Verse > Anthologies > T. H. Ward, ed. > The English Poets > Vol. III. Addison to Blake
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Thomas Humphry Ward, ed.  The English Poets.  1880–1918.
Vol. III. The Eighteenth Century: Addison to Blake
 
Critical Introduction by J. Comyns Carr
William Blake (1757–1827)
 
[William Blake was born in London, at No. 28, Broad Street, Golden Square, on the 28th November 1757; he died in Fountain Court, Strand, on the 12th of August, 1827. His Poetical Sketches were published in 1783, and the Songs of Innocence in 1787. In 1787 was also published The Book of Thel; and this was followed in 1790 by The Marriage of Heaven and Hell, in 1791 by The French Revolution, and in 1793 by The Gates of Paradise, the Visions of the Daughters of Albion, and the America. The Songs of Experience, designed as a companion series to the earlier Songs of Innocence, were issued in 1794. Of the later productions of the poet nearly all belonged to the class of prophetic books. To the year 1794 belong the Europe and The Book of Urizen; in 1795 appeared The Song of Los and The Book of Abania, and in 1804 the Jerusalem and the Milton.]  1
 
THE POETRY of Blake holds a unique position in the history of English literature. Its extraordinary independence of contemporary fashion in verse, and its intuitive sympathy with the taste of a later generation, would alone suffice to give a peculiar interest to the study of the poet’s career. Nor is this interest in any way diminished by a knowledge of Blake’s singular and strongly marked individuality. Indeed, it is scarcely possible to do justice to the great qualities of his imagination, or to make due allowance for its startling defects, unless the exercise of the poetic gift is considered in relation to the other faculties of his mind. He appealed to the world in the double capacity of poet and painter; and such was the peculiar nature of his endowment and the particular method of his work, that it is difficult to measure the value of his literary genius without some reference to his achievements in design. For it is not merely that he practised the two arts simultaneously, but that he chose to combine them after a fashion of his own. An engraver by profession and training, he began at a very early age to employ his technical knowledge in the invention of a wholly original system of literary publication. With the exception of the Poetical Sketches, issued in the ordinary form through the kindly help of friends, nearly all of Blake’s poems were given to the world in a fantastic dress of his own devising. He became in a special sense his own printer and his own publisher. The typography of his poems and the pictorial illustration by which they were accompanied were blended in a single scheme of ornamental design, and from the engraved plate upon which this design was executed by the artist’s own hand copies were struck off in numbers more than sufficient to satisfy the modest demands of his admirers.  2
  This peculiar process of publication cannot of course be held to affect Blake’s claims as a poet. It bears a more obvious relation to those powers of a purely artistic kind which are not here in question; but its employment by him is nevertheless well deserving of remark in this place, because it indicates a certain quality of mind that deeply affected his poetic individuality. That happy mingling and confusion of text and ornament which give such a charm to Songs of Innocence was the symbol of a strongly marked intellectual tendency that afterwards received a morbid development. Blake has been called mad, and within certain well-defined limits the charge must, we think, be admitted. He possessed only in the most imperfect and rudimentary form the faculty which distinguishes the functions of art and literature; and when his imagination was exercised upon any but the simplest material, his logical powers became altogether unequal to the labour of logical and consequent expression. That this failure arose rather from morbid excess and excitement of visionary power than from any abnormal defect of intellectual energy is sufficiently indicated by the facts of his career. For while his hold over the abstract symbols of language grew gradually feebler, his powers of pictorial imagery became correspondingly vigorous and intense. The artistic faculty in Blake strengthened and developed with advancing life, and he produced no surer or more satisfying example of his powers than the series of illustrations to the Book of Job, executed when he was already an old man.  3
Indeed if Blake had never committed himself to literature we should scarcely be aware of the morbid tendency of his mind. It is only in turning from his design to his verse that we are forced to recognise the imperfect balance of his faculties: nor could we rightly understand the strange limitation of his poetical powers without constant reference to this diseased activity of the artistic sense. For there is a large portion of Blake’s verse which is not infected at all with the suspicion of insanity, and it seems at first sight almost inexplicable that a writer who has produced some of the simplest and sweetest lyrics in the language should also have left behind him a confused mass of writings such as no man can hope to decipher. All that can be done for these so-called Prophetic Books has been accomplished by Mr. Swinburne, in his sympathetic study of the poet’s work; but although Mr. Swinburne rightly asserts the power that is displayed in them, his eloquent commentary does not substantially change the ordinary judgment of their confused and inconsequent character. The defects of such work are too grave for any kind of serious vindication to be really possible, and if Blake had produced nothing more or nothing better, his claims to rank among English poets could not be successfully maintained. But these defects, although they are in their nature incurable, are not altogether incapable of explanation. For it cannot be questioned by any one who has seriously attempted to decipher these ‘prophetic’ writings, that to Blake himself the ordinary modes of intellectual expression had become charged with something of mysterious and special meaning. Words were no longer mere abstract symbols: they had assumed to his imagination the force of individual images. As they passed into his work they lost the stamp of ordinary currency and became impressed with a device of his own coinage, vivid and eloquent to him, but strange to all the world beside. To Blake’s mind, in short, these prophetic writings doubtless formed a series of distinct and coherent pictures; but without the key that he alone possessed, they must ever remain a chaos through which not even the most wary guide can hope to find a path.  4
  Putting aside the prophetic books, the quantity of verse which Blake has left behind him is by no means large. His lyrical poems have been collected in a small volume edited by Mr. W. M. Rossetti, and the contents of this volume are found to be mainly derived from the Poetical Sketches and the Songs of Innocence and Experience. It is to these essays of his youth and early manhood that we must look for the true sources of his fame. The Poetical Sketches, begun when the author was only twelve years of age, and finished when he was no more than twenty, must assuredly be reckoned among the most extraordinary examples of youthful production; and it is profoundly characteristic of the man and his particular cast of mind that many of these boyish poems are among the best that Blake at any time produced. For his was a nature that owed little to development or experience. The perfect innocence of his spirit, as it kept him safe from the taint of the world, also rendered him incapable of receiving that enlargement of sympathy and deepening of emotion which others differently constituted may gain from contact with actual life. His imagination was not of the kind that could deal with the complex problems of human passion; he retained to the end of his days the happy ignorance as well as the freshness of childhood: and it is therefore perhaps less wonderful in his case than it would be in the case of a poet of richer and more varied humanity that he should be able to display at once and in early youth the full measure of his powers.  5
  But this acknowledgment of the inherent limitation of Blake’s poetic gift leads us by a natural process to a clearer recognition of its great qualities. His detachment from the ordinary currents of practical thought left to his mind an unspoiled and delightful simplicity which has perhaps never been matched in English poetry. The childlike beauty of his poems is entirely free from the awkward lisp of wisdom that condescends. It is always unconscious and always unstrained, and even the simplicity of a poet like Wordsworth must often seem by comparison to be tinged with a didactic spirit. Blake’s verse has indeed, both as regards intellectual invention and executive skill, a kind of unpremeditated charm that forces comparison with the things of inanimate life. Where he is successful his work has the fresh perfume and perfect grace of a flower, and at all times there is the air of careless growth that belongs to the shapes of outward nature. And yet this quality of simplicity is constantly associated with an unusual power of rendering the most subtle effects of beauty. In the actual processes of his art Blake could command the utmost refinement and delicacy of style. He possessed in a rare degree the secret by which the loveliness of a scene can be arrested and registered in a line of verse, and he often displays a faultless choice of language and the finest sense of poetic melody.  6
  We have said already that he worked in absolute independence of the accepted models of his time. This is strictly true: but it would be absurd therefore to assume that he laboured without any models at all. Blake’s isolation, if we look to the character of the man, is indeed less extraordinary than it would otherwise appear. He did not mingle in the concerns of life in such a way as to expose him to the dangers of being unduly swayed by the caprices of fashion. His was a world of his own creating, and to his vivid imagination the poets of an earlier generation would seem as near as the versifiers of his own day. That he should have chosen from the past those models whose example was most needed in order to infuse a new life into English poetry proves of course the justice of his poetic instinct. In fixing upon the great writers of the Elizabethan age he anticipated, as we have already observed, the taste of a succeeding generation, and it is only to be regretted that he did not absolutely confine himself to these nobler models of style. Unfortunately however his own intellectual tendency towards mysticism, found only too ready encouragement in the prophetic vagueness of the Ossianic verse, and we may fairly trace a part at least of Blake’s obscurer manner to this source.  7
 
 
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