William Blake and His Poetry

GENERAL PREFACE

A GLANCE through the pages of this little book will suffice to disclose the general plan of the series of which it forms a part. Only a few words of explanation, therefore, will be necessary.

The point of departure is the undeniable fact that with the vast majority of young students of literature a living interest in the work of any poet can best be aroused, and an intelligent appreciation of it secured, when it is immediately associated with the character and career of the poet himself. The cases are indeed few and far between in which much fresh light will not be thrown upon a poem by some knowledge of the personality of the writer, while it will often be found that the most direct—perhaps even the only—way to the heart of its meaning lies through a consideration of the circumstances in which it had its birth. The purely æsthetic critic may possibly object that a poem should be regarded simply as a self-contained and detached piece of art, having no personal affiliations or bearings. Of the validity of this as an abstract principle nothing need now be said. The fact remains that, in the earlier stages of study at any rate, poetry is most valued and loved when it is made to seem most human and vital; and the human and vital interest of poetry can be most surely brought home to the reader by the biographical method of interpretation.

This is to some extent recognized by writers of histories and text-books of literature, and by editors of selections from the works of our poets; for place is always given by them to a certain amount of biographical material. But in the histories and text-books the biography of a given writer stands by itself, and his work has to be sought elsewhere, the student being left to make the connexion for himself; while even in our current editions of selections there is little systematic attempt to link biography, step by step, with production.

This brings us at once to the chief purpose of the present series. In this, biography and production will be considered together and in intimate, association. In other words, an endeavour will be made to interest the reader in the lives and personalities of the poets dealt with, and at the same time to use biography as an introduction and key to their writings.

Each volume will therefore contain the life story of the poet who forms its subject. In this, attention will be specially directed to his personality as it expressed itself in his poetry, and to the influences and conditions which counted most as formative factors in the growth of his genius. This biographical study will be used as a setting for a selection, as large as space will permit, of his representative poems. Such poems, where possible, will be reproduced in full, and care will be taken bring out their connexion with his character, his circumstances, and the movement of his mind. Then, in addition, so much more general literary criticism will be incorporated as may see to be needed to supplement the biographical material, and to exhibit both the essential qualities and the historical importance of his work.

It is believed that the plan thus pursued is substantially in the nature of a new departure, and that the volumes in this series, constituting as they will an introduction to the study of some of our greatest poets, will be found useful to teachers and students of literature, and no less to the general lover of English poetry.

WILLIAM HENRY HUDSON

WILLIAM BLAKE & HIS POETRY

MR CHESTERTON has said that if one wished to pen aright a narrative of the life of William Blake one would have to start with chaos and the creation of the world. If somewhat exaggerated and bizarre, this epigram, like most epigrams, contains a great deal of elemental truth in it, for it seems to emphasize a point that only too often is overlooked–Blake’s close and intimate relations with the world around him, his reflection of the past and his vision of the future. All poets, in some way or another, are symbols of their age, but there are some who stand in much closer relations with their surroundings than others. There are poets who maintain a distant aloofness: there are poets who react rather than reflect: there are others, and of these Blake is one of the most noticeable, who catch up new strains of emotion, new thoughts, new ideas, and express them for all time in imperishable language. Not uncommonly, also, we find the last category of poets the peculiar paradox that they, who most reflect and prophesy, are of the greatest individuality, of the most arresting personality. In Italy Petrarca was one of these, a man stamping his imagery on three centuries of poetic endeavour, anticipating the new spirit of humanism to the extent of poring over a Greek volume whose characters even he could barely understand. In England Milton was another, a very mirror of his age, and yet with a character and indomitability of temper hard to equal elsewhere.

This fact is important, for the obstinacy and lack of flexibility in the character of William Blake have led many to regard him as a stray voice crying in the wilderness, unrelated to time or to place. His life was a comparatively lonely one, although perhaps not quite so lonely as many biographers have made out. He was, at any rate, member of no clique or school. Living on to 1827 and the advent of Shelley, Keats, and Byron, he had no personal intercourse with the Lake poets, or Scott, or Lamb, or many of the numerous men of letters with whom the last years of the eighteenth century and the early years of the nineteenth seemed stocked. We are apt to picture him in his garret,

Singing hymns unbidden,

Till the world is wrought

To sympathy with hopes and fears it heeded not.

In Professor Herford’s magnificent study of the age of Wordsworth, Blake is barely mentioned a couple of times, and, although Professor Herford does connect him with the Renascence of Wonder, we feel that lie, like most critics, regards Blake as outside his age, as an individual singer of undoubted beauty, but of small interest when the trends and the tendencies of his age are to be considered.

It is true that Blake had but small influence on writers contemporary with him. His true worth has not been recognized until toward the end of the nineteenth century. His real influence cannot be said to have begun before the enthusiastic admiration of Swinburne and of Rossetti. It has not yet reached its culmination. His associations with the cultured society of his time, however, are not to be neglected, for they are deeper and broader than is generally recognized, although mostly confined to the world of art, and not of poetry. Samuel Palmer, whose testimony we may trust, declared that he never looked on him as an unfortunate man of genius. He knew every great man of his day and had enough. By ‘great men’ Palmer meant painters. In 1825 the Royal Academy made him a gift of twenty-five pounds in recognition of the beauty of his designs for Blair’s Grave. He was offered the post of art master to the royal children, an offer he rejected in order to keep his freedom. The Literary Gazette of 1827, in noticing his death, declared that few persons of taste were unacquainted with his designs. Several of the finest artists of his time were unstinted in their praise both of his imagination and of his technique.

We know too that Wordsworth was introduced to Blake’s writings by Crabb Robinson, and is reported to have stated his belief in Blake’s madness. Yet, he added, yet there is something in the madness of this man which interests me more than the sanity of Lord Byron and Walter Scott. The young German painter Götzenberger announced that he had seen in England many men of talent, but only three men of genius—Coleridge, Flaxman, and Blake—and of these three Blake was the greatest. Lamb was delighted with the catalogue of Blake’s paintings at Carnaby Street, especially with the critical examination of the Canterbury Pilgrims. Hazlitt saw no merit in the designs to Young’s Night Thoughts, but admired intensely several of the poems, while Wainewright, of whom Oscar Wilde has written in his Pen, Pencil, and Poison, was one of the few men of his own or of any other day brave enough to praise openly the Jerusalem and urge it on the public. For him Blake executed what is probably the finest copy in existence of the Songs of Innocence and of Experience.

Such were Blake’s actual relations with the littérateurs and the artists of his day, noticeable enough when we consider his uncompromising treatment of would-be superiors. Yet on this rests not a whit of his title to be considered, not only as a precursor, but as a perfect symbol of the Romantic Revival in England. However much he may seem isolated from the Lake poets, or from the neo-Grecian society of Byron, Shelley, and Keats, however much he may seem buried in his Bognor cottage or in his petty London lodgings, Blake shared intensely in the milieu of the age. Blake, isolated as he may have been when we compare him with other poets, is a perfect type of the Romantic Revival in its literary, social, and artistic developments.

Two things periods of revolt adduce–individuality and what we may call philosophic anarchism. It was those two forces that spread the greater glories of the Renascence: it