183:
22:
278:. It questions the existence of Blake's design copyright, and challenges Gilchrist's assertion that Cromek "jockeyed" Blake out of it, especially given that Blake's quarrel with Cromek does not become apparent until longer after the illustrations were in the charge of Schiavonetti. Whilst agreeing that the illustrations were far the better for Schiavonetti's alterations, the reviewer accuses Gilchrist of "uncompromising partisanship" and a wholesale bias against and negative portrayal of Cromek.
169:
detached sketches want the grace of colouring and the smoothness of beauty, the truth of their anatomy is unimpeachable, and the moral expression dignified and masculine". However, Johnstone was not wholly positive in his criticism, observing that in the close of the poem there is "short-coming, if not absolute failure", and that the final triumph of
94:, the greater part of the poem was composed before he became a minister. Edinburgh editor and publisher John Johnstone stated that it was composed whilst Blair was still a student, although "probably corrected and amplified by his more matured judgement." The poem, 767 lines long, is an exemplar of what became known as the school of
168:
Campbell described Blair as having in his poetry "a masculine and pronounced character even in his gloom and homeliness that keeps it most distinctly apart from either dullness or vulgarity". Johnstone similarly stated that the poem "everywhere exhibits a manly and vigorous spirit; and if some of the
117:
According to that same letter to
Doddridge, two publishers rejected the poem before it was finally first published in 1743, in London by Mr. Cooper. The grounds for rejection, as related by Blair, were that he lived too far away from London to be able to "write so as to be acceptable to the
229:
Blake was angered by both Cromek and
Schiavonetti; Schiavonetti he re-christened "Assassinetti", and of Cromek he wrote in his notebook: "A petty Sneaking Knave I knew / O Mr Cr — —, how do ye do." He was also stung both by the criticism by Robert Hunt, writing in
121:
The first edition was not particularly successful, and there was no second edition of the work until 1747, when it was republished in
Edinburgh. Its popularity grew gradually throughout the 18th century, however, in part because of the praise that it received from
252:
relates the tale opining that Cromek was right to employ the services of
Schiavonetti, and that what Schiavonetti did was "a graceful translation and, as most would think, an improvement". Had Schiavonetti been likewise employed to similarly transcribe Blake's
238:
which described his illustrations as "the offspring of morbid fancy" and an attempt "to connect the visible with the invisible world" that had "totally failed". It was this that almost certainly prompted him to ask, in his 1809 advertisement for
221:
that he was to publish in 1808. He commissioned from Blake, in 1805, forty illustrations, a selected twenty of which were to be engraved for the book. Blake understood that he was also to do those engravings. However, Cromek gave that work to
164:
editor, "many of his similies, epithets, and detached expressions are eminently beautiful". He refuted the charge of vulgarity, and opined that perhaps "the general effect would be injured were more elevated expressions substituted".
1708:
1651:
173:
over the powers of Death and Hell were "felt to be wanting". Rather than "the rapturous exultation of the true poet", the close is "in that tone of sober confidence which might have found place in any eloquent sermon".
268:. The review questions Gilchrist's assertion that Cromek promised Blake the engraving work, and asks for more evidence of this given that Cromek would have known of the poor reception of Blake's engravings for
109:. He completed forty illustrations for the poem, twenty of which were printed in Cromek's edition. Blake's original watercolours for the prints were believed lost, until they were rediscovered in 2003.
1861:
257:
and alter it by "correct smooth touches" then "a different fate would have awaited the composition" from the somewhat lacklustre one that it actually enjoyed. He describes Blake's illustrations of
1717:
1790:
118:
fashionable and polite". He sarcastically observed that "to what distance from the metropolis these sapient booksellers conceived poetical inspiration to extend, we are not informed".
1723:
32:. The "resting youth" figure at the top can also be seen (with variations in inking, colouring, and background) in several of Blake's prior works. It appears on plate 21 of
182:
1657:
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on July 31, 1808, to object to Blake's depiction of the soul as if it were nothing but the mortal body; and by the similar criticism in the
November 1808 edition of the
217:
Cromek, making his first venture into publication after giving up a career as an engraver, commissioned Blake for a series of illustrations for an edition of
1358:
206:, in which he criticized the work of engravers relative to that of illustrators for being as derivative as (amongst others) the translation of the works of
1944:
46:
289:, is given by G. E. Bentley Jr, who relates the opinions of all parties and attempts to summarize the evidence, which is both complex and inconclusive.
21:
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153:", and he described the poem as popular "not merely because it is religious, but because its language and imagery are free, natural, and
1845:
1103:
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Davenport himself went on to state that whilst the language "is occasionally familiar", echoing the charge of vulgarity levelled by the
1316:
1233:
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149:. Campbell stated that "the eighteenth century has few specimens of blank verse of so powerful and so simple a character as that of
1879:
1614:
1591:
1302:
1138:
34:
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245:, his only exhibition of his work in his lifetime, that people "do [him] the justice to examine before they decide".
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74:. They also appear together in a further (undated) pencil sketch, traced over in ink, with a pyramid in the background.
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62:. There is a similar figure of an old man, on one crutch and being helped through the streets by a young child, in
1811:
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70:. The first time that Blake put both figures together, as here, was in a pencil sketch that dates to the time of
727:
William Blake on His Poetry and
Painting: A Study of A Descriptive Catalogue, Other Prose Writings and Jerusalem
141:
spoke of the poem with "severity" and a "contemptuous tone". Davenport contrasted this with the praise given by
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195:
102:
617:
Yoder, R. Paul (2001). "Blake's Pope". In McDayter, Ghislaine; Batten, Guinn; Milligan, Barry (eds.).
610:
Specimens of the
British Poets: With Biographical and Critical Notices, and an Essay on English Poetry
1939:
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50:. The figure of the old man at the bottom also occurs elsewhere, as an illustration, also entitled
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90:. It is the work for which he is primarily renowned. According to Blair, in a letter he wrote to
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However, this account was taken severely to task by the reviewer of
Gilchrist's biography in
101:
Part of the poem's continued prominence in scholarship involves a later printing of poems by
1295:
1158:
1035:
655:
Makdisi, Saree (2003). "The
Political Aesthetic of Blake's Images". In Eaves, Morris (ed.).
91:
261:
using words such as "extremes", "ravings", and "wild"; a wildness that
Schiavonetti tamed.
1905:
1837:
1742:
1514:
1337:
1270:
995:
638:
Scotland's Books : A History of Scottish Literature: A History of Scottish Literature
282:
281:
The most rounded account of the affair, and of Blake's subsequent dealing with Cromek and
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1055:
292:
Blake's original watercolours were believed lost, until they were rediscovered in 2003.
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which included illustrations completed by the Romantic poet and illustrator
198:, in part because it occasioned an initial friendship between Cromek and
1652:
The Four and Twenty Elders Casting their Crowns before the Divine Throne
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1454:
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1439:
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1459:
659:. Cambridge Companions to Literature. Cambridge University Press.
207:
181:
20:
687:
The Counter-arts Conspiracy: Art and Industry in the Age of Blake
1544:
871:
1764:
1566:
1426:
913:
875:
807:"'The Grave' by Robert Blair, 1743 read by Charlotte Le Blond"
1718:
The Wood of the Self-Murderers: The Harpies and the Suicides
1862:
Themes from William Blake's The Marriage of Heaven and Hell
619:
Romantic Generations: Essays in Honor of Robert F. Gleckner
494:
492:
467:
465:
202:
to turn to acrimony, and in turn because it led to Blake's
836:
A Blake Dictionary: The Ideas and Symbols of William Blake
437:
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321:
1791:
The Works of William Blake: Poetic, Symbolic and Critical
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855:
A Bibliographical Study of William Blake's Note-book
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1232:
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708:
The Torn Book: Unreading William Blake's Marginalia
130:(1786), written under the pseudonym Robert Heron).
684:
674:Johnstone, John (1827). "Memoir of Robert Blair".
194:The most famous publication of the poem was by
178:Publication by Cromek and Blake's illustrations
887:
190:with Blake's drawing engraved by Schiavonetti
8:
1359:Jerusalem: The Emanation of the Giant Albion
186:Title page of Cromek's 1808 publication of
1772:
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1574:
1563:
1423:
1240:
973:
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910:
894:
880:
872:
834:Damon, S. Foster (2013). "BLAIR, Robert".
1766:Scholarship, in popular culture, and more
600:. Vol. 58. Chiswick: C. Whittingham.
598:The British Poets: Including Translations
498:
483:
471:
441:
354:
337:
657:The Cambridge Companion to William Blake
456:
371:
113:First publication and critical reception
636:Crawford, Robert (2008). "Ever Green".
564:
312:
300:
145:in his biographical sketch of Blair in
1608:Europe Supported by Africa and America
757:Bentley, Gerald Eades (2013). "Blair,
676:Specimens of Sacred And Serious Poetry
552:
407:
28:by William Blake, an illustration for
576:
540:
528:
513:
424:
390:
7:
1830:Serenade for Tenor, Horn and Strings
763:William Blake: The Critical Heritage
683:Eaves, Morris (1992). "Technology".
1846:Songs and Proverbs of William Blake
1711:On the Morning of Christ's Nativity
857:. Studies in Blake. Haskell House.
612:. Vol. 5. London: John Murray.
56:For Children: The Gates of Paradise
1945:Poems illustrated by William Blake
1317:Visions of the Daughters of Albion
14:
819:"Illustrations to Robert Blair's
752:. Vol. 81. J.M. Mason. 1864.
1880:William Blake in popular culture
1725:Illustrations of the Book of Job
799:. London: Methuen & Company.
710:. Susquehanna University Press.
1594:Original Stories from Real Life
1303:The Marriage of Heaven and Hell
678:. Edinburgh: Oliver & Boyd.
35:The Marriage of Heaven and Hell
1667:A Vision of the Last Judgement
761:". In Bentley Jr, G.E. (ed.).
1:
1805:Blake: Prophet Against Empire
1615:The Night of Enitharmon's Joy
1214:The Voice of the Ancient Bard
621:. Bucknell University Press.
177:
954:There is No Natural Religion
691:. Cornell University Press.
58:, as well as in plate 12 of
1407:Never pain to tell thy love
706:Snart, Jason Allen (2006).
640:. Oxford University Press.
1971:
86:poem by the Scottish poet
1812:Witness Against the Beast
1771:
1760:
1573:
1562:
1435:
1422:
920:
909:
788:The Grave, 8th ed. (1776)
746:The Life of William Blake
594:Davenport, Richard Alfred
137:noted that the editor of
1373:The Pickering Manuscript
608:(1819). "Robert Blair".
135:Richard Alfred Davenport
1221:(found only in Copy BB)
1099:The Clod and the Pebble
853:Jugaku, Bunshō (1953).
744:"Alexander Gilchrist's
242:A Descriptive Catalogue
214:into rhyming couplets.
1906:Catherine Blake (wife)
750:The Westminster Review
725:Adams, Hazard (2010).
586:Reference bibliography
266:The Westminster Review
191:
75:
1885:William Blake Archive
1784:Life of William Blake
1674:Descriptive Catalogue
1381:Auguries of Innocence
1310:The French Revolution
1114:The Little Girl Found
947:All Religions are One
940:An Island in the Moon
196:Robert Hartley Cromek
185:
128:Letters of Literature
103:Robert Hartley Cromek
24:
1681:The Great Red Dragon
1388:The Mental Traveller
1109:The Little Girl Lost
1021:The Little Boy Found
1001:The Little Black Boy
44:, and in plate 4 of
16:Poem by Robert Blair
1703:Agony in the Garden
1696:The Ghost of a Flea
1601:The Ancient of Days
1400:Rossetti Manuscript
1169:The Little Vagabond
1149:My Pretty Rose Tree
1119:The Chimney Sweeper
1081:Songs of Experience
1071:On Another's Sorrow
1016:The Little Boy Lost
1011:The Chimney Sweeper
813:. 8 September 2022.
287:Canterbury Pilgrims
255:Canterbury Pilgrims
250:Alexander Gilchrist
248:Blake's biographer
236:Anti-Jacobin Review
1635:Illustrations for
1331:The Book of Ahania
1324:The Book of Urizen
1257:America a Prophecy
1199:A Little Girl Lost
1179:The Human Abstract
1164:The Garden of Love
991:The Ecchoing Green
978:Songs of Innocence
966:Songs of Innocence
565:& Bentley 2013
224:Luigi Schiavonetti
192:
76:
1950:Poems about death
1927:
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1923:
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1919:
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1709:Illustrations of
1658:Illustrations of
1643:Illustrations of
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1413:
1368:
1367:
1264:Europe a Prophecy
1228:
1227:
1194:A Little Boy Lost
968:and of Experience
933:Poetical Sketches
864:978-0-8383-1064-9
845:978-1-61168-443-8
772:978-1-134-78235-2
736:978-0-7864-8494-2
717:978-1-57591-109-0
698:978-0-8014-2489-2
666:978-0-521-78677-5
647:978-0-19-972767-4
628:978-0-8387-5470-2
596:(1822). "Blair".
133:Writing in 1822,
1962:
1894:(1983 monologue)
1798:Fearful Symmetry
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1296:The Book of Thel
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1036:The Divine Image
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96:graveyard poetry
92:Philip Doddridge
54:for Blake's own
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1743:Visionary Heads
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1592:Engravings for
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499:Johnstone 1827
488:
486:, p. 136.
484:Johnstone 1827
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472:Davenport 1822
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442:Davenport 1822
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374:, p. 261.
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355:Johnstone 1827
342:
340:, p. 199.
338:Davenport 1822
317:
315:, p. 121.
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275:Night Thoughts
212:Alexander Pope
204:Public Address
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124:John Pinkerton
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1660:Paradise Lost
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1041:Holy Thursday
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1031:A Cradle Song
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1026:Laughing Song
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827:Blake Archive
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372:Crawford 2008
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162:British Poets
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147:British Poets
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1124:Nurse's Song
1089:Introduction
1080:
1056:Nurse's Song
986:The Shepherd
977:
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796:1903 edition
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579:, p. 9.
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479:
313:Makdisi 2003
291:
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232:The Examiner
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171:Resurrection
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88:Robert Blair
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52:Death's Door
51:
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39:
33:
29:
26:Death's Door
25:
18:
1940:1740s poems
1902:(1989 play)
1246:continental
1006:The Blossom
553:Review 1864
408:Review 1864
155:picturesque
84:blank verse
1934:Categories
1899:In Lambeth
1580:and prints
1510:Palamabron
1475:Golgonooza
1465:Enitharmon
1248:prophecies
1061:Infant Joy
577:Adams 2010
541:Eaves 1992
529:Adams 2010
514:Eaves 1992
425:Snart 2006
391:Yoder 2001
296:References
1683:paintings
1645:The Grave
1578:Paintings
1429:Mythology
1234:Prophetic
1204:To Tirzah
1159:The Lilly
1144:The Tyger
1139:The Angel
821:The Grave
759:The Grave
285:over the
259:The Grave
219:The Grave
188:The Grave
151:The Grave
80:The Grave
68:Jerusalem
47:Jerusalem
30:The Grave
1911:Ancients
1854:The Lamb
1735:Sketches
996:The Lamb
838:. UPNE.
126:(in his
1873:Related
1822:Musical
1540:Urthona
1525:Thiriel
1520:Tharmas
1515:Spectre
1455:Bromion
1134:The Fly
1066:A Dream
811:YouTube
82:" is a
72:America
66:and in
60:America
41:America
1865:(1998)
1857:(1982)
1849:(1965)
1841:(1958)
1833:(1943)
1622:Newton
1535:Urizen
1530:Tiriel
1490:Leutha
1480:Grodna
1450:Beulah
1445:Albion
1440:Ahania
1352:Milton
1289:Tiriel
1174:London
1051:Spring
861:
842:
769:
733:
714:
695:
663:
644:
625:
64:London
1891:Blake
1500:Luvah
1470:Fuzon
1460:Enion
1281:Other
1236:books
1046:Night
270:Young
208:Homer
38:, in
1689:Pity
1550:Vala
1545:Utha
1398:The
1244:The
859:ISBN
840:ISBN
767:ISBN
731:ISBN
712:ISBN
693:ISBN
661:ISBN
642:ISBN
623:ISBN
1568:Art
1505:Orc
1495:Los
1485:Har
748:".
272:'s
210:by
157:".
1936::
825:.
809:.
790:.
521:^
506:^
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226:.
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631:.
567:.
78:"
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