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Poet, painter, and engraver William Blake died in 1827 in obscure poverty with few admirers. The attention paid today to his remarkable poems, prints, and paintings would have astonished his contemporaries. Admired for his defiant, uncompromising creativity, he has become one of the most anthologized and studied writers in English and one of the most studied and collected British artists. His urge to cast words and images into masterpieces of revelation has left us with complex, forceful, extravagant, some times bizarre works of written and visual art that rank among the greatest challenges to plain understanding ever created. This Companion aims to provide guidance to Blake s work in fresh and readable introductions: biographical, literary, art historical, political, religious, and bibliographical. Together with a chronology, guides to further reading, and glossary of terms, they identify the key points of departure into Blake s multifarious world and work.
Poet, painter, and engraver William Blake died in 1827 in obscure poverty with few admirers. The attention paid today to his remarkable poems, prints, and paintings would have astonished his contemporaries. Admired for his defiant, uncompromising creativity, he has become one of the most anthologized and studied writers in English and one of the most studied and collected British artists. His urge to cast words and images into masterpieces of revelation has left us with complex, forceful, extravagant, some times bizarre works of written and visual art that rank among the greatest challenges to plain understanding ever created. This Companion aims to provide guidance to Blake's work in fresh and readable introductions: biographical, literary, art historical, political, religious, and bibliographical. Together with a chronology, guides to further reading, and glossary of terms, they identify the key points of departure into Blake's multifarious world and work.
In this innovative study, Jesse challenges the prevailing view of Blake as an antinomian and describes him as a theological moderate who defended an evangelical faith akin to the Methodism of John Wesley. She arrives at this conclusion by contextualizing Blake’s works not only within Methodism, but in relation to other religious groups he addressed in his art, including the Established Church, deism, and radical religions. Further, she analyzes his works by sorting out the theological “road signs” he directed to each audience. This approach reveals Blake engaging each faction through its most prized beliefs, manipulating its own doctrines through visual and verbal guide-posts designed to communicate specifically with that group. She argues that, once we collate Blake’s messages to his intended audiences—sounding radical to the conservatives and conservative to the radicals—we find him advocating a system that would have been recognized by his contemporaries as Wesleyan in orientation. This thesis also relies on an accurate understanding of eighteenth-century Methodism: Jesse underscores the empirical rationalism pervading Wesley’s theology, highlighting differences between Methodism as practiced and as publicly caricatured. Undergirding this project is Jesse’s call for more rigorous attention to the dramatic character of Blake’s works. She notes that scholars still typically use phrases like “Blake says” or “Blake believes,” followed by some claim made by a Blakean character, without negotiating the complex narrative dynamics that might enable us to understand the rhetorical purposes of that statement, as heard by Blake’s respective audiences. Jesse maintains we must expect to find reflections in Blake’s works of all the theologies he engaged. The question is: what was he doing with them, and why? In order to divine what Blake meant to communicate, we must explore how those he targeted would have perceived his arguments. Jesse concludes that by analyzing the dramatic character of Blake’s works theologically through this wide-angled, audience-oriented approach, we see him orchestrating a grand rapprochement of the extreme theologies of his day into a unified vision that integrates faith and reason.
First paperback edition of one of E. P. Thompson's best and most deeply felt works.
Seminar paper from the year 2004 in the subject English Language and Literature Studies - Literature, grade: 1, Otto-von-Guericke-University Magdeburg, 13 entries in the bibliography, language: English, abstract: "We have war, injustice, and unhappiness because our way of life is founded on mistaken beliefs." This quotation by William Blake set me thinking and distracted me from my actual project: I wanted to write an essay on a poem. But during my work I, fortunately, ended up in a chaos of philosophical questions: Who are we? Where do we come from? Is our universe only a dust particle of something larger? Is there a force guiding us? Who or what is God? From time immemorial, people have been racking their brains over these ageless and puzzling questions, and I doubt whether we are able to provide convincing responses to them. Someone who might give us a wise answer is William Blake (1757-1827). He is considered to be the first major Romantic poet, and a central theme of his works is religion (e.g. The Marriage of Heaven and Hell, The Book of Urizen). Admittedly, there is no easy access to Blake because he is one of the most obscure and inscrutable poets. Nevertheless, I would like to make the daring attempt to uncover the secrets of Blake's religious mysticism. For this reason, I will discuss one of his first works There Is No Natural Religion (1788). My design is to make this essay accessible to a wide readership, especially to those who have so far avoided profoundly dealing with a particular topic: religion. I also had no serious interest in religion at all - until I started to learn Arabic. Once you have mastered "Allah's difficult but most ornate language", you have got a completely different outlook on the world. Beside this, I felt an urgent personal need to deal with the concept of faith in greater detail. This has in part something to do with the changing idea and role of religion in the 21st century. Unfortunately, a number of armed conflicts have be
This beautiful volume showcases the work of the great British poet and artist William Blake. Featuring reproductions of some of his most famous artwork and poetry, this book is a true treasure for any fan of Blake's work. It also includes informative essays on Blake's life and artistic legacy, making it an essential addition to any art lover's library. This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work is in the "public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
William Blake (1757-1827) is considered one of the most singular and brilliant talents that England has ever produced. Celebrated now for the originality of his thinking, painting and verse, he shocked contemporaries by rejecting all forms of organized worship even while adhering to the truth of the Bible. But how did he come to equate Christianity with art? How did he use images and paint to express those radical and prophetic ideas about religion which he came in time to believe? And why did he conceive of Christ himself as an artist: in fact, as the artist, par excellence? These are among the questions which Naomi Billingsley explores in her subtle and wide-ranging new study in art, religion and the history of ideas. Suggesting that Blake expresses through his representations of Jesus a truly distinctive theology of art, and offering detailed readings of Blake's paintings and biblical commentary, she argues that her subject thought of Christ as an artist-archetype. Blake's is thus a distinctively 'Romantic' vision of art in which both the artist and his saviour fundamentally change the way that the world is perceived. In drawing upon contemporaneous religious writings and artistic representations of similar subjects, this book presents an historically grounded account of Blake's oeuvre. It offers new interpretations of his individual works while also identifying textual and pictorial sources that previously have been overlooked. It will have strong interdisciplinary appeal: to intellectual historians; scholars and students of religion and literature; art historians; and all those interested in the vivid figural articulation of a uniquely English theological radicalism.