Eternity's Sunrise: The Imaginative World of William Blake
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sin and, 70, 73, 83, 104, 217, 225, 236, 252
skepticism and, 48–49, 222. See also Bible; Christian belief; creation; specific religions
Rembrandt van Rijn, 137
repression, 70–74, 75, 112, 115
Blake’s symbol for, 156, 192
Freud vs. Jung on, 156
sedition charges and, 117, 118, 133–34, 135
reproduction. See procreation
reptile. See serpent
Restoration, English (1660), 97
Revelation, Book of, 62, 97, 187, 251
as Blake poetic model, 143, 155
imagery from, 181
John of Patmos visions and, 155, 157
Revere, Paul, 115
revolution, 83, 89, 96–119
Blake imagery and, 146–47
Blake’s disillusion with, 117, 118–19
Blake’s hope for, 140
repression stemming from, 112, 117
Reynolds, Sir Joshua, 12, 35–36, 93
Discourses, 36
Rhea (deity), 47
rhyme, word pronunciation and, 59, 87, 221
rhythm, 55, 80, 88. See also meter
Richardson, Samuel, Clarissa, 75, 76
Richmond, George, 262, 264, 269
Richter, Jean Paul, 183
Rintrah (son of Los), 169, 187
river gods, conventional depiction of, 43
robin image, 58, 59, 66
Robinson, Henry Crabb, 51, 94, 204, 231, 246, 255, 264
Rockefeller Center (New York), 239
Rogers, Samuel, 94
rolling press, 27–32, 39, 128
Roman Catholicism. See Catholic Church
Romano, Giulio, A Woman Taken in Adultery, 137
romantic classicism, 33, 39
Romantic poets, 9, 75, 94, 197, 229, 231–33
Rome, 203, 225
roses, symbolism of, 75, 76, 205
Rossetti, Dante Gabriel, 45, 110, 205
Rossetti, William Michael, 110
Rossetti Manuscript (Blake notebook), 16, 45, 66, 80–81, 82, 92, 97, 118, 120, 124, 132, 185, 196, 197, 198, 208, 219, 235, 238, 267
rotten boroughs, 96
Rousseau, Jean-Jacques, 16, 120, 121, 212
Royal Academy, 12, 202
Rubens, Peter Paul, 32–33, 137
Democritus painting, 14, 15, 16
sadomasochism, 204
Saint James’s Westminster, 9
Saint Paul’s Cathedral, 62, 88, 151, 229
Samson (biblical), 98
Samson Agonistes (Milton), 98
sandals, 177, 181
sand metaphor, 122, 124
Satan, 83, 91, 102, 112, 153, 198, 246, 260
Blake’s concept of, 183–84, 251, 252–55, 254
as fallen angel, 252, 253
Old vs. New Testament portrayal of, 153, 249
Paradise Lost portrayal of, 205, 206 (color plate 31)
Prometheus resemblance to, 83
“Satan’s synagogue,” 153–54
Satan Watching Adam and Eve (Blake), 204–6 (color plate 31)
Saul of Tarsus. See Paul, Saint
Schiavonetti, Louis, 267
schizophrenia, 2, 134–35, 136
Schoolboy, The (Blake), 93
Schopenhauer, Arthur, 1
Schubert, Franz, 76
science, 122–23, 247
Scott, Sir Walter, 94
secret shrine, Blake image of, 212, 222
sedition, 117–18
Blake trial and acquittal of, 133–34, 135, 258, 260
self: abnegation of, 77
authoritarian stability of, 156
divided, 224
divine principle integrating, 160, 236
dynamic forces within, 160
foundational elements of, 156
Four Zoas as psychic components of, 140–41, 155–57
fragmentation of, 154, 162, 236
Milton’s false body of, 165, 167
need for new, 183–84
reordering of, 187
sacrifice of, 256
Spectre as element of, 184
symbolism of, 147
selfless love, 77
self-sacrifice, 188, 217
Sense Runs Wild (Blake illustration), 16, 17, 18
senses, 156, 221
serpent, 112, 208, 221, 251
Paradise Lost, 205 (color plate 31)
symbolism of, 114, 115, 116, 209, 222, 223, 224
serpent temple, 114, 115, 192, 193, 194
Seven Eyes of God, 160, 227, 246
sexuality, 196–211
allure of forbidden aspects of, 208–11
Blake’s anti-epigram and, 196
Blake’s erotic drawings and, 209, 210
Blake’s ideal comingling and, 211
Blake’s myth and, 198
Blake’s sense of, 57, 106, 107, 115, 141, 181
Blake’s social critique of, 91, 92–93
Blake’s symbols for, 184–85, 209, 224
Blake’s theme of, 74, 76, 115, 117, 196–97
conflicts arising from, 74–76
free love and, 198–208, 209, 218
frustrated desire and, 222
guilt and, 75
impurity of, 226
jealousy and, 18, 188, 204–8
mutual pleasure and, 196–97
original sin and, 70, 217
phallic symbol and, 57, 115, 116, 175, 184, 209, 224, 223 (color plate 21)
of plants, 56, 57
power and, 212
procreation and, 212, 214, 217, 222, 229
prostitute subculture and, 91
rape and, 106, 198, 199–200, 203, 253
renunciation of, 220–21
repression by institutional religion of, 73, 225
Romantic poets’ discretion about, 197
secret lust and, 209
shame and, 70, 217, 220. See also female sexuality
sfumato (Leonardo invention), 33
Shakespeare, William, 8, 132, 172
King Lear, 110
Macbeth, 43–45 (color plate 1); Othello, 18
paintings based on plays of, 43–45
shame, 88, 216, 217, 220, 270
Shelley, Percy Bysshe, 9, 91, 169, 172, 197
Shem (biblical), 189
Sick Rose, The (Blake), 74–76, 94, 201 (color plate 8)
sin, 83, 104, 252
of Adam and Eve, 70, 217
forgiveness of, 225
guilt and, 73
Pauline emphasis on, 236
single vision, 141
Sistine Chapel, 247
skepticism, 48–49, 212
slavery, 117, 200, 212
snake. See serpent
social protest, 85–93, 96–101, 153, 163
Blake’s critique of religion-sanctioned injustice and, 245
diseased society and, 92
Blake’s retreat from, radicalism and, 117–19
early Lambeth Books and, 140
Jerusalem lyric and, 148
London and, 93
radicalism and, 96–97, 117
sedition prosecution for, 117, 118
utopian goal of, 148. See also revolution
Song of Los (Blake), 176 (color plate 23)
Song of Solomon (biblical), 106
songs, 50–54
Songs of Experience (Blake), 66, 67–93, 208, 221, 256
The Chimney Sweeper, 67, 85, 86, 87, 94
The Clod and the Pebble, 77–78, 79, 110
date of, 213
dour mood of, 67
final poem: To Tirzah, 216–17
frontispiece, 67, 69, 70
Holy Thursday, 93
The Human Abstract, 87
Infant Sorrow, 70–71, 72
injustice and, 245
A Little Girl Lost, 71, 73
The Little Vagabond, 93
London, 67, 87–93, 90
Nurse’s Song, 93
The Schoolboy, 93
The Sick Ros
e, 74–76, 94 (color plate 8)
Songs of Innocence corresponding poems, 67, 70–71
The Tyger, 1, 4, 5, 67, 78, 80–85, 87, 88, 93, 94, 115, 175, 165 (color plates 9, 10)
title page, 68
two masterpieces of, 67, 80, 87
varied sequencing of poems, 93
Songs of Innocence (Blake), 4, 8, 50–66, 67, 84, 85, 115, 120, 140, 213, 232, 255
ambiguities and, 62
The Blossom, 57–59, 94 (color plate 5)
corresponding poems with Songs of Experience, 67, 70
The Chimney Sweeper, 3–66, 7, 85, 93–94 (color plate 6)
coloring of new version (1818), 4
The Divine Image, 87
late Copy Z (1826) of, 51, 56
existing copies of, 57
frontispiece, 52, 53, 54, 70
Infant Joy, 54–57, 70, 71, 94 (color plate 4); Introduction, 53–54
The Lamb, 59–60, 61, 62, 64, 67, 81
as most accessible Blake poem, 50
Night, 84
On Another’s Sorrow, 62
reality of Experience and, 188
rural imagery of, 67
1789 first printing of, 4, 50
sequence variations in, 57
symbols in, 51, 54, 60
title page (copy Z), 51, 53 (color plate 3)
varied sequence of poems, 93
Songs of Innocence and Experience (Blake), 31, 50, 66, 67–95
Coleridge’s comment on, 142–43
new title page (copy C), 70 (color plate 7)
subtitle: Showing the Two Contrary States of the Human
Soul, 50
title page, 105
as unsuitable for children, 66
Sons of Liberty, 108
soul, 253
Southey, Robert, 94, 149
South Molton Street (London), 258, 259
Spectre (Jerusalem):183–85, 191, 192 (color plate 100)
symbol of, 184–85, 219, 220
spelling, 5
Spenser, Edmund, 98
Spiritual Form of Nelson Guiding Leviathan, The (Blake), 37
Spiritual Form of Pitt Guiding Behemoth, The (Blake), 37
spirituals (songs), 158
Spurzheim, Johann, Observations on the Deranged Manifestations of the Mind, or Insanity, 136
Stationers’ Company, 117
Stevens, Wallace, 233
Stevenson, W. H., 6
stippling technique, 14
Stonehenge, 189, 190
stone tablets. See Ten Commandments
Storr, Anthony, 139
Stothard, Thomas, 13, 14
Strand (London), 258, 261
Stranger from Paradise, The (Bentley), 197
Stukeley, William, Asbury: A Temple of the Ancient
Druids, 192, 193
Sturm und Drang movement, 202
“Such, Such Were the Joys” (Orwell), 56
suffering, 88, 165
sun, 46, 59, 60, 63, 65, 74, 110, 122, 125, 192, 203, 228, 231, 232, 233, 238, 256
Blake and, 130, 132
Los and, 174, 176, 177, 178, 180, 181
sunrise, 3, 99, 115, 167, 255
sunflowers, 74
Sunshine Holiday, A (Blake), 46–49, 57, 131, 141, 213, 232 (color plate 2)
Sussex, 128, 229, 258., See also Felpham
swan symbol, 115, 116
Swedenborg, Emanuel, 65, 101
Swedenborgian church, 248
Swinburne, Algernon Charles, 2
symbolism, 1–2, 3, 39–49, 50, 53, 60, 65–66, 105, 123, 125, 177, 179, 203, 226–29, 232
Albion and, 98, 99, 101, 192
of apple tree, 51
Blake emblem book and, 213–16, 214, 215, 251, 252, 266
Blake myth and, 41–45, 46–49, 114, 119, 227
of Blake’s attacks on deism, 120–21
Blake’s change in, 119
Blake’s difficult, 143
Blake’s personal, 41, 47, 227
Blake’s pyramids and, 102–3
Blake’s visual embodiment of, 158
of childbirth, 58
Daughters of Albion and, 203–4
dynamic vs. iconic, 114–17
fatherhood and, 256–57
for females (see female symbolism)
of flowers, 75, 199
of four Evangelists, 158
Four Zoas and, 136, 140
Jerusalem and, 141, 147–48, 183–88, 192, 194
literal imagery vs., 58
of lost Atlantis, 203
for mental processes, 102
personification and, 40–45
in prophecies, 209
secret shrine and, 212, 222
of serpent, 114, 115, 116, 209, 222, 223, 224
of Seven Eyes of God, 246
of swirling wheel and vortex, 227
traditional, 117
Tyger, Tyger and, 83
of veil, 221, 227, 229
of worm, 76, 99, 105, 214, 215, 216, 222, 223, 224, 246, 251
Synagogue of Satan, 153–54
synesthesia, 88
tablets of Law. See Ten Commandments
tabula rasa metaphor (Locke), 36
talent, genius vs., 1
tarsus (portion of foot), 167
Tatham, Frederick, 21, 31, 44, 99, 264, 267–68, 269–70
posthumous burning of Blake’s materials by, 269
Taylor, Thomas, 125–26
Ten Commandments: Blake’s view of, 236, 243
stone tablets of, 236, 239, 241, 242, 249, 250 (color plate 11)
Teresa in Ecstasy (Bernini), 203
Terror (France), 101, 187
Thames River, 89, 169, 229, 261
Blake personification of, 41, 42, 43, 45, 46, 47
Tharmas (Zoa), 155–56, 157
emanation of, 160–62, 221
sense perception and, 156
Thatcher, Margaret, 148
Theotormon (Los son), 179, 199, 200–201, 202, 203–4 (color plate 30)
Theresa, Saint, 225
thistle, 180
Thomas, Dylan, 55
“The force that through the green fuse drives the flower,” 58
Thompson, E. P., 97
Thor (Norse deity), 153
Thoughts on Outline (Cumberland), 33
tiger, 81, 84
time: Eternity and, 124–25, 174, 194, 219, 270
measurement of, 173–74
Tintern Abbey (Wordsworth), 231
Tirzah (Blake nature goddess), 151, 153, 183, 216, 217, 221, 225, 227, 253
Tirzah (Old Testament city), 216
Titian, 137
To God (Blake epigram), 238
Tolkien, J. R. R., 105
tomb image, 266, 267
To My Myrtle (Blake), 197
To the Accuser Who Is the God of the World (Blake), 252, 253, 254, 255
To the Lighthouse (Woolf), 135
To Tirzah (Blake), 216–17
“Traveller hasteth in the Evening, The” (Blake engraving), 266, 267
tree of knowledge, 51, 112
tree of life, 70
trilithons (prehistoric stone structure), 189–90 (color plate 26)
Trinity College, Cambridge, 123
trochaic meter, 80, 88
Trojan War, 153
Truchsessian Gallery, 137–38
True Maid, A (Prior), 75, 76
Trump, Donald, 103
Trusler, John, 40
The Way to Be Rich and Respectable, 40
Twain, Mark, 87
twofold vision, 141
Tyburn gallows, 151
Tyger, The, 1, 4, 5, 67, 80–85, 115, 175, 264
companion poem to, 81
driving rhythm of, 80, 88
as masterpiece, 78, 80, 87
reviewers’ initial dismissal of, 94
variants in copies of, 84 (color plates 9, 10)
variants in sequential placement of, 93
tyranny, 83, 151
Ulro (Blake term), 141
universal constants, 270
universal law, 155
universal man, 141, 157
universe, Blake’s myth of the, 140
Urizen (Zoa), 112, 113, 119, 147, 160–62, 170, 175, 190, 194, 200, 221, 227, 256 (color plate 37)
as biblical creator God, 153–54, 169, 174, 175, 239, 243
Blake’s original concept of, 156, 239, 241, 242–43, 244, 245
emanation of, 160–62, 221
injustice and, 245
Jungian thought and, 156
Los-created apocalypse and, 186
Los rivalry with, 169, 174
representation of, 155
Synagogue of Satan and, 153–54
Urthona (Zoa), 105, 157, 172, 194, 200, 207
emanation of (see Enitharmon)
as imagination, 155, 162
intuition and, 156
Los as fallen state of, 162, 172
split into three elements of, 184. See also Los; Spectre
utopianism, 148
vagina, 209, 210
Vala (emanation of Luvah), 160, 183, 229, 230, 253
veil of, 221, 227, 229
worm-serpent-dragon transformation of, 222, 223, 224
Vala (later The Four Zoas), 136, 160, 210, 221
manuscript of, 222, 223, 224
subtitle: The Death and Judgment of the Ancient Man, a Dream of Nine Nights, 185
van Dyck, Anthony, 137
Van Gogh, Vincent, 133
Varley, John, 24
veil, symbolism of, 143, 221, 227, 229
venereal disease, 92
Venetian paintings, 34, 137
Venus (deity), 56, 57, 197, 229
Vindication of the Rights of Women, A (Wollstonecraft), 198
virginity, 75, 199, 203, 225, 236
Virgin Mary, 56, 59, 216, 225
triptych of, 137
Viscomi, Joseph, Blake and the Idea of the Book, 4, 25
vision, single vs. twofold, 141
visionary art, 138, 231
visionary songs, 50–54
Vision of Ezekiel, The (Raphael painting), 158
visions, Blake’s, 8, 9, 10, 19, 24, 39–49, 120–27, 133, 134–35, 138, 179
Blake’s breakthrough and, 146
Blake’s depiction of, 158, 159
Blake’s description of, 130–31
Blake’s understanding of, 40
as physical phenomenon, 39
reality to Blake of, 39, 40, 123
visions, Catherine Blake’s, 9, 269
visions, Ezekiel’s, 157–60, 159, 226, 246
Visions of the Daughters of Albion, 140, 163, 198–204, 253 (color plates 27, 28, 30)
date of, 213
frontispiece: 203 (color plate 30)
sexuality and, 57, 106, 198–205
symbolic meaning of, 203
“The Argument” (third plate), 198–99, 203 (color plate 27)
Voltaire, 16, 120, 121, 232
Candide, 238
vortex symbol, 227
Vos, Martin de, 257
Vulcan, 169
war: biblical military history and, 236
Druid culture of, 190
England and, 13–14, 37, 117, 118, 134, 147–48