William Blake

William Blake

1757–1827 · lived 69 years GB GB

William Blake was an English poet, painter, and printmaker whose visionary works explored profound spiritual and philosophical themes. He is renowned for his prophetic books, which combine his unique mythology with his distinct artistic style, often characterized by intense symbolism and imaginative power. Blake's work defied easy categorization, blending elements of Romanticism with his own highly personal brand of mysticism. His poetry, such as "Songs of Innocence and of Experience," continues to captivate readers with its exploration of dualities like innocence and corruption, joy and sorrow, and the spiritual and the material.

n. 1757-11-28, Londres · m. 1827-08-12, Charing Cross

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Why Was Cupid a Boy

Why Was Cupid a Boy
Why was Cupid a boy,
And why a boy was he?
He should have been a girl,
For aught that I can see.
For he shoots with his bow,
And the girl shoots with her eye,
And they both are merry and glad,
And laugh when we do cry.
And to make Cupid a boy
Was the Cupid girl's mocking plan;
For a boy can't interpret the thing
Till he is become a man.
And then he's so pierc'd with cares,
And wounded with arrowy smarts,
That the whole business of his life
Is to pick out the heads of the darts.
'Twas the Greeks' love of war
Turn'd Love into a boy,
And woman into a statue of stone--
And away fled every joy.
Read full poem
Bio

Identification and basic context

William Blake was an English poet, painter, and printmaker. He is widely regarded as a visionary artist and a key figure in the Romantic movement, though his work often defied conventional categorization and is characterized by its unique spiritual and philosophical depth. Blake's primary language of expression was English. His imaginative and often mystical worldview set him apart from many of his contemporaries. He is best known for his illuminated books, which combine his poetry with his own intricate illustrations.

Childhood and education

Born in London, Blake came from a modest background. His father was a hosier. He received little formal schooling, attending only a dame school. However, he was a voracious reader and possessed a remarkable natural talent for drawing and poetry from a young age. His parents recognized his artistic abilities and apprenticed him to an engraver at the age of ten. This apprenticeship provided him with crucial technical skills and exposed him to various artistic styles and historical prints, which would later inform his own work. His early education was thus largely practical and self-directed, fueled by an innate creative drive.

Literary trajectory

Blake began his literary career by writing poetry, including early works that would later be revised and published in collections like "Poetical Sketches" (1783). His true innovation came with the development of his "illuminated printing" technique, where he combined his poetry and illustrations into single plates, printed and colored by hand. This led to the creation of his prophetic books, beginning with "Songs of Innocence" (1789) and "Songs of Experience" (1794), which explore complex theological and philosophical ideas through allegorical poetry and vivid imagery. His literary trajectory was marked by a consistent development of his personal mythology and a relentless pursuit of spiritual and artistic expression, often in defiance of contemporary literary and artistic conventions.

Works, style, and literary characteristics

Blake's most famous works include "Songs of Innocence and of Experience," "The Marriage of Heaven and Hell," "Jerusalem," and "Milton." His dominant themes often revolve around the dualities of human existence: innocence and experience, good and evil, heaven and hell, reason and imagination, freedom and oppression. He developed a complex personal mythology populated by symbolic figures like Urizen (reason), Los (imagination), and Enitharmon (spirituality). His style is characterized by its visionary intensity, rich symbolism, and often paradoxical pronouncements. Blake employed a variety of forms, from lyrical songs to epic prophecies, often utilizing rhythmic structures and vivid, dreamlike imagery. His language can be both deceptively simple and profoundly complex, challenging conventional interpretations of morality and spirituality.

Cultural and historical context

Blake lived during a period of significant social and political upheaval in Britain, including the American and French Revolutions, which deeply influenced his thinking on liberty, tyranny, and social justice. He was part of a generation of artists and writers associated with Romanticism, which emphasized emotion, individualism, and the sublime in nature, though Blake's vision was often more overtly spiritual and prophetic. He was deeply critical of the established church, state, and industrialization, viewing them as forces that stifled human imagination and spiritual freedom. His radical religious and political views often led to his isolation from mainstream artistic and literary circles.

Personal life

Blake's personal life was marked by his deep devotion to his wife, Catherine Boucher, whom he taught to read and write and who became his artistic collaborator. They lived a relatively simple life, often facing financial hardship. Blake's intense inner world and visionary experiences sometimes led others to perceive him as eccentric or even insane, though he maintained a consistent creative output. His spiritual beliefs were central to his life and work, forming the basis of his unique cosmology.

Recognition and reception

During his lifetime, Blake was largely unrecognized for his poetic genius and was primarily known as a talented engraver. His visionary works were often misunderstood or dismissed by critics and the public. It was only in the 20th century, with the rise of modernist and postmodernist thought, that his work began to be re-evaluated and appreciated for its originality, depth, and prophetic power. Today, he is considered one of Britain's greatest poets and artists, with his work studied extensively in literature and art history.

Influences and legacy

Blake was influenced by the Bible, Milton, Shakespeare, and various mystical traditions. His radical ideas and unique artistic vision, in turn, influenced numerous artists, writers, and thinkers, including the Pre-Raphaelites, the Symbolists, and later figures in literature and art who embraced his emphasis on imagination and spiritual truth. His critique of industrial society and his celebration of individual vision continue to resonate. His inclusion in the literary and artistic canon is now firmly established, and his works are widely translated and studied internationally.

Interpretation and critical analysis

Blake's work is rich with layers of symbolic meaning, inviting diverse interpretations. Critics often analyze his complex mythology, his critique of established religious and political institutions, and his exploration of the human psyche. Debates frequently arise concerning the precise nature of his spiritual beliefs and the extent to which his visions should be understood literally or metaphorically. His exploration of the "contraries" of life remains a central theme for critical inquiry.

Curiosities and lesser-known aspects

Blake claimed to have seen visions from childhood, including seeing angels in a tree. He developed a unique method of printing his books, which he called "illuminated printing," involving etching both text and image onto copper plates. He was a vocal critic of the rationalism and materialism of his age. His personal notebooks contain numerous aphorisms and observations that reveal his independent and often provocative thinking.

Death and memory

William Blake died in relative obscurity in 1827. His memory was kept alive by a small circle of admirers, but his widespread recognition as a major artistic and literary figure only emerged much later. Posthumous publications and exhibitions have cemented his legacy as a unique and profoundly influential visionary artist and poet.

Poems

93

Chimney Sweeper, The

Chimney Sweeper, The
A little black thing in the snow,
Crying "weep! weep!" in notes of woe!
"Where are thy father and mother? Say!"--
"They are both gone up to the church to pray.
"Because I was happy upon the heath,
And smiled among the winter's snow,
They clothed me in the clothes of death,
And taught me to sing the notes of woe.
"And because I am happy and dance and sing,
They think they have done me no injury,
And are gone to praise God and his priest and king,
Who make up a heaven of our misery."
462

Clod and the Pebble, The

Clod and the Pebble, The
"Love seeketh not itself to please,
Nor for itself hath any care,
But for another gives its ease,
And builds a heaven in hell's despair."
So sung a little clod of clay,
Trodden with the cattle's feet;
But a pebble of the brook
Warbled out these meters meet:
"Love seeketh only Self to please,
To bind another to its delight,
Joys in another's loss of ease,
And builds a hell in heaven's despite."
372

Book of Thel, The

Book of Thel, The
THEL'S MOTTO
Does the Eagle know what is in the pit?
Or wilt thou go ask the Mole?
Can Wisdom be put in a silver rod?
Or Love in a golden bowl?
I
. The daughters of the Seraphim led round their sunny flocks,
. All but the youngest: she in paleness sought the secret air,
. To fade away like morning beauty from her mortal day:
. Down by the river of Adona her soft voice is heard,
. And thus her gentle lamentation falls like morning dew:
. "O life of this our spring! why fades the lotus of the water,
. Why fade these children of the spring, born but to smile and fall?
. Ah! Thel is like a wat'ry bow, and like a parting cloud;
. Like a reflection in a glass; like shadows in the water;
. Like dreams of infants, like a smile upon an infant's face;
. Like the dove's voice; like transient day; like music in the air.
. Ah! gentle may I lay me down, and gentle rest my head,
. And gentle sleep the sleep of death, and gentle hear the voice
. Of him that walketh in the garden in the evening time."
. The Lily of the valley, breathing in the humble grass,
. Answer'd the lovely maid and said: "I am a wat'ry weed,
. And I am very small and love to dwell in lowly vales;
. So weak, the gilded butterfly scarce perches on my head.
. Yet I am visited from heaven, and he that smiles on all
. Walks in the valley and each morn over me spreads his hand,
. Saying, 'Rejoice, thou humble grass, thou new-born lily-flower,
. Thou gentle maid of silent valleys and of modest brooks;
. For thou shalt be clothed in light, and fed with morning manna,
. Till summer's heat melts thee beside the fountains and the springs
. To flourish in eternal vales.' Then why should Thel complain?
. Why should the mistress of the vales of Har utter a sigh?"
. She ceas'd and smil'd in tears, then sat down in her silver shrine.
. Thel answer'd: "O thou little virgin of the peaceful valley,
. Giving to those that cannot crave, the voiceless, the o'ertired;
. Thy breath doth nourish the innocent lamb, he smells thy milky garments,
. He crops thy flowers while thou sittest smiling in his face,
. Wiping his mild and meekin mouth from all contagious taints.
. Thy wine doth purify the golden honey; thy perfume,
. Which thou dost scatter on every little blade of grass that springs,
. Revives the milked cow, and tames the fire-breathing steed.
. But Thel is like a faint cloud kindled at the rising sun:
. I vanish from my pearly throne, and who shall find my place?"
. "Queen of the vales," the Lily answer'd, "ask the tender cloud,
. And it shall tell thee why it glitters in the morning sky,


. And why it scatters its bright beauty thro' the humid air.
. Descend, O little Cloud, and hover before the eyes of Thel."
. The Cloud descended, and the Lily bow'd her modest head
. And went to mind her numerous charge among the verdant grass.
II
. "O little Cloud," the virgin said, "I charge thee tell to me
. Why thou complainest not when in one hour thou fade away:
. Then we shall seek thee, but not find. Ah! Thel is like to thee:
. I pass away: yet I complain, and no one hears my voice."
. The Cloud then shew'd his golden head and his bright form emerg'd,
. Hovering and glittering on the air before the face of Thel.
. "O virgin, know'st thou not our steeds drink of the golden springs
. Where Luvah doth renew his horses? Look'st thou on my youth,
. And fearest thou, because I vanish and am seen no more,
. Nothing remains? O maid, I tell thee, when I pass away
. It is to tenfold life, to love, to peace and raptures holy:
. Unseen descending, weigh my light wings upon balmy flowers,
. And court the fair-eyed dew to take me to her shining tent:
. The weeping virgin trembling kneels before the risen sun,
. Till we arise link'd in a golden band and never part,
. But walk united, bearing food to all our tender flowers."
. "Dost thou, O little Cloud? I fear that I am not like thee,
. For I walk thro' the vales of Har, and smell the sweetest flowers,
. But I feed not the little flowers; I hear the warbling birds,
. But I feed not the warbling birds; they fly and seek their food:
. But Thel delights in these no more, because I fade away;
. And all shall say, 'Without a use this shining woman liv'd,
. Or did she only live to be at death the food of worms?' "
. The Cloud reclin'd upon his airy throne and answer'd thus:
. "Then if thou art the food of worms, O virgin of the skies,
. How great thy use, how great thy blessing! Every thing that lives
. Lives not alone nor for itself. Fear not, and I will call
. The weak worm from its lowly bed, and thou shalt hear its voice,
. Come forth, worm of the silent valley, to thy pensive queen."
. The helpless worm arose, and sat upon the Lily's leaf,
. And the bright Cloud sail'd on, to find his partner in the vale.
III
. Then Thel astonish'd view'd the Worm upon its dewy bed.
. "Art thou a Worm? Image of weakness, art thou but a Worm?
. I see thee like an infant wrapped in the Lily's leaf


. Ah! weep not, little voice, thou canst not speak, but thou canst weep.
. Is this a Worm? I see thee lay helpless and naked, weeping,
. And none to answer, none to cherish thee with mother's smiles."
. The Clod of Clay heard the Worm's voice and rais'd her pitying head:
. She bow'd over the weeping infant, and her life exhal'd
. In milky fondness: then on Thel she fix'd her humble eyes.
. "O beauty of the vales of Har! we live not for ourselves.
. Thou seest me the meanest thing, and so I am indeed.
. My bosom of itself is cold, and of itself is dark;
. But he, that loves the lowly, pours his oil upon my head,
. And kisses me, and binds his nuptial bands around my breast,
. And says: 'Thou mother of my children, I have loved thee
. And I have given thee a crown that none can take away.'
. But how this is, sweet maid, I know not, and I cannot know;
. I ponder, and I cannot ponder; yet I live and love."
. The daughter of beauty wip'd her pitying tears with her white veil,
. And said: "Alas! I knew not this, and therefore did I weep.
. That God would love a Worm I knew, and punish the evil foot
. That wilful bruis'd its helpless form; but that he cherish'd it
. With milk and oil I never knew, and therefore did I weep;
. And I complain'd in the mild air, because I fade away,
. And lay me down in thy cold bed, and leave my shining lot."
. "Queen of the vales," the matron Clay answer'd, "I heard thy sighs,
. And all thy moans flew o'er my roof, but I have call'd them down.
. Wilt thou, O Queen, enter my house? 'Tis given thee to enter
. And to return: fear nothing, enter with thy virgin feet."
IV
. The eternal gates' terrific porter lifted the northern bar:
. Thel enter'd in and saw the secrets of the land unknown.
. She saw the couches of the dead, and where the fibrous roots
. Of every heart on earth infixes deep its restless twists:
. A land of sorrows and of tears where never smile was seen.
. She wander'd in the land of clouds thro' valleys dark, list'ning
. Dolours and lamentations; waiting oft beside a dewy grave
. She stood in silence, list'ning to the voices of the ground,
. Till to her own grave plot she came, and there she sat down,
. And heard this voice of sorrow breathed from the hollow pit.
. "Why cannot the Ear be closed to its own destruction?
. Or the glist'ning Eye to the poison of a smile?
. Why are Eyelids stor'd with arrows ready drawn,
. Where a thousand fighting men in ambush lie?
. Or an Eye of gifts and graces show'ring fruits and coined gold?
. Why a Tongue impress'd with honey from every wind?
. Why an Ear, a whirlpool fierce to draw creations in?
. Why a Nostril wide inhaling terror, trembling, and affright?


. Why a tender curb upon the youthful burning boy?
. Why a little curtain of flesh on the bed of our desire?"
. The Virgin started from her seat, and with a shriek
. Fled back unhinder'd till she came into the vales of Har.
504

Broken Love

Broken Love
MY Spectre around me night and day
Like a wild beast guards my way;
My Emanation far within
Weeps incessantly for my sin.
‘A fathomless and boundless deep,
There we wander, there we weep;
On the hungry craving wind
My Spectre follows thee behind.
‘He scents thy footsteps in the snow
Wheresoever thou dost go,
Thro’ the wintry hail and rain.
When wilt thou return again?
’Dost thou not in pride and scorn
Fill with tempests all my morn,
And with jealousies and fears
Fill my pleasant nights with tears?
‘Seven of my sweet loves thy knife
Has bereavèd of their life.
Their marble tombs I built with tears,
And with cold and shuddering fears.
‘Seven more loves weep night and day
Round the tombs where my loves lay,
And seven more loves attend each night
Around my couch with torches bright.
‘And seven more loves in my bed
Crown with wine my mournful head,
Pitying and forgiving all
Thy transgressions great and small.
‘When wilt thou return and view
My loves, and them to life renew?
When wilt thou return and live?
When wilt thou pity as I forgive?’
‘O’er my sins thou sit and moan:
Hast thou no sins of thy own?
O’er my sins thou sit and weep,
And lull thy own sins fast asleep.
‘What transgressions I commit
Are for thy transgressions fit.
They thy harlots, thou their slave;
And my bed becomes their grave.
‘Never, never, I return:
Still for victory I burn.


Living, thee alone I’ll have;
And when dead I’ll be thy grave.
‘Thro’ the Heaven and Earth and Hell
Thou shalt never, quell:
I will fly and thou pursue:
Night and morn the flight renew.’
‘Poor, pale, pitiable form
That I follow in a storm;
Iron tears and groans of lead
Bind around my aching head.
‘Till I turn from Female love
And root up the Infernal Grove,
I shall never worthy be
To step into Eternity.
‘And, to end thy cruel mocks,
Annihilate thee on the rocks,
And another form create
To be subservient to my fate.
‘Let us agree to give up love,
And root up the Infernal Grove;
Then shall we return and see
The worlds of happy Eternity.
‘And throughout all Eternity
I forgive you, you forgive me.
As our dear Redeemer said:
“This the Wine, and this the Bread.”’
538

Angel, The

Angel, The
I dreamt a dream! What can it mean?
And that I was a maiden Queen
Guarded by an Angel mild:
Witless woe was ne'er beguiled!
And I wept both night and day,
And he wiped my tears away;
And I wept both day and night,
And hid from him my heart's delight.
So he took his wings, and fled;
Then the morn blushed rosy red.
I dried my tears, and armed my fears
With ten-thousand shields and spears.
Soon my Angel came again;
I was armed, he came in vain;
For the time of youth was fled,
And grey hairs were on my head.
489

Blind Man's Buff

Blind Man's Buff
When silver snow decks Susan's clothes,
And jewel hangs at th' shepherd's nose,
The blushing bank is all my care,
With hearth so red, and walls so fair;
`Heap the sea-coal, come, heap it higher,
The oaken log lay on the fire.'
The well-wash'd stools, a circling row,
With lad and lass, how fair the show!
The merry can of nut-brown ale,
The laughing jest, the love-sick tale,
Till, tir'd of chat, the game begins.
The lasses prick the lads with pins;
Roger from Dolly twitch'd the stool,
She, falling, kiss'd the ground, poor fool!
She blush'd so red, with sidelong glance
At hob-nail Dick, who griev'd the chance.
But now for Blind man's Buff they call;
Of each encumbrance clear the hall--
Jenny her silken 'kerchief folds,
And blear-eyed Will the black lot holds.
Now laughing stops, with `Silence! hush!'
And Peggy Pout gives Sam a push.
The Blind man's arms, extended wide,
Sam slips between:--`O woe betide
Thee, clumsy Will!'--but titt'ring Kate
Is penn'd up in the corner straight!
And now Will's eyes beheld the play;
He thought his face was t'other way.
`Now, Kitty, now! what chance hast thou,
Roger so near thee!--Trips, I vow!'
She catches him--then Roger ties
His own head up--but not his eyes;
For thro' the slender cloth he sees,
And runs at Sam, who slips with ease
His clumsy hold; and, dodging round,
Sukey is tumbled on the ground!--
`See what it is to play unfair!
Where cheating is, there's mischief there.'
But Roger still pursues the chase,--
`He sees! he sees!' cries, softly, Grace;
`O Roger, thou, unskill'd in art,
Must, surer bound, go thro' thy part!'
Now Kitty, pert, repeats the rimes,
And Roger turns him round three times,
Then pauses ere he starts--but Dick
Was mischief bent upon a trick;
Down on his hands and knees he lay
Directly in the Blind man's way,
Then cries out `Hem!' Hodge heard, and ran
With hood-wink'd chance--sure of his man;
But down he came. -- Alas, how frail
Our best of hopes, how soon they fail!


With crimson drops he stains the ground;
Confusion startles all around.
Poor piteous Dick supports his head,
And fain would cure the hurt he made.
But Kitty hasted with a key,
And down his back they straight convey
The cold relief; the blood is stay'd,
And Hodge again holds up his head.
Such are the fortunes of the game,
And those who play should stop the same
By wholesome laws; such as all those
Who on the blinded man impose
Stand in his stead; as, long a-gone,
When men were first a nation grown,
Lawless they liv'd, till wantonness
A nd liberty began t' increase,
And one man lay in another's way;
Then laws were made to keep fair play.
540

Ah! Sunflower

Ah! Sunflower
Ah Sunflower, weary of time,
Who countest the steps of the sun;
Seeking after that sweet golden clime
Where the traveller's journey is done;
Where the Youth pined away with desire,
And the pale virgin shrouded in snow,
Arise from their graves, and aspire
Where my Sunflower wishes to go!
421

An Imitation of Spenser

An Imitation of Spenser
Golden Apollo, that thro' heaven wide
Scatter'st the rays of light, and truth's beams,
In lucent words my darkling verses dight,
And wash my earthy mind in thy clear streams,
That wisdom may descend in fairy dreams,
All while the jocund hours in thy train
Scatter their fancies at thy poet's feet;
And when thou yields to night thy wide domain,
Let rays of truth enlight his sleeping brain.
For brutish Pan in vain might thee assay
With tinkling sounds to dash thy nervous verse,
Sound without sense; yet in his rude affray,
(For ignorance is Folly's leasing nurse
And love of Folly needs none other's curse)
Midas the praise hath gain'd of lengthen'd ears,
For which himself might deem him ne'er the worse
To sit in council with his modern peers,
And judge of tinkling rimes and elegances terse.
And thou, Mercurius, that with wingèd brow
Dost mount aloft into the yielding sky,
And thro' Heav'n's halls thy airy flight dost throw,
Entering with holy feet to where on high
Jove weighs the counsel of futurity;
Then, laden with eternal fate, dost go
Down, like a falling star, from autumn sky,
And o'er the surface of the silent deep dost fly:
If thou arrivest at the sandy shore
Where nought but envious hissing adders dwell,
Thy golden rod, thrown on t he dusty floor,
Can charm to harmony with potent spell.
Such is sweet Eloquence, that does dispel
Envy and Hate that thirst for human gore;
And cause in sweet society to dwell
Vile savage minds that lurk in lonely cell
O Mercury, assist my lab'ring sense
That round the circle of the world would fly,
As the wing'd eagle scorns the tow'ry fence
Of Alpine hills round his high aëry,
And searches thro' the corners of the sky,
Sports in the clouds to hear the thunder's sound,
And see the wingèd lightnings as they fly;
Then, bosom'd in an amber cloud, around
Plumes his wide wings, and seeks Sol's palace high.
And thou, O warrior maid invincible,
Arm'd with the terrors of Almighty Jove,
Pallas, Minerva, maiden terrible,
Lov'st thou to walk the peaceful solemn grove,
In solemn gloom of branches interwove?


Or bear'st thy AEgis o'er the burning field,
Where, like the sea, the waves of battle move?
Or have thy soft piteous eyes beheld
The weary wanderer thro' the desert rove?
Or does th' afflicted man thy heav'nly bosom move?
476

A Poison Tree

A Poison Tree
I was angry with my friend:
I told my wrath, my wrath did end.
I was angry with my foe:
I told it not, my wrath did grow.
And I watered it in fears,
Night and morning with my tears;
And I sunned it with smiles,
And with soft deceitful wiles.
And it grew both day and night,
Till it bore an apple bright.
And my foe beheld it shine.
And he knew that it was mine,
And into my garden stole
When the night had veiled the pole;
In the morning glad I see
My foe outstretched beneath the tree.
818

A War Song to Englishmen

A War Song to Englishmen
Prepare, prepare the iron helm of war,
Bring forth the lots, cast in the spacious orb;
Th' Angel of Fate turns them with mighty hands,
And casts them out upon the darken'd earth!
Prepare, prepare!
Prepare your hearts for Death's cold hand! prepare
Your souls for flight, your bodies for the earth;
Prepare your arms for glorious victory;
Prepare your eyes to meet a holy God!
Prepare, prepare!
Whose fatal scroll is that? Methinks 'tis mine!
Why sinks my heart, why faltereth my tongue?
Had I three lives, I'd die in such a cause,
And rise, with ghosts, over the well-fought field.
Prepare, prepare!
The arrows of Almighty God are drawn!
Angels of Death stand in the louring heavens!
Thousands of souls must seek the realms of light,
And walk together on the clouds of heaven!
Prepare, prepare!
Soldiers, prepare! Our cause is Heaven's cause;
Soldiers, prepare! Be worthy of our cause:
Prepare to meet our fathers in the sky:
Prepare, O troops, that are to fall to-day!
Prepare, prepare!
Alfred shall smile, and make his harp rejoice;
The Norman William, and the learnèd Clerk,
And Lion Heart, and black-brow'd Edward, with
His loyal queen, shall rise, and welcome us!
Prepare, prepare!
643

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