1971 Imprint Society edition.


510. §The Wood Engravings of William Blake: Seventeen subjects commissioned by Dr Robert Thornton for his Virgil of 1821 newly printed from the original blocks now in the British Museum. London, 1977.

There is a ‘Preface’ by Kenneth Clark.

Young, Edward

515. Night Thoughts (1797)


COPY T: BINDING: It is ‘vividly coloured’ and the ‘text has been ruled throughout’, according to the catalogue below.

HISTORY: (1) A coloured copy of Night Thoughts (1797), whose history and description seem to correspond to those of no other known copy, was sold among The Books of a Busted Bibliophile alias A. Edward Newton by Anderson Galleries, 29 May 1926, lot 25; (2) Untraced.


A538. 1827. THE / ENGLISH PORTION / OF / The Library/ OF THE / VEN. FRANCIS WRANGHAM, M.A. F.R.S. / ARCHDEACON OF CLEVELAND. /=/ . . . [mottos] /=/Malton:/ BY R. SMITHSON, JUN. BOOKSELLER AND STATIONER, / IN YORKERSGATE. /-/ 1826 [i.e., 1827]. / [Only Seventy Copies.] / UNPUBLISHED. (Bodley)

The printing cannot have been completed earlier than 1827, for Wrangham’s Preface is dated 28 February 1827.

In the Supplement under Octavos is a section of CATALOGUES including ‘Blake’s (Will.) [DESCRIPTIVE CATALOGUE of] Pictures in Water Colours, &c. [?copy C] . . . . . . .. 1809’ (p. 630).

In his Preface, Wrangham says that ‘From my very childhood, the acquiring of Books has been my ruling passion’ (p. iii), particularly privately printed books. His posthumous sales catalogues do not list the Descriptive Catalogue, but they do include Blair’s Grave (1808), uncut (Sotheby, 12-22 July 1843, lot 301), Job with ‘21 very curious plates’ (lot 302), and Hayley’s Designs (1802), all four parts (Sotheby, 29 Nov.-9 Dec. 1843, lot 557).

566. 1862. International Exhibition 1862. Official Catalogue of the Fine Art Department. . . . [Corrected.] London, 1862.

The Blake entries are nos. 221, 965-8; Blake and Stothard are compared in an article by F[rancis] T[urner] P[algrave], ‘The British School of Watercolour Painters’ (pp. 46-8).

A581. William Blake’s Original Drawings Finished in Colours; Choice Early Copies of His Engraved Works; Books Illustrated by Blake; and Mr. William Muir’s Admirable Facsimiles of Blake’s Works, Offered for sale by Bernard Quaritch. London, 15 Piccadilly, W., November, 1886.

A 4-page list which includes designs for Comus (8), Paradise Lost (9), the Bible (9), and Shakespeare (6) bound in three volumes (£1,200); Thel (J) and Visions (G) bound together by Hering in Olive morocco (£85); Songs (U) (£170) and pl. 22, 28, 30, 40, 44-6, 48a-b (now GEB) (£5); and Descriptive Catalogue (F) (£10. 10s.). (This Quaritch list was generously pointed out to me by Mr Thomas V. Lange.)

A657. [?1947] The Life and Work of William Blake Poet-Painter: An Exhibition of Blake Arranged by The British Council. n.p. [?Hong Kong], n.d. [?1947].

Ruthven Todd, ‘Aspects of the Life and Work of William Blake’ (6 unnumbered pages). There is a duplicate text in Chinese; 31 books of 1813-1945 were exhibited. The place-guess derives from the language, the date from other British Council Blake exhibitions of the time.

688. *An Exhibition of the Illuminated Books of William Blake Poet • Printer • Prophet. . . . B. *Geoffrey Keynes. A Study of the Illuminated Books of William Blake Poet • Printer • Prophet. London & Paris, 1964. C. N.Y., 1964. D. London & Paris, 1965. E. London & Paris, 1970.

. . . B is published by The Trianon Press in 525 copies signed by Keynes. C is published by Orion Press and The Trianon Press. D is published by Methuen and The Trianon Press. There seem to be two states of this edition: one in which the Publisher’s Note on p. 9 is signed A.D.F., and one in which the note is signed Arnold Fawcus and there is an advertisement on the jacket for the 1967 Songs. E is a re-issue of A with the foreword ‘modified to include the Trust’s recent projects’.

701. 1969, 1972, 1976. [Phyllis Goff.] William Blake: Catalogue of the Preston Blake Library Presented by Kerrison Preston in 1967 [to the] Westminster City Libraries. London, 1969.

B. William Blake: Supplement to the Catalogue of the begin page 151 | back to top Preston Blake Library, Westminster City Libraries. [London], 1972.

C. Catalogue of the Preston Blake Library Presented by Kerrison Preston [to the] Westminster City Libraries: Cumulative Supplement to the printed Catalogue of 1969, Compiled by Phyllis Goff. London, 1976.

A. Kerrison Preston, ‘Foreword’, is on one unnumbered page, K. C. Harrison, ‘City Librarian’s Preface’, on another. There are [700] entries.

C. K. C. Harrison, ‘Preface’, is on one page; there are 322 entries (plus an index) listing ‘all material added to the library since the publication of the original catalogue’ in 1969. For an earlier catalogue of the same library, see no. 689.

AA710. 1976 24 Feb.-27 March. *William Blake in the Art of His Time: A Faculty-Graduate Student Project University of California, Santa Barbara Organized by Corlette Rossiter Walker, University Art Galleries, University of California Santa Barbara February 24-March 28, 1976. [Santa Barbara, 1977.]

Corlette Walker, ‘William Blake in the Art of His Time’ (pp. 10-15); Robert N. Essick, ‘William Blake as an Engraver and Etcher’ (pp. 16-18); Corlette Walker, ‘Seven Decades of British Art 1750-1830’ (pp. 91-4). There are 101 entries described by graduate students: Joseph Aspell (no. 1, 15-16, 77), Gregory Bishopp (no. 9-12, 62, 75-6), Richard Eisele (no. 37-50), Claudia Himmelberg (no. 35-6, 51, 55), Nathan Kroupnick (no. 29-32), Janice Lyle (no. 2, 7-8, 17-26, 33), Diana Melton (no. 7-8, 27-8), Susan Murray (no. 57, 59-61), Nancy Reinhardt (no. 63-74), Charles Richards (no. 34, 52-4, 58), Carmen Schiavone (no. 3-6, 56), Nancy Smith (no. 1, 13-14, 56, 78-101), plus Corlett Walker (no. 34, 38-50). There are 133 plates, including all 22 Job engravings.

AB710. 1976 2 March-4 April. *Followers of Blake. Ed. Larry Gleeson. The Santa Barbara Museum of Art March 2-April 4 1976. [Santa Barbara, 1976.]

Paul C. Mills, Director, ‘Foreword’ (p. 3); Larry Gleeson, ‘Acknowledgements’ (p. 4) and ‘Followers of Blake’ (pp. 5-10); there are 40 entries in Gleeson’s catalogue (by Blake, Linnell, Richmond, Calvert, Welby Sherman, and Palmer), and 18 reproductions. The exhibition complemented that at the University of California (Santa Barbara) and the Blake symposium there.

D710. 1977 19 March-29 May. *William Blake: The Painter as Poet: An Exhibition Commemorating the 150th Anniversary of the Artist’s Death March 19-May 29 1977 [at Swirbul Library Gallery, Adelphi University, Garden City, N.Y.]. Catalog by Donald A. Wolf, Tom Dargan, Erica Doctorow.

Donald A. Wolf, ‘Introduction: William Blake: The Painter as Poet 1757-1827’ (4 unnumbered pages) says ‘we have focused on Blake’s “contraries” ’ ; the Catalogue (21 pages, 41 entries) has 18 original plates among the facsimiles.

E710. 1977 G. E. Bentley, Jr. Blake Books: Annotated Catalogues of William Blake’s Writings in Illuminated Printing, in Conventional Typography and in Manuscript and Reprints thereof, Reproductions of his Designs, Book with his Engravings, Catalogues, Books he owned and Scholarly and Critical Works about him. Oxford, 1977.

A revision of the Bentley & Nurmi Blake Bibliography (1964), quintupled in size, particularly in the sections on Writings (450 vs 36 pp.), Commercial Book Engravings (140 vs 85 pp.), and Biography and Criticism (240 vs 140 pp.). ‘Blake’s Reputation and Interpreters’, extended to 1972, is pp. 15-51. There are over 3,400 entries, including the Addenda (pp. 951-1001).


750. The title of the work with Blake’s signature is, I am told by Professor Paley, Hymns for the Nation, not Hymns for the National Fast.


A769. Able, Elizabeth Frances. ‘The Married Arts: Poetry and Painting in Blake and Baudelaire.’ DAI, XXXVII (1976), 290A. Princeton Ph.D., 1975.

A770. Abrams, M. H. ‘Unity Lost and Integrity Earned: Blake and Coleridge.’ Pp. 256-77 (esp. 256-64) of Chapter V, ‘The Circuitous Journey: From Blake to D. H. Lawrence’ (pp. 253-324) in his Natural Supernaturalism: Tradition and Revolution in Romantic Literature. N.Y., 1971. Also passim. B. N.Y., 1973.

The book is concerned ‘with the secularization of inherited theological ideas’ (p. 12).

AA770. Abrams, M. H., ed. English Romantic Poets: Modern Essays in Criticism. Second Edition. London, Oxford, N.Y., 1975.

It reprints, inter alia;

  1. Northrop Frye, ‘Blake’s Treatment of the Archetype’ (pp. 55-71);

  2. David V. Erdman, ‘Blake: The Historical Approach’ (pp. 72-89), revised by the author;

  3. R. F. Gleckner, ‘Point of View and Context in Blake’s Songs’ (pp. 90-7);

  4. Harold Bloom, ‘Blake’s Apocalypse: “Jerusalem” ’ (pp. 98-111), from his Visionary Company, pp. 108-23.

Only Gleckner’s essay appears in the first edition (1960).

A780. Adamson, Arthur. ‘Structure and Meaning in Blake’s “The Mental Traveller”.’ Mosaic: A Journal for the Comparative Study of Literature and Ideas, VII, iv (1974), 41-58.

He explores ‘one basic insight . . . that the poem is the seed of the idea later developed in Jerusalem . . . of biological, psychological, and historical evolution’ (pp. 41, 43).

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A784. Adlard, John. ‘Bawdy Blake.’ English Studies, LVI (1975), 320-1.

For example, ‘country’ is alleged to be a synonym for ‘cunt’.

A789.—‘Blake, Thel and the Wisdom of Angels.Studia Neophilologica, XLVI (1974), 172-4.

‘On page 181 [of Swedenborg’s book] Blake ringed in pencil’ a passage which he had ‘in mind when working on The Book of Thel’ (p. 172).

4 ‘The Temple of Mirth’ for The Wit’s Magazine, pl. 2, frontispiece for the issue of January 1784 — reproduced here, like the other Wit’s Magazine plates, from the copy in The Huntington Library.   There is another plate with the same design but with minor differences; the busts at left are labeled ‘VOLT[aire]’ and ‘STE[rne]’, rather than ‘STERNE’ and ‘SWIFT’ as here.

A804. Ames, Richard. ‘Blake exhibit creative, restrained and scholarly.’ Santa Barbara News, 28 February 1976.

Review of the University of California at Santa Barbara Art Galleries Blake exhibition.

826. Anon. ‘Art. V. —Vie des Révélations . . . .’ Quarterly Review, XXXIII (March 1826), 375-410.

The article is by Robert Southey, according to the Wellesley Index (1966), I, 705.

A839.—‘The Artist of the Soul.’ Nation, XIV ([London] 25 Oct. 1913), 169-70.

A review of the 1913 National Gallery exhibition, which set off the correspondence by Kerr, Fry, et al.

A938.— ‘The Fearful Symmetry of William Blake.’ Daily Nexus, 5 March 1976, p. 9.

Reproductions and programme of the Blake conference at the University of California at Santa Barbara in the student newspaper.

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A959.—§‘Illustration of “William Blake: double image” (aluminium) by John W. Mills exhibited at the Royal Academy summer exhibition 1967.’ Times Educational Supplement, 28 April 1967.

A1034.—§*‘Tate Gallery Tribute to Blake’s Genius.’ Daily Telegraph, 15 July 1964.

Report of the exhibition at the Tate.

AA1086. §Arbasino, Alberto. ‘Le Grande Mostre in Germania: Blake e Schiele.’ Corriere della Sera, 22 maggio 1975.

About the exhibition at Hamburg.

A1110. Baine, Mary Rion. ‘Satan and the Satan Figure in the Poetry of William Blake.’ DAI, XXXV (1975), 5335-6A. Georgia Ph.d., 1974.

A 137-page argument that Blake ‘was far from the conventional Satanist’.

B1110.—& Rodney M. Baine. ‘Blake’s Other Tygers, and “The Tyger”.’ SEL, XV (1975), 563-78.

‘Blake consistently used the tiger in the fallen world as a symbol of cruelty, destructiveness, and bestiality’ (p. 576).

B1112. Baine, Rodney M., & Mary R. ‘Blake’s THE MARRIAGE OF HEAVEN AND HELL, Plate 9.’ Explicator, XXXII (1974), Item 50.

The horses of instruction’ ‘are surely Swift’s Houyhnms’, and Blake means that ‘wrathful tigers are wiser than perverted horses of sterile reason’.

C1112.—‘“Then Mars thou wast our center”.’ ELN, XIII (1975), 14-18.

America pl. 7, 1. 5, derives from Swedenborg’s cosmogony, in which Mars, representing intellect and emotions, is in the position of the heart of the Grand Man (p. 15).

1132. A. Bataille, Georges. ‘William Blake.’ Pp. 81-107 of La Littérature et le Mal: Emily Bronte—Baudelaire—Michelet—Blake—Sade—Proust—Kafka—Genet. Paris, 1957. B. Tr. Isao Yamamoto as Bungaku to Aku [Literature and Evil]. Tokyo,[e] 1959. Pp. 82-117. (vHK) C. §Tr. Alistair Hamilton as Literature and Evil. London, 1973. Signature Series. Pp. 59-81.

The most moving writers in English are John Ford, Bronte, and Blake (p. 83 of A).

A1144. *Behrendt, Stephen C. ‘Blake’s Illustrations to Milton’s Nativity Ode.PQ, LV (1976), 65-95.

A detailed analysis, with comparisons, of *both the Huntington and Whitworth sets, concluding that Blake’s designs are ‘the first and perhaps still the most important extended critical assessment’ of the ‘Nativity Ode’.

B1144.—*‘Bright Pilgrimage: William Blake’s Designs for L’Allegro and Il Penseroso.Milton Studies, VIII (1975), 123-47.

Blake’s designs should be read ‘in corresponding pairs’ (p. 128) as criticism of Milton.

C1144.—‘Liberating the Awakener: William Blake’s Illustrations to John Milton’s Poetry.’ DAI, XXXV (1975), 4415A. Wisconsin Ph.D., 1974.

A1169. Bentley, G. E. [Jr]. ‘A Jewel in an Ethiop’s Ear: The Book of Enoch as Inspiration for William Blake, John Flaxman, Thomas Moore, Richard Westall and Lord Byron.’ Aligarh Journal of English Studies, I (1976), 1-16.

The shorter version of the essay, delivered orally at the Santa Barbara Conference; an abstract was printed in Blake Newsletter (1976), no. 188 u.

A1208. §Bishai, N. Z. ‘The Light Thrown on the Poetry of Blake, Byron, and Tennyson by the Composers Who Have Set its Words to Music.’ London Ph.D., 1967.

A1214. §Blackwell, J. C. ‘William Blake and the English Empiricists.’ Bristol Ph.D., 1966.

1217. Blake Newsletter. . . .

Vol. I-II were reprinted (1974) in a reduced size with a Foreword by Morton D. Paley & Morris Eaves, and Vol. II was reprinted (1974) in the same size and with the same Foreword.

Vol. IX, No. 1 (Summer [July] 1975):

157. *Everett Frost. ‘A Checklist of Blake Slides.’ Pp. 3-28. (Contains an Introduction [pp. 4-5], and sections on Illuminated Books [pp. 7-11], Illustrations, Engravings, Paintings, Water Colors, and Drawings in Series [pp. 12-16], and Not in Series [pp. 17-19], with lists of Collections that Will Make Slides on Special Order Only [pp. 27-8].)

Vol. IX, No. 2 (Fall 1975):

  1. David V. Erdman. ‘Errors in the 1973 Edition of The Notebook of William Blake & in the First Printing of The Illuminated Blake.’ Pp. 39-40. (Corrigenda.)

  2. *Francis Wood Metcalf. ‘Tiriel: Two Corrected First Readings.’ Pp. 40-1. (In ll. 247, 385.)

  3. Geoffrey Keynes. ‘Blake in the Provinces.’ Pp. 41-2. (A puff for the Grave designs and an announcement of their exhibition in Birmingham in Arris’s Birmingham Gazette, 28 July 1806.)

  4. Warren U. Ober. ‘“Poor Robin” and Blake’s “The Blossom”.’ Pp. 42-3. (A phallic context derived from a street ballad of c. 1780.)

  5. G. P. Tyson. ‘An Early Allusion to Blake.’ P. 43. (In a letter of 1783 from Thomas Henry to Joseph Johnson.)

  6. Michael Ferber. ‘A Possible Source for “Thel’s Motto”.’ Pp. 43-4. (A distant one in Hebrews ix: 3-4.) For ‘Discussion’, see no. 186-7.

  7. Donald H. Reiman. ‘A Significant New Blakean Fragment.’ Pp. 44-5. (Gnomic verses playing on the names of Blake scholars.)

  8. L. Edwin Folsom. ‘Nobodaddy: Through the Bottomless Pitt, Darkly.’ Pp. 45-6. (‘Nobodaddy’ is ‘anagrammatized[e] from Abaddon’ in Job xxvi: 6 and Revelations ix: 11.)

  9. Eileen Sanzo. ‘Blake’s Beulah & Beulah Hill, Surrey.’ P. 46. (Blake may have known Beulah Hill—also spelled Bewley, Beaulieu, and Bulay.)

  10. Judith Wardle. ‘The Influence[e] of Wynne’s Emblems on Blake.’ Pp. 46-7. (Learned correction of Erdman’s Notebook edition.)

  11. James C. Evans. ‘Blake, Locke, & The Concept of “Generation”.’ Pp. 47-8/ (Locke’s Essay on Human Understanding as a possible source.)

  12. *Martin Butlin. ‘The Catalogue of Blake’s begin page 154 | back to top Designs Completed, & A Last-Minute Inclusion.’ Pp. 48-9. (The recently discovered drawing is *‘A Medieval Battle Scene’.)

Vol. IX, No. 3 (Winter 1975-76):
170. *Ruth Fine Lehrer, Curator. ‘A Checklist of Blake Material in The Lessing J. Rosenwald Collection, Alverthorpe Gallery, Jenkintown, Pennsylvania.’ Pp. 58-85 (the whole issue). (The text is divided into: ‘I. Blake’s [Literary] Works’ [pp. 60-1], ‘II. Book Illustrations’ [pp. 62-9], ‘III. Separate Plates’ [pp. 70-1], ‘IV. Drawings and Water Colors’ [pp. 72-7], ‘V. Color Printed Drawings and Paintings’ [p. 78], ‘VI. Copper Plates’ [p. 79], ‘VII. Drawings by Others for Engravings by Blake’ [p. 79], ‘VIII. Miscellaneous Related Works’ [pp. 80-2], and ‘IX. Restrikes’ [p. 82], plus an Index and 28 reproductions.)

Vol. IX, No. 4 (Spring 1976):

  1. *John W. Wright. ‘Blake’s Relief-Etching Method.’ Pp. 94-114. (An excellent analysis of the physical characteristics of the copper-plates of the Songs electrotypes and America pl. a, and of how they were made, with splendid photographs.)

  2. ‘Blake in French: An Interview [by Francoise Wagener] with Pierre Leyris.’ Tr. Simone Pignard. Pp. 115-6. (Questions such as ‘How relevant is Blake today’, reprinted from Le Monde, 12 July 1974.)

  3. *Rodney M. Baine & Mary R. Baine. ‘Blake’s Sketch for Hamlet.’ Pp. 117-9. (The relationship between Blake’s *sketch in the Birmingham Museum, his *watercolour in the Shakespeare folio, and the *engraving after Fuseli.)

  4. Detlef Dörrbecker. ‘Query: Gates of Paradise and Quarles’ Emblems.’ P. 120. (Did the Gates influence the plates in the 1839 Quarles?)

  5. John Adlard. ‘“Fields from Islington to Marybone”.’ P. 120. (Blake said they were ‘builded over’ with Jerusalem’s pillars perhaps because the Order of St. John of Jerusalem owned much of this area.)

  6. Raymond Lister. ‘Blake’s Appearance in a Textbook of Insanity.’ P. 120-1. (An irresponsible paragraph in L. Forbes Winslow, Mad Humanity its Forms Apparent and Obscure [London, 1898], pp. 371-2.)

  7. Morris Eaves. ‘Postscript: Blake’s Abnormal Psychology.’ Pp. 121-2. (A casual reference in Abnormal Psychology: Current Perspectives, ed. Curtis L. Barrett et al [1972], p. 249.)

  8. Janet Warner. ‘A Contemporary Reference to Blake.’ P. 122. (In Ackermann’s Repository for June and September 1810.)

  9. Frank M. Parisi. Review of ‘The Mental Traveller, a dance-drama based on the ballad by William Blake. Presented 19 August-7 September 1974, Crown Theatre, Hill Place, Edinburgh. Cast: Heidi Parisi and Neil Tennant. Lights: Sonia Mez. Score: Wanda Laukenner. Sound: Cameron Crosby. Choreographer: Heidi Parisi [& Neil Tennant]. Director: Heidi Parisi. Producer: The Oothoon Dance Theatre in Association with the Edinburgh University Theatre Company. Costumes: Megan Tennant.’ Pp. 128-32. (Mostly on the suitability of Blake’s works for ‘modern dance’, but includes a Scenario.)

Vol. X, No. 1 (Summer 1976):

  1. Mary Lynn Johnson. ‘Choosing Textbooks for Blake Courses: A Survey & Checklist.’ Pp. 9-26.

  2. David V. Erdman. ‘The Bravery of William Blake.’ Pp. 27-31. (Reprinted from his edition of The Selected Poetry of William Blake.)

  3. J. Walter Nelson. ‘Blake Anthologies.’ P. 32. (Blake appears in ‘ten poetry anthologies published in 1974-75.’)

  4. *James Bogan. ‘Vampire Bats & Blake’s Spectre.’ Pp. 32-3. (Blake’s use of ‘Spectre’ may be related to ‘the vampire or spectre of Guiana’ in Stedman’s Narrative [1796].)

  5. Martin Butlin. ‘“The Very William Blake of Living Landscape Painters”!’ Pp. 33-4. (Blake and Turner are compared in the Illustrated London News for 10 May 1845.)

  6. Raymond Lister. ‘Calvert’s “Lady & the Rooks” & Cornish Scenes.’ P. 34. (Calvert’s wood-engraving may be derived from the gatehouse of Lanhydrock House; not related to Blake.)

  7. 186-7.Michael Tolley and Michael Ferber. ‘“Thel’s Motto”: Likely & Unlikely Sources.’ Pp. 35-8. (Complaint by Tolley [pp. 35-6] about no. 163 and reply by Ferber [pp. 36-8].)

Vol. X, No. 2 (Fall 1976):

  1. Abstracts of the papers presented at the ‘Santa Barbara Conference’ 2-5 March 1976, viz:

    1. Robert[e] Essick. ‘Meditations on a Fiery Pegasus.’ P. 44. (Our ‘approach’ to Blake should be ‘as interdisciplinary as Blake’s own art.’)

    2. W. J. T. Mitchell. ‘Style as Epistemology: Blake and the International Style of Linear Abstraction.’ Pp. 44-5. (‘Blake’s style’ does not reflect ‘an otherworldy idealism’ but is ‘a process of visionary exploration.’)

    3. Robert R. Wark. ‘William Blake and his Circle at the Huntington Library and Art Gallery.’ P. 45. (Stresses Blake’s contemporaries and followers.)

    4. Roger Easson. ‘Blake and the Idea of the Gothic.’ P. 45. (‘Blake conceived of . . . the Gothic tradition’ very broadly.)

    5. Thomas Pelzel. ‘Mengs and his English Critics.’ P. 45. (Traces ‘shifts in British taste’, apparently without reference to Blake.)

    6. Hazard Adams. ‘Revisiting Reynold’s Discourses and Blake’s Annotations.’ P. 45. (What would Blake have thought of Discourses IX-XV?)

    7. Joseph Wittreich. ‘Painted Prophecies: the Tradition of Blake’s Illuminated Books.’ P. 45. (‘The Book of Revelation . . . is the prototype for Blake’s own prophecies.’)

    8. Kay Parkhurst Easson. ‘Blake and the Art of the Book.’ P. 45. (‘The conventions of printed format’ clarify ‘the structural methodology of the illuminated books.’)

    9. Yvonne Carothers. ‘Space and Time in Milton: “The Bard’s Song”.’ P. 45. (‘In begin page 155 | back to top “The Bard’s Song” . . . Blake . . . create[d] an art of pure forms.’)

    10. Anne K. Mellor. ‘Physiognomy, Phrenology and Blake’s Visionary Heads.’ P. 46. (The Visionary Heads ‘take on more meaning and moral significance’ in the context of physiognomy and phrenology.)

    11. E. J. Rose. ‘Blake and the Gothic.’ P. 46. (‘An assessment of Blake’s unification of Gothic and Michelangelesque ideas and attitudes towards art.’)

    12. Martin Butlin. ‘Cataloguing Blake: An Art Historian’s Approach.’ P. 46. (On ‘the importance of cataloguing’, especially for Blake.)

    13. Jenijoy LaBelle. ‘Blake’s Visions and Revisions of Michael Angelo.’ P. 46. (A study of 7 Blake drawings after Michael Angelo in the BMPR.)

    14. David Bindman. ‘Repetition and Transformation in Blake’s Art.’ P. 46.

    15. Leslie Tannenbaum. ‘Blake and the Iconography of Cain.’ P. 46. (Blake was ‘criticizing and subverting orthodox’ attitudes toward Cain and Abel.)

    16. Morton D. Paley. ‘The Truchsessian Gallery Revisited.’ P. 46. (An attempt to ‘reconstruct Blake’s experience’ there.)

    17. Seymour Howard. ‘Blake, the Antique, Nudity, and Nakedness.’ P. 46. (Blake’s art often shows ‘an apparent ambiguity or ambivalence toward primary nakedness.’)

    18. Jean Hagstrum. ‘Blake and Romney: The Gift of Grace.’ Pp. 46-7. (‘Romney was one of the most important’ artistic influences on Blake.)

    19. David Irwin. ‘Scottish Contemporaries and Heirs of William Blake.’ P. 47. (On Alexander Runciman and David Scott.)

    20. Morris Eaves. ‘Blake and the Artistic Machine.’ P. 47. (On Blake’s reaction to mass-produced art such as that of Rubens and Reynolds.)

    21. G. E. Bentley, Jr. ‘A Jewel in an Ethiope’s Ear.’ P. 47. (On the context of The Book of Enoch [1821] and its influence on Blake, Flaxman, Moore, Byron, and Westall; see No. A1169.)

  2. Judith Ott. ‘The Bird-Man of William Blake’s Jerusalem.’ Pp. 48-51. (Jerusalem pl. 78 design connected with Durer’s ‘Melancholia I’ and St. John.)

  3. Rodney M. Baine & Mary R. Baine. ‘Blake’s Inflammable Gass.’ Pp. 51-2. (Evidence to identify him as William Nicholson.)

  4. *Robert N. Essick. ‘Blake in the Marketplace, 1974-75.’ Pp. 53-9. (A detailed record of the sale of works by or associated with Blake.)

  5. Thomas Minnick. ‘A Checklist of Recent Blake Scholarship.’ Pp. 59-62.

Vol. X, No. 3 (Winter 1976-77 [Nov. 1976]):

  1. *Irene Tayler. ‘Blake’s Laocoon.’ Pp. 72-81. (A general analysis for discussion at the 1976 MLA Blake Seminar; this issue reproduces both copies of ‘Laocoon’.)

  2. Elaine Kauvar. ‘Los’s Messenger to Eden: Blake’s Wild Thyme.’ Pp. 82-4. (‘Blake could have found information about the Wild Thyme [as an emblem of sex, creation, and eternity] in two places [Paracelsus and R. J. Thornton], so his awareness of it seem undeniable’ [p. 82].)

  3. Philip B. Grant. ‘A Possible Source for a Blake Sketch and Drawing.’ Pp. 85-7. (Designs of a dog-headed man [BMPR] and a horse-headed woman [Fogg] may well derive from *Bryant’s New System.)

Vol. X, No. 4 (Spring [March] 1977):

  1. *Christopher Heppner. ‘Notes on Some Items in the Blake Collection at McGill with a Few Speculations Around William Roscoe.’ Pp. 100-8. (Discusses and reproduces some intriguing Blakeana.)

  2. Harry White. ‘Blake and the Mills of Induction.’ Pp. 109-12. (An impressive argument that ‘Blake appears to have adopted the very concerns and some of the same metaphors of empirical philosophy [particularly Hume] in his criticism of it’ [p. 109].)

  3. G. E. Bentley, Jr. ‘The Vicissitudes of Vision: The First Account of William Blake in Russian.’ Pp. 112-14. (The article is in Teleskop [1834].)

  4. Edward Terry Jones. ‘Another Look at the Structure of The Marriage of Heaven and Hell.’ Pp. 115-16. (‘The Bible itself . . . with something like the literary form of a scrapbook . . . is the ultimate progenitor of The Marriage.’)

  5. Mary Lynn Johnson-Grant. ‘Mapping Blake’s London.’ Pp. 117-22. (An account of ‘working on maps [of *Britain, *The Holy Land, and *London] for the Norton Critical Edition of Blake’ [p. 117].)

  6. *Martin Butlin. ‘The Rediscovery of an Artist: James Jefferys 1751-1784.’ Pp. 123-4. (Comments on the Blake context, stimulated by an exhibition at the Victoria & Albert Museum.)

  7. Raymond H. Deck, Jr. ‘Unnoticed Printings of Blake’s Poems, 1825-1851.’ P. 125. (In Swedenborgian publications, mostly U.S.)

  8. George Goyder. ‘An Unpublished Poem about Blake by William Bell Scott.’ P. 125. (Called ‘On seeing again after many years William Blake’s designs for “the Grave”,’ written in Goyder’s copy of the quarto Grave [1808].)

  9. *Myra Glazer Schotz. ‘On the Frontispiece of The Four Zoas.’ Pp. 126-7. (‘Viewers of the drawing have not recognized the figure as a dreamer and his ambiguous position as emblematic of the dream world.’)

  10. Martin K. Nurmi. ‘Review [of] Songs of William Blake and the Music of Blake’s Time: A concert at the University of California, Santa Barbara, 3 March 1976, for the Conference on Blake in the Art of His Time [and of] William Blake, An Island in the Moon: Audio Tape of a production for KPFK Pacifica, Pasadena, CA., Produced by Everett C. Forst, Music by Edward Cansino, 2 reels, 7½″ ips; also cassettes. Los Angeles, CA.: Pacifica (Los Angeles 90038).’ Pp. 128-9.

  11. *Mary Ellen Reisner. ‘Folcroft Facsimile of the Songs.’ P. 130. (One letter is altered or defective.)

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  13. Tom Dargan. ‘Blake and Hayley in Wittreich’s Angel of Apocalypse.’ Pp. 130-5. (Pace the review by Purvis E. Boyette in Blake Newsletter, ‘A close reading of Angel of Apocalypse reveals double disaster: the evidence is not evidence, and the arguments won’t stand to a position.’)

Vol. XI, No. 1 (Summer [June] 1977):

N.B. With this issue, the style changed to Blake: An Illustrated Quarterly, ed. Morris Eaves & Morton D. Paley.

  1. *Raymond H. Deck, Jr. ‘An American Original: Mrs. Colman’s Illustrated Printings of Blake’s Poems, 1843-44.’ Pp. 4-18. (A learned and thorough essay on *10 Blake poems in Boys’ and Girls’ Magazine [1843], Little Keepsake for 1844, Boys’ and Girls’ Library [1844], and Child’s Gem for 1845.)

  2. Grant C. Roti & Donald L. Kent. ‘The Last Stanza of Blake’s [“]London[”].’ Pp. 19-21. (Pace Bloom, ‘The “Harlot’s curse” must refer primarily to venereal disease’, particularly gonococcal conjunctivitis which may blind the baby.)

  3. David V. Erdman. ‘Preface to the Revised Edition of Blake’s Notebook.’ Pp. 21-3. (Chiefly about ‘readings’ of designs.)

  4. *Richard J. Schroyer. ‘The 1788 Publication Date of Lavater’s Aphorisms on Man.’ Pp. 23-6. (A review indicates that the book was published by mid-1788, not in 1789 as in Erdman.)

  5. Robert F. Gleckner. ‘Blake’s Miltonizing of Chatterton.’ Pp. 27-9. (In the Marriage, ‘the apparent allusion to Chatterton is effectively swallowed up by the thoroughly Miltonic framework.’)

  6. *Ruthven Todd. ‘A Tentative Note on the Economics of The Canterbury Pilgrims.’ Pp. 30-1. (The cost of copper, paper, and printing 25 copies was probably about £4.4.0.)

  7. Vivian Mercier. ‘Blake Echoes in Victorian Dublin.’ Pp. 32-4. (In a series called ‘Poems Written in Discipleship’ in Kottabos [1869-77], John Todhunter published *‘Paradise Lost’ and *‘Paradise Found’ in ‘The School of William Blake’, and William Gerald Tyrrell translated ‘The Fly’ into Catullan hendecasyllabics as *‘Carpe Diem’.)

  8. David Worrall. ‘Blake’s Derbyshire: A Visionary Locale in Jerusalem.’ Pp. 34-5. (The stone pillar and ‘Figure of a Human Corpse, formed . . . by the Dropping of the Water’ in the cave called *‘The Devil’s Arse’ in Derbyshire may be the basis of the ‘petrified’ Albion and the ‘Sixteen pillars’ which the Divine Lord built by his couch [Jerusalem pl. 48] in ‘caverns of Derbyshire & Wales And Scotland’ [pl. 23].)

  9. *Thomas R. Dilworth. ‘Blake’s Babe in the Woods.’ Pp. 35-7. (‘The Little Girl Lost [and Found]’ appear to be influenced in ‘plot and illustration, by the English ballad called “Babes in the Wood” or “Children in the Wood”.’)

  10. David V. Erdman. ‘Errors in the Signet Classic Edition of The Selected Poetry of Blake.’ P. 37. (Corrigenda.)

  11. Dennis Read. ‘George Frederick Cooke: Another Grave Subscriber Heard From.’ Pp. 37-8. (A Blake reference in William Dunlap, Memoirs of George Frederick Cooke [1813].)

  12. C. M. Henning. ‘Blake’s Baptismal Font.’ P. 38. (Description and reproduction of it.)

  13. M. ‘Holy Thursday.’ Pp. 38-40. (An account of ‘the wonderful and striking’ singing of the charity children in St Paul’s, *reproduced from The Monthly Magazine, XXIII [1 July 1807], 554-6.)

  14. Detlef W. Dörrbecker. ‘Blake Goes German: A Critical Review of Exhibitions in Hamburg and Frankfurt 1975.’ Pp. 44-9. (Includes an Appendix of 108 German reviews and comments on the exhibitions.)

  15. G. E. Bentley, Jr. ‘Blake Among the Slavs: A Checklist.’ Pp. 50-4. (Based on the holdings of the Saltykov-Shchedrin State Public Library in Leningrad.)

  16. Rochelle C. Gross & C. M. Henning. ‘Dissertations on Blake: 1963-1975.’ Pp. 54-9. (Compiled chiefly from DA and DAI.)

1218. Blake Studies. Ed. Kay Long [later Easson] & Roger R. Easson.

Vol. IV, No. 2 (‘Spring 1972’ [i.e. Jan. 1973]):

59. Joseph Anthony Wittreich, Jr. ‘“Sublime Allegory”: Blake’s Epic Manifesto and the Milton Tradition.’ Pp. 15-44. (On the connection of epic theory and prophecy. The ‘positions’ in the essay were ‘developed’ in his Angel of Apocalypse [1975].) . . .

Vol. VI, No. 2 [1976]:

  1. Brian Wilkie. ‘Blake’s Innocence and Experience: An Approach.’ Pp. 119-37. (An intelligent ‘approach to the Songs through their personae’ [p. 120].)

  2. *Ruthven Todd. ‘The Identity of “Hereford” in Jerusalem with Observations on Welsh Matters.’ Pp. 139-51. (A rambling defence of the case for Thomas Johnes.)

  3. *Leslie F. Chard, II. ‘Two “New” Blake Engravings: Blake, James Earle, and the Surgeon’s Art.’ Pp. 153-65. (*Plates in Earle’s Practical Observations on the Operation for The Stone [1793, 1796, 1803].)

  4. F. B. Curtis. ‘Blake and the Booksellers.’ Pp. 167-78. (A superficial and unconvincing survey of Blake’s contacts with ‘London booksellers of . . . 1780-1827, and also with some of the works they published’, particularly on Newton, scripture, and medicine [p. 167].)

  5. Thomas B. Connolly. ‘The Real “Holy Thursday” of William Blake.’ Pp. 179-87. (Correcting Erdman et al on the date and context of the festival.)

    An impressive reproduction of Blake’s ‘Epitome of James Hervey’s “Meditations Among the Tombs”’ is included as an ‘Insert’.

Vol. VII, No. 1 [Dec. 1974]:

  1. Edward J. Rose. ‘Preface: Perspectives on Jerusalem.’ Pp. 7-9. (The subject of the 1974 MLA Blake seminar.)

  2. E. B. Murray. ‘Jerusalem Reversed.’ Pp. 11-25. (Concerned with ‘The image of reversed movement . . . as a self-referential key to the meaning of Jerusalem’ [p. 12].)

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  4. Mollyanne Marks. ‘Self-Sacrifice: Theme and Image in Jerusalem.’ Pp. 27-50.

  5. *Irene H. Chayes. ‘The Marginal Design on Jerusalem 12.’ Pp. 51-76. (Based on the premise that in ‘the righthand margins [of Jerusalem] . . . everything . . . pertains . . . to error’ [p. 52].)

Vol. VII, No. 2 [1975]:

  1. *Martin Butlin. ‘A New Portrait of William Blake.’ Pp. 101-3. (The portrait in the Essick collection is probably a Spiritual Form of Blake by Linnell.)

  2. David M. Wyatt. ‘The Woman Jerusalem: Pictura versus Poesis.’ Pp. 105-24. (A sophisticated evaluation of the ‘human emotion’ of the relationship of Jerusalem, Albion, Vala, and the Lamb ‘as much as the myth it makes’ [p. 106].)

  3. B. H. Fairchild, Jr. ‘Melos and Meaning in Blake’s Lyric Art.’ Pp. 125-41. (‘Blake’s lyric mode is a triple art . . . music, poetry, and painting’ [p. 127].)

  4. Hazard Adams. ‘Blake, Jerusalem, and Symbolic Form.’ Pp. 143-66. (On the nature of Blake’s symbolism, especially as it affects the structure of Jerusalem; a ‘shortened version’ of the essay appeared in New Literary History [1973], No. C771.)

  5. J. Walter Nelson. ‘Blake’s Diction—An Amendatory[e] Note.’ Pp. 167-75. (An industrious[e] but philologically naive report of 67 words which, according to the OED, Blake used at a surprisingly early or late date.)

  6. Désirée Hirst. ‘Once More Continuing “The Tyger”.’ Pp. 177-9. (On the basis of a Blake ‘source’ in Robert Fludd, ‘The answer to Blake’s question . . . is, on balance, “Yes”’. [P. 179])

A1221. §Blaydes, Sophia B. ‘Blake and Smart as Poets of Vision.’ West Virginia University Philological Papers, XXI (1974), 23-35.

A1225. Bloom, Harold. ‘Blake and Revisionism’ Chapter 2 (pp. 28-51) of his Poetry and Repression: Revisionism from Blake to Stevens. New Haven & London, 1976.

‘How are we to read’ ‘London’ and ‘The Tyger’ (pp. 34-51) as ‘revisionist text[s]’ from Job and Paradise Lost?

1232. E. Visionary Company . . . . E. Pp. 98-111 are reprinted in M. H. Abrams, No. AA770.

A1233. Bloxham, Laura Jeanne. ‘William Blake and Visionary Poetry in the Twentieth Century.’ DAI, XXXVI (1976), 5275A. Washington State Ph.D., 1975.

A study of Blake’s influence on Theodore Roethke, Gary Snyder, and Allen Ginsberg.

B1233. Blue, Denise E. ‘Visionary Literature and Finnegans Wake.DAI, XXXV (1974), 3724A. California (Irvine) Ph.D., 1974.

‘I discuss how Joyce treats Giambattista Vico and William Blake as visionary predecessors . . . .’

A1258. Borck, Jim S[pringer]. ‘Blake’s “The Lamb”: The Punctuation of Innocence.’ Tennessee Studies in Literature, XIX (1974), 163-75.

How should the poem be punctuated?

B1258. ‘William Blake: A Prophetic Tradition.’ DAI, XXXI (1971), 1750-1A. California (Riverside) Ph.D., 1969.

‘This dissertation . . . places the form Blake uses in an appropriate historical context . . . primarily concerned with the language that prophets use’.

1261. Bottrall, Margaret, ed. Songs of Innocence and Experience: A Casebook. . . . B. Nashville & London, 1970.

A1285. *B[ronowski], J. ‘Blake, William.’ Encyclopedia Britannica, Macropaedia, II (1974), 1100-4.

Blake also appears in the Micropaedia, II, 71.

1305. Bryan, Michael. A Biographical Dictionary of Painters and Engravers . . . . B. §1865.

A1342. §Carlson, Craig B. ‘Yeat’s [sic] Use of Blake.’ Exeter Ph.D., 1972.

B1342. Carner, Frank K[enneth]. ‘Four Contexts for the Study of the Relationship of Text and Design in the Illuminated Books of William Blake.’ Toronto Ph.D., 1976.

A1348. §Carter, Peter. The Gates of Paradise. Oxford, 1974.

A novel about Blake for children.

A1387. §Chokai, Hisayoshi. ‘Hyogensei to Chushosei to—Blake Oboegaki [Expressiveness and Abstractness—Blake Note].’ Oberon, XIV (1973), 93-101. In Japanese.

A1390. Clark, Kenneth. . . . The Romantic Rebellion. . . . B. N.Y., Evanston, San Francisco, London, 1973.

1402. A. Clutton-Brock. Blake. London, 1933.

Great Lives Series. B. N.Y., 1933. C. §N.Y., 1970.

B1416. Coomar, Devinder Mohan. ‘Silence, Language and the Poetry of Criticism in Romantic Expression: Blake, Keats, Foscolo, and Tagore.’ DAI, XXXVII (1976), 3601-2A. California (Riverside) Ph.D., 1976.

‘Romantic poetry intrinsically exemplifies . . . the poetics of silence’, as seen in Blake’s Milton, Keats’s ‘Grecian Urn’, Foscolo’s I Sepolcri, and Tagore’s Gitanjali.

A1419. Cowling, William Hammill. ‘Blake and the Redeemer-Poet.’ DAI, XXXI (1969), 382-3A. Indiana Ph.D., 1969.

A1439. §Curtis, F. B. ‘The Vision and the Work of William Blake.’ Lancaster M. Litt., 1971.

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5 ‘Tythe in Kind,’ frontispiece for The Wit’s Magazine of February 1784.   The accompanying tales were as broad as the designs. The only significantly Blakean elements in this design seem to be the woman’s face and the enthusiastic anti-clericalism.
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A1441. Daeley, Carol Ann. ‘Image of Infinite: William Blake’s Language of Poetry.’ DAI, XXXVI (1975), 2215A. California (Riverside) Ph.D., 1975.

1445. *Damon, S. Foster. A Blake Dictionary. . . . D. London, 1973.

1462. *Daugherty, James. William Blake. . . . B. 1969.

A1465. Davies, J. G. ‘The Theology of William Blake.’ Oxford B.D., 1946.

Printed (Oxford, 1948; Hamden, Connecticut, 1965).

A1468. Davis, John Lindsay. ‘Blake and the Rhetoric of Humor.’ DAI, XXXV (1974), 2936A. Texas Ph.D., 1974.

Blake’s ‘use of . . . [the] rhetoric [of humour] is surprisingly frequent’; it is didactic, satiric,[e] and ironic.

AA1469. Davis, Michael. ‘William Blake.’ TLS, 3 June 1977, p. 681.

Brief correction of a review of his book by Morchard Bishop on 20 May.

AB1469. A.—* William Blake: A new kind of man. London, 1977.[e] B. London, 1977.

A concise popular biography with 69 plates.

B1478. Derderian, Nancy Cebula. ‘Against the Patriarchal[e] Pomp: A Study of the Feminine Principle in the Poetry of William Blake.’ DAI, XXXV (1975), 4425A. State University of New York (Buffalo) Ph.D., 1974.

‘I explore through close textual analysis, the sexual argument for Blake’s rebellion against a “classical” attitude’.

C1478. D[erolez], R. ‘Words and Pictures: Hogarth and Blake.’ English Studies, LVI (1975), 478-9.

A paragraph of casual comment on some Blake and Hogarth books.

AA1492. Dillon, Ralph G. ‘Source for Blake’s “The Sick Rose”?’ American Notes & Queries, XII (1974), 157-8.

A very faint parallel in Jeremiah iv. 30.

AB1492. §Dimond, S. G. ‘William Blake and Methodism.’ Methodist Magazine, (Aug. 1927), 459-65.

AC1492. Di Salvo, Jackie. ‘Blake Encountering Milton: Politics and the Family in Paradise Lost and The Four Zoas.’ Pp. 143-84 in Milton and the Line of Vision. Ed. Joseph Anthony Wittreich, Jr. Madison & London, 1975.

‘Blake reads in Milton’s Puritan myth the workings of the repressive family.’ (P. 167)

A1508. §Dorfman, Deborah. ‘The Development of William Blake’s Reputation as a Poet in the Nineteenth Century.’ Yale Ph.D., 1964.

Presumably the basis of her book.

B1509. *Doubinsky, C., & R. Lussan. ‘Blake (William) 1757-1827.’ Vol. III, pp. 343-6 of Encyclopedia Universalis. Paris, 1968.

A1517. Drescher, Timothy Wallace. ‘Art and Alienation in Blake’s The Marriage of Heaven and Hell.DAI, XXXII (1971), 386A. Wisconsin Ph.D., 1971.

About Blake’s ‘manipulation of dialectical progression in text and design to effectively eliminate alienation between the reader and the objective work’; ‘the reader must participate in the Marriage’.

A1522. §Dunbar, Pamela M. ‘A Study of Blake’s Illustrations to the Poetry of Milton.’ Cambridge Ph.D., 1973.

A1523. Dunlap, Ann Bush. ‘Blake’s “The Mental Traveller” and the Critics.’ DAI, XXXIV (1974), 6586-7A. New Mexico Ph.D., 1973.

Tries to understand the poem ‘through a systematic study of the poem’s [27] critics’.


A reference to Cooke’s subscription to Blair’s Grave, kindly pointed out to me by Dr Dennis Read

C1523. *Duperray, Max. ‘A la source de la ville fantastique: ‘London’ de William Blake.’ études Anglaises, XXVIII (1975), 385-97.

Critical comparison with Eliot and others.

1534. Easson, Roger Ralph. ‘The Rhetoric and Style of Apocalypse in William Blake’s Jerusalem.DAI, XXXI (1971), 2873A. Tulsa Ph.D., 1970.

‘Blake’s rationale in Jerusalem involves a concerted and sophisticated attempt to confuse and yet tantalize the reader . . . .’

B1556. §Epstein, E. L. ‘The Self-Reflexive Artefact: The Function of Mimesis in an Approach to a Theory of Value for Literature.’ Pp. 40-78 in Style and Structure in Linguistics: Essays in the New Stylistics. Ed. Roger Fowler. Oxford, 1975.

‘The Tyger’ is analysed on pp. 60-78.

1562. Erdman, David V. ‘Blake; the Historical Approach.’ . . . D. Reprinted (revised) in M. H. Abrams, No. AA770.

1583. Essick, Robert Newman. ‘The Art of William Blake’s Early Illuminated Books.’ California (San Diego) Ph.D., 1969. See DAI, XXX (1969), 2020-1A.

A useful study of the illuminations through the Visions (1793).

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AA1586. §Evans, James Carl. ‘Epistemology, Aesthetics, and “Divine Analogy”: A Study of the Poetics of William Blake.’ Queen’s (Kingston, Ontario) Ph.D., 1974.

A1588. Fairchild, Bertram Harry, Jr. ‘ “Such Holy Song”: Music as Idea, Form, and Image in the Poetry of William Blake.’ DAI, XXXVI (1975), 900A. Tulsa Ph.D., 1975.

BA1593. *Fawcus, Arnold. ‘Blake’s Job.’ Illustrated London News, CCLXIV (Dec. 1976), 63, 65-7.

About the exhibition at the Victoria & Albert and the ‘astonishingly accurate’, ‘almost perfect’ three volume facsimile of Job to be published by [his] Trianon Press ‘next year’.

BB1593.—* ‘Blake’s Last Testament.’ Observer Magazine, 7 Nov. 1976, pp. 36-7, 39.

Includes reproductions of the coloured Job engravings.

1594.—* ‘William Blake, republican and anti-imperialist.’ Connoisseur, CLXXII (1969), 78-80. B. §Translated as ‘William Blake, républicain et antiimpérialiste’. Nouvelle de l’Estampe, IX (1973), 11-13.

A ‘necessarily simplified piece’ about America and Europe, condensed from Keynes and Erdman.

A1595. *Feaver, William. ‘William Feaver discusses Blake’s illustrations to Gray’s verse.’ Listener, LXXXVII, No. 2232 (6 Jan. 1972), 27-8.

Large, rather vapid, watered-down designs’.

A1604. §Ferber, Michael. ‘Religion and Politics in William Blake.’ Harvard Ph.D., 1976.

1607. Fisch, Harold. Jerusalem and Albion. . . . B. N.Y., 1964.

1612. Fiske, Irving. Bernard Shaw’s Debt to William Blake. . . . C. §The booklet was reprinted in Folcroft, Pennsylvania, 1974. Folcroft Library Editions.

A1612. Fite, Monte D. ‘Yeats as an Editor of Blake: Interpretation and Emendation in The Works of William Blake, Poetic, Symbolic and Critical.DAI, XXXI (1971), 355A. North Carolina Ph.D., 1968.

‘The purpose of this study is to relate Yeats’s editorial emendations to his critical and interpretive commentary and to conclude how he beheld Blake’s subject matter, symbology, and poetics.’

B1616. §Fleissner, Robert F. ‘William Blake, “The Little Black Boy”.’ Notes on Teaching English, III, i (1975), 8-9.

A1623. Folkenflik, Robert. ‘Macpherson, Chatterton, Blake and the Great Age of Literary Forgery.’ Centennial Review, XVIII (1974), 378-91.

Mostly background; Blake is on pp. 388-91.

AA1631. Fox, Susan Christine. ‘Hammer and Loom: The Design of Blake’s Milton.DAI, XXXI (1971), 6547A. Yale Ph.D., 1970.

‘The two books of the Milton are exhaustively parallel’. The dissertation was printed as a book.

AB1631.—* Poetic Form in Blake’s Milton. Princeton, 1976.

A close reading asserting that ‘the poem’s basic framework’ is an organization of ‘Accruing definitions, simultaneity, multiple perspectives’ by an ‘elaborate system of parallels’ (p. 24). The book originated as a dissertation, and ‘An early version of the argument’ appeared in Blake Studies ([1970]), No. 20.

B1631. §Freedman, Marsha Brody. ‘Blake’s Kinetic Imagery: A Symbology of Perceptual Process.’ California (Berkeley) Ph.D., 1975.

A1638. Frost, Everett Calvin. ‘The Prophet Armed: William Blake’s Marriage of Heaven and Hell.DAI, XXXII (1971), 2685A. Iowa Ph.D., 1971.

The Marriage ‘is a carefully organized narrative of the training of a prophet’.

1643. Frye, Northrop, ed. Blake: A Collection of Critical Essays. . . . B. [?1966] A Spectrum Book.

1645. Frye, Northrop. ‘Blake’s Treatment of the Archetype.’ . . . Reprinted in Abrams, No. AA770.

AA1658. Gabbett-Mulhallen, K. A. ‘Blake’s Night Thoughts Designs: Context, Christology and Composite Work.’ 3 vols. Toronto Ph.D., 1975.

See also Karen G. Mulhallen.

B1658. Galbraith, Thomas William. ‘A “Fresher Morning”: Blake Labors to Awaken Man.’ DAI, XXXVII (1976), 984A. Washington Ph.D., 1975.

Approaches Blake’s poetry ‘as a record of growth and discovery’.

1669. Garnett, Richard. William Blake, Painter and Poet. . . . B. N.Y., 1971.

A1677. Gershgoren, Sid Carl. ‘Millennarian and Apocalyptic Literature from Thomas Burnet to William Blake.’ DAI, XXXI (1971), 2385A. California (Davis) Ph.D., 1969.

The thesis is ‘primarily concerned with eighteenth century apocalyptic poetry’, but Blake is not mentioned in the abstract.

B1688. §Gillham, D. G. ‘William Blake’s Account of the Imagination: A Critical and Historical Study of the Songs of Innocence and Experience [sic].’ Bristol Ph.D., 1964.

Presumably this is the work printed as Blake’s Contrary States: The ‘Songs of Innocence and of Experience’ as Dramatic Poems (Cambridge, 1966).

A1701. Gleckner, Robert F. ‘Most Holy Forms of Thought: Some Observations on Blake and Language.’ ELH, XLI (1974), 555-77.

‘I am more and more convinced that Blake . . . quite deliberately and consistently[e] struggled toward a transcendent or translucent syntax’ (p. 563).

1702. Gleckner, Robert F. The Piper & The Bard. . . . B. 1960.

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A1705. §Glen, Heather J. ‘Blake’s Songs of Innocence and of Experience and Wordsworth’s Lyrical Ballads: A Comparative Study in Relation to the Thought of their Time.’ Cambridge Ph.D., 1974.

1706. Goddard, Harold C. Blake’s Fourfold Vision. . . . B. 1965.

A1724. *Grant, John E. ‘The Female Awakening at the End of Blake’s Milton: A Picture Story, with Questions.’ Pp. 78-101 of Milton Reconsidered: Essays in Honor of Arthur E. Barker. Ed. John Karl Franson. Salzburg, 1976. Salzburg Studies in English Literature: Elizabethan & Renaissance Studies 49.

What should be seen to happen’ on Milton pl. 42, 48-50; ‘I believe Blake deliberately does not show . . . everything the viewer needs to grasp the significance of what is represented’ (pp. 78, 84).

B1728.—‘Studies in the Organization of Major Romantic Epics.’ Harvard Ph.D., 1960.

Chiefly on Wordsworth, Keats, and Blake’s Prophecies.

A1730. Grant, Philip. Bernard. ‘Blake’s The Everlasting Gospel: An Edition and Study.’ DAI, XXXVII (1977), 4366-7A. Pennsylvania Ph.D., 1976.

Includes ‘a reading of the poem as visionary casuistry’.

A1731. Graves, Robert. ‘Tyger, Tyger.’ Chapter 17 (pp. 133-40) of his The Crane Bag and other disputed subjects. London, 1969.

The poem ‘makes poor prose sense’ (p. 135), but is a powerful poem.

B1740. Green, Richard G. ‘Blake and Dante on Paradise.’ comparative literature, XXVI (1974), 51-61.

A responsible, brief ‘attempt’ ‘to compare their conceptions of Eternity and Paradise’ (p. 51).

A1745. Gretton, Francis. ‘Images of Color in the Poetry of William Blake.’ DAI, XXXV (1974), 3740A. Columbia Ph.D., 1974.

‘Blake revitalizes and synthesizes traditional color meanings’.

1748. Grierson, H. J. C. Lyrical Poetry from Blake to Hardy. . . . B. Second Impression. London & Toronto, 1950.

1752. Grigson, Geoffrey. ‘English Painting from Blake to Byron. . . . ’ Blake to Byron. . . . B. §1961. C. §Revised. 1962. D. §1963. E. 1965.

1770. *Hagstrum, Jean H. William Blake Poet and Painter. . . . C. 1969.

1780. Hamblen, Emily S. On the Minor Prophecies of William Blake. . . . B. N.Y., 1968.

AA1802. *Harvey, J. R. ‘Blake’s Art.’ Cambridge Quarterly, VII (1977), 129-50.

‘A critical note’, enquiring ‘How important an artist is William Blake?’ (pp. 145, 129).

B1826. Helms, [Loyce] Randel. ‘Ezekiel and Blake’s Jerusalem.Studies in Romanticism, XIII (1974), 127-40.

A1827. §Helms, Randel. ‘Proverbs of Heaven and Proverbs of Hell.’ Paunch, XXXVIII (1974), 51-8.

A1837. Herrstrom, David Sten. ‘Mythopoeia and Blake’s Major Prophecies.’ DAI, XXXVI (1975), 3652A. New York University Ph.D., 1975.

‘Blake is not a mythmaker but a poet who exploits mythic modes of perception . . . .’

A1845. §Hill, Gillian McMahon. ‘Blake as Interpreter: His Illustrations to Young, Gray and Blair, with a Descrptive Catalogue of, and Subject Index to, the Drawings for Young’s Night Thoughts.’ Exeter Ph.D., 1972.

A1846. §Hill, Melvyn Alan. ‘Politics and Art in the Poetry of William Blake.’ Chicago Ph.D., 1969.

AA1849. Hinkel, Howard H. ‘From Pivotal Idea to Poetic Ideal: Blake’s Theory of Contraries and “The Little Black Boy”.’ Papers in Language & Literature, XI (1975), 39-45.

‘The poem . . . is structured upon a series of contraries which the mother and child recognize as only opposites’ (p. 40).

1853. Hirsch, E. D., Jr. Innocence and Experience: . . . B. Chicago & London, 1975.

A1864. Hoeveler, Diane Long. ‘The Erotic Apocalypse: The Androgynous Ideal in Blake and Shelley.’ DAI, XXXVII (1977), 6498A. Illinois Ph.D., 1976.

Both ‘employed the symbol of the androgyne to depict an asexual state of consciousness’.

A1869. §*Hofmann, W. ‘Era gia un anarchico.’ Bolaffiarte, VI, no. 50 (1975), 21-5.

Extracts from an essay by Hofmann asserting that Blake was an anarchist.

1875. Holloway, John. Blake: The Lyric Poetry. . . . B. 1975.

A1881. Hoover, Suzanne Robinson. ‘William Blake in the Wilderness: The Early History of His Reputation.’ DAI, XXXI (1971), 1231A. Columbia Ph.D., 1967.

Traces his reputation down to the 1860s; the thesis was substantially printed in No. A2350 16.

A1895. Howard, John. Blake’s Milton: A Study in the Selfhood. Rutherford, Madison, Teaneck [New Jersey], London, 1976.

‘It is with Blake’s view of the process [of psychic fall and redemption] that we are concerned here’ (p. 13).

A1898. Hower, Harold E. ‘The Aesthetics of Composite Art in William Blake’s Jerusalem.DAI, XXXV (1974), 3683-4A. Kent State Ph.D., 1974.

A1946. §James, Carol. ‘Eldridge Builds Art At Golgonooza: Blakeian Spirit Motivates.’ Sunday Messenger [Athens, Ohio], 25 Nov. 1973, p. C-1. B. Reprinted in Golgonooza [24 Nov. 1976], pp. 5-7.

1958. *Jenkins, Herbert G. William Blake: Studies of his Life and Personality. . . . B. §Norwood, Pennsylvania, 1976.

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B1960. Jofre, Manuel. ‘Lecture de “The Tiger” de William Blake.’ Boletin del Instituto del Filología de la Univ. de Chile, XXIII-XXIV (1972-73), 245-59.

A1984. Kaplan, Nancy A. ‘William Blake’s The Four Zoas: The Rhetoric of Vision.’ DAI, XXXVI (1975), 2846-7A. Cornell Ph.D., 1975.

Especially on the relationship of text and design.

A1986. Karvonen, Paul Edwin. ‘Part I: Concert . Overture for Orchestra. Part II: The Little Black Boy for Soprano Solo, String Quartet, and Clarinet, to the Poems of William Blake.’ DA, XXII (1961), 595A. Iowa Ph.D., 1960.

A1990. Kauvar, Elaine Mozer. ‘Blake’s Botanical Imagery.’ DAI, XXXII (1971), 3255-6A. Northwestern Ph.D., 1971.

‘The present study traces the effect of Blake’s context on his organic imagery’.

A1991. Keating, Ruth Aikman. ‘A Fourth Dimension in Word and Picture: William Blake’s Theory of

6 ‘The Discomfited Duellists,’ frontispiece for The Wit’s Magazine for March 1784.   These are foldout plates which, when bound, will not lie quite flat, creating the curves seen here especially at the bottom.
Imagination.’ DAI, XXXVI (1976), 6115A. Texas Woman’s University Ph.D., 1974.

‘The works considered are all the lyrics of Songs of Innocence and several lyrics of Songs of Experience.

A1993. §Kegel-Brinkgreve, E. ‘Auguries of Innocence.Dutch Quarterly Review of Anglo-American Letters, IV (1974), 111-19.

A1998. Kenmare, Dallas. ‘The Prophet of England.’ Poetry Review, XXXI (1940), 397-404.

‘Among the manifestly prophetic poets, Blake is pre-eminently the poet for this moment in England’s history.’ (P. 397)

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A2002. Kerr, S. P., Roger Fry, Douglas Jerrold, Greville MacDonald, Archibald G. B. Russell, R. ‘Blake and British Art.’ Nation, XIV (8, 22, 29 Nov., 6, 13, 20, 27 Dec. 1913, 3, 10 Jan., 7 Feb. 1914), 256 (Kerr), 359 (Fry), 359 (Kerr), 434 (Jerrold), 496-97 (MacDonald), 537 (Russell), 574 (R.), 612 (MacDonald), 642 (Russell), 791-2 (Fry).

A correspondence, set off by Anon.’s review of the 1913 Blake exhibition (‘The Artist of the Soul’) and capped by an article by Fry (pp. 791-2). For Kerr, Fry, Jerrold, and R., it is a debate on ‘What is Art?’ (p. 791), with Blake as a touchstone. Fry says (p. 359) that ‘We are almost forced to choose between Blake and the rest of British Art. . . . I vote for Blake’. Kerr asserts (p. 256) that Blake’s pictures are ‘not art at all. . . . They are hideous . . . above all, not sane’.

Meanwhile, under the same title, MacDonald and Russell wage a separate vendetta about the quality of Russell’s catalogue of the 1913 exhibition.

A2046. §*Keynes, Geoffrey. William Blake’s Laocoon: A last Testament. London, 1977.

There are 60 plates.

C2063. §Knights, Lionel C. Explorations 3. London, 1976.

A chapter is about Blake.

A2082. *Kumashiro, Soho. Blake no tadashiku yomu [Correct Reading of Blake]. Tokyo, 1972. 174 pp. in Japanese.

A2095. Lande, Lawrence, ‘William Blake and the Prophetic Tradition.’ [Chapter 1] (pp. 7-31) of his Toward the Complete Man: A Discourse, Together with an Appreciation. Montreal, 1974. B. Revised and reprinted as Part II (pp. 91-106) of his Adventures in Collecting: Books and Blake and Buber. Montreal, 1976.

‘Blake comes to us like the balm of Gilead’ (A, p. 26).

B2095. §Landro, Laura. ‘Glimpsing Golgonooza: Blake’s bards.’ Post, 9 May 1975. B. Reprinted in Golgonooza [24 Nov. 1976], pp. 9-11.

About Alexandra and Aethelred Eldridge.

AA2106. Leavis, F. R. ‘Dickens and Blake: Little Dorrit.’ Chapter V (pp. 213-76) of F. R. Leavis & Q. D. Leavis, Dickens the Novelist. London, 1970.

‘There is the closest essential affinity between Dickens and the author of “London” ’; ‘I know of no better way of developing an account of Blake’s thought than by turning . . . to Little Dorrit’ (pp. 227, 229). Blake is on pp. 227-9, 273-6.

A2107. Lechay, Daniel T. ‘The Escape from the Lonely Dell: Studies in Spenser, Shakespeare, Wordsworth and Blake.’ DAI, XXXVI (1975), 2220A. Iowa Ph.D., 1975.

Applies ‘three interrelated dicta of William Blake’ to Shakespeare’s Coriolanus, Spenser’s ‘Muiopotmos’, Wordsworth’s ‘Matthew’ poems, and Blake’s ‘Little Girl Lost’ and ‘Found’.

A2114. Lemaitre, Henri. ‘état présent des études blakiennes.’ Etudes Anglaises, XXVIII (1975), 439-43.

A survey of books published in 1968-1975.

A2116. Lento, Thomas Vincent. ‘The Epic Consciousness in Four Romantic and Modern Epics by Blake, Byron, Eliot and Hart Crane.’ DAI, XXXV (1975), 7911A. Iowa Ph.D., 1974.

Blake’s Vala and Byron’s Don Juan indicate ‘that both the conception of the epic hero and the vision of a desirable society changed in the Romantic age.’

B2133. *Lipking, Lawrence. ‘Blake’s Initiation: The Marriage of Heaven and Hell.’ Pp. 217-43 of Woman in the 18th Century and Other Essays. Ed. Paul Fritz & Richard Morton. Toronto & Sarasota [Florida], 1976.

The Marriage . . . belongs . . . to a distinct literary kind’, which Lipking calls ‘The Initiation’ and it represents ‘the education of a prophet’ (pp. 220-1, 228).

A2135. *Lister, Raymond. Infernal Methods: A Study of William Blake’s Art Techniques. London, 1975.

Brief, conventional text (pp. 1-84) on engraving, painting, colour-prints, and the Illuminated Books; there are 70 plates.

B2135.—Samuel Palmer: A Biography. London, 1974. Pp. 41-54 and passim.

The Blake section is largely résumé.

A2139. §Loehrich, Rolf. ‘Menage a Trois / Blake at a seminar, with the menage present, among others.’ In his Exercitium Cogitandi Vol. VI: The Personal Equation—Dancing with Death: A Diagnostic Impertinence. London [?1976].

It ‘expresses my hostilities directed against Kant, Luther, Blake, Jaspers . . . with due tolerance of the existential limitations we all suffer jointly.’

2141. Long, Kay Parkhurst. ‘Unity in William Blake’s Songs of Innocence and of Experience: A Review and Discussion.’ DAI, XXXI (1971), 2884A. Tulsa Ph.D., 1970.

It includes ‘a survey of criticism’ and ‘a reading’.

A2150. Lowry, Mark Daniel. ‘Relationship of Design, Color, and Text in the Stirling-Keir Copy of William Blake’s Jerusalem.DAI, XXXVI (1975), 2850A. Texas Ph.D., 1975.

2168. MacDonald, Greville. . . . C. *The Sanity of William Blake with six illustrations of Blake’s drawings. N.Y., 1966.

A2170. §Machin, N. P. F. ‘The Influence of the Visual Arts and of Art-Theories in Romantic Poetry, with Special Reference to James Usher, Blake, Wordsworth, Coleridge, and Keats.’ London M. Phil., 1967.

A2172. Mackerness, E. D. ‘Blake and the Malkins.’ Durham University Journal, LXVI (N.S., XXXV) (1974), 179-84.

A biographical account of the Malkins.

C2187. Marks, Mollyanne [Kauffman]. ‘Structure[e] and Irony in Blake’s “The Book of Urizen”.’ SEL, XV (1975), 579-90.

‘In this poem Blake’s intellectual satire attacks the institutionalized religion of his day’ (p. 589).

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D2187.—‘Renovation of Form: Time as Hero in Blake’s Major Prophecies.’ Studies in Eighteenth-Century Culture Volume Five. Ed. Ronald C. Rosbottom. Madison, 1975?

A2191. Masterson, Donald Joseph. ‘The Method of Openness and the Theme of Love in the Early Poetry of William Blake.’ Illinois Ph.D., 1975. See DAI, XXXVI (1976), 6117A.

Blake’s poetry is ‘complex, ambiguous, richly connotative, or, in a word, open.’ (P. 3)

A2192. Mathews, Lawrence MacKay. ‘The Stems of Generation: The Figure of the Victim in the Poetry of William Blake.’ British Columbia Ph.D., 1976.

A responsible critical work.

A2195. *Mayoux, Jean-Jacques. ‘Du préromantisme à l’ultraromantisme. L’hellénisme et la montée du sublime. Les tentations de l’aventure optique, de l’art visionnaire et de la surnature: Loutherbourg, Ward, Martin, Danby, Etty, Fuseli. Le passage à la double vision: Blake, Linnell, Palmer.’ Chapter 6 (pp. 161-96) of his La Peinture Anglaise: De Hogarth aux Préraphaélites. Geneve. 1972.

Blake is found especially in ‘La vision se détourne du visible: William Blake’ (pp. 179-89) and ‘Autour de Blake—“Les Vieux” et leur pastorale mystique. Retour de la vision au regard.’ (Pp. 190-6) Also passim.

A2196. McClellan, Jane Martha. ‘William Blake’s Concept of Man in The Four Zoas, Milton, and Jerusalem.DAI, XXXVII (1977), 4371-2A. Florida State Ph.D., 1976.

A2203. *McLuhan, [Herbert] Marshall, & Harley Parker. ‘The Tyger, William Blake.’ Section 27 (pp. 138-41) of their Through the Vanishing Point: Space in Poetry and Painting. N.Y., Evanston, & London, 1968. World Perspectives Volume XXXVII.

Text of ‘The Tyger’, with some aphorisms, e.g., ‘This tiger is not in any tank or any zoo. It is a world.’

A2210. Mellor, Anne K. ‘Anne K. Mellor Replies.’ Wordsworth Circle, V (1974), 189.

Complains of a review (pp. 183-88): ‘I was surprised neither by his [John E. Grant’s] response to nor his misunderstanding of my book.’

A2219. Middleman, Louis Isaac. ‘William Blake and the Form of Error: Satiric Craft in the Engraved Minor Prophecies.’ DAI, XXXV (1974), 2947A. Pittsburgh Ph.D., 1974. 169pp.

The formulation of error . . . provides in fact the underlying technique in these poems, which are thus seen to be radically satirical’ and also ‘a unified satiric whole’.

D2232. §Mitchell, O. S. ‘The Child in the Works of William Blake in the Context of Contemporary Life and Thought.’ London Ph.D., 1968.

A2246. Morris, David B. ‘ “The Egotistical Sublime”: Blake, Wordsworth, and Coleridge.’ Pp. 180-96 of his The Religious Sublime: Christian Poetry and Critical Tradition in 18th Century England. Lexington, Kentucky, 1972.

2251. Morton, A. L. The Everlasting Gospel: A study in the sources of William Blake. . . . B. N.Y., 1966. C. §Folcroft, Pennsylvania, 1974.

A2251. §Mosher, Harold F., Jr. ‘The Mysticism of Swedenborg and Blake.’ Annales de la Fac. des Lettres et Sciences Humaines de Nice, XVIII (1972), 33-45.

B2251. Moss, John G. ‘William Blake and Wilson Harris: The Objective Vision.’ Journal of Commonwealth Literature, IX, 3 (1975), 23-40.

‘He [Wilson] and Blake are prophets of the same creed’ (p. 30), very vaguely defined.

A2256. §*Muggeridge, Malcolm. A Third Testament. Boston, 1976.

Six characters in search of God: St. Augustine, Blaise Pascal, William Blake (pp. 84-117) Søren Kierkegaard, Leo Tolstoy, Dietrich Bonhoeffler.

A2257. *Mulhallen, Karen G. ‘ “For Friendships Sake”: Some Additions to Blake’s Sheets for Designs to a Series of Ballads (1802).’ SB, XXIX (1976), 331-42.

Designs on *11 leaves taken from the abandoned book. See also K. A. Gabbett-Mulhallen.

2262. Murry, John Middleton. William Blake. . . . D. N.Y., 1971.

A2268. Nanavutty, Piloo. ‘Blake and Gnostic Legends.’ Aligarh Journal of English Studies, I (1976), 168-90.

A comparison of ‘the story of the Pistis Sophia [as found in the writings of the Church Fathers and in MS] with the ideas [vocabulary] and imagery from the Prophetic Books’ (p. 171).

2275. Nathan, Norman. Prince William B.: The Philosophical Conceptions of William Blake. [New York University Ph.D., 1947. Published abridgment.] N.Y., 1949 (vMKN). B. Paris, 1975. Studies in English Literature Volume 100.

A work of little merit. The 1975 book does not refer to the previous dissertation or publication, remarks truly that ‘footnotes are invisible’ and ‘The arguments of scholars . . . are likewise not included’ (p. 7), and concludes that ‘the basic philosophy of William Blake’ is ‘use your imagination’ (p. 16).

A2276. §Near, P. L. ‘William Blake’s Illustrations to the Book of Job.’ Arts in Virginia, XV, 2 (1974-75), 1-24.

Recently acquired by a Virginia museum.

AA2289. Noer, Philip Douglas. ‘The Rhetorical Structure of Milton: An Introduction to the Reading of Blake’s Major Prophecies as Poetry.’ DAI, XXXI (1971), 5418A. Minnesota Ph.D., 1970.

Milton ‘is a superbly constructed work of art’. ‘The key to the structure of the poem is the principle of the arch form’.

A2309. §Ogawa, Kazuo. ‘Burning Bright.’ Eigo Seinen, CXIX (1974), 578-80, 797-9; CXX (1974), 10-12, 65-8, 117-18, 168-70, 219-21, 282-4, 321-3, 414-17. In Japanese.

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2327. A. O’Neill, Judith, ed. Critics on Blake. London, 1970. Readings in Literary Criticism 7. B. Coral Gables, Florida, 1970.

A2330. Orel, Harold. ‘Blake’s Hostility to the Enlightenment.’ Chapter II (pp. 37-59) of his English Romantic poets and the Enlightenment: nine essays on a literary relationship. Banbury, Oxfordshire, 1973. Studies on Voltaire and the Eighteenth Century Vol. CIII, ed. Theodore Besterman.

To the enlightenment Blake opposes the New Jerusalem.

2336. Ostriker, Alicia S. ‘William Blake: A Study in Poetic Technique.’ DA, XXIV (1964), 3754-5A. Wisconsin Ph.D., 1963.

The basis of her book.

A2348. *Paley, Morton D. ‘John Camden Hotten, A. C. Swinburne, and the Blake Facsimiles of 1868.’ BNYPL, LXXIX (1976), 259-96.

An admirably detailed essay giving evidence that the ‘Camden Hotten forgeries’ were not made with fraudulent intent.

2353. Palmer, A. H. The Life and Letters of Samuel Palmer, Painter and Etcher . . . B. A New Edition with an Introductory Essay by Raymond Lister and A Preface by Kathleen Raine. London, 1972.

A facsimile reprint; Lister’s introduction is pp. ix-xvi, Raine’s Preface is pp. xvii-xix.

A2355. Palmer, Samuel. The Letters of Samuel Palmer. Ed. Raymond Lister. [2 vols.] Volume I: 1814-1859 [Volume II: 1860-1881]. Oxford, 1974. Passim.

A2357. Pananides, Dean Nicholas. ‘Vision and Form in William Blake’s Illuminated Poetry.’ California (Santa Barbara) Ph.D., 1976.

BA2386. Peterfreund, Stuart Samuel. ‘A Program Toward Prophecy: Eighteenth-Century Influences on the Poetry of William Blake.’ DAI, XXXVI (1975), 3700A. Washington Ph.D., 1974.

BB2386. Peterson, Jane E. ‘Metric and Syntactic Experimentation in Blake’s Prophecies of 1788-1795.’ DAI, XXXVI (1975), 3661A. Arkansas Ph.D., 1975.

Examines ‘the opening lines of each of these prophecies’.

C2386. Peterson, Jane A. ‘The Visions of the Daughters of Albion: A Problem In Perception.’ PQ, LII (1973), 252-64.

The Visions is ‘Blake’s portrayal of the problem of perception’ (p. 253); Oothoon loses her double vision when she is raped.

AA2391. Phillips, Michael. ‘The Reputation of Blake’s Poetical Sketches 1783-1863.’ RES, N.S., XXVI (1975), 19-33.

A summary based upon Crabb Robinson’s papers 1811 ff.

A2393. The Pictorial Edition of the Book of Common Prayer, According to the Use of the United Church of England and Ireland. Together with the Form and Manner of Making, Ordaining, and Consecrating of Bishops, Priests, and Deacons. Illustrated with Many Hundred Woodcuts. To Which Are Added, Original Notes, and an Introductory History of the Liturgy By the Rev. Henry Stebbing. London [?1838].

A woodcut initial on p. 192 and the border to a Rubens design on p. 198 are after Blake’s designs to Blair’s Grave, the former with acknowledgement.

A2407. *P[into], V. de S., & Da[vid] Bi[ndman]. ‘Blake, William . . . .’ Encyclopedia Britannica, III (1972), 754-8, 758A-B, 759.

2421. Plowman, Max. An Introduction to the Study of William Blake. . . . D. N.Y., 1967.

2492. *Raine, Kathleen. William Blake. . . . B. N.Y. & Washington, 1971.

C2497. *Read, Dennis Myron. ‘William Blake and The Grave.’ Wisconsin (Milwaukee) Ph.D., 1976. See DAI, XXXVII (1977), 6478A.

A responsible study of its context, growth, and significance, with a useful *‘Catalogue Raisonné of Blake’s Grave Designs’ (pp. 239-339).

A2507. Reisner, Thomas A. ‘Blake’s TO TIRZAH.’ Explicator, XXXIII (1974), Item 3.

‘Lo tirzah’ is the Hebrew apparently for Thou Shalt Not Murder.

A2544. §Roe, Albert S. ‘William Blake’s Illustrations to the Divine Comedy of Dante.’ Harvard Ph.D., 1950.

Presumably the basis of his book.

B2545. Rollins, Mark Edwin. ‘The Necessity of Art: A Study of William Blake.’ DAI, XXXV (1975), 6156A. Massachusetts Ph.D., 1974.

A study of William Blake’s philosophy of social and cultural reform.’

C2545. §Romeo, Duccio. ‘William Blake: Visionario o genio?’ Galleria, XXIV (1974), 237-48.

2557. Rose, Edward J. ‘Mental Forms Creating: A Study in Blake’s Thought and Symbols.’ Toronto Ph.D., 1963. See DA, XXV (1964), 1923-4A.

‘The thesis contends that Blake’s metaphors, images, and symbols describe the creative process’ (p. ii). No. 2552, 2556, 2560 appear to be derived from it.

A2560.—*‘Ut Pictura Poesis and the Problem Of Pictural Statement in William Blake.’ Pp. 279-99 of Women in the 18th Century and Other Essays. Ed. Paul Fritz & Richard Morton. Toronto & Sarasota [Florida], 1976.

Mostly ‘a few observations on the paintings Blake made for’ Revelation xii-xiii, xvii.

2565. *Rosenfeld, Alvin H., ed. William Blake: Essays for S. Foster Damon. Providence, 1969. . . .

12. Northrop Frye, ‘Blake’s Reading of the Book of Job.’ Pp. 221-34. B. Reprinted in his Spiritus Mundi: Essays on Literature, Myth, and Society. Bloomington & London, 1976. Pp. 228-44. (A ‘conjectural reconstruction of the reader’s “vision” of Job that preceded the final re-creation in the engravings’ [A p. 221]. ‘The original begin page 167 | back to top article was written quickly . . . and has been completely rewritten for the present volume’ [B p. xi].)

A2566. §Ross, D. ‘An EYEBALL View of Blake’s Songs of Innocence and of Experience.’ Pp. 94-108 of Computers in the Humanities: Papers from the International Conference on Computers in the Humanities, University of Minnesota, Minneapolis, July 20-22, 1973. Ed. J. L. Mitchell. Minneapolis, 1974.

A2589. §Ruhlman, John Arthur. ‘The Development of Los through the Prophecies of William Blake.’ California (Berkeley) Ph.D., 1974.

A2603. Ryan, Robert Emmett. ‘The Structure and Function of the Cosmogonic Myth in William Blake’s Jerusalem.DAI, XXXVII (1976), 339A. Case Western Reserve Ph.D., 1975.

A2609. Ryskamp, Charles [& Thomas V. Lange]. ‘A Blake discovery.’ TLS, 14 Jan. 1977, pp. 40-1.

The Pierpont Morgan Library has acquired a previously unrecorded Blake scrapbook including MSS (by John Varley and Bernard Barton) and prints from the Illuminated Books and Blake’s commercial engravings.

B2611. §Sabri-Tabrizi, Gholen Reza. ‘The Idea of Negation and Contrary Progression in Blake.’ Edinburgh Ph.D., 1970.

Perhaps this is his work printed as The ‘Heaven’ and ‘Hell’ of William Blake (N.Y., 1973), the ‘main aim’ of which ‘is to present the whole of Blake in a coherent and comprehensible way’, with emphasis upon Blake’s ‘consistent materialism’ and his ‘social context’ (p. vii).

C2611. Sachs, Myron. ‘The Development of Blake’s Extended Myth.’ DAI, XXXIII (1971), 2903A. Tufts Ph.D., 1971.

Seems to be mostly about Tiriel and The French Revolution.

A2621. Salmon, Edward. ‘George Canning and William Blake.’ United Empire: The Royal Colonial Institute Journal, XVIII (1927), 509-14.

Evidence from ‘Edward the Third’ indicates that ‘Canning and Blake . . . had a patriotism in common and a whole-hearted humanity in common’ (p. 509).

A2622. Salter, Thomas Norman. ‘Toward a Symbology of Form in the Illuminations of Blake’s Songs of Innocence and of Experience.DAI, XXXV (1975), 3737A. Massachusetts Ph.D., 1975.

A2627. §Samuel, G. ‘Blake’s View of Milton and Edward Young.’ London Ph.D., 1970.

A2628. Sanders, Jon Barry. ‘The Desire of Man: A Reading of Blake’s The Four Zoas.DAI, XXXV (1974), 3698A. Oregon Ph.D., 1974.

Uses ‘the application of allegory as an interpretive process of reading’.

AA2662. Schicker, Stephen Mathias. ‘The Rainbow Beneath the Ground: A Study of the Descent into Hell Metaphor in William Blake’s The Marriage of Heaven and Hell, Gérard de Nerval’s Aurélia, and Arthur Rimbaud’s Une Saison en Enfer.DAI, XXXI (1969), 269A. Syracuse Ph.D., 1969.

‘The purpose of this thesis is to demonstrate that . . . [the three works] redefine the nature of the descent into hell as part of a process leading to psychic regeneration’, foreshadowing Jung.

B2662. Schlieper, Reinhold. ‘William Blake, Philosopher: An Analysis of the Metaphysical System Underlying His Poetry.’ DAI, XXXV (1975), 6158-9A. Ball State Ed.D., 1974.

Blake is ‘a lucid and consistent thinker’.

A2673. Schotz, Myra Glazer. ‘The Altering Eye: William Blake and the Art of Parallax: An Approach to The Four Zoas.DAI, XXXVI (1975), 910-11A. Brandeis Ph.D., 1974.

B2673. Schuchard, Marsha Keith Manatt. ‘Freemasonry, Secret Societies, and the Continuity of the Occult Traditions in English Literature.’ Texas Ph.D., 1975. See DAI, XXXVI (1975), 2792-3A.

A gallimaufrey of cobbled coincidences ‘based largely on circumstantial evidence’ (p. 425) is used to place Blake in a ‘Masonic’ context (pp. 307-550); e.g., the compasses of the Ancient of Days and the ‘Universal Brotherhood’ of Milton are Masonic (pp. 465, 472).

BA2692. Shain, Ronald. ‘A Sociological Study of the Romantic Imagination: Blake’s Mythic Conception of Man’s Fall Into Outer Selfhood.’ California (Santa Barbara) Ph.D. in Sociology, 1976.

According to the abstract, ‘The findings of this study provide sociology with a new speculative model for resolving . . . why certain writers and artists of the Romantic age experienced extreme feelings of self-estrangement, even though they were creatively fulfilled by their work, and were not faced with the collapse of established values and institutions’.

2702. Short, Ernest H. Blake. . . . B. N.Y.: Fredrick A. Stokes Co. [?1925]. C. §N.Y., 1970.

AA2702. Shroyer, Richard J. ‘Studies in the Chronology and Contexts of William Blake’s Early Poems: The First Decade 1783-1793.’ Toronto Ph.D., 1975. See DAI, XXXVII (1977), 6513-4A.

Chiefly on dating Blake’s works; ‘In sum, the results of the study are extremely modest.’

A2703. Simmons, Robert E., & Janet Warner. ‘Blake’s “How Sweet I Roam’d”: From Copy to Vision.’ neohelicon, I (1973), 295-304.

The poem is analysed in terms of ‘mimetic’ and ‘expressive’ art.

A2707. Singh, Gurbhagat. ‘Meditations on William Blake: An Experiential Approach to his Poetry.’ DAI, XXXVII (1976), 286A. California (Santa Cruz) Ph.D. for The History of Consciousness, 1974. See Blake Newsletter, VIII (1974-75), 55.

‘The argument of this work is that Blake not only talked about the “Edenic Body”, but he also wrote his poetry with it. His poem [sic] commands to be read bodily . . . .’

A2725. Snyder, Peter G. ‘Homer’s Apocalypse.’ Arion, N.S., I (1973), 67-111.

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A personal and perverse reading of the Odyssey’, especially on ‘some illuminating relations between the structure and patterns of imagery characteristic of the poetry of William Blake and the “modern romantics” after him and the structure, imagery and argument of the Odyssey’ (p. 67)—but the Blake context is rarely explicit.

A2728. Southey, Robert. See Anon., ‘Art. V. Vie des Révélations . . . ’, Quarterly Review, XXXIII (March 1826), 375-410 by him (No. 826).

AA2737. Spinks, Cary William, Jr. ‘The Valley of Vision: A Study of Los in Blake’s Prophecies.’ DAI, XXXI (1971), 4136A. Nebraska Ph.D., 1970.

7 ‘The Blind Beggars Hats,’ frontispiece for The Wit’s Magazine for April 1784.   Notice the tall candles before the crowned statues. All Blake’s Wit’s Magazine plates are reproduced here.

This study explores the significance of Los in terms of his role as the Creative Imagination’.

A2742. Stanculescu, Liana P. ‘William Blake and the English Renaissance.’ DAI, XXXVII (1976), 2903A. Miami Ph.D., 1976.

His strongest affinities are with the hermetical seventeenth century’.

A2751. Stempel, Daniel. ‘Blake’s Monadology: The Universe of Perspectives.’ Mosaic, VIII, 2 (1975), 77-98.

Distant parallels between Blake and ‘Leibniz’s universe of monads’ (p. 79).

A2778. Studies in Romanticism, Vol. XIII (Spring 1974):

  1. Roger Murray. ‘Blake and the Ideal of Simplicity.’ Pp. 89-104. (‘We cannot properly assess Blake’s prophetic works until we’ understand his ‘new ideal of poetic simplicity’ [pp. 104, 90].)

  2. begin page 169 | back to top
  3. Nancy M. Goslee. ‘“In Englands green & pleasant Land”: The Building of Vision in Blake’s Stanzas from Milton.’ Pp. 105-25. (An analysis of its ‘imaginative complexity’ [p. 105].)

  4. Randel Helms. ‘Ezekiel and Blake’s Jerusalem.’ Pp. 127-40. (‘A study of the relationship between Ezekiel and Jerusalem’, attempting to correct Harold Bloom, Blake’s Apocalypse [p. 127].)

  5. Gary J. Taylor. ‘The Structure of The Marriage: A Revolutionary Primer.’ Pp. 141-5. (Faint evidence that ‘The mosaic format of the primer . . . is a probable and specific influence upon The Marriage’ [p. 145].)

  6. Judith Wardle. ‘“Satan not having the Science of Wrath, but only of Pity”.’ Pp. 147-54. (‘The similarities [between Hayley and Blake] are not so close’ as is suggested by Wittreich, ‘Blake’s Epics and Hayley’s Epic Theory’ [1972] [p. 148].)

B2821. Tannenbaum, Leslie. ‘Lord Byron in the Wilderness: Biblical Tradition in Byron’s Cain and Blake’s The Ghost of Abel.’ MP, LXXII (1975), 350-64.

Blake uses ‘biblical tradition . . . to comment lucidly and profoundly upon Byron’s Cain’ (p. 351).

A2825. §Tayler, Irene. ‘The Woman Scaly.’ Bulletin of the Midwest Modern Language Association, VI (1973), 74-87.

A2826. Taylor, Gary. ‘Blake’s PROVERB 67 (from THE MARRIAGE OF HEAVEN AND HELL).’ Explicator, XXXII (1973), Item 8.

Blake ‘points out that there is no real difference between . . . robbing him [an infant in his cradle] of his bodily life, and . . . robbing him of his spiritual life.’

C2826. §Taylor, J. A. ‘William Blake: The Radical Context: A Study in the Relationship between Blake’s Work and the Popular Radical Culture, 1790-1830.’ Leeds Ph.D., 1970.

D2826. Taylor, Peter Alan. ‘A Reading of Blake’s Milton.’ DAI, XXX (1969), 737-8A. Connecticut Ph.D., 1969.

‘Blake is an active participant’ in the poem.

E2826. Taylor, Richard Loring. ‘William Blake’s Cosmogonic Myth: The Irony of Origins.’ California (Santa Barbara) Ph.D., 1970.

According to the abstract, it concludes that ‘In Jerusalem Blake abandons creation myth entirely’.

F2826. Taylor, Ronald Clayton. ‘The Semantics of Time in the Later Poetry of William Blake: A Stylistic Study.’ DAI, XXXVII (1977), 5857A. California (Berkeley) Ph.D., 1976.

Deals especially with ‘the broader applications of temporal semantics.’

A2827. Tebbets, Terrell Louis. ‘A Critical Study of Blake’s America.’ DAI, XXXII (1971), 987-8A. Arkansas Ph.D., 1971.

The essence of the poem is in’ the word ‘prophecy’.

A2835. Thompson, Edwin James. ‘Innocence, Experience, and Value: A Study of Joyce Cary.’ DAI, XXXV (1975), 7331-2A. Brown Ph.D., 1974.

‘In all of these matters, William Blake’s moral and aesthetic impact on Cary is of crucial concern’; see especially Chapter I: ‘Patterns of Moral Order: The Influence of Blake’.

A2843. Timbs, John. Anecdote Lives of William Hogarth, Sir Joshua Reynolds, Thomas Gainsborough, Henry Fuseli, Sir Thomas Lawrence, and J. M. W. Turner. London, 1860. P. 211. B. London, 1887. P. 211.

A repetition [from Cunningham’s life of Fuseli] of the story about Blake and the Virgin Mary.

A2863. *Tomory, Peter. ‘A Blake Sketch for Hayley’s Ballad “The Lion” and a Connection with Fuseli.’ Burlington Magazine, CXVII (1975), 376-8.

Sketches for ‘The Lion’ and ‘The Elephant’ in the Royal Academy.

A2864. Trent, Robert J. ‘The Case Against Death: Transformation of “Generation” in the Writings of William Blake.’ DAI, XXXVII (1976), 1573A. New York Ph.D., 1976.

Blake’s attitude toward death is traced through three stages.

AA2871. §Tsuchiya, Shigeko. ‘“Love’s Secret” Ko [On “Love’s Secret”].’ Eigo Seinen, CXX (1974), 184-5.

A2872. *Twitchell, James B. ‘“The Mental Traveller,” Infinity and the “Arlington Court Picture”.’ criticism, XVII, (1975), 1-14.

These [three] cruxes can be explained in part by Blake’s adaptation of a symbol just then coming into public knowledge—the symbol of infinity:— ∞.’ (P.1)

A2888. Unruh, Donald John. ‘Jerusalem: The Primitive Christian Vision of William Blake.’ DAI, XXXI (1971), 1819A. Southern California Ph.D., 1970.

Jerusalem ‘follows “primitive Christianity” rather than the official Christian tradition’.

A2895. Valiukenas, Delija J. ‘Jurgis Baltrusaitis [1873-1944] and William Blake: A Brief Comparison.’ Lituanus: The Lithuanian Quarterly, XX, no. 1 (1974), 58-76.

Distant parallels.

A2904. Viscoli, Lois Katherine. ‘The Promethean Archetype.’ DAI, XXXV (1975), 6114A. New Mexico Ph.D., 1975.

‘Blake and Shelley dramatically illuminate the core of the archetype.’

A2907. §Vogler, Thomas Allen. ‘Preludes to Vision: The Epic Venture in Blake, Wordsworth, Keats and begin page 170-171 | back to top

8 ‘May-Day in London,’ frontispiece for The Wit’s Magazine for May 1784.   It would be worth knowing whether Peter Pu[ ] Pewterer and The Original Shaving Shop really stood thus in Milk Street in 1784.
begin page 172 | back to top Hart Crane.’ Yale Ph.D., 1964.

Presumably the basis of his book.

AB2908. Wagenknecht, David. ‘David Wagenknecht Replies.’ Wordsworth Circle, V (1974), 189-90.

Complains of a review (pp. 183-8): ‘Mr. [John E.] Grant’s manners seem to me as defective as his understanding.’

A2918. *Ward, Aileen. ‘The Forging of Orc: Blake and the Idea of Revolution.’ Tri-Quarterly, XXIII-XXIV (1972), 204-27. B. Reprinted in Literature in Revolution. Ed. George Abbott White & Charles Newman. N.Y., 1972.

Blake’s use of the word ‘revolution’ is conservative.

A2920. Ward, Marney Jean McLaughlin. ‘Text and Design in Blake’s Developing Myth.’ DAI, XXXV (1974), 3704-5A. British Columbia Ph.D., 1974.

Examines ‘a number of crucial motifs’ in Songs, Urizen, and Jerusalem.

A2922. §Wardle, J. ‘Myth and Image in Three Romantics: A Study of Blake, Shelley and Yeats.’ Queen’s (Belfast) Ph.D., 1970.

A2924. *Wark, Robert. ‘Facets of William Blake Demand Several Shows.’ Los Angeles Times, 21 March 1976, p. 88.

Review of the Blake exhibitions at the Santa Barbara conference.

A2925. Warner, Janet. ‘Blake’s “Auguries of Innocence”.’ Colby Library Quarterly, XII (1976), 126-38.

A close look at the patterns of language of the poem’ shows them ‘to be remarkably coherent, and the poem . . . to be . . . a microcosm of Blake’s thought’ (p. 127).

B2925. §Warner, William Robert. ‘The Composite Art of Blake’s “Laughing Song”.’ University of the Pacific Ph.D., 1975.

A2927. Waters, Gregory Leo. ‘I. Conrad Aiken: A Basis for Criticism. II. G. T.’s “Worthless Enterprise”: A Study of the Narrator in Gascoigne’s “The Adventures of Master F. J.” III. Blake and Rossetti.’ DAI, XXXV (1974), 3775-6A. Rutgers Ph.D., 1974.

‘Rossetti seems to have learned little from him [Blake]’, and his work is ‘one-dimensional’.

A2936. Waxler, Robert Phillip. ‘William Blake: The Sexual Dynamics of his Early Illuminated Works.’ DAI, XXXVII (1976), 995-6A. State University of New York (Stony Brook) Ph.D., 1976.

A2941. Weiskel, Thomas. ‘Darkning Man: Blake’s Critique of Transcendence.’ Chapter 3 (pp. 63-79) of his The Romantic Sublime: Studies in the Structure and Psychology of Transcendence. Baltimore & London, 1976. Also passim.

It is about ‘the confrontation of Blake and Kant’ (p. 66).

A2951. Whitehead, Frederick Allan. ‘Studies in the Structure of European History in Blake’s Epics.’ DAI, XXXV (1975), 7927-8A. Columbia Ph.D., 1972.

‘It is the thesis of this study that the mythic-psychological and the social-economic levels of meaning are mutually dependent in Blake’s prophetic epics, and that the main structure of the epics is the representation of the entire history of European man.’

AA2952. §Whitla, William. ‘Sources for Browning in Byron, Blake, and Poe.’ Studies in Browning and His Circle, II, i (1974), 7-16.

A2962. §Wild, David W. ‘The Emergence of Literacy (1780-1860): William Blake, William Cobbett, Charles Dickens.’ Washington (Seattle) Ph.D., 1972.

B2969. Wilkinson, Carolyn. ‘Perception, Action and Character: The Structure of Blake’s Jerusalem.DAI, XXXV (1974), 1638-9A. Michigan State Ph.D., 1974.

She is ‘primarily concerned with the question of perception in Jerusalem, with what the characters perceive and with how they act according to their perception’, with ‘a plate by plate analysis of the narrative events’.

C2974. Williams, Porter, Jr. ‘ “Duty” in Blake’s “The Chimney Sweeper” of Songs of Innocence.ELN, XII (1974), 92-6.

A useful parallel with Jerusalem pl. 45, 11. 52-3.

C2977. Wilner, Eleanor. ‘The Uncommon Eye: Vision in the Poetry of Blake, Beddoes, and Yeats.’ Chapter 2 (pp. 47-134) of her Gathering the Winds: Visionary Imagination and Radical Transformation of Self and Society. Baltimore & London, 1975.

‘What Blake presents, above all, is the missing link between religious vision and creative imagination’ (p. 66). The ‘reading’ of Blake is especially on pp. 47-70.

2981. Wilson, Mona. The Life of William Blake. . . .

A. An insertion of ‘January 1928’ in some copies of the 1927 edition contains a 3 page Addendum (on the source of the Revue Britannique [1833] article in The Monthly Magazine [1833]) and 1 page of Corrigenda.

A2986. §Winter, Peter. ‘Blake.’ Das Kunstwerk, XXVIII (May 1975), 46-7.

A review of the 1975 Hamburg Blake exhibition.

2988. Witcutt, W. P. Blake: A Psychological Study. . . . C. §Folcroft, Pennsylvania, 1974.

B2992. §Witke, Joanne Stauch. ‘The Empiricism of William Blake’s Metaphysics.’ California (Berkeley) Ph.D., 1974.

Particularly concerned with his relationship with Berkeley.

A2993. *Wittreich, Joseph Anthony, Jr. Angel of Apocalypse: Blake’s Idea of Milton. Madison, 1975.

‘The book investigates Blake’s idea of Milton’ (p. xvii), mostly in designs. The 45 reproductions include all the drawings for Paradise Regained. His essay on ‘ “Divine Countenance” ’ (1975) appears in ‘revised’ form in Chapter 1, that on ‘William Blake: Illustrator-Interpreter of Paradise Regained’ (1971) begin page 173 | back to top is ‘greatly expanded’ in Chapter 2, and those on ‘ “Sublime Allegory” ’ (1972, No. 1218 59) and on ‘Domes of Mental Pleasure’ (1972) are ‘developed’ in Chapter 3 and the Epilogue.

A2995.—‘ “Divine Countenance” ’ . . . .

The essay was revised in Chapter 1 of his Angel of Apocalypse (1975).

B2995.—‘Domes of Mental Pleasure’ . . . .

The ‘positions’ in the essay were ‘developed’ in his Angel of Apocalypse.

2999.—‘William Blake: Illustrator-Interpreter of Paradise Regained.’ . . .

The essay was ‘greatly expanded’ in Chapter 2 of his Angel of Apocalypse (1975), and the Paradise Regained designs ‘are reproduced’ also in Wittreich’s 1971 facsimile.

3004. Wolfe-Gumpold, Kaethe. William Blake . . . . B. Spring Valley, N.Y., 1973.

A3006. §Wooster, Margaret, & Arthur Efron. ‘On Blake’s “Streams of Gore”: An Exchange.’ Paunch, No. 40-1 (April 1975), 152-65.

B3006. *Worbs, Erich. ‘Jakob Böhme—Ein geistiger Ahne des englishen Früromantikers William Blake: Ein Beitrag zur Wiederkehr des 350. Todestages und des 400 Geburtstages von Jakob Böhme in den Jahren 1974 und 1975.’ Aurora: Eichendorff Jahrbuch der Gesellschaft, XXXIV (1974), 75-86.

3047. *Yeats, W. B. ‘Academy Portraits. . . . ’ . . . E. Dublin, 1905. . . . H. 1914. Pp. 117-22. [E-I become F-G, I-K]

3051. *‘William Blake and his Illustrations to the Divine Comedy.’ . . . E. Dublin, 1905. . . . H. 1914. [E-G become F-G, I]

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Abel 155

Able, Elizabeth Frances 151

Abrams, M.H. 151, 157, 160-1

‘Accusers (The)’ 136 (illus.), 137-8

Ackermann, R., publisher 154

Adams, Hazard 154, 157

Adamson, Arthur 151

Adelphi University 151

Adlard, John 152, 154

Albion 156-7

Aligarh Journal of English Studies (1976) 153, 165

Allen, Charles, History of England (1798) 139

Roman History (1798) 139

Alverthorpe Gallery 154

America 138-9, 153-4, 161, 169, 173

American Academy (Rome) 139

American Blake Foundation 140, 144

American Notes & Queries (1974) 160

Ames, Richard 152

anarchism in Blake 162

‘Ancient of Days’ 140, 167

Anderson Galleries auction (1926) 150

Annalee de la Fac. des Lettres et Sciences Humaines de Nice (1972) 165

Antijacobin Review (1808) 148

Antonucci, Emil, artist 146

apocalypse in Blake 160-2

Arbasino, Alberto 153

Arkansas (University of) Ph.D. 166, 169

Arlington Court Picture 169

Ariosto, Lodovico, Orlando Furioao (1783) 139

Arris’s Birmingham Gazette (1806) 148, 153

Artichoke Press 146

Artist (1807) 148

Arts in Virginia (1974-5) 165

Aspell, Joseph 151

Athenaeum Magazine (1808) 148

‘Auguries of Innocence’ 144, 163, 172

Aurora (1974) 173

‘Babes in the Wood’ 156

‘Baby (The)’ 144

Bain, A.W., binder 139

Baine, Mary Rion 153-5

Baine, Rodney M. 153-5

Ball State University Ed.D. 167

Ballantyne, printer 148

Baltrusaitis, Jurgis (1873-1944) 169

Barker, Arthur E. 162

Barrett, Curtis L. 154

Barton, Bernard, poet 139, 167

Batille, Georges 153

Bateson, F.W. 146

bats in Jerusalem 154

Baudelaire 151, 153

bawdry in Blake 152

Beddoes, Thomas Lovell 172

Behrendt, Stephen C. 153

Bensley, T., printer 148

Bellamy’s Picturesque Magazine (1793) 139

Bentley, G.E., Jr 140, 143, 151, 153, 155-6, 173

—collection 150

Berkeley, George, philosopher 172

Besterman, Theodore, 166

Beulah 153

Bible 153-7, 160, 162, 166, 169

—watercolors for 150

Bier, Jesse 137

Bindman, David 155, 166

Birmingham Gazette (1806) 148, 153

Birmingham Museum 154

Bishai, N.Z. 153

Bishop Morchard (i.e., Oliver Stoner) 160

Bishopp, Gregory 151

Blackwell, J.C. 153

Blackwell’s bookstore 143

Blair, Robert, The Grave (1808-70) 137, 139, 142, 148, 150, 153, 155-6, 160, 162, 166

Blake (1977) 156, 173; see also Blake Newsletter

Blake, Catherine, the poet’s wife 143

Blake, William, anthologies 154

—portrait of 157

—Trust 139, 148

Blake Newsletter 138, 153

—(1974-5) 167

—(1975) 148, 153

—(1976) 146, 153-5

—(1977) 149, 155-6; see also Blake Blake Studies (1970) 161

—(1973) 156

—(1974) 156-7

—(1975) 157

—(1976) 156

Blaydes, Sophia B. 157

‘Blind Beggars Hats (The)’ (illus.) 168

Bloom, Harold 151, 156-7, 169

‘Blossom (The)’ 144, 153

Bloxham, Laura Jeanne 157

Blue, Denise E. 157

Blunt, Sir Anthony 146

—collection 143

Bogan, James 154

Bogen, Nancy Ruth 139

Bolaffiarte (1975) 162

Boletin del Instituto del Filologia de la Univ. de Chile (1972-3) 163

Boehme, Jakob, alchemical philosopher 173

Bohn’s Popular Library 146

Bonhoeffler, Dietrich 165

Book of Common Prayer 166

Book of Los 138-9

Book of Thel 139, 150, 152-3; see also ‘Thel’s Motto’

Book of Urizen; see First Book of Urizen

Borck, Jim Springer 157

Botany, Blake’s use of 163

Bottrall, Margaret 157

Boyette, Purvis E. 156

Boys’ and Girls’ Library (1844) 144, 156

Boys’ and Girls’ Magazine (1843) 144, 146, 156

Brandeis University Ph.D. 167

Bristol University Ph.D. 153, 161

British Columbia (University of) Ph.D. 165, 172

British Council 150

British Museum (now British Library) 149-50, 160

British Museum Print Room 155

Bronowski, Jacob 157

Bronte, Emily 153

Brown University Ph.D. 169

Browning, Robert, poet 172

Bryan, Michael 157

Bryant, Jacob, New System (1775-6) 155

Buber, Martin 164

Bulletin of the Midwest Modern Language Association (1973) 169

Bulletin of the New York Public Library (1975) 154

—(1976) 142, 166

Burlington Magazine (1975) 169

Burnet, J., engraver 139

Burnet, Thomas 161

Butlin, Martin 148, 153-5, 157

Byron, George Gordon Noel 153, 155, 164, 169, 172

Cain 155

California, University of (Berkeley), Ph.D. 161, 167, 169, 172

—(Davis) Ph.D. 161

—(Irvine) Ph.D. 157

—(Riverside) Ph.D. 157, 160

—(Santa Barbara) 151-2

—Blake Conference 152-5, 172

—Ph.D. 166-7, 169

— (Santa Cruz) Ph.D. 167

— (San Diego) Ph.D. 160

Calvert, Edward, artist 151, 154

Cambridge Quarterly (1977) 162

Cambridge University Ph.D. 160, 162

Canning, George, politician 167

Cansino, Edward, musician 155

‘Canterbury Pilgrims’ engraving 156

Carlson, Craig B. 157

Carnegie Institute Museum of Art 142, 148

Carner, Frank Kenneth 157

Carothers, Yvonne 154-5

Carr, J.L. 146

Carter, Peter 157

Cary, Joyce, novelist 169

Case Western Reserve University Ph.D. 167

Centennial Review (1974) 161

Chard, Leslie F. 156

Chatterton, Thomas, poet 156, 161

Chatto, Andrew 148

Chatto & Windus, publishers 148

Chaucer, Geoffrey, Prologue 149; see also ‘Canterbury Pilgrims’

Chayes, Irene H. 157

Chicago (University of) Ph.D. 162

Child’s Gem for 1845 156

children and Blake 157, 165

‘Chimney Sweeper (The)’ (Innocence) 172

Chinese, works on Blake in 150

Chokai, Hisayoshi 157

Christianity, Blake’s primitive 169

Christie auction (1976) 143

Christology 161

Clark, Jonathan & Barbara 146

Clark, Kenneth 150, 157

Clutton-Brock, Alan Francis 157

Cobbett, William, political writer 172

Cock (D.) & Co., printers 149

Colburn, Bell and Bradfute, booksellers 160

Colburn, Henry, bookseller 160

Colby Library Quarterly (1976) 172

Coleridge, Samuel Taylor, poet 151, 164-5

Colman, Mrs Pamela Chandler 144, 146, 156

colour, Blake’s use of 162, 164

Columbia University Ph.D. 139, 169, 179

Commercial Herald (1806) 148

Common Prayer, Book of 166

comparative literature (1974) 162

computers 167

Connecticut (University of) Ph.D. 169

Connoisseur (1969) 161

Connolly, Thomas B. 156

Cooke, Charles (1760-1816), bookseller 149

Cooke, George Frederick 156, 160

contraries, Blake’s use of 162

Coomar, Devinder Mohan[e] 157

copperplate-maker’s-mark 141

Cornell University Ph.D. 163

Corriere della Sera (1975) 153

cosmogonic myth 167, 169

Cowling, William Hammill 157

‘Cradle Song (A)’ 144

Crane, Hart, poet 164, 172

Crawford and Balcarres, Earl of (d. 1975), collection 140, 143

Crehan, A. S. 146

Crehan, T. 146

criticism (1975) 169

Crosby, Cameron 154

Crown Theatre (Edinburgh) 154

Cumberland, George, calling card (1827) 139

Thoughts on Outline (1796) 139

Cumming, John, Dublin bookseller 160

Cunningham, Allan 139, 169, 173

Curtis, F.B. 156-7

Daeley, Carol Ann 160

Daily Nexus (1976) 152

Daily Telegraph (1964) 153

Damon, S. Foster 160, 166

Danby, Francis, artist 165

dance based on Blake 154

Dante Alighieri 162

—watercolours after 166, 173

Dargan, Tom 151, 156

Daugherty, James 160

Davies, J.G. 160

Davies, Michael 160

Davis, John Lindsay 160

Dawn of Light (1825) 144, 146

death, Blake’s treatment of 169

Deck, Dr. Raymond H., Jr 137, 155-6

de Loutherbourg, Phillipe 165

Derbyshire 156

Derderian, Nancy Cebula 160

Derolez, R. 160

Descriptive Catalogue 139, 150

Dickens, Charles, novelist 164, 172

diction, Blake’s 157

Dillon, Ralph G. 160

Dilworth, Thomas R. 156

Dimond, S.G. 160

Di Salvo, Jackie 160

‘Discomfited Duellists (The)’ (illus.) 163

Dissertation Abstracts 156

—(1961) 163

—(1964) 166

Dissertation Abstracts International 156

—(1969) 157, 160, 167, 169

—(1971) 139, 157, 160-5, 167-9

—(1974) 157, 160, 162, 165, 167, 172

—(1975) 153, 160-4, 166-7, 169, 172

—(1976) 151, 157, 161, 163, 165, 167-9, 172

—(1977) 162, 165-7, 169

dissertations on Blake 156; see also DA, DAI, and individual universities

‘Divine Image (The)’ 144

Doctorow, Erica 151

Dorfman, Deborah 160

Dörrbecker, Detlef W. 142, 154, 156

Doubinsky, C. 160

‘Dream (A)’ 144

Drescher, Timothy Wallace 160

Dublin 156

Dunbar, Pamela M. 160

Dunlap, Ann Bush 160

Dunlap, William 156, 160

Duperray, Max 160

Durer, Albrecht, painter and engraver 155

Durham University Journal (1974) 164

Dutch Quarterly Review of Anglo-American Letters (1974) 163

Earl. James, Practical Observations on . . . the Stone (1793, 1796, 1803) 156

Easson, Kay Parkhurst 154, 156; see also Kay Parkhurst Long

Easson, Roger Ralph 154, 156, 160

Eaves, Morris 138, 153-6

Edinburgh Review (1809) 148

Edinburgh University Ph.D. 167

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Edinburgh University Theatre Company 154

Edmeads & Pine 1802, watermark 141

Edmunds, Andrew, dealer 141

‘Edward the Third’ 167

Efron, Arthur 173

Eigo Seinen (1974) 164, 169

Eisele, Richard 151

Eldridge, Aethelred 162, 164

Eldridge, Alexandra 164

Eliot, T.S., poet 160, 164

emblems and Blake 153

empiricism, Blake’s 172

Enco Products News Bulletin (1959) 137

Encyclopaedia Universalis (1968) 160

Encyclopedia Britannica (1972) 166, (1974) 157

Enfield, William, The Speaker

English Language Notes (1974) 172

—(1975) 153

English Literary History (1974) 161

English Studies (1975) 152, 160

enlightenment, Blake and the 166

Enoch, Book of 153, 155

Epstein, E.L. 160

Erdman, David V. 146, 151, 153-4, 156, 160-1

erotica in Blake 162

Ethiopia 153, 155

error, form of 165

Essick, Robert Newman 137, 140, 143, 144, 149, 151, 154-5, 160

—collection 141-3, 149, 157

Etty 165

Etudes Anglaises (1975) 160, 164

Europe 139-40, 143, 144-5 (illus.), 146, 146-7 (illus.), 161, 173

Evans, James C. 153

‘Evening Amusement’ engraving (1782) 139

‘Evening Hymn’ 144

‘Everlasting Gospel (The)’ 162

Examiner (1808) 148

Exeter University Ph.D. 157, 162

experiments, Blake’s 166

Explicator (1973) 169

—(1974) 153, 166

Ezekiel 162, 169

Fairchild, Bertram Harry, Jr. 157, 161

Fawcus, Arnold 142, 150, 161

Feaver, William 161

feminine principle in Blake 160

Ferber, Michael 153-4, 161

First Book of Urizen 140, 143, 164, 172-3

Fisch, Harold 161

Fiske, Irving 161

Fite, Monte D. 161

Fitzwilliam Museum 148, 173

Flaxman, John, sculptor 139, 153, 155, 173

Hesiod (1817) 149

Iliad 149

Fleissner, Robert F. 161

Florida State University Ph.D. 165

Florin Poet Series 146

Fludd, Robert 157

‘Fly (The)’ 156

Fogg Museum (Cambridge, Massachusetts) 155

Folcroft facsimile 155

Folcroft Library Editions 161

Folkenflik, Robert 161

Folsom, L. Edwin 153

For Children; see The Gates of Paradise 154

For the Sexes; see The Gates of Paradise 154

Ford, John 153

Foscolo 157

Four Zoas; see Vala

Fowler, Roger 160

Fox, Susan Christine 161

Frankfurt Blake exhibition (1975) 156, 173

Franson, John Karl 162

Freedman, Marsha Brody 161

Freemasonry 167

French, works on Blake in 146, 149, 152-4, 160-1, 164-5, 167

French Revolution 167

Fritz, Paul 164, 166

Frost, Everett Calvin 153, 155, 161

Fry, Roger 152, 164

Frye, Northrop 151, 161, 166

Fuseli, John Henry, artist 139, 154, 165, 169

Galbraith, Thomas William 161

Gabbett-Mulhallen, K.A. 161

Galleria (1974) 166

Garnett, Richard 161

Gates of Paradise 154

Gay, John, Fables (1793) 139

Gazette ([Birmingham] 1808) 148

Gazette and Public Advertiser ([Bristol] 1808) 148

generation (i.e., death), Blake’s use of 153, 169

Genet 153

Georgia (University of) Ph.D. 153

German, works on Blake in 142, 156, 173

Gershgoren, Sid Carl 161

Gerrish; see Lott & Gerrish, print firm 143

Ghost of Abel 141, 169

Gilchrist, Alexander 139

Gillham, D.G. 161

Ginsberg, Allen, poet 157

Gleckner, Robert F. 151, 156, 161

Gleeson, Larry 151

Glen, Heather J. 162

Gnosticism 165

Goddard, Harold C. 162

Goff, Phyllis 150-1

Goldie, George, Edinburgh bookseller 160

gonococcal conjunctivitis 156

Golgonooza (1976) 162, 164

Goslee, Nancy M. 169

Gothic, Blake’s idea of 154-5

Gough, Richard, Sepulchral Monuments (1786) 139

Goyder, George 140, 155

—collection 155

Grant, John E. 162, 165, 172

Grant, Philip Bernard 155, 162

Graves, Robert 162

Gray, Thomas, watercolours after 161-2

Great Lives Series 157

Green, Richard G. 162

Gretton, Francis 162

Grierson, H.J.C. 162

Grigson, Geoffrey 162

Gross, Rochelle C. 156

Hagstrum, Jean H. 155, 162

Hamblen, Emily S. 162

Hamburg Blake exhibition (1975) 153, 156, 172-3

Hamburger Kunsthalle 141

Hamilton, Alistair 153

Hamilton, G., English School (1830-2) 149

Galerie des Artistes Anglais (1837) 149

Gallery of British Artists (1837) 149

Harris, Wilson, novelist 165

Harrison & Co, booksellers 149

Harrison, K.C. 151

Harvard University Ph.D. 161-2, 166

Harvey, J.R. 162

Hayley, William, poet, biographer, patron 156, 169

Designs (1802) 150, 165, 169

Essay on Sculpture (1800) 139

Life of George Romney (1809) 139

Life . . . of William Cowper (1803-4) 139

Triumphs of Temper (1803) 139

‘Heads of the Poets’ 148

Heat and Light for the Nineteenth Century (1851) 144

Hebrew 166

Heim Gallery (London) 149

hell, Blake’s use of 167

Helms, Loyce Randel 162, 169

Henning, C.M. 156

Henry, Thomas 153

Heppner, Dr. Christopher 149, 155

Hereford, character in Jerusalem 156

Hering, John, binder 150

Herriman, W.H. (d. 1918), collection 139

Herring, John and Paul 144

Herrstrom, David Sten 162

Hervey, James, Meditations, Blake’s design after 156

Hill, Gillian McMahon 162

Hill, Melvyn Alan 162

Himmelberg, Claudia 151

Hinkel, Howard H. 162

Hirsch, E.D., Jr. 162

Hirst, Désirée 157

history of Europe, Blake’s use of 172

Hoare, Prince, Academic Correspondence (1804) 139

Hoeveler, Diane Long 162

Hofmann, W. 162

Hogarth, William, artist 160

Holloway, John 162

Holy Thursday, occasion 156

‘Holy Thursday’ (Innocence, Experience) 156

Homer 149, 167-8

Hoover, Suzanne Robinson 162

Hotten, John Camden 166

‘How Sweet I Roam’d’ 167

Howard, John 162

Howard, Seymour 155

Hower, Harold E. 162

Hume, David, philosopher 155

humour, Blake’s 160

Huntington Library and Art Gallery (San Marino, California) 152-4, 157-9, 163, 168, 169-71

Illinois (University of) Ph.D. 162, 165

Illustrated London News (1845) 154

—(1976) 161

imagery, botanical 163

—kinetic 161

imagination, Blake’s use of 161, 163, 167

Imprint Society 150

Indiana (University of) Ph.D. 157

infinity, symbol of in Blake 169

Inflammable Gass (in the Island) 155

International Exhibition (1862) 150

‘Introduction’ (Innocence) 144

Iowa (University of) Ph.D. 161, 163-4

Irwin, David 155

insanity 154

Ishill, Joseph[e] 146

Island in the Moon 146, 155

Italian, works on Blake in 153, 162, 166

Jackson, I., designer 139

James, Carol 162

Japanese, works on Blake in 153, 157, 164-5, 169, 173

Jaspers 164

Jefferys, James (1851-84), artist 155

Jenkins, Herbert G. 162

Jerrold, Douglas 164

Jerusalem, woman 157

Jerusalem 139-41, 148, 151, 154-7, 160, 162, 164-5, 167, 169, 172-3

Job 139, 148, 150-1, 161, 165-6

Jofré, Manuel 163

Johnes, Thomas 156

Johnson, Joseph, bookseller 153

Johnson, Mary Lynn 154

Johnson-Grant, Mary Lynn 155

Jones, Edward Terry 155

‘Joseph of Arimathea Among the Rocks of Albion’ 139, 142

Journal of Commonwealth Literature (1975) 165

Joyce, James, novelist 157

Jung, Carl Gustave 167

Kafka, novelist 153

Kant, Emanuel, philosopher 164, 172

Kaplan, Nancy A. 163

Karvonen, Paul Edwin 163

Kauvar, Elaine Mozer 155, 163

Kazin, Alfred 146

Keating, Ruth Aikman 163

Keats, John, poet 157, 162, 164, 169

Kegel-Brinkgreve, E. 163

Kelly, T., printer 149

Kenmare, Dallas 163

Kent, Donald L. 156

Kent State University Ph.D. 162

Kerr, S.P. 152, 164

Keynes, Sir Geoffrey 139, 142, 144, 146, 148, 150, 153, 161, 164

—collection 173

Kierkegaard, Søren 165

Knights, Lionel C. 164

Kodama, James Hisao 153

Kottabos (1869-77) 156

KPFK Pacifica (Pasadena, California) radio station 155

Kroupnick, Nathan 151

Kumashiro, Soho 164

Kunstwerk (1975) 172

LaBelle, Jenijoy 149, 155

‘Lamb (The)’ 144, 146, 157

Lamb, Mary 139

Lancaster University M. Litt. 157

Lande, Lawrence 164

Landro, Laura 164

Lange, Thomas V. 139, 141-2, 150, 167, 173

language, Blake’s use of 161

‘Laocoon’ 142, 155, 164

‘Laughing Song’ 146, 172

Laukenner, Wanda 154

‘Lavater’ engraving (1801) 139

Lavater, John Caspar, Aphorisms on Man (1788) 139, 149, 156

Lawrence, D.H., novelist 151

Leavis, F.R. 164

Leavis, Q.D. 164

Lechay, Daniel T. 164

Leeds University Ph.D. 169

Lehrer, Ruth Fine 154

Leibniz,[e] philosopher 168

Lemaitre, Henri 164

Lento, Thomas Vincent 164

Lewis, Elizabeth, librarian 150

Leyris, Pierre 146, 154

Library of Congress 154, 173

‘Lilly (The)’ 144

Linnell, John, painter 139, 151, 157, 165

Lipking, Lawrence 164

Listener (1972) 161

Lister, Raymond 154, 164, 166

Literary Panorama (1807) 148

Lithuanian 169

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‘Little Black Boy (The)’ 161-3

‘Little Boy Found (The)’ 146

‘Little Boy Lost (The)’ 146

‘Little Girl Found (The)’ 156, 164

‘Little Girl Lost (The)’ 156, 164

Little Keepsake for 1844 144, 156

Little Truth-Teller (1846) 146

Lituanus (1974) 169

Locke, John, philosopher 153

Loehrich, Rolf 164

‘London’ 156-7, 160

London 155

London University M. Phil. 164

—Ph.D. 153, 165, 167

Long, Kay Parkhurst 156, 164; see also K.P.L. Easson

Longworth, D., New York bookseller 160

Los 167-8; see also Book of Los

Los Angeles Times (1976) 172

Lott & Gerrish, print firm 143

Loutherbourg, Phillip de, artist 165

‘Love’s Secret’ 169

Lowry, Mark Daniel 164

Lowry, Wilson, engraver 150

‘Lowry (Wilson)’, engraver (1825) 139

Lussan, R. 160

Luther, Martin, theologian 164

Lyle, Janice 151

MacDonald, Greville 164

Machin, N.P.F. 164

Mackerness, E.D. 164

Maclagen, E.R.D. 142

madness 154

Malkin family 164

Malkin, B.H., Memoirs (1806) 139

Manchester City Art Gallery 148

Manent, Maria 146

Macpherson, James 161

Maguire, P.,[e] engraver 149

Marks, Mollyanne Kauffman 157, 164-5

Marqusee, Michael 148

Marriage of Heaven and Hell 142, 153, 155-6, 160-2, 164, 167, 169

Mars 153

Martin, John, artist 165

Mary, Virgin 169

Masons, society of 167

Massachusetts (University of) Ph.D. 166-7

—Press 150

Masterson, Donald Joseph 165

Materials for the Study of William Blake 140

Mathews, Lawrence MacKay 165

‘May-Day in London’ (illus.) 169-71

Mayoux, Jean-Jacques 165

McClellan, Jane Martha 165

McGill University Library 149-50, 155

McLuhan, Herbert Marshall 165

medicine 156

Mellor, Anne K. 155, 165

Melton, Diana 151

Mengs 154

‘Mental Traveller (The)’ 146, 151, 160, 169

‘Mental Traveller (The), a dance drama’ 154

Mercier, Vivian 156

metaphysics 167, 172

Metcalf, Francis Wood 153

Methodism 160

Methodist Quarterly (1927) 160

Methuen, publisher 150

Mez, Sonia 154

Miami University Ph.D. 168

Michael Angelo 155

Michelet 153

Michigan State University Ph.D. 172

Middleman, Louis Isaac 165

Mills, John W., artist 153

Mills, Paul C. 151

Milton, John 156-7, 167, 172

—watercolours after his poems 160

L’Allegro, watercolours after 148, 153

Comus, watercolours after 150

—‘Nativity Ode’, watercolours after 153

Paradise Lost, watercolours after 150

Paradise Regained, watercolours after 148, 172-3

Il Penseroso, watercolours after 148, 153

Milton 142, 154-5, 157, 161-2, 165, 167, 169

Milton Studies (1975) 153

Minnesota (University of ) Ph.D. 165

Minnick, Thomas 155

Mitchell, J.L. 167

Mitchell, O.S. 165

Mitchell, W.J.T. 148, 154

Mizue (1973) 173

Modern Language Association Blake Seminar (1974) 156

—(1975) 148, 169

—(1976) 155

monadology 168

Monde (1974) 154

Monthly Literary Advertiser (1808) 148

Monthly Magazine (1807) 156

—(1808) 148

—(1833) 172

Moore, Thomas, poet 153, 155

Morgan (J. Pierpont) Library (N.Y.) 138-42, 144, 150, 167, 173

‘Morning’ 146

‘Morning Amusement’ engraving (1782) 139

Morris, David B. 165

Morton, A.L. 165

Morton, Richard 164, 166

Mosaic (1974) 151

—(1975) 168

Mosher, Harold F., Jr 165

Moss, John G. 165

Muggeridge, Malcolm 165

Muir, William, facsimiles 148, 150

Mulhallen, Karen G. 165

Murray, E.B. 156

Murray, Roger 168

Murray, Susan 151

Murry, John Middleton 165

music 153, 155, 157, 161, 163

mysticism 165

myth 167, 169

mythopoeia 162

nakedness 155

Nanavutty, Piloo 165

Nathan, Norman 165

Nation (1913) 152, 164

—(1914) 164

National Gallery (London) Blake exhibition (1913) 152, 164

National Gallery (Washington) 154

National Library of Australia (Canberra) 140

National Union Catalog 173

Near, P.L. 165

Nebraska (University of) Ph.D. 168

negation, Blake’s use of 167

Nelson, J. Walter 154, 157

neohelicon (1973) 167

Nerval, Gérard de 167

New Church Advocate (1844) 144

New Church Magazine for Children (1843) 144, 146

—(1844) 146

—(1848) 146

New Literary History (1973)

New Mexico (University of) Ph.D. 160, 169

New York University Ph.D. 162, 165, 169

New York, State University of (Buffalo), Ph.D. 160

—(Stony Brook), Ph.D. 172

Newman, Charles 172

Newton, A. Edward, collection 150

Newton, John, physicist 156

Nicholson, William 155

‘Night’ 146

‘Nobodaddy’ 153

Noer, Philip Douglas 165

North Carolina (University of) Ph.D. 161

Northwestern University Ph.D. 163

Norton Critical Edition 155

Notebook 153, 156

Notes on Teaching English (1975) 161

Nouvelle de l’Estampe (1973) 161

novel about Blake 157

Novelist’s Magazine (1782-3) 139, 149

nudity 155

Nurmi, Martin K. 151, 155, 165

‘Nurse’s Song’ (Innocence) 146

Ober, Warren U. 153

Oberon (1973) 157

Observer Magazine (1976) 161

occult traditions 167

Ogawa, Kazuo 165

‘On Another’s Sorrow’ 146

O’Neill, Judith 166

Oothoon Dance Theatre 154

Orc 172

‘Order’ of the Songs 143

Oregon (University of) Ph.D. 167

Orel, Harold 166

Oriel Press 146

Orion Press 150

Ostriker, Alicia S. 166

Ott, Judith 155

Oxford University B.D. 160

Oxford English Dictionary 157

Pacific (University of the) Ph.D. 172

Paddington Masterpieces of the Illustrated Book 148

Palgrave, Francis Turner 150

Palmer, A.H. 166

Palmer, Samuel, artist 151, 164-6

Pananides, Dean Nicholas 166

Papers in Language & Literature (1975) 162

Paracelsus, Theophrastus Bombastus von Hohenheim, alchemist 155

parallax, Blake’s art of 167

Parisi, Frank M. 154

Parisi, Heidi 154

Parker, Harley 165

Pascal, Blaise 165

Paunch (1974) 162

—(1975) 173

Pearson, John 148

—catalogue (?1884) 141

Pelzel, Thomas 154

Pennsylvania (University of) Ph.D. 162

Pennsylvania Academy of the Fine Arts 136 (illus. (illus.) 137-8

perception, problem of in Blake 166, 172

Peterfreund, Stuart Samuel 166

Peterson, Jane A. 166

Peterson, Jane E. 166

Paley, Morton D. 138, 142, 148, 151, 153, 155-6, 166

phallic imagery 153

Philadelphia Museum of Art 137-8, 140, 143, 144-5 (illus.), 146, 146-7 (illus.)

Phillips, John S., collection 138

Phillips, Michael 166

Philological Quarterly (1973) 166

—(1976) 153

philosophy, Blake’s 165, 167

phrenology, Blake’s use of 155

physiognomy, Blake’s use of 155

Pignard, Simone 154

Pinto, Vivian de Sola 146, 166

Pittsburgh University Ph.D. 165

Plantin Press 149

Plowman, Max 146, 166

Poe, Edgar Allan 172

poetics, Blake’s 161

Poetical Sketches 166-7

Poetry Review (1940) 163

politics in Blake 161

Post (1975) 164

Powney, Christopher, collection 149

Preston, Kerrison, collection 150-1

Princeton University Ph.D. 151

Proust 153

psychology in Blake 154

punctuation, Blake’s 157

Quarles 154

Quaritch, Bernard, list (1886) 141, 143, 150, 173

Quarterly Review (1826) 152, 168

Queens University (Belfast) Ph.D. 172

—(Kingston, Ontario) Ph.D. 161

R. 164

radical culture 169

Raine, Kathleen 144, 166

Read, Dr. Dennis Myron 148, 156, 160, 166

Readings in Literary Criticism 166

Rees, Abraham, Cyclopaedia (1802-20) 139, 150

Reiman, Donald H. 153

Reinhardt, Nancy 151

Reisner, Mary Ellen 155

Reisner, Thomas A. 166

relief-etching of Blake 154

religion in Blake 161

Repository (1810) 154

reputation of Blake 162

Retina (1843) 144

Review of English Studies (1975) 166

revolution, Blake’s idea of 172

Revue Britannique (1833) 172

Reynolds, Sir Joshua, artist 154-5

rhetoric, Blake’s use of 160, 163, 165

Richards, Charles 151

Richardson, Samuel, Sir Charles Grandison (1818) 149

Richmond, George, artist 143, 151

Rimbaud, Arthur 167

Robinson, Henry Crabb, diarist 166

Roe, Albert S. 166

Rollins, Mark Edwin 166

Romeo, Duccio 166

Romney, George, artist 155; see Hayley, Romney

Rosbottom, Ronald C. 165

Roscoe, William 155

Rose, Edward J. 155-6, 166

Rosenbloom, Charles J., collection 141-4

Rosenfeld, Alvin H. 166

Rosenwald, Lessing J., collection 154

Ross, D. 167

Rossetti, Dante Gabriel 172

Rossetti, William Michael 146

Roethke, Theodore, poet 157

Roti, Grant C. 156

Rowfant Keepsake 148

Royal Academy 169

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— exhibition (1967) 153

Rubens, Peter Paul, artist 155

Ruhlman, John Arthur 167

Runciman, Alexander, painter 155

Russell, Archibald G.B. 142, 164

Russian, works on Blake in 155-6

Rutgers University Ph.D. 172

Ryan, Robert Emmett 167

Ryskamp, Charles 167

Sabri-Tabrizi, Gholen Reza 167

Sachs, Myron 167

Sade, Marquis de 153

St. Augustine 165

St. John 155

St. John of Jerusalem, Order of 154

St. Paul’s Cathedral (London) 156

Salmon, Edward 167

Salter, Thomas Norman 167

Saltykov-Shchedrin State Public Library (Leningrad) 156

Salzburg Studies in English Literature 162

Samuel, G. 167

Sampson, John 144, 146

Sanders, Jon Barry 167

Santa Barbara Conference; see California, University of (Santa Barbara), Conference

Santa Barbara Museum of Art 151

Santa Barbara News (1976) 152

Sanzo, Eileen 153

Satan, Blake’s use of 153

satire, Blake’s 165

Scatchard (mistake for Stothard) 149

Schacherl, Lilian 142

Schiavone, Carmen 151

Schieker, Stephen Mathias 167

Schiele, artist 153

Schlieper, Reinhold 167

Schotz, Myra Glazer 155, 167

Schroyer (i.e., Shroyer), Richard J. 156

Schuchard, Marsha Keith Manatt 167

Scott, David, painter 155

Scott, William Bell 148, 155

Scottish painters and Blake 155

semantics in Blake 169

sexual dynamics of Blake 172

Shain, Ronald 167

Shakespeare, William 164

—watercolours after 150, 154

Plays (1805) 139

Shaw, George Bernard 161

Shelley, Percy Bysshe, poet 162, 169, 172

‘Shepherd (The)’ 146

Sherman, Welby 151

Short, Ernest H. 167

Shroyer, Richard J. 156, 167

‘Sick Rose (The)’ 160

Signature Series 153

Signet Classic Poetry Series 146

Simmons, Robert E. 167

simplicity, Blake’s poetic 168

Singh, Gurbhagat 167

slides of Blake’s works 153

Smart, Christopher, poet 157

Smith, Nancy 151

Smithson, R., Jun., bookseller 150

Snyder, Gary, poet 157

Snyder, Peter G. 167

sociology and Blake 167

Songs of Innocence 144, 157, 173

Songs of Innocence and of Experience 143, 144, 146, 150-1, 155-7, 161-4, 167, 172-3

—electrotypes 154

Sotheby auction (1843) 150

—(1964) 143

—Hodgson’s Rooms (1976) 142

—Belgravia (1977) 143, 173

Sotheran, binder 148

Southern California (University of) Ph.D. 169

Southey, Robert, poet laureate 152, 168

Spanish, works on Blake in 146, 163

spectre in Jerusalem 154

Spectrum Book 161

Spenser, Edmund, poet 164

Spinks, Cary William, Jr. 168

Stanculescu, Liana P. 168

Star and West-Riding Advertiser (1807) 148

Stebbing, Henry 166

Stedman, J.G., Narrative (1796) 150, 154

Stempel, Daniel 168

Sterne, Laurence, novelist 152

Stoner, Oliver; see Morchard Bishop (his pseudonym) 150

Stothard, Thomas, artist 149-50

Studia Neophilologica (1974) 152

Studies in Bibliography (1976) 165

Studies in Browning and His Circle (1974) 172

Studies in English Literature (1975) 153, 164

Studies in English Literature 165

Studies in Romanticism (1974) 162, 168-9

Studies on Voltaire and the Eighteenth Century 166

Sunday Messenger (1973) 162

Swedenborg, Emanuel, prophet 146, 152-3, 155, 165

Swift, Jonathan 152-3

Swinburne, A.C., poet 166

Swirbul Library Gallery (N.Y.) 151

Syracuse (University of) Ph.D. 167

Tagore, Rabindranath,[e] poet 157

Tannenbaum, Leslie 155, 169

tape of Blake 155

Tate Gallery (London) 153

Tatham, Frederick 143

Tayler, Irene 155, 169

Taylor, Gary J. 169

Taylor, J.A. 169

Taylor, Peter Alan 169

Taylor, Richard Loring 169

Taylor, Ronald Clayton 169

Tebbets, Terrell Louis 169

Teleskop (1834) 155

‘Temple of Mirth’ (illus.) 152

Tennessee Studies in Literature (1974) 157

Tennant, Megan 154

Tennant, Neil 154

Tennyson, Alfred, poet 153

Texas (University of) Ph.D. 160, 164, 167

Texas Women’s University Ph.D. 163

textbooks of Blake 154

Thel; see Book of Thel

‘Thel’s Motto’ 153-4

theology of Blake 160

There is No Natural Religion 144, 173

Thompson, Edwin James 169

Thompson, Raymond 137

Thornton, Robert John 150, 155

thyme, wild, Blake’s use of 155

tigers and Blake 153

Timbs, John 169

time, Blake’s use of 165, 169

Times Educational Supplement (1967) 153

Times Literary Supplement (1977) 141-2, 150, 160, 167

Tiriel 144, 153, 167

Tirzah 166

‘To Tirzah’ 166

Todd, W.B. 173

Todd, Ruthven 150, 156

Todhunter, John 156

Tolley, Michael 154

Tolstoy, Leo, novelist 165

Tomory, Peter 169

Toronto (University of) Ph.D. 157, 161, 166-7

transcendence in Blake 172

Trent, Robert J. 169

Trianon Press (Paris) 148, 150, 161

Trinity College (Hartford, Connecticut) 142, 148

Tri-Quarterly (1972) 172

Truchsessian Gallery 155

Tsuchiya, Shigeko 169

Tufts University Ph.D. 167

Tulsa (University of) Ph.D. 160-1, 164

Turner, C., engraver 139

Turner, J.M.W., painter 154

Twitchell, James B. 169

‘Tyger (The)’ 153, 157, 160, 162-3, 165

Tyrell, William Gerald 156

Tyson, G.P. 153

‘Tythe in Kind’ (illus.) 157-9

United Empire (1927) 167

Unruh, Donald John 169

Urizen; see First Book of Urizen

Usher, James 164

Vala, woman 157

Vala 157, 160, 163-5, 167

Valiukenas, Delija J. 169

vampire bats in Jerusalem 154

Varley, John, artist 139, 167

venereal disease in ‘London’ 156

Vico, Giambattista 157

victim, figure of in Blake 165

Victoria & Albert Museum (London) 155, 161

Viking Portable Library 146

Virgil, Pastorals (1821) 139, 150

Viscoli, Lois Katherine 169

vision in Blake 172

‘Vision of the Last Judgment’ drawing 148

Visionary Heads 155

Visions of the Daughters of Albion 150, 166

Vogler, Thomas Allen 169-70

Voltaire 152, 166

Wagener, Francoise 154

Wagenknecht, David 172

Wales and Welsh 156

Walker, Corlett Rossiter 151

Ward, Aileen 146, 172

Ward, James, artist 165

Ward, Marney Jean McLaughlin 172

Wardle, Judith 153, 169, 172

Wark, Robert R. 154, 172

Warner, Janet 154, 167, 172

Warner, William Robert 172

Washington (University of) Ph.D. 161, 166, 172

Washington State University Ph.D. 157

Waters, Gregory Leo 172

Watteau, painter 139

Waxler, Robert Phillip 172

Weiskel, Thomas 172

Wellesley Index 152

West Virginia University Philological Papers (1974) 157

Westall, Richard, artist 153, 155

Westminster City Libraries 150-1

Whatman (J) 18[ ], watermark 150

—1831 138

Wheaton Studies in Literature 146

White, George Abbott 172

White, Harry 155

Whitehead, Frederick Allan 172

Whitla, William 172

Whitworth Gallery (Manchester) 140, 153

Wild, David W. 172

Wilkie, Brian 156

Wilkinson, Andrew M. 144

Wilkinson, Carolyn 172

Williams, Porter, Jr. 172

Wilner, Eleanor 172

Wilson, Mona 172

Winslow, L. Forbes 154

Winter, Peter 172

Wisconsin (University of) (Madison) Ph.D. 153, 160, 166

—(Milwaukee) Ph.D. 166

Wit’s Magazine (1784) 139, 152 (illus.), 157-9 (illus.), 163 (illus.), 158 (illus.), 169-71 (illus.)

Witcutt, W.P. 172

Witke, Joanne Stauch 172

Wittreich, Joseph Anthony, Jr. 148, 154, 160, 169, 172-3

Wolf, Donald A. 151

Wolfe-Gumpold, Kaethe 173

Wooster, Margeret 173

Worbs, Erich 173

World Perspectives 165

Wordsworth, William, poet 162, 164-5, 169

Wordsworth Circle (1974) 165, 172

Worrall, David 156

Wrangham, Francis, collection 139, 150

Wright, John W. 154

Wyatt, David M. 157

Wynne, Emblems 153

Yamamoto, Isao 153

Yale University 141, 143, 144

—Ph.D. 161, 172

Yeats, W.B. 157, 161, 172-3

Young, Edward 167

Night Thoughts (1797) 161

—watercolours 143, 162

—coloured engravings 150

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