Today's Topics:
Re: The Human Abstract
Re: The Human Abstract
Quote
Hi.
Re: Quote
Re: The Human Abstract
(Fwd) Quote
Re: Hmmmm
on the lamb, out on a limb
Reading Blake's Designs
UNUSUAL BLAKE SIGHTINGS: CHARLES JOHNSON
Blake on the Web (1)
BLAKE SIGHTINGS CONT'D
Looking for a cross
Re: Blake on the Web (1)
Re: Blake on the Web (1)
Looking for a cross
introduction
Re: Looking for a cross
Looking for a cross -Reply
------------------------------
Date: Fri, 14 Mar 1997 15:09:10 +0000 (gmt)
From: "T.J. Connolly"
To: blake@albion.com
Subject: Re: The Human Abstract
Message-Id:
Content-Type: TEXT/PLAIN; charset=US-ASCII
Hi!
There is a snippet about this in Blake and the Language of Adam, a great
book by Robert N. Essick. It doesn't exactly say, why a caterpillar and
fly particularly, but looks at the constant switching between the 'real'
and the
metaphorical in the poem (which happens everywhere in Blake, doesn't it?).
Look in the index and you'll find the page--I seem to recall the book
having a
bunch of insights on the Songs, so you may even find more.
Tristanne
On Thu, 13 Mar 1997, tyler Miskowski wrote:
> Does anyone have an idea about the caterpillar and the fly? I am trying to
> figure out why they are feeding off the mystery. Are there any references
> of a caterpillar and fly anywhere?
> TJM
>
> "Nobody wants to hold on to knowledge."
>
>
------------------------------
Date: Fri, 14 Mar 1997 10:47:03 -0500 (EST)
From: Nelson Hilton
To: blake@albion.com
Subject: Re: The Human Abstract
Message-Id:
Content-Type: TEXT/PLAIN; charset=US-ASCII
Might start by remembering that for the 18th c a "fly" denotes "a small
winged insect of many species" (Johnson)-- e.g. moths as well as Muscidae.
Leaves -> Adam&Eve -> covering -> "pudenda"
the abstracted "mystery" created by the church-state apparatus which it
feeds--
oooooooo'
Nelson Hilton -=- English -=- University of Georgia -=- Athens
Was ist Los? "Net of Urizen" or "Jerusalem the Web"?
http://virtual.park.uga.edu/~wblake
On Thu, 13 Mar 1997, tyler Miskowski wrote:
> Does anyone have an idea about the caterpillar and the fly? I am trying to
> figure out why they are feeding off the mystery. Are there any references
> of a caterpillar and fly anywhere?
------------------------------
Date: Fri, 14 Mar 1997 09:33:49 -0700
From: "Charlie K."
To: blake@albion.com
Subject: Quote
Message-Id: <199703141630.JAA23428@gost1.indirect.com>
[This is from S. Foster Damon's Blake Dictionary...]
The CATTERPILLER is always for Blake, as in the Bible and
Shakespeare, a "piller" or pillager, the chief enemy of the Rose.
The FLY in Blake's writings is a butterfly. "The Fly" (SoE)
originally had "gilded, painted pride"; the poet equates himself
with the gay thoughtless insect. But being the product of the
Catterpiller, for once it is destructive, when it feeds on the Tree
of Mystery.
"The important thing to remember is that he was always writing about
the human soul."
-- S. Foster Damon
------------------------------
Date: Fri, 14 Mar 1997 13:23:48 -0600 (CST)
From: Jack W Jacobs
To: blake@albion.com
Subject: Hi.
Message-Id:
Content-Type: TEXT/PLAIN; charset=US-ASCII
Hello everyone,
My name is Jack Jacobs & I'm a grad student @ Auburn University. I'm
working on a Blake dissertation & I thought this group would make an
interesting sounding-board. But beyond this, I'm just looking forward to
talking to people who not only know Blake beyond the Songs but actually
consider the possibility that Blake is right.
Jack
------------------------------
Date: Fri, 14 Mar 1997 13:36:13 -0600 (CST)
From: Jack W Jacobs
To: "Charlie K."
Cc: blake@albion.com
Subject: Re: Quote
Message-Id:
Content-Type: TEXT/PLAIN; charset=US-ASCII
Yes. This is an excellent way of seeing the connection to fly &
caterpiller to the devourer mentioned elsewhere. I think what I said
above was a bit too narrow.
J
On Fri, 14 Mar 1997, Charlie K. wrote:
> [This is from S. Foster Damon's Blake Dictionary...]
>
> The CATTERPILLER is always for Blake, as in the Bible and
> Shakespeare, a "piller" or pillager, the chief enemy of the Rose.
>
> The FLY in Blake's writings is a butterfly. "The Fly" (SoE)
> originally had "gilded, painted pride"; the poet equates himself
> with the gay thoughtless insect. But being the product of the
> Catterpiller, for once it is destructive, when it feeds on the Tree
> of Mystery.
>
>
> "The important thing to remember is that he was always writing about
> the human soul."
> -- S. Foster Damon
>
>
------------------------------
Date: Fri, 14 Mar 1997 13:31:01 -0600 (CST)
From: Jack W Jacobs
To: blake@albion.com
Subject: Re: The Human Abstract
Message-Id:
Content-Type: TEXT/PLAIN; charset=US-ASCII
TJM,
As clear as I can tell, the "mystery" is along the lines of religious
mystery--the Catholic Church or some other such hiearchical organization
that reduced the infinite dogmatically to something that could neither be
questioned nor understood. In this light, the caterpillar & fly are, as
is often the metaphorical case, excrement-feeders, those being who
figurativly live off the b.s.. Does that make sense?
Jack
On Thu, 13 Mar 1997, tyler Miskowski wrote:
> Does anyone have an idea about the caterpillar and the fly? I am trying to
> figure out why they are feeding off the mystery. Are there any references
> of a caterpillar and fly anywhere?
> TJM
>
> "Nobody wants to hold on to knowledge."
>
>
------------------------------
Date: Sat, 15 Mar 1997 22:51:43 -0700
From: "Charlie K."
To: blake@albion.com
Subject: (Fwd) Quote
Message-Id: <199703160548.WAA21505@gost1.indirect.com>
I typed this in as a (rather large) quote to another list and I
thought I might as well forward it to this list (even though I'll bet
many of you have read it before).
------- Forwarded Message Follows -------
[Speaking of familiarizing oneself with the essences of Prophets and
Healers... here is a description of Blake's Vision of Jesus given to
us by Northrop Frye in his book on Blake entitled "Fearful Symmetry"
(incredible book BTW). So this is William Blake's Conception of Jesus
the Prophet, which can be found in part in Blake's own poem "The
Everlasting Gospel" Here follows Frye's interpretation... which sent
chills down my back and made my face glow when I first read it in the
school library last week...]
-----------------------------------------------------
The Holy Spirit spoke by the prophets, all visionaries speak with the
voice of God, but in Jesus God and Man became one. For Jesus was a
perfect man, not in the negative sense of a man without sin - had he
been perfect in that way he could never have existed at all, even as
a myth - but as a man who "was all virtue, and acted from impulse,
not from rules." Everything he did was an imaginative act bringing
more abundant life, and his whole gospel reduces itself to
forgiveness of sins, in the sense above discussed.
His impact on society was that of a revolutionary and iconoclast, as
that of all prophets must be. He found the Jews worshiping their own
version of Nobodaddy, a sulky and jealous thundergod who exacted the
most punctilious obedience to a ceremonial law and moral code. He
tore this code to pieces and broke all ten commandments, in theory at
least. He had no use for the Pharisees' Sabbath or for the paralysis
of activity thought to be most acceptable to their frozen God on that
day. All the devotion to ritual fopperies of the kind that lazy
minds think of as possessing some kind of mysterious magical virtue
got the same treatment. Jesus met the guardians of law and
conventional piety with jeers and insults and merciless exposures of
their hypocrisy and ignorance. He started disputing with doctors
very early, and reduced both the smugly pious Pharisees and the
smugly skeptical Sadducees to an infuriated silence. He himself was
a vagrant and did not work at his trade, giving the bag to Judas to
carry, but he never ceased to denounce the ambitious and self-made as
fools and swindlers. So far from honoring his father and mother -
the only positive command in the Decalogue - he found that complete
imagination involves a break with a family. He ran away from home at
twelve, told his followers that they must hate their parents, and
said to his own mother, "Woman, what have I to do with thee?" When
he was brought a harlot to be accused, condemned and murdered in the
approved way, he showed that the self-righteousness which made
killing her a pleasure was something far worse than her sin. Finally
Jesus became so obnoxious to society that society could stand him no
longer, and, as he refused all compromise or even defense, he really
compelled the custodians of virtue and vested interests to murder
him. From their point of view they were quite right, and their
charge of blaspheming their God amply justified.
At the same time the common people heard him gladly; publicans and
sinners welcomed him; lepers, pariahs and beggars called to him;
children swarmed after him. He was more interested in sinners than
the righteous; Pharisees did not recognize him as a prophet, but the
adulterous woman of Samaria did. When he talked of God he did not
point to the sky but told his hearers that the Kingdom of Heaven was
within them. Nor did he tell them how to live a Christian life in
society. He asked the impossible, demanded perfection, and threw out
wildly unpractical suggestions. He said that God was a Father and
that we should live the imaginatively unfettered lives of children,
growing as spontaneously as the lilies without planning or foresight.
The God of his parables is an imaginative God who makes no sense
whatever as a Supreme Bookkeeper, rewarding the obedient and
punishing the disobedient. Those who labor all day for him get the
same reward as those who come in at the last moment. His kingdom is
like a pearl of great price which it will bankrupt us to possess. If
we want wise and temperate advice on living we shall find it in
Caesar sooner than in Christ; there is more of it in Marcus Aurelius
than there is in the Gospels. Sensible people will tell us that it
is foolish to throw everything to the winds, to give all one's goods
to the poor and live entirely without caution or prudence. But they
will not tell us the one thing we need most to know: that we are all
born into a world of liquid chaos as a man falls into the sea, and
that we must either sink or swim to land because we are not fish.
For all Jesus' teaching centers on the imminent destruction of this
world and the eternal permanence of heaven and hell, these latter
being not places but states of mind. Jesus however did not discuss
this in terms of good and evil, but in terms of life and death, the
fruitful and the barren. The law of God that we must obey is the law
of our own spiritual growth. Those who embezzle God's talents are
praised; those who are afraid to touch them are reviled.
There is much haughtiness and arrogance in Jesus, much speaking with
authority and much blasting invective. This is the indignation of
the prophet. Yet we have seen that resentment excludes retribution,
and Jesus forgave all sins continuously until his last gasp on the
cross. For the same reason he renounced all the attributes of the
conquering Messiah, refused to fight tyranny with tyranny, and
withdrew completely from the vendettas of society. It is therefore
nonsense to believe that Jesus forgave sins only because he was
biding his time for a more hideous revenge later on. Hell is the
Selfhood "jealousy" defined by Blake as "the being shut up in the
possession of corporeal desires which shortly weary the man," and
this is the only hell that Jesus spoke of.
The higher state of heaven is achieved by those who have developed
the God within them instead of the devil. Those who have fed the
hungry and clothed the naked are here, because they have realized
the divine dignity of man. These are the just who, as Paul said,
live by faith, and the just, being potentially visionaries, attain
that vision after death. Faith, which may be "blind," attains its
consummation in vision, and Jesus promised that some of his
followers would not taste death before they had that vision. In
other words, it is not necessary to die to get it. Faith, Jesus
said, can remove mountains. But mountains in the world of
experience are entirely motionless; what kind of faith can remove
them? Well, a landscape painter can easily leave one out of his
vision, which sees with perfect accuracy just what it wants to see,
pierces the gates of heaven into the unfallen world.
Jesus was not only a teacher but a healer, and the true healer does
not "cure"; he helps the sick man to cure himself. Jesus tore off
all the veils of timidity and caution and prudence and moderation
and confronted his hearers with the ultimate contrast of full
imagination or Selfhood, himself or Caiaphas. He could bring God
out of a fisherman or a tax-collector, and he could frighten a
weakling until all his hysterias and bugaboos ran shrieking out of
him. Therefore he continuously worked what are called miracles.
Now just as prophecy is vulgarly considered to be fortune-telling,
so miracles are vulgarly considered to be mysterious tricks which
cannot be explained except on the assumption that the worker of them
is all that he says he is. Miracles of this kind belong to the more
popular and ignorant levels of religion: they are a crude form of
scientific experiment. The miracles of Jesus depended on the belief
of the recipient. A real miracle is an imaginative effort which
meets with an imaginative response. Jesus could give sight to the
blind and activity to the paralyzed only when they did not want to
be blind or paralyzed; he stimulated and encouraged them to shatter
their own physical prisons. Miracles reveal what the imagination
can do. The opposite of revelation is mystery, and a miracle which
remains mysterious is a fraud, especially if it is an authentic
miracle:
Jesus could not do miracles where unbelief hindered, hence
we must conclude that the man who holds miracles to be
ceased puts it out of his own power to ever witness one.
The manner of a miracle being performed is in modern times
considered as an arbitrary command of the agent upon the
patient, but this is an impossibility, not a miracle,
neither did Jesus ever do such a miracle. . . .
Jesus' teaching avoids generalizations of the sort that translate
into platitudes in all languages. Examples, images, parables, and
the aphorisms which are concretions rather than abstractions of
wisdom, were what he preferred. These are the units of art, and are
addressed only to those who are willing to understand them; no art
works automatically on the unresponsive any more than a miracle does.
Coleridge's "willing suspension of disbelief" is a negative
statement of the desire to see which all art implies. Such a desire
is simple and childlike rather than complex; but to the generalizer
there is nothing so esoteric as a straightforward story which compels
him to focus his vision on something concrete. He prefers plain
statements of general truth: those, he feels, are addressed to all
men equally, like the guinea-sun. He is more at home with "Blessed
are the meek, for they shall inherit the earth": that expresses the
general truth that one may become rich and respected by not offending
anybody:
The Vision of Christ that thou dost see
Is my Vision's Greatest Enemy: . . .
Thine is the friend of All Mankind,
Mine speaks in parables to the Blind.
There is no Christian visible Church, Christian theology, Christian
morality, Christian society or Christian ceremony. Religion, says
Blake, is "Civilized Life such as it is in the Christian Church,"
and the Christian Church in this sense is nothing but "Active Life"
or the free use of the imagination. Nobody can be "converted" to
Christianity in the sense of exchanging one faith for another:
. . . By their Works ye shall know them; the Knave who is
Converted to Deism & the Knave who is Converted to
Christianity is still a Knave, but he himself will not know
it, tho' Every body else does.
Imagination is life, and Jesus, by "taking away the remembrance of
sin," released it, bringing more abundant life. He not only judges
the quick and the dead; he judges them according to whether they are
quick or dead. He did not curse Pilate; he cursed the barren
fig-tree. The imagination always follows Jesus, and cannot do
otherwise. There is no natural religion; all religion is revelation;
revelation is apocalypse; apocalypse is vision. The only "church"
Jesus founded was a communion of visionaries, and Baptism and the
Lord's Supper symbolize, Blake says, "Throwing off Error & Knaves
from our company continually & Recieving Truth or Wise Men into our
Company continually." The essence of the socially acceptable and
moral Antichrist, then, is "the outward Ceremony," its recurrent
ritual imitating the Nobodaddy who chases his tail forever in the
sky.
Heaven is not a place guarded by immigration officials interested
only in passports and certificates, nor is it the higher class to
which we are promoted by passing an examination showing what we have
learned in this world. Heaven is this world as it appears to the
awakened imagination, and those who try to approach it by way of
restraint, caution, good behavior, fear, self-satisfaction, assent
to uncomprehended doctrines, or voluntary drabness, will find
themselves traveling toward hell, as Ignorance did in Bunyan, hell
being similarly this world as it appears to the repressed
imagination:
Men are admitted into Heaven not because they have curbed &
govern'd their Passions or have No Passions, but because
they have Cultivated their Understandings. The Treasures of
Heaven are not Negations of Passion, but Realities of
Intellect, from which all the Passions Emanate Uncurbed in
their Eternal Glory. The Fool shall not enter into Heaven
let him be ever so Holy. Holiness is not The Price of
Enterance into Heaven. Those who are cast out are All Those
who, having no Passions of their own because No Intellect,
Have spent their lives in Curbing & Governing other People's
by the Various arts of Poverty & Cruelty of all kinds. . . .
Notice the pejorative use of the term "holiness" in the above
passage, which is regular in Blake except in direct connection with
the state of innocence. The conception of the holy first stirs in
the primitive mind in connection with symbols of an unknown fear; it
develops in darkened temples where the "holy place" is guarded and
veiled, and matures in a feeling of awful reverence which expresses
itself in sacrifice. The term is also associated more loosely with
hoary age and the last extremity or moral virtue; but in all its
meanings it connotes a mental paralysis founded on mystery, like the
"holy dread" of Kubla Khan. In the passage quoted above Blake goes
on to say, in a blinding flash of contempt, "The Modern Church
Crucifies Christ with the Head Downwards." It is clear that when
Blake defines his art as allegory addressed to the intellectual
powers, by intellectual powers he must have meant, strained as the
interpretation may seem to some, intellectual powers. To his theory
of art we must now turn.
------------------------------
Date: Sun, 16 Mar 97 19:57:07 -0500
From: tyler miskowski
To: blake@albion.com
Subject: Re: Hmmmm
Message-Id:
Content-Type: text/plain; charset="us-ascii"
>Which poem?
The Human Abstract
------------------------------
Date: Sun, 16 Mar 1997 21:59:55 -0800
From: Hugh Walthall
To: blake@albion.com
Subject: on the lamb, out on a limb
Message-Id: <332CDDDB.4E5F@erols.com>
Content-Type: text/plain; charset=us-ascii
Content-Transfer-Encoding: 7bit
The text for today's sermon is entry 267. of the Oxford Dictionary of
Nursery Rhymes (Page 264). The entry is LAMBS. The rhyme is a street
hawker's cry selling toy lambs.
Young Lambs to Sell! Young Lambs to sell!
I never would cry young lambs to sell
If I'd as much money as I could tell,
I never would cry young lambs to sell.
The entry is interesting for Blakeans because these trinkets were sold
for a century or more and began sometime before 1800.
The plate in this volume facing page 411 also has a woodcut of a street
hawker selling mince pies in the shape of pigs. (The actual pig stolen
by Tom the Piper's Son). The entry here is TOM.
Lambs for sale is of course very close to a Cole Porter Lyric....
Old Love, new Love,
Every love but true Love.
Love for sale.
(This constitutes a fair quote under Title 17 US Code)
The trinkets were hawked by peg-leg war veterans (of which there was no
dearth in the 1790's), and the Opies, compiling this dictionary in the
1940's, nostalgicallly relate that there are many still alive who
remember the little lambs....
Sigh. God bless Iona and Peter where ever they are now.
Hugh Walthall hugwal@erols.com
------------------------------
Date: Mon, 17 Mar 1997 13:12:40 -0600 (CST)
From: reillys@ix.netcom.com (susan p. reilly)
To: blake@albion.com
Subject: Reading Blake's Designs
Message-Id: <199703171912.NAA14385@dfw-ix5.ix.netcom.com>
Has anyone read Christopher Heppner's _Reading Blake's Designs_ (CUP,
1995)?
The last chapter deals with identifying the principal figures in the
so-called Arlington Court Painting, or _The Sea of Time and Space_.
There was some interest in this painting a while back on the list
(which I confess I did not recognize by the "Arlington Court" name).
I believe, according to the review in _The Wordsworth Circle_, that
Happner identifies the man in red as Isaiah and the veiled woman as the
personification of Nature, and many other figures and images in the
painting are interpreted in light of Blake's knowledge of Ovid's
_Metamorphoses_ and the translations (of Plato? Ovid?) of Thomas
Taylor.
I wonder if we can start up a neutral (ahem!) dialogue around this
topic.
S. Reilly
------------------------------
Date: Mon, 17 Mar 1997 12:06:22 -0800 (PST)
From: Ralph Dumain
To: blake@albion.com
Subject: UNUSUAL BLAKE SIGHTINGS: CHARLES JOHNSON
Message-Id: <2.2.16.19970317150711.2c5f81d4@pop.igc.org>
Content-Type: text/plain; charset="us-ascii"
BLAKE, BERKELEY, YEATS, GOD, AND NOVELIST-PHILOSOPHER CHARLES JOHNSON
"In replacing the Christian God with the Artist as Divine Artificer, Johnson
employs a strategy that is similar to that of William Butler Yeats in his
essay 'Bishop Berkeley.' Yeats argues that Berkeley managed to overcome one
Western obstacle to self-realization--empiricism; but not the
other--Christianity. To protect his Christian orthodoxy, 'Berkeley
deliberately refused to define personality' as reflecting 'the whole act of
God; his God and Man seem cut off from one another' (405-06). He dared not
take 'the next step'-- the step taken by William Blake and Hinduism--that
conceives God as embodied in man (408). Blake, Hinduism, and the Romantic
poets, Yeats suggests, substituted for Berkeley's God the creative self as
the connection between the perceiver and the perceived world."
-- Storhoff, Gary. "The Artist as Universal Mind: Berkeley's Influence on
Charles Johnson", AFRICAN AMERICAN REVIEW, vol. 30, no. 4, winter 1996 (pp.
539-548), p. 548. (Charles Johnson Issue)
------------------------------
Date: Mon, 17 Mar 1997 12:06:16 -0800 (PST)
From: Ralph Dumain
To: blake@albion.com
Subject: Blake on the Web (1)
Message-Id: <2.2.16.19970317150705.2c5f84e2@pop.igc.org>
Content-Type: text/plain; charset="us-ascii"
In addition to the various web sites given for Blake and Romanticism, I want
to add some odd sources I have found. Let me begin with a commercial source
called the Electric Library at http://www3.elibrary.com. I didn't take this
very far as I have no intention of patronizing commercial sources. However,
Electric Library does give one some free searches of 30 documents per search
request without one's having to sign up on the system. For Blake I found a
variety of interesting references. Several of Blake's poems are listed as
being available on THE WORLD'S BEST POETRY ON CD (tm). There is also an
article on Blake in COLLIERS ENCYCLOPEDIA CD-ROM. There are several reviews
of the film DEAD MAN. Though I can't be sure, I'm willing to wager that
some of the references are reviews of Ackroyd's biography.
The most interesting references given are to articles in academic journals.
There is one recurring source -- somebody please tell me whether this is a
journal -- called PAPERS ON LANGUAGE AND LITERATURE. There are two articles
listed in this entity that I need: "History when time stops: Blake's
America, Europe and The Song of Los" and "Colonialism, race, and lyric irony
in Blake's 'The Little Black Boy'".
------------------------------
Date: Mon, 17 Mar 1997 12:06:26 -0800 (PST)
From: Ralph Dumain
To: blake@albion.com
Subject: BLAKE SIGHTINGS CONT'D
Message-Id: <2.2.16.19970317150715.2c5f9b7a@pop.igc.org>
Content-Type: text/plain; charset="us-ascii"
Cox, Judy. "Blake's Revolution" [review of EP Thompson, WITNESS AGAINST THE
BEAST], INTERNATIONAL SOCIALISM, no. 62, Spring 1994, pp. 119-127.
Nothing enormously original here. This review mostly details the story of
English radical sects that formed the political-religious environment that
nourished Blake, with citations from a few Blake poems including an analysis
of London. Blake's disagreement with the rationalism of fellow radical
Paine is also highlighted.
------------------------------
Date: Mon, 17 Mar 1997 13:35:25 -0800 (PST)
From: Russell Prather
To: blake@albion.com
Subject: Looking for a cross
Message-Id:
Content-Type: TEXT/PLAIN; charset=US-ASCII
Does anyone out there recall seeing an actual image of a cross (the wooden
kind that they crucify people on) among Blake's designs? Or perhaps a
tree, or some other object besides the human body, that clearly resembles
a cross? Please inform, and thanks in advance.
__________________________________________________________________________
------------------------------
Date: Mon, 17 Mar 1997 21:58:35 +0000 (GMT)
From: AS Rounce
To: blake@albion.com
Subject: Re: Blake on the Web (1)
Message-Id: <199703172158.VAA11829@mail.bris.ac.uk>
Content-Type: text/plain; charset=US-ASCII
Content-Transfer-Encoding: 7bit
>
> The most interesting references given are to articles in academic journals.
> There is one recurring source -- somebody please tell me whether this is a
> journal -- called PAPERS ON LANGUAGE AND LITERATURE. There are two articles
> listed in this entity that I need: "History when time stops: Blake's
> America, Europe and The Song of Los" and "Colonialism, race, and lyric irony
> in Blake's 'The Little Black Boy'".
>
Dear Ralph,
PAPERS ON LANGUAGE AND LITERATURE is indeed "a Journal for scholars and
critics of language and literature" (as its rather unoriginal blurb points
out). It's published in Edwardsville, Illinois, by the Southern Illinois
University. Isbn: 00311294.
Best,
Adam Rounce
University of Bristol
------------------------------
Date: Mon, 17 Mar 1997 16:03:44 -0600 (CST)
From: reillys@ix.netcom.com (susan p. reilly)
To: blake@albion.com
Subject: Re: Blake on the Web (1)
Message-Id: <199703172203.QAA23242@dfw-ix6.ix.netcom.com>
Ralph:
Yes, _Papers on Language and Literature: A Journal for Scholars &
Critics of Language & Liteature_ is a scholarly journal based at S.
Ill. U. If you are interested either in subscribing (doesn't sound
like it) or in knowing wch libraries archive the journal, e-mail me
privately & I can give you that information.
The second article you cite was written by Alan Richardson, of Boston
College, under whom I studied in the graduate program and who is
steadily producing a number of important works in the field.
Susan Reilly
You wrote:
>
>
> -- somebody please tell me whether this is a
>journal -- called PAPERS ON LANGUAGE AND LITERATURE. There are two
articles
>listed in this entity that I need: "History when time stops: Blake's
>America, Europe and The Song of Los" and "Colonialism, race, and lyric
irony
>in Blake's 'The Little Black Boy'".
>
>
------------------------------
Date: 17 Mar 97 18:17:01 EST
From: vultee <76507.222@CompuServe.COM>
To: "INTERNET:blake@albion.com"
Subject: Looking for a cross
Message-Id: <970317231700_76507.222_FHU53-1@CompuServe.COM>
Perhaps the most memorable such image is plate 76 of Jerusalem, where Albion
beholds Jesus (Erdman, in _The Illuminated Blake_, p. 355, cautions, "Readers
are not to mistake this for the true Jesus") crucified on a giant oak tree.
Denise Vultee
------------------------------
Date: 17 Mar 97 21:17:32 EST
From: vultee <76507.222@CompuServe.COM>
To: albion
Subject: introduction
Message-Id: <970318021732_76507.222_FHU43-1@CompuServe.COM>
"And cause in sweet society to dwell
Vile savage minds that lurk in lonely cell."
--"An Imitation of Spenser"
Having lurked on this list for several weeks, I decided it was high time I
emerged from my lonely cell to dwell in the society (sweet or otherwise) of
fellow Blakeans. I am a graduate student at the University of North Carolina at
Chapel Hill, where I'm enrolled in a seminar on Blake and Hypertext and
preparing to embark on a (non-hypertextual) dissertation on Blake. The work I'm
most involved with at present is _Jerusalem_.
Denise Vultee
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Date: Mon, 17 Mar 1997 21:02:45 -0600
From: tomdill@wc.stephens.edu (TOM DILLINGHAM)
To: blake@albion.com
Subject: Re: Looking for a cross
Message-Id: <97031721024522@wc.stephens.edu>
In the illustrations to Paradise Lost, the image depicting the archangel
Michael foretelling the crucifixion includes a very conventional
representation of Jesus nailed to the cross, though the nail passes
through the head of the serpent coiled at the base of the cross and
Sin and Death (identifiable from the earlier representations of them)
are also dead at the foot. This can be seen in any of the colelctions
of Milton illustrations or in the _William Blake at the Huntington_
volume. Plate 76 of _Jerusalem_ is a sort of cruciform representation,
but there is no cross.
Tom Dillingham
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Date: Tue, 18 Mar 1997 10:11:17 +0200
From: P Van Schaik
To: blake@albion.com
Subject: Looking for a cross -Reply
Message-Id:
I think I recall a design of a negro being hung in chains on a tree. Pam van
Schaik
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End of blake-d Digest V1997 Issue #33
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