Today's Topics:
Re: Electronic access
"Blake" in *Vindication*
COLERIDGE AND BLAKE?
Re: COLERIDGE AND BLAKE?
reposting of call for papers for those gone during summer
Re: "Blake" in *Vindication*
Re[2]: COLERIDGE, BLAKE, Germany
Re: Electronic access
Re: reposting of call for papers for those gone during summer
Re: Re[2]: COLERIDGE, BLAKE, Germany
Re: COLERIDGE AND BLAKE?
MORE BLAKE 'N HEGEL BITS
Damrosch's _Symbol and Truth_
Unidentified subject!
Source of quote or episode
Re: Source of quote or episode
blake illustration
Re: Source of quote or episode
------------------------------
Date: Sat, 26 Aug 1995 09:41:03 -0500 (EST)
From: Morris Eaves
To: blake@albion.com
Subject: Re: Electronic access
Message-Id: <01HUIVW9IRPS9QX67I@DBV>
Content-Transfer-Encoding: 7BIT
Sorry, no, _Blake/An Illus. Quarterly_ is available only in hard copy.
Write Patricia Neill at pnpj@db1.cc.rochester.edu (that is a one not an
ell), or to me.
The latest issue just arrived this week. It's the spring 95 issue,
which contains Robt. N. Essick's annual review of Blake sales and G.E.
Bentley, Jr.'s annual checklist of research on Blake. Both are
illustrated. The summer issue has been delayed by a computer virus that
destroyed the files of the layout, but that has been remedied.
Morris Eaves
===================================================
From: IN%"blake@albion.COM" 25-AUG-1995 17:15:25.54
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Anyone know if there is electronic (i.e. Internet) access to articles from
"Blake: An Illustrated Quarterly" (Rochester, NY)?
Thanks
Noah
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------------------------------
Date: Sun, 27 Aug 1995 14:33:18 -0500
From: tomdill@womenscol.stephens.edu
To: BLAKE@albion.com
Subject: "Blake" in *Vindication*
Message-Id: <95082714331880@womenscol.stephens.edu>
Some weeks ago, a message asked for reactions to the portrayal of
William Blake in Frances Sherwood's novel, *Vindication*. At the time
I had not heard of the book, but I have since read it. My first impulse
is to urge Blakeans not to waste your time (and certainly not your money)
on this dreadful amateurish effort a one of those postmodern feminist
gender and genre-busting narratives. There is nothing wrong with those
when they work, but the "history" in this book reads like undigested
snippets from Cliff's Notes, most of the scenes involving known
historical characters (Joseph Johnson, Thomas Paine, Gilbert Imlay,
and Blake, himself) are poorly imagined reconstructions of famous
anecdotes. The "feminist" component of the novel consists of putting
paraphrases of 90's psychobabble mixed with Wollstonecraft's own
ideas into stilted and improbable dialogue; there is no feminist
theory or analysis, just repetitions of standard complaints about
male insensitivity and cruelty with little effort to embed the material
in the time.
As for the "portrayal" of Blake, I admit that I kept reading this sad
excuse for a narrative on the chance that there might be some. Most
of the earlier sections of the book merely mentioned him (the mad
visionary genius, "dangerous"--and repeated the anecdote about William
and Catherine sitting naked in their garden), and he was present but
not visible at a couple of Thursday evening gatherings. Finally, on
page 374, the chapter "portraying" Blake occurs. With a wonderful
opportunity to explore the complexities of Blake and his difficult
relationship with the progressive and revolutionary intellectuals of
his time, or even to look into his attitudes about gender, what do
we find? Another scene with Catherine and William naked in the
garden, gradually seducing Mary Wollstonecraft to take off her
clothes and join them in a game of fingerfumble and tonguelap.
There are some passing suggestions that this is all supposed to have
a visionary veneer. Veneer it is.
I can imagine that some will feel I have read this book insensitively
and they will offer favorable comparisons with Peter Ackroyd or
Mary Renault or even E.L. Doctorow, all of whom develop complex
historical reconstructions that interact with contemporary attitudes
and analyses. Unfortunately, Sherwood's work only fades further
in such company. It betrays Mary Wollstonecraft by portraying her
as a person with merely a few thinly developed ideas and even less
art; it betrays the art of the novel (even the postmodern novel) by
committing every sin Virginia Woolf described as undermining the
novels of Charlotte Bronte--the angry agenda behind this novel is
neither adequately concealed by art nor sufficiently realized in
the narrative to give it the persuasive force it aspires to. And
most certainly, the chapter on Blake--while it is easily dismissed
as irrelevant to anything--is one of the shallowest and cheapest
"representations" of him that I have ever encountered.
Tom Dillingham (tomdill@womenscol.stephens.edu) Persisting in my
folly
------------------------------
Date: Sun, 27 Aug 1995 19:48:22 -0700
From: Ralph Dumain
To: blake@albion.com
Cc: jschwart@freenet.columbus.oh.us
Subject: COLERIDGE AND BLAKE?
Message-Id: <199508280248.TAA03625@igc2.igc.apc.org>
COLERIDGE AND BLAKE PALS?
I have been reading COLERIDGE THE VISIONARY by J.B. Beer (New
York, Collier Books, 1962). I don't think I will finish the book,
as I find reading it is about as pleasant as getting one's teeth
pulled, but I found some curious information on Blake in it.
First, I found that Blake already some influence among Germans in
his lifetime. Jakob Gotzenburger visited England between 1824 and
1826, and found Blake the greatest man of genius there. Beer
thinks Gotzenburger's judgment may have been influenced by His
Swedenborgianism. I would be interested to know what influence
Blake had in Germany and when.
Secondly, Beer acknowledges "a deep difference between Coleridge
and Blake." The deep difference turns out to be "governed by their
varying attitudes to science." "... Coleridge had a wish to bring
scientific truths within the orbit of his poetic vision which was
quite uncharacteristic of Blake." (pp. 34-35)
"Yet in spite of this difference, Blake and Coleridge probably
understood one another better than did any of their
contemporaries. Coleridge was filled with enthusiastic admiration
on reading the _Songs of Innocence and of Experience_, and after
visiting Blake 'talked finely' of him. Both poets were one in
their conviction that a spiritual reality lay behind the world of
everyday: the only difference between them lay in their varying
readiness to be influenced by rigorous scientific analysis. Apart
from this, they were such kindred spirits that the anonymous
writer mentioned above could describe them as being like
'congenial beings of another sphere, breathing for a while on our
earth,' while Walter Pater was to detect a similarity, despite
superficial differences of detail, between the 'vision' in _The
Ancient Mariner_ and Blake's engraving, _When the Morning Stars
sang Together_.
"At this point of sympathy with Blake, Coleridge stands apart from
most other English Romantics. In the end, he was not content with
a poetry based purely on individual experience: he looked, on the
contrary, for an all-embracing vision which should encompass all
things in heaven and earth, reconciling the truths of science with
those of religion." (p. 35)
A footnote (p. 322, no. 40) further clarifies: "The phrase 'in
company' is ambiguous, but seems to refer to the meetings between
the two men. These probably took place at the house of Mr. Aders
in Euston Square."
I have read before that Coleridge admired Blake. This is the
first I've read that Blake himself was involved with Coleridge in
any way, let alone that they used to meet and were congenial
spirits.
The source given for all of the above are: LETTERS OF SAMUEL
TAYLOR COLERIDGE, II, pp. 686-688, 323n; G. Keynes, BLAKE STUDIES,
pp. 95-100; A. Gilchrist, LIFE OF BLAKE (1880), I, pp. 379-380.
Leaving the German question aside for the time being, I have some
questions on Blake's relation to Coleridge:
(1) Did Blake read Coleridge's work? What did he read and what
did he think?
(2) Did Blake and Coleridge actually meet, and what transpired at
their meeting(s)? (Note the ambiguity in the footnote.)
(3) This is a question of interpretation and hence more dificult
than the above: were Blake and Coleridge kindred spirits? Are the
only similarities and differences between them such as are
characterized above? Beer is an acknowleged authority in this
field (Coleridge), but I find his judgment very difficult to
swallow.
(4) Are there any good comparative studies of the philosophies of
Blake and Coleridge? No, I don't mean comparisons of their
poetry, literary style, etc., but of their _thought_? I am
getting tired of plowing through basic references on the
"Romantics" which only identify what they all have in common. I
am particularly interested in studies of systematic philosophical
differences.
------------------------------
Date: Mon, 28 Aug 95 10:19:17 EDT
From: Kevin Lewis
To: blake@albion.com
Subject: Re: COLERIDGE AND BLAKE?
Message-Id: <9508281428.AA20790@uu6.psi.com>
I do not know whether Blake and Coleridge ever met, but I am pretty sure
that they were fundamentally at variance philosophically. Coleridge had a
medieval mind, despite (or perhaps because of his German contacts?),
while Blake had the modern mind--cf. Leo Damrosch's _Symbol and Truth in
Blake's Myth_ (Princeton) on Blake's epistemology and hermeneutics.
I made my own small, unsatisfactory effort to point the difference in
"The Impasse of Coleridge and the Way of Blake," _The Interpretation of
Belief_, ed David Jasper (Macmillan, 1986).
Kevin
------------------------------
Date: Mon, 28 Aug 1995 10:36:27 -0500 (CDT)
From: "DR. JOSIE MCQUAIL"
To: Blake@albion.com
Subject: reposting of call for papers for those gone during summer
Message-Id: <01HULQMMDX369ANE0V@tntech.edu>
From: TTU::JAM0073 "DR. JOSIE MCQUAIL" 10-JUL-1995 12:39:54.10
To: IN%"blake@albion.com"
CC: JAM0073
Subj: call for papers for NEMLA conference, 1996, Montreal, Canada
Hello, Blakeans, I am writing to solicit papers on Blake (open topic) to
be presented at the Northeast Modern Language Association conference April
19-20 in Montreal, Canada. Please do not submit papers unless you think you
can actually attend the conference.
Prospective panelists are expected to send their abstracts or papers to me
(hard copies; do not send on e-mail) postmarked by SEPT. 10. 1995. Please
state whether you will need audio-visual equipment.
All selected panel members must be members of NEMLA by November 1, 1995 to
have their names included in the convention program. If all panel members
are not NEMLA members by that time the panel may be cancelled. A $10
surcharge will be levided to membership fees after Nov. 1. A conference
registration fee will also be charged.
This year the Blake panel has been reinstated after being allowed to lapse
in 1995. Please show by your submissions that there is an interest in Blake!
Thank you.
Josie McQuail
Box 5053
English Department
Tennessee Technological University
Cookeville TN 38505
(615) 520-0449
FAX: 615,372-6142
e-mail (for inquiries, not submissions) IN%"jam0073@TNTECH.edu"
------------------------------
Date: Mon, 28 Aug 1995 15:19:20 -0400
From: WaHu@aol.com
To: blake@albion.com
Subject: Re: "Blake" in *Vindication*
Message-Id: <950828151918_85393316@emout04.mail.aol.com>
It is certainly one of god's great gifts to mankind that actual time travel
is not possible, and so we have only to suffer the slings & arrows of outrageous historical novelists.
Can you imagine if every June 17 a bevy of phd candidates was stuffed into
the "time machine" at Princeton and sent backward to work incalculable
mischief? Even Blake would, I think, forego his objections to physical
violence upon his first run in with them.
Count your blessings, Tom. Frances Sherwood can butcher the past in a bad
novel, but she can't apply for a grant to return to 1807 to interview
Beethoven.
Hugh Walthall
------------------------------
Date: Mon, 28 Aug 95 15:37 CST
From: MLGrant@president-po.president.uiowa.edu
To: blake@albion.com, Kevin Lewis
Subject: Re[2]: COLERIDGE, BLAKE, Germany
Message-Id: <199508282041.PAA07818@ns-mx.uiowa.edu>
Once again, the best way to answer questions of this sort is to look
in Bentley's *Blake Records.*
Knowledge of Blake in Germany dates back to Henry Crabb Robinson's
1811 article in Vaterlandishe Museum (BR, p. 229; text & translation
Bentley, pp. 432-55).
About B and Coleridge: Bentley suggests (p. 251) that it was the
Swedenborgian Charles Augustus Tulk who made Coleridge aware of Blake;
Tulk knew both poets, and in 1818 Coleridge returned the copy of
*Songs* he had borrowed from Tulk, with a very interesting (and often
reprinted) letter noting his "Dyspathies" and "Sympathies." In March
1830 an anonymous (apparently Swedenborgianly inclined) reviewer of
Alan Cunningham's biography of Blake appended the following footnote
to his/her review in *London Univ. Magazine*" "Blake and Coleridge,
when in company, seemed like congenial beings of another sphere,
breathing for a while on our earth; which may be easily be perceived
from the similarity of thought pervading their works." Bentley,
noting that Gilchrist thought B&C met at Linnell's house, suggests
that "it seems at least as likely that the chief contact between B and
C was at the Aders's parties" (p. 301n). In a long letter of Feb. 19,
1826 to Dorothy Wordsworth, Robinson wrote "Colerige has visited B. &
I am told talks finely about him--" (Bentley, p. 325). Robinson also
recorded that "The German painter Gotzenberger (a man indeed who ought
not to be named *after the others* as an authority for my writing
about Blake) said on his returning to Germany about the time at which
I am now arrived [not sure when this is, maybe 1810?]-- ' I saw in
England many men of talents, but only three men of Genius Coleridge,
Flaxman & Blake--And of these, Blake was the greatest." (Bentley,
536).
------------------------------
Date: Mon, 28 Aug 1995 21:52:43 -0400 (EDT)
From: "Everett C. Frost"
To: blake@albion.com
Subject: Re: Electronic access
Message-Id:
On Sat, 26 Aug 1995, Morris Eaves wrote:
> Sorry, no, _Blake/An Illus. Quarterly_ is available only in hard copy.
> Write Patricia Neill at pnpj@db1.cc.rochester.edu (that is a one not an
> ell), or to me.
>
> The latest issue just arrived this week. It's the spring 95 issue,
> which contains Robt. N. Essick's annual review of Blake sales and G.E.
> Bentley, Jr.'s annual checklist of research on Blake. Both are
> illustrated. The summer issue has been delayed by a computer virus that
> destroyed the files of the layout, but that has been remedied.
>
> Morris Eaves
> ===================================================
> From: IN%"blake@albion.COM" 25-AUG-1995 17:15:25.54
> To: IN%"blake@albion.COM"
> CC:
> Subj: Electronic access
>
> Return-path:
> Received: from uu6.psi.com by DBV (PMDF V4.3-13 #6313)
> id <01HUHXODIVK099AVFO@DBV>; Fri, 25 Aug 1995 17:15:16 -0500 (EST)
> Received: by uu6.psi.com (5.65b/4.0.071791-PSI/PSINet)
> via UUCP; id AA11846 for ; Fri, 25 Aug 95 16:52:42 -0400
> Received: by albion.com (NX5.67e/Albion+2) id AA02976; Fri,
> 25 Aug 95 13:23:41 -0700
> Resent-date: Fri, 25 Aug 1995 20:51:32 +0100
> Date: Fri, 25 Aug 1995 20:51:32 +0100
> Resent-from: blake@albion.COM
> From: freedman@dircon.co.UK (Freedman & Israel)
> Subject: Electronic access
> Resent-sender: blake-request@albion.COM
> To: blake@albion.COM
> Reply-to: blake@albion.COM
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> Content-transfer-encoding: 7BIT
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> X-Loop: blake@albion.com
> Precedence: list
>
> Anyone know if there is electronic (i.e. Internet) access to articles from
> "Blake: An Illustrated Quarterly" (Rochester, NY)?
>
> Thanks
> Noah
>
>
> -----------------------------------
> This message is brought to you from
> the Freedman/Israel household
> 157 Sunny Gardens Road
> London, NW4 1SG
> UK
> Tel: +44 181 203 4493
>
>
>
Hi Morris!
Must say that my subscription goes enigmatically dark from time to time &
I've not spring issue w/ bells and whistles &c.
If you guys want help wi/ Blake CD ROM, let me know -- teaching wannabe
Scorseses in a film program keeps me up to speed on the technish, and I
keep Blake in mind...
cheers, hope you're well, & come occuppy the place (now moved from where
you were) again.
Everett Frost = frost@is2,nyu.edu
------------------------------
Date: Mon, 28 Aug 1995 21:59:26 -0400 (EDT)
From: "Everett C. Frost"
To: blake@albion.com
Subject: Re: reposting of call for papers for those gone during summer
Message-Id:
Content-Type: TEXT/PLAIN; charset=US-ASCII
On Mon, 28 Aug 1995, DR. JOSIE MCQUAIL wrote:
> From: TTU::JAM0073 "DR. JOSIE MCQUAIL" 10-JUL-1995 12:39:54.10
> To: IN%"blake@albion.com"
> CC: JAM0073
> Subj: call for papers for NEMLA conference, 1996, Montreal, Canada
>
> Hello, Blakeans, I am writing to solicit papers on Blake (open topic) to
> be presented at the Northeast Modern Language Association conference April
> 19-20 in Montreal, Canada. Please do not submit papers unless you think you
> can actually attend the conference.
>
> Prospective panelists are expected to send their abstracts or papers to me
> (hard copies; do not send on e-mail) postmarked by SEPT. 10. 1995. Please
> state whether you will need audio-visual equipment.
>
> All selected panel members must be members of NEMLA by November 1, 1995 to
> have their names included in the convention program. If all panel members
> are not NEMLA members by that time the panel may be cancelled. A $10
> surcharge will be levided to membership fees after Nov. 1. A conference
> registration fee will also be charged.
>
> This year the Blake panel has been reinstated after being allowed to lapse
> in 1995. Please show by your submissions that there is an interest in Blake!
>
> Thank you.
>
> Josie McQuail
> Box 5053
> English Department
> Tennessee Technological University
> Cookeville TN 38505
> (615) 520-0449
> FAX: 615,372-6142
> e-mail (for inquiries, not submissions) IN%"jam0073@TNTECH.edu"
>
>
I'll be happy to think about "Blake and the Ear" for NEMLA in April, no
more than synopsis possible by your deadline. You should be advised,
however, that the dates are not yet set for an April? conference in
Strassbourg on Sam Beckett, and I'll have more than my share to heft there.
Everett Frost = frost@is2.nyu.edu
------------------------------
Date: Mon, 28 Aug 1995 22:17:08
From: TcdPenn@megaweb.com (Penn Hackney)
To: blake@albion.com
Subject: Re: Re[2]: COLERIDGE, BLAKE, Germany
Message-Id: <199508290213.WAA26517@mail-e1a.megaweb.com>
Content-Type: text/plain; charset="us-ascii"
Many thanks to Dr. Grant for this note.
>
> Once again, the best way to answer questions of this sort is to look
> in Bentley's *Blake Records.*
>
> Knowledge of Blake in Germany dates back to Henry Crabb Robinson's
> 1811 article in Vaterlandishe Museum (BR, p. 229; text & translation
> Bentley, pp. 432-55).
>
> About B and Coleridge: Bentley suggests (p. 251) that it was the
> Swedenborgian Charles Augustus Tulk who made Coleridge aware of Blake;
> Tulk knew both poets, and in 1818 Coleridge returned the copy of
> *Songs* he had borrowed from Tulk, with a very interesting (and often
> reprinted) letter noting his "Dyspathies" and "Sympathies." In March
> 1830 an anonymous (apparently Swedenborgianly inclined) reviewer of
> Alan Cunningham's biography of Blake appended the following footnote
> to his/her review in *London Univ. Magazine*" "Blake and Coleridge,
> when in company, seemed like congenial beings of another sphere,
> breathing for a while on our earth; which may be easily be perceived
> from the similarity of thought pervading their works." Bentley,
> noting that Gilchrist thought B&C met at Linnell's house, suggests
> that "it seems at least as likely that the chief contact between B and
> C was at the Aders's parties" (p. 301n). In a long letter of Feb. 19,
> 1826 to Dorothy Wordsworth, Robinson wrote "Colerige has visited B. &
> I am told talks finely about him--" (Bentley, p. 325). Robinson also
> recorded that "The German painter Gotzenberger (a man indeed who ought
> not to be named *after the others* as an authority for my writing
> about Blake) said on his returning to Germany about the time at which
> I am now arrived [not sure when this is, maybe 1810?]-- ' I saw in
> England many men of talents, but only three men of Genius Coleridge,
> Flaxman & Blake--And of these, Blake was the greatest." (Bentley,
> 536).
>
>
--
Penn
Using carriage returns in IMS
..
------------------------------
Date: Mon, 28 Aug 1995 20:53:49 -0700
From: Ralph Dumain
To: blake@albion.com
Subject: Re: COLERIDGE AND BLAKE?
Message-Id: <199508290353.UAA05249@igc2.igc.apc.org>
>I do not know whether Blake and Coleridge ever met, but I am
>pretty sure that they were fundamentally at variance
>philosophically.
I did not want to openly state my judgment of the matter before
gathering more data, but I surely agree with you. I don't see how
anyone could think those two kindred spirits, scholarly reputation
notwithstanding. I have to wonder about expertise sometimes. I
think I will keep my thoughts about Coleridge to myself for the
time being.
>Coleridge had a medieval mind, despite (or perhaps because of
>his German contacts?), while Blake had the modern mind
This is an interesting assertion. It might surprise a lot of
people.
>cf. Leo Damrosch's _Symbol and Truth in Blake's Myth_
>(Princeton) on Blake's epistemology and hermeneutics.
This sounds very interesting. Is this a recent book?
>I made my own small, unsatisfactory effort to point the
>difference in "The Impasse of Coleridge and the Way of Blake,"
>_The Interpretation of Belief_, ed David Jasper (Macmillan,
>1986).
Do you half an offprint or copy of this chapter you could send me?
If so, I will forward my address. Are you the first person to
study this difference or is there other literature on the
subject?
------------------------------
Date: Mon, 28 Aug 1995 22:04:19 -0700
From: Ralph Dumain
To: blake@albion.com, hegel-l@bucknell.edu
Subject: MORE BLAKE 'N HEGEL BITS
Message-Id: <199508290504.WAA16140@igc2.igc.apc.org>
YET MORE BLAKE 'N HEGEL BITE-SIZED BITS
I include the following passage for the sake of other
bibliographic fanatics who don't want to miss anything. Quotation
should not be taken as endorsement. Bronowski's judgment of Hegel
is bizarre, but he wrote it in 1942, and I guess Hegel wasn't so
popular in English-speaking countries then.
"Blake's writings grew within the French Revolution and the
Industrial Revolution. In these, in the two kinds of rationalism,
and in the two kinds of dissent, lie the roots of his thought.
>From these roots grew his dialectic of contraries and progression,
some form of which is common to all mystics. It grew in Blake in
the form most fitted to industrial society. It took a like form
in Hegel and in Karl Marx. All three said like things with this
dialectic. But no two of them said the same thing. The dialectic
is striking. It is striking that Blake used it before the others.
But what was said comes to mean more than the language of the
dialectic. Marx found and said searching things with this
dialectic, which will remain worth reading. Hegel did not, and is
unread. Blake spoke in this language a thought which remains his
own; and it is worth the reading."
>From J. Bronowski, WILLIAM BLAKE AND THE AGE OF REVOLUTION, New
York and Evanston, Harper Colophon Books, 1969, p. 180.
------------------------------
Date: Tue, 29 Aug 1995 09:41:08 -0500
From: jmichael@seraph1.sewanee.edu (J. Michael)
To: blake@albion.com
Subject: Damrosch's _Symbol and Truth_
Message-Id: <9508291446.AA12934@uu6.psi.com>
Ralph Dumain asks about Leopold Damrosch's _Symbol and Truth in Blake's
Myth_, published by Princeton in 1980. It is a very interesting book; to
give you an idea, I'll quote from the introduction:
"Despite years of trying earnestly to see the myth as philosophically
coherent, I have come to believe that it contains serious inconsistencies
and owes its lines of development to Blake's unceasing effort to reconcile
them. . . . I shall argue against both prevailing views that assume
coherence in Blake's myth: the orthodox claim that it never changed, and
the revisionist claim that it changed but was coherent at each stage of its
evolution. My argument will be that potent contradictions lie at the heart
of Blake's system and that the never-ending struggle to reconcile them
gives his work its peculiar energy and value" (3).
With your interest in Hegel, you will definitely want to read what Damrosch
says about Blake and HEgel (as well as Augustine, Boehme, et al.). I don't
know if it's still in print, but most large libraries should have a copy.
You may also be able to find it in a secondhand bookstore, as I did.
Jennifer Davis Michael
University of the South
jmichael@seraph1.sewanee.edu
------------------------------
Date: Tue, 29 Aug 95 12:36:33 EDT
From: Michael Williams
To:
Subject: Unidentified subject!
Message-Id: <9508291631.AA27832@uu6.psi.com>
Do any of you distinguished Blakeans know where I might find good, "suitable-for-framing" reproductions of Blake's artwork--pieces affordable at a novelist's modest income? I'd appreciate any direction. Thanks.
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Date: Tue, 29 Aug 1995 14:35:22 -0400 (EDT)
From: "Nelson H. Evans"
To: blake@albion.com
Cc: fogarty@beast.Trenton.EDU
Subject: Source of quote or episode
Message-Id:
Does anyone know where Blake said or wrote "CLAPPING ITS HANDS FOR JOY"
in regard to his brother's death?
These are the words Blake is alleged to have said when his brother Robert
died in 1787. The earliest biography available to me is the Alexander
Gilchrist Life of W B. Glichrist relates that when Robert died William
saw his brother's spirit "ascend heavenward...CLAPPING ITS HANDS FOR
JOY." None of the works I checked document or footnote the source for
this. It is not in the Blake Concordance.
Does anyone know from where Gilchrist or the other biographers got this?
Any information would be appreciated. Send to:
Nelson Evans
Trenton State College Library
CN 4700
Trenton, New Jersey
08650-4700
Phone:609-771-2421
Fax: 609-771-3458
e=mail: evans@trenton.edu
Thank you
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Date: Tue, 29 Aug 1995 21:56:55 -0500
From: tomdill@womenscol.stephens.edu
To: blake@albion.com
Subject: Re: Source of quote or episode
Message-Id: <95082921565570@womenscol.stephens.edu>
According to Bentley's *Blake Records*, Gilchrist's authority for this
story is John Linnell, who claimed in turn the authority of Mrs. Blake's
own account of Robert Blake's death scene.
Tom Dillingham (tomdill@womenscol.stephens.edu)
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Date: Wed, 30 Aug 1995 00:03:38 -0400
From: CMartinian@aol.com
To: Blake@albion.com
Subject: blake illustration
Message-Id: <950830000336_66740466@mail02.mail.aol.com>
hullo, I received the subscription verification - thanks, and was curious as
to if you had any leads on where I may publish some of my illustrations for
blake's songs of experience. This isn't a formal inquiry to albion
necessarily (and I realize that reillustrating blake's work is hard to
understand), but I don't have an extensive blake resource list - perhaps you
could fill me in. Just for measure, they're pencil illustrations with text
designs, all original. I hope to show them to you some day. thanks.
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Date: Wed, 30 Aug 95 09:12 CST
From: MLGrant@president-po.president.uiowa.edu
To: blake@albion.com, "Nelson H. Evans"
Cc: fogarty@beast.Trenton.EDU
Subject: Re: Source of quote or episode
Message-Id: <199508301418.JAA22615@ns-mx.uiowa.edu>
Unfortunately, Gilchrist didn't identify his sources. (I have heard
that he saved them but that when Anne Gilchrist asked the Rosetti
brothers to help her complete the work they advised throwing the notes
away -- don't know the source of this factoid.) Bentley speculates
that Gilchrist was embellishing Linnell's account (which doesn't
mention the clapping hands but does say B stayed up a fortnight to
nurse his brother then slept 3 days and 3 nights after his death).
See *Blake Records* 32n and 459n.
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End of blake-d Digest V1995 Issue #9
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