article
begin page 137 | ↑ back to topA SUPPLEMENT TO BLAKE BOOKS
When Blake Books1↤ 1 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Blake Books or in addenda to it (pp. 951-1001), but of course even these addenda, completed in the winter of 1976, were out of date when the book was published.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 1977.2↤ 2 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.
begin page 136 | ↑ back to top
PART I
EDITIONS OF BLAKE’S WRITINGS
SECTION A INDIVIDUAL WORKS
Copy | State | Watermark | Size in cm | Printing Colour |
J | 3 | — | 16.0 × 26.4 | brownish-Black |
PHILADELPHIA Museum |
||||
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.
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.
C9
*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.
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.
begin page 139 | ↑ back to topBINDING: (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;5↤ 5 Similar, probably by coincidence, to Innocence (L), Songs (Q, T1), and No Natural Religion (F). (2) These leaves were combined with others:
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);
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;
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);
Letters about Blake from Bernard Barton of 2 February 1830 (f. 1) and from John Varley of December 1828 (loose in an envelope);
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);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;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.);Fly-leaves (3 at front, one at rear) and blank leaves (ff. 153-65) on unwatermarked woven paper 24.5 × 33 cm;
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 19767↤ 7 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.
A16
§*The Book of Los [A]. London, 1976. The William Blake Trust.
A26
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.
begin page 140 | ↑ back to top↤ 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.
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.
A34
*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.
begin page 141 | ↑ back to topCopy | Plates | Leaves | Watermarks | Blake numbers | Binding-order | Leaf-size in cm | Printing Colour |
E | 1 | 1 | — | — | Loose | 24.5 × 34.5 | Black |
Essick |
COPY E: BINDING: Loose.
HISTORY: (1) Acquired some years ago by a dealer who had no knowledge of its previous history9↤ 9 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.
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.
76
*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’.
begin page 142 | ↑ back to top↤ 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.
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.
COPY J: BINDING: Loose.
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.
98
Marriage (F) was reproduced in the 1868 facsimile (see M. D. Paley, BNYPL [1976]).
A109
*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.
119
Milton. Ed. E. R. D. Maclagen & A. G. B. Russell. . . . B. §Folcroft, Pennsylvania, 1973.
125
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.
Copy | Plates | Leaves | Watermarks | Blake numbers | Leaf-size in cm | Printing Colour |
T2 | 32 | 1 | — | 32 | 12.1 × 15.8 | brick-Red |
Essick | ||||||
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.
188
Songs of Innocence and of Experience. Ed. Andrew M. Wilkinson. . . . G. §1970. H. §1971. I. §1974. J. 1976.
190
* 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.
SECTION B COLLECTIONS & SELECTIONS
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.
begin page 145 | ↑ back to top
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).
begin page 147 | ↑ back to top
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.
PART II REPRODUCTIONS OF DRAWINGS & PAINTINGS
SECTION A ILLUSTRATIONS OF INDIVIDUAL AUTHORS
Milton
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).
SECTION B COLLECTIONS & SELECTIONS
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.
PART III COMMERCIAL BOOK ENGRAVINGS
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 :
Arris’s Birmingham Gazette (28 July 1806), with a Prospectus ‘advert in this page’;
*Birmingham Commercial Herald (28 July 1806), with a *Prospectus (‘Vide advert’), virtually identical to those in the Gazette;
The Artist (1 Aug. 1807, p. 6);
The Literary Panorama (Nov. 1807, column 304, saying it was ‘to be printed . . . [by] Ballantyne’);
*Manchester Gazette and Public Advertiser (7 Nov. 1807), with a *Prospectus listing the 12 plates;
*Wakefield Star and West-Riding Advertiser (27 May 1808, ‘printing . . . by BENSLEY’);
Monthly Magazine (1 June 1808);
*Bristol Gazette and Public Advertiser (9 June 1808);
*Birmingham Gazette (30 June 1808);
Athenaeum Magazine (June 1808);
Monthly Literary Advertiser (9 July 1808);
Edinburgh Review (Jan. 1809, p. 500);
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.
begin page 149 | ↑ back to topChaucer, 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.
487. E. THE / HISTORY / OF / SIR CHARLES GRANDISON, / AND / THE HON. MISS BYRON; / IN / A SERIES OF LETTERS. / BY MR. SAMUEL RICHARDSON, / AUTHOR OF THE HISTORIES OF PAMELA / AND CLARISSA HARLOW. /-/ FORMERLY PUBLISHED IN SEVEN VOLUMES; THE WHOLE NOW / COMPRISED IN TWO. / VOL. I[-II]. /=/Cooke’s Edition. /=/ [Woodcut vignette of inkwell, pens, books, &c.] /=/ EMBELLISHED WITH FIFTEEN SUPERB ENGRAVINGS. /=/ LONDON; /. [Vol. I:] STEREOTYPED AND PRINTED FOR T. KELLY, / 17, PATERNOSTER-ROW. / And sold by all Booksellers in the / United Kingdom. / 1818. [Vol. II:] STEREOTYPED AND PRINTED FOR C. COOKE. / 17, PATERNOSTER ROW; / BY D. COCK, AND CO. DEAN STREET, SOHO. / And sold by all Booksellers in the / United Kingdom [n.d.] (McGill)
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 182015↤ 15 | 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 reported16↤ 16 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.
Virgil
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)
CENSUS OF COLOURED COPIES [p. 646]
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.
PART IV CATALOGUES & BIBLIOGRAPHIES
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).
PART V BOOKS OWNED BY BLAKE
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.
PART VI BIOGRAPHY & CRITICISM
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;
Northrop Frye, ‘Blake’s Treatment of the Archetype’ (pp. 55-71);
David V. Erdman, ‘Blake: The Historical Approach’ (pp. 72-89), revised by the author;
R. F. Gleckner, ‘Point of View and Context in Blake’s Songs’ (pp. 90-7);
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).
begin page 152 | ↑ back to topA784. 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).

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.
begin page 153 | ↑ back to topA959.—§‘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):
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.)
*Francis Wood Metcalf. ‘Tiriel: Two Corrected First Readings.’ Pp. 40-1. (In ll. 247, 385.)
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.)
Warren U. Ober. ‘“Poor Robin” and Blake’s “The Blossom”.’ Pp. 42-3. (A phallic context derived from a street ballad of c. 1780.)
G. P. Tyson. ‘An Early Allusion to Blake.’ P. 43. (In a letter of 1783 from Thomas Henry to Joseph Johnson.)
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.
Donald H. Reiman. ‘A Significant New Blakean Fragment.’ Pp. 44-5. (Gnomic verses playing on the names of Blake scholars.)
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.)
Eileen Sanzo. ‘Blake’s Beulah & Beulah Hill, Surrey.’ P. 46. (Blake may have known Beulah Hill—also spelled Bewley, Beaulieu, and Bulay.)
Judith Wardle. ‘The Influence[e] of Wynne’s Emblems on Blake.’ Pp. 46-7. (Learned correction of Erdman’s Notebook edition.)
James C. Evans. ‘Blake, Locke, & The Concept of “Generation”.’ Pp. 47-8/ (Locke’s Essay on Human Understanding as a possible source.)
*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):
*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.)
‘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.)
*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.)
Detlef Dörrbecker. ‘Query: Gates of Paradise and Quarles’ Emblems.’ P. 120. (Did the Gates influence the plates in the 1839 Quarles?)
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.)
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.)
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.)
Janet Warner. ‘A Contemporary Reference to Blake.’ P. 122. (In Ackermann’s Repository for June and September 1810.)
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):
Mary Lynn Johnson. ‘Choosing Textbooks for Blake Courses: A Survey & Checklist.’ Pp. 9-26.
David V. Erdman. ‘The Bravery of William Blake.’ Pp. 27-31. (Reprinted from his edition of The Selected Poetry of William Blake.)
J. Walter Nelson. ‘Blake Anthologies.’ P. 32. (Blake appears in ‘ten poetry anthologies published in 1974-75.’)
*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].)
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.)
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.)
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):
-
Abstracts of the papers presented at the ‘Santa Barbara Conference’ 2-5 March 1976, viz:
Robert[e] Essick. ‘Meditations on a Fiery Pegasus.’ P. 44. (Our ‘approach’ to Blake should be ‘as interdisciplinary as Blake’s own art.’)
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.’)
Robert R. Wark. ‘William Blake and his Circle at the Huntington Library and Art Gallery.’ P. 45. (Stresses Blake’s contemporaries and followers.)
Roger Easson. ‘Blake and the Idea of the Gothic.’ P. 45. (‘Blake conceived of . . . the Gothic tradition’ very broadly.)
Thomas Pelzel. ‘Mengs and his English Critics.’ P. 45. (Traces ‘shifts in British taste’, apparently without reference to Blake.)
Hazard Adams. ‘Revisiting Reynold’s Discourses and Blake’s Annotations.’ P. 45. (What would Blake have thought of Discourses IX-XV?)
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.’)
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.’)
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.’)
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.)
E. J. Rose. ‘Blake and the Gothic.’ P. 46. (‘An assessment of Blake’s unification of Gothic and Michelangelesque ideas and attitudes towards art.’)
Martin Butlin. ‘Cataloguing Blake: An Art Historian’s Approach.’ P. 46. (On ‘the importance of cataloguing’, especially for Blake.)
Jenijoy LaBelle. ‘Blake’s Visions and Revisions of Michael Angelo.’ P. 46. (A study of 7 Blake drawings after Michael Angelo in the BMPR.)
David Bindman. ‘Repetition and Transformation in Blake’s Art.’ P. 46.
Leslie Tannenbaum. ‘Blake and the Iconography of Cain.’ P. 46. (Blake was ‘criticizing and subverting orthodox’ attitudes toward Cain and Abel.)
Morton D. Paley. ‘The Truchsessian Gallery Revisited.’ P. 46. (An attempt to ‘reconstruct Blake’s experience’ there.)
Seymour Howard. ‘Blake, the Antique, Nudity, and Nakedness.’ P. 46. (Blake’s art often shows ‘an apparent ambiguity or ambivalence toward primary nakedness.’)
Jean Hagstrum. ‘Blake and Romney: The Gift of Grace.’ Pp. 46-7. (‘Romney was one of the most important’ artistic influences on Blake.)
David Irwin. ‘Scottish Contemporaries and Heirs of William Blake.’ P. 47. (On Alexander Runciman and David Scott.)
Morris Eaves. ‘Blake and the Artistic Machine.’ P. 47. (On Blake’s reaction to mass-produced art such as that of Rubens and Reynolds.)
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.)
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.)
Rodney M. Baine & Mary R. Baine. ‘Blake’s Inflammable Gass.’ Pp. 51-2. (Evidence to identify him as William Nicholson.)
*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.)
Thomas Minnick. ‘A Checklist of Recent Blake Scholarship.’ Pp. 59-62.
Vol. X, No. 3 (Winter 1976-77 [Nov. 1976]):
*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’.)
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].)
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):
*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.)
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].)
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].)
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.’)
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].)
*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.)
Raymond H. Deck, Jr. ‘Unnoticed Printings of Blake’s Poems, 1825-1851.’ P. 125. (In Swedenborgian publications, mostly U.S.)
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].)
*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.’)
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.
*Mary Ellen Reisner. ‘Folcroft Facsimile of the Songs.’ P. 130. (One letter is altered or defective.)
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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.
-
*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.)
-
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.)
-
David V. Erdman. ‘Preface to the Revised Edition of Blake’s Notebook.’ Pp. 21-3. (Chiefly about ‘readings’ of designs.)
-
*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.)
-
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.’)
-
*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.)
-
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’.)
-
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].)
-
*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”.’)
-
David V. Erdman. ‘Errors in the Signet Classic Edition of The Selected Poetry of Blake.’ P. 37. (Corrigenda.)
-
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].)
-
C. M. Henning. ‘Blake’s Baptismal Font.’ P. 38. (Description and reproduction of it.)
-
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.)
-
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.)
-
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.)
-
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]:
Brian Wilkie. ‘Blake’s Innocence and Experience: An Approach.’ Pp. 119-37. (An intelligent ‘approach to the Songs through their personae’ [p. 120].)
*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.)
*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].)
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].)
-
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]:
Edward J. Rose. ‘Preface: Perspectives on Jerusalem.’ Pp. 7-9. (The subject of the 1974 MLA Blake seminar.)
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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Mollyanne Marks. ‘Self-Sacrifice: Theme and Image in Jerusalem.’ Pp. 27-50.
*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]:
*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.)
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].)
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].)
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.)
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.)
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.
begin page 158-159 | ↑ back to topA1441. 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’.
B1523. Dunlap, William. MEMOIRS / OF / GEORGE FRED. COOKE, ESQ. / LATE OF / The Theatre Royal. Covent Garden./ BY / WILLIAM DUNLAP, ESQ. / COMPOSED PRINCIPALLY / FROM THE PERSONAL KNOWLEDGE OF THE AUTHOR, AND FROM / THE MANUSCRIPT JOURNALS LEFT BY MR. COOKE. / COMPRISING / ORIGINAL ANECDOTES OF HIS THEATRICAL CONTEMPORARIES, / HIS OPINIONS ON VARIOUS DRAMATIC WRITINGS, &c. /=/ IN TWO VOLUMES. / VOL. I [-II]. /=/ LONDON: / PRINTED FOR HENRY COLBURN, / BRITISH AND FOREIGN PUBLIC LIBRARY, CONDUIT-STREET, HANOVER- / SQUARE; AND SOLD BY GEORGE GOLDIE, EDINBURGH; AND JOHN CUMMING, DUBLIN. /-/ 1813. Vol. II, pp. 65, 70. (BM) B. . . . NEW-YORK: / PUBLISHED BY D. LONGWORTH, / At the Shakspeare Gallery, No. 11, Park, near the Theatre. /. . . . . . / 1813. Pp. 83, 88. (BM) C. . . . Colburn, Bell and Bradfute, and John Cumming, 1815. Pp. 76, 81. (BM)
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).
begin page 161 | ↑ back to topAA1586. §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.
begin page 162 | ↑ back to topA1705. §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.
begin page 163 | ↑ back to topB1960. 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
‘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)
begin page 164 | ↑ back to topA2002. 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).
begin page 165 | ↑ back to topD2187.—‘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.
begin page 166 | ↑ back to top2327. 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.
begin page 168 | ↑ back to top‘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.
‘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):
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].)
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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].)
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].)
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].)
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
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]
begin page 174 | ↑ back to topINDEX
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
begin page 175 | ↑ back to topEdinburgh 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
begin page 176 | ↑ back to top‘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
begin page 177 | ↑ back to top— 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