816:. An eight-page document written in Blake's hand, the manuscript is inscribed "Tiriel / MS. by Mr Blake". It is believed that up to page 8, line 4 ("Lead me to Har & Heva I am Tiriel King of the west"), the poem is a fair copy, transcribed from somewhere else, but at 8:4 the number of corrections and alterations increases, and the writing becomes scribbled and in a different ink to the rest of the poem. This difference has led Erdman to argue that the later part of the poem was not transcribed, but was worked out in the manuscript itself, and may have been rushed. Additionally, many of the handwritten corrections, emendations and deletions in the parts of the poem prior to 8:4 are in the same ink as the lines after 8:4, suggesting Blake went back over the manuscript and revised earlier parts of it when he returned to finish it.
316:
him for his actions; "Silence thy evil tongue thou murderer of thy helpless children" (6:35). Tiriel responds in a rage, turning her locks of hair into snakes, although he vows that if she brings him to the Vales of Har, he will return her hair to normal. On the way through the mountains, as they pass the cave wherein lives Zazel and his sons, Hela's cries of lamentation awaken them, and they hurl dirt and stones at Tiriel and Hela, mocking them as they pass; "Thy crown is bald old man. The sun will dry thy brains away/And thou wilt be as foolish as thy foolish brother Zazel" (7:12-13). Eventually, Tiriel and Hela reach the Vales of Har, but rather than celebrating his return, Tiriel condemns his parents, and the way they brought him up, declaring that his father's laws and his own wisdom now "end together in a curse" (8:8);
1461:. He believes the poem deals both with pre-revolutionary France and "unrevolutionary" England, where people were more concerned with the recently revealed madness of George III than with righting the wrongs of society, as Blake saw them; "in France the people in motion were compelling the King to relax his grasp on the spectre. In England, the royal grasp had suddenly failed but there seemed nothing for the people to do but wait and see when the King's recovery was celebrated, a bit prematurely, in March 1789, "happiness" was again official. Popular movements did exist, but except for the almost subterranean strike of the London
258:
820:
father of a race/Far in the north" (2:43-44). However, in the original manuscript, between these two lines is contained the line "Fearing to tell them who he was, because of the weakness of Har." Similarly, when Har recognises Tiriel he proclaims "Bless thy face for thou are Tiriel" (3:6), to which Tiriel responds "Tiriel I never saw but once I sat with him and ate" (3:7). Between these two lines were originally the lines "Tiriel could scarcely dissemble more & his tongue could scarce refrain/But still he fear'd that Har & Heva would die of joy and grief."
852:
511:
1424:
273:
dark Ijim" (4:36-37). However, upon arriving at the palace, Heuxos informs Ijim that the Tiriel with him is indeed the real Tiriel, but Ijim suspects that the entire palace and everyone in it is part of the spirit's deception; "Then it is true Heuxos that thou hast turnd thy aged parent/To be the sport of wintry winds. (said Ijim) is this true/It is a lie & I am like the tree torn by the wind/Thou eyeless fiend. & you dissemblers. Is this
Tiriels house/It is as false as
1142:(1789). It is in the Vales where lives Thel herself, and throughout the poem, they are represented as a place of purity and innocence; "I walk through the vales of Har. and smell the sweetest flowers" (3:18). At the end of the poem, when Thel is shown the world of experience outside the Vales, she panics and flees back to the safety of her home; "The Virgin started from her seat, & with a shriek./Fled back unhinderd till she came into the vales of Har" (6:21-22).
633:(1857); "the ochim, tziim and jiim, which are mentioned in the prophetical parts of the Word." In the poem, Ijim encounters a tiger, a lion, a river, a cloud, a serpent, a toad, a rock, a shrub and Tiriel. In Swedenborg, "self-love causes its lusts to appear at a distance in hell where it reigns like various species of wild beasts, some like foxes and leopards, some like wolves and tigers, and some like crocodiles and venomous serpents." The word is also found in the
1146:
268:); the illustrated text is "All day he bore him & when evening drew her solemn curtain/Enterd the gates of Tiriels palace. & stood & calld aloud/β¦/Tiriel raisd his silver voice/Serpents not sons why do you stand fetch hither Tiriel/Fetch hither Myratana & delight yourselves with scoffs/For poor blind Tiriel is returnd & this much injurd head/Is ready for your bitter taunts. come forth sons of the curse" (4:40-41, 62-66).
572:. Har is the human Selfhood which, though men spend most of their time trying to express it, never achieves reality and is identified only as death. Har, unlike Adam, never outgrows his garden but remains there shut up from the world in a permanent state of near-existence." Bloom agrees with this interpretation, arguing that "Har is natural man, the isolated selfhood." Bloom also believes that Har is comparable to Struldbruggs from
1430:(Fitzwilliam Museum); the illustrated text is "The cry was great in Tiriels palace his five daughters ran/And caught him by the garments weeping with cries of bitter woe/Aye now you feel the curse you cry. but may all ears be deaf/As Tiriels & all eyes as blind as Tiriels to your woes/May never stars shine on your roofs may never sun nor moon/Visit you but eternal fogs hover around your walls" (5:18-23).
190:
916:, both of whom Blake admired and were intended for illustration rather than illumination. Most scholars agree with this theory (i.e. the images wouldn't be combined with the text, they would simply accompany the text) and it has been suggested that Blake abandoned the project when he discovered the technique to realise his desire for full integration of text and image. His first relief etching was
740:
1483:
that Tiriel's "repressive reign of deceit, slander, discontent and despair enslaves not only the ruled but the ruler as well his closed mind, chained to closed palaces and legal systems ends by destroying both itself and everything over which it gains power. In this sense, she reads Tiriel's final speech as "reflecting the agony of a self trapped in the repressive social mores and intellectual
54:); the illustrated text is: "The aged man raisd up his right hand to the heavens/His left supported Myratana shrinking in the pangs of death" (1:19-20). Three of Tiriel's sons are opposite, including his eldest, Heuxos (with the crown). The pyramid, river and columns are not mentioned in the text, which instead describes a "beautiful palace" (1:1) and a "once delightful palace" (1:4).
970:
44:
980:); Har and Heva are shown naked in a shallow stream whilst Mnetha lies behind looking on. The picture is not a direct illustration of any particular part of the poem, but may be related to the lines, "they were as the shadow of Har. & as the years forgotten/Playing with flowers. & running after birds they spent the day" (2:7-8).
209:
wicked & were all destroyd/And I their father sent an outcast" (2:44-46). Excited by the visit, Har and Heva invite Tiriel to help them catch birds and listen to Har's singing in the "great cage" (3:21). Tiriel refuses to stay, however, claiming his journey is not yet at an end, and resumes his wandering.
1482:
Anne
Kostelanetz Mellor also reads the poem as a political tract, although from a very different perspective than Erdman. She argues that the poem engages with "Blake's increasing uncertainty about both the social and the aesthetic implications of a closed form or system" and concludes with the edict
1294:
Other aspects of Blake's mythology also begin to emerge during the poem. For example, Damon argues that the death of the four unnamed daughters and the corruption of the fifth is Blake's first presentation of the death of the four senses and the corruption of touch, or sex; "all imaginative activity
823:
The longest omissions occur during the encounter with Ijim and when Tiriel returns to the Vales of Har. When Ijim arrives at the palace with Tiriel, he begins by saying "Then it is true Heuxos that thou hast turned thy aged parent/To be the sport of wintry winds" (4:72-73). However, originally, Ijim
272:
Tiriel assures Ijim that he is, in fact, the real Tiriel, but Ijim does not believe him and decides to return to Tiriel's palace to see the real Tiriel and thus expose the spirit as an imposter; "Impudent fiend said Ijim hold thy glib & eloquent tongue/Tiriel is a king. & thou the tempter of
135:
of his own children, until eventually, led by the eldest son, Heuxos, they too rebelled, overthrowing their father. Upon his demise, Tiriel refused their offer of refuge in the palace and instead went into exile in the mountains with his wife, Myratana. Five years later, the poem begins with the now
315:
Upon this declamation, four of his five daughters and one hundred of his one hundred and thirty sons are destroyed, including Heuxos. Tiriel then demands that his youngest and only surviving daughter, Hela, lead him back to the Vales of Har. She reluctantly agrees, but on the journey, she denounces
208:
and have regressed to a childlike state to such an extent that they think their guardian, Mnetha, is their mother. Tiriel lies about who he is, claiming that he was cast into exile by the gods, who then destroyed his race; "I am an aged wanderer once father of a race/Far in the north. but they were
1373:
Another subtle connection with the later mythological system is found when Tiriel has all but thirty of his sons killed; "And all the children in their beds were cut off in one night/Thirty of
Tiriels sons remaind. to wither in the palace/Desolate. Loathed. Dumb Astonishd waiting for black death"
1518:
views late eighteenth-century
English artistic material and practice as an impotent enterprise with nothing left but to curse its stultifying ethos of decorum and improvement." Hilton is here building on the work of Damon, who argued that Mnetha represents "neoclassical criticism, which protects
960:
clear separation of text and design is transitional in being an example of the conventional method of combining text with design implicitly rejected by Blake in developing the method of illuminated printing. He probably abandoned the series because his new technique took him beyond what had now
819:
A considerable amount of material has been deleted by Blake in the manuscript. For example, when Tiriel initially arrives in the Vales of Har, he lies about his identity. In the poem as Blake left it, the scene reads "I am not of this region, said Tiriel dissemblingly/I am an aged wanderer once
144:
them for betraying him five years previously; "Come you accursed sons./In my weak arms. I here have borne your dying mother/Come forth sons of the Curse come forth. see the death of
Myratana" (1:7-9). Soon thereafter, Myratana dies, and Tiriel's children again ask him to remain with them but he
475:
makes a similar claim; "He expects and loudly demands gratitude and reverence from his children because he wants to be worshipped as a god, and when his demands are answered by contempt he responds with a steady outpouring of curses. The kind of god which the existence of such tyrannical papas
438:
throughout 1788 and 1789. Erdman argues that "the pattern of Tiriel's "madness and deep dismay" parallels that of King George's," and thus the poem is "a symbolic portrait of the ruler of the
British Empire. knew that the monarch who represented the father principal of
1490:
Harold Bloom, however, is not convinced of a political interpretation, arguing instead that "Tiriel's failure to learn until too late the limitations of his self-proclaimed holiness is as much a failure in a conception of divinity as it is of political authority."
1419:
on the theme of the death of an aged king and tyrant-father may be β indeed, must be β read at several levels." Making much the same point, W.H. Stevenson argues that "the theme is not clearly related to any political, philosophical, religious or moral doctrine."
1509:
Perhaps the most common theory, however, is summarised by Nelson Hilton, who argues that it "suggests in part a commentary on the state of the arts in an age which could conceive of poetry as a golden structure built with "harmony of words, harmony of numbers"
867:
The second large deletion occurs towards the end of the poem, when Tiriel asks Har "Why is one law given to the lion & the patient Ox/And why men bound beneath the heavens in a reptile form" (8:9-10). Originally, however, between these two lines was
3344:
281:/Escape ye fiends for Ijim will not lift his hand against ye" (4:72-77). As such, Ijim leaves, and upon his departure, Tiriel, descending ever more rapidly into madness, curses his children even more passionately than before;
3287:
1381:
Another minor connection to the later mythology is that two lines from the poem are used in later work by Blake. The deleted line "can wisdom be put in a silver rod, or love in a golden bowl?" is found in the Motto from
1450:." Similarly, arguing that Har represents Christianity and Heva is an Eve figure, Damon believes the poem illustrates that "by the end of the Age of Reason, official religion had sunk into the imbecility of childhood."
606:. 'Har' is the Hebrew word for 'mountain', thus giving an inherent irony to the phrase "Vales of Har". Damon believes this conveys the ironic sense that "he who was a mountain now lives in a vale, cut off from mankind.
1529:(1783), which also deals with oppression and failure to achieve fulfillment. Similarly, in this same line of interpretation, Ostriker argues that "our singing birds" (3:20) and "fleeces" (3:21) suggest neoclassical
1537:, while Erdman argues that "To catch birds & gather them ripe cherries" (3:13) "signifies triviality and sacchurnity of subject matter", whilst "sing in the great cage" (3:21) "signifies rigidity of form."
1378:, where Urizen brings about the fall of the thirty cities of Africa; "And their thirty cities divided/In form of a human heart", "And the thirty cities remaind/Surrounded by salt floods" (27:21-22 and 28:8-9).
1342:; "the reference to "the western plains" in line 2 marks the onset of Blake's directional system, in which the west stands for man's body, with its potential either for sensual salvation or natural decay." In
1498:
of familial blindness and foolishness β fathers against sons, brother against brother, a family dispersed and alienated β which concludes with Blake's belief in the spiritual rather than the natural, man."
1319:("Thus the terrible race of Los & Enitharmon gave/Laws & Religions to the sons of Har binding them more/And more to Earth: closing and restraining:/Till a Philosophy of Five Senses was complete"),
1438:
and brutalised morality that marks the beginning of cultural decadence of which the lassitude of Deism is the next stage, and Ijim is introduced to show the mental affinity between Deism and savagery."
3497:
3353:
447:
was currently insane." As evidence, Erdman points out that during his bouts of insanity, George tended to become hysterical in the presence of four of his five daughters, only the youngest, (
746:(Private Collection); the illustrated text is "All night they wanderd thro the wood & when the sun arose/They entered on the mountains of Har" (7:18-19). Note the snakes in Hela's hair.
3426:
1465:
for a shorter workday, they were largely humanitarian or pious in orientation and in no immediate sense revolutionary." He also feels the poem deals with "the internal disintegration of
774:
Mnetha β Damon believes she represents the spirit of neoclassicism, which Blake felt encouraged inferior poetry and painting. He also points out that Mnetha is "almost" an anagram of
1127:(also 1822), he writes "The Gods of Greece & Egypt were Mathematical Diagrams," "These are not the Works/Of Egypt nor Babylon Whose Gods are the Powers of this World. Goddess,
204:
After some time wandering, Tiriel eventually arrives at the "pleasant gardens" (2:10) of the Vales of Har, where he finds his parents, Har and Heva. However, they have both become
1291:(1804β1820). Tiriel is similar to Urizen insofar as "he too revolted, set himself up as a tyrant, became a hypocrite, ruined his children by his curse, and finally collapsed."
3359:
3293:
506:
for trying to pass himself off as God. Looking at the character from a symbolic point of view, Frye argues that he "symbolises a society or civilisation in its decline."
451:), could calm him (in the poem, Tiriel destroys four of his daughters but spares the youngest, his favourite). Bloom believes that Tiriel is also partially based on
1358:, he is divided fourfold, and each of the four Zoas corresponds to a point on the compass and an aspect of Fallen man; Tharmas is west (the body), Urizen is south (
2994:
1231:
Although Tiriel himself is not featured in any of Blake's later work, he is often seen as a foreshadowing of Urizen, limiter of men's desires, embodiment of
1287:
904:
at the time of composition is unknown, although he did make twelve drawings which were apparently to be included with the poem in some shape or form.
672:
Zazel β Damon argues that Zazel represents the outcast genius. As with Tiriel, his name was probably taken from
Agrippa, where it is associated with
649:
superstitions of Ijim are a popular support for the negative holiness of Tiriel." On the other hand, W.H. Stevenson reads Ijim as "an old-fashioned
2529:
992:, which he had glimpsed within engravings of stones and broken pillars." Elements of his later mythology are thus manifested throughout the poem.
988:. According to Peter Ackroyd, "the elements of Blake's unique mythology have already begun to emerge. It is the primeval world of Bryant and of
3243:
2486:
103:
drawings to accompany the rough and unfinished manuscript. However, three of them are considered lost as they have not been traced since 1863.
4146:
4098:
448:
3465:
2601:
384:, representative of the senses. However, when he visits the Vales of Har, Tiriel falsely claims to be from the north, which is assigned to
219:
to whom he refers to as "the
Hypocrite". Upon seeing Tiriel, Ijim immediately assumes that Tiriel is another manifestation of the spirit;
900:
A major question concerning the manuscript is whether or not Blake ever intended to illuminate it. Whether he had devised his method for
3587:
3481:
2739:
560:. Northrop Frye reaches a similar conclusion but also sees divergence in the character, arguing that although Har and Heva are based on
548:. Blake had engraved plates for the book in the early 1780s, so he would certainly have been familiar with its content. As a character,
2952:
2869:
2676:
2452:
and the
Regency Crisis: Lifting the Veil on a Royal Masonic Scandal", in Jackie DiSalvo, G.A. Rosso and Christopher Z. Hobson (eds.),
1523:, which Blake abhorred. Hilton believes the phrase "great cage" recalls the poem 'Song: "How sweet I roamd from field to field"' from
1241:
76:
1434:
Northrop Frye reads the poem symbolically, seeing it primarily as "a tragedy of reason," and arguing that "Tiriel is the puritanical
984:
Although Blake had yet to formulate his mythological system, several preliminary elements of that system are present in microcosm in
140:
Tiriel returning to the kingdom with his dying wife, as he wants his children to see her death, believing them to be responsible and
257:
528:
367:
Upon this outburst, Tiriel then dies at his parents' feet; "He ceast outstretch'd at Har & Heva's feet in awful death" (8:29).
602:." On the other hand, Anne Kostelanetz Mellor sees Har as representing simple innocence and the Vales of Har as representative of
4136:
3515:
3250:
431:
398:
3227:
2938:
2774:
1388:
689:
3315:
3302:
1199:
Damon refers to this transformation as turning them into "serpents of materialism," which he relates back to their role in
3995:
3904:
3440:
2849:
2287:
1519:
decadent poetry (Har) and painting (Heva)." Additionally, Har sings in a "great cage" (3:21), which to Damon suggests the
1338:, which would come to play a vital role in Blake's later mythological system, are used symbolically for the first time in
1386:, and a version of the line "Why is one law given to the lion & the patient Ox?" (8:9) is found as the final line of
3309:
3064:
2945:
2589:
2357:
930:
377:
1569:
3775:
3338:
3042:
2987:
2809:
2522:
51:
851:
517:(British Museum); the illustrated text is: "And in the night like infants slept delighted with infant dreams" (2:9).
3987:
3896:
3668:
2724:
2443:
The poetical works of
William Blake; a new and verbatim text from the manuscript engraved and letterpress originals
1453:
David V. Erdman looks at the poem from a political perspective, reading it in the light of the commencement of the
510:
393:
265:
2494:
641:". According to Harold Bloom, "The Ijim are satyrs or wild men who will dance in the ruins of the fallen tyranny,
4091:
3676:
3660:
3447:
3035:
2814:
2799:
1565:
829: Lotho. Clithyma. Makuth fetch your father
677:
537:
1442:
A different reading is given by S. Foster Damon, who argues that it is "an analysis of the decay and failure of
4011:
3743:
1458:
1423:
723:
662:
88:
2198:
Tiriel: facsimile and transcript of the manuscript, reproduction of the drawings and a commentary on the poem
629:
4064:
4056:
3928:
3580:
3433:
2734:
2321:
2266:
1447:
1170:. Disturbed by the actions of their family, Har and Heva flee into the wilderness, and turn into reptiles;
913:
790:. Anne Kostelanetz Mellor sees her as representative of "that memory that preserves the vision of the past."
1568:
partially based on Blake's text. The opera incorporates material from several of Blake's other poems; the "
1091:(1795), Urizen is imprisoned within "Coldness, darkness, obstruction, a Solid/Without fluctuation, hard as
4141:
4131:
3264:
2980:
2881:
2706:
2515:
2465:
1475:
1208:
918:
688:, 16:10, and tends to be translated as "scapegoat". Nancy Bogen believes he may be partially based on the
768:
4027:
4019:
3979:
3944:
3920:
3880:
3872:
3751:
3520:
3419:
3222:
3016:
2749:
2582:
2575:
2330:
1470:
924:
909:
587:
578:
568:, "Har is distinguished from Adam. Adam is ordinary man in his mixed twofold nature of imagination and
212:
He travels into the forest and soon encounters his brother Ijim, who has recently been terrorised by a
4039:
3621:
3546:
3324:
3023:
2744:
2701:
2656:
2636:
2621:
2186:
1404:
541:
4126:
3719:
3596:
3331:
3236:
2804:
2784:
2754:
2651:
2646:
1296:
1138:
Another connection to Blake's later mythology is found in The Vales of Har, which are mentioned in
452:
2476:(Longman Group: Essex, 1971; 2nd ed. Longman: Essex, 1989; 3rd ed. Pearson Education: Essex, 2007)
3641:
3636:
3573:
3489:
3165:
2966:
2959:
2892:
2834:
1335:
1263:
1247:
1123:
1009:
977:
624:
569:
480:
who is equally fertile in curses and pretexts for destroying his innumerable objects of hatred."
116:
20:
623:. Damon believes he represents the power of the common people. Ijim's name could have come from
1131:./Who first spoil & then destroy Imaginative Art For their Glory is War and Dominion" and "
1101:
908:
suggests that the illustrations, "conceived in the heroic style," were inspired by the work of
3952:
3888:
3631:
3534:
3526:
2899:
2829:
2729:
2626:
2568:
1525:
1484:
1454:
1253:
700:
693:
685:
666:
411:
3802:
3278:
2931:
2794:
2671:
1577:
1553:
989:
936:
599:
403:
64:
3565:
594:(1859). In another sense, Frye suggests that "Har represents the unborn theory of negative
200:); the illustrated text is: "Then Har arose and laid his hand on old Tiriel's head" (2:35).
3714:
3616:
3541:
3473:
3378:
3150:
2973:
2906:
2631:
2417:
2397:
2331:
Life of William Blake, "Pictor ignotus". With selections from his poems and other writings
2283:
2273:
1162:
1145:
1087:
787:
760:
752:
591:
553:
549:
499:
481:
444:
427:
419:
2759:
2691:
87:
was unpublished during Blake's lifetime and remained so until 1874, when it appeared in
3845:
3692:
3270:
3257:
3115:
3085:
3080:
2854:
2844:
2789:
2769:
2407:
2348:
1651:(1988), which retains both Blake's inconsistent spelling and often bizarre punctuation.
1547:
1520:
1469:," and finds a political motive in Tiriel's final speech, which he sees as inspired by
1416:
1412:
1355:
1106:
1007:, which is a symbol of slavery and oppression throughout Blake's work. For example, in
813:
634:
603:
573:
197:
24:
4120:
4003:
3853:
3105:
2824:
2819:
2764:
2686:
2681:
2666:
2661:
2538:
2316:
2247:
2165:
1573:
1281:
1065:
905:
610:
477:
472:
213:
100:
68:
3837:
3810:
3185:
1530:
1110:
934:(both 1788), but they were experiments only. His first 'real' illuminated book was
860:
620:
557:
523:
415:
189:
739:
609:
Heva β Frye believes she is "a reduplicate Eve." Damon argues that she represents
1403:
has provoked a number of divergent critical responses. For example, according to
4048:
3767:
3759:
3140:
3130:
3120:
2641:
2427:
2334:(London: Macmillan, 1863; 2nd ed. 1880; rpt. New York: Dover Publications, 1998)
2257:
1511:
1503:
1443:
1299:. Even this proves too much for his moral virtue." As Damon elaborates, "Hela's
1213:
764:
756:
658:
494:
468:
389:
112:
145:
refuses and wanders away, again cursing them and telling them he will have his
19:
This article is about the William Blake poem. For the character of Tiriel, see
3936:
3912:
3145:
3110:
3100:
2696:
1462:
1435:
1236:
1217:
809:
719:
704:
423:
131:, and chaining the other, Zazel, in a cave in the mountains. Tiriel then made
128:
80:
2404:(London: Nonesuch Press, 1957; 2nd ed. Oxford: Oxford University Press, 1966)
1494:
Another theory is suggested by Peter Ackroyd, who argues that the poem is "a
1224:, representative of self-love in Blake, and his children are Ijim and Ochim (
3684:
3651:
3601:
2839:
2779:
1946:
All information regarding deleted material taken from Erdman (1982: 814-815)
1585:
1466:
1315:("The senses inwards rush'd shrinking,/Beneath the dark net of infection"),
1232:
783:
595:
489:
456:
137:
96:
969:
418:, however, believes the name is a combination of the word 'tyrant' and the
43:
1323:("Beyond the bounds of their own self their senses cannot penetrate") and
3960:
3794:
2291:(Princeton: Princeton University Press, 1954; 2nd ed. 1969; 3rd ed. 1977)
1561:
1534:
1114:
996:
613:
583:
435:
346:
205:
167:
3288:
The Four and Twenty Elders Casting their Crowns before the Divine Throne
922:(1788), and his first successful combination of words and pictures were
3829:
3709:
3626:
3175:
3160:
3155:
3090:
1367:
1118:
1092:
995:
Although Northrop Frye speculates that the Vales of Har are located in
901:
885:
Or those whose mouths are graves whose teeth the gates of eternal death
650:
646:
642:
533:
503:
485:
460:
385:
381:
146:
132:
35:
645:. Blake's Ijim is a self-brutalised wanderer in a deathly nature The
3170:
3125:
3075:
1359:
1300:
1132:
1128:
1096:
1045:
1038:
779:
775:
715:
681:
673:
545:
407:
323:
The infant head while the mother idle plays with her dog on her couch
155:
120:
2302:(New York: Anchor Press, 1965; 2nd ed. 1982; Newly revised ed. 1988)
2191:
A Blake Bibliography: Annotated Lists of Works, Studies and Blakeana
1135:
delivered from Egypt is Art delivered from Nature & Imitation."
889:
Is the son of a king warmed without wool or does he cry with a voice
350:
Consuming all both flowers & fruits insects & warbling birds
262:
Tiriel borne back to the palace on the shoulders of his brother Ijim
1307:." The corruption of the senses plays an important role throughout
895:
The deadly cunning of the flatterer & spread it to the morning
796:
Four unnamed daughters and one hundred and twenty-five unnamed sons
793:
Clithyma and Makuth β sons of Tiriel mentioned in a deleted passage
294:
Where art thou Pestilence that bathest in fogs & standing lakes
236:
Fraught with the swords of lightning. but I bravd the vengeance too
3135:
3095:
1502:
Alicia Ostriker believes that the poem deals with "the failure of
1495:
1422:
1363:
1328:
1221:
1144:
1099:
of Egypt; impenetrable" (Chap. I, Verse 10). Many years later, in
1004:
968:
850:
738:
638:
509:
464:
376:
Tiriel β as the former king of the west, Tiriel is of the body in
325:
The young bosom is cold for lack of mothers nourishment & milk
300:
Here take thy seat. in this wide court. let it be strown with dead
274:
256:
216:
188:
141:
124:
42:
2280:(Hanover: University Press of New England 1965; revised ed. 1988)
1411:
has always proved a puzzle to commentators on Blake." Similarly,
392:. Most scholars agree that Tiriel's name was probably taken from
335:
Then walks the weak infant in sorrow compelld to number footsteps
3180:
2507:
2379:/Material", in Dan Miller, Mark Bracher and Donald Ault (eds.),
1304:
879:
With daggers hid beneath their lips & poison in their tongue
561:
341:
Black berries appear that poison all around him. Such was Tiriel
321:
The child springs from the womb. the father ready stands to form
304:
Thunder & fire & pestilence. here you not Tiriels curse
296:
Rise up thy sluggish limbs. & let the loathsomest of poisons
278:
174:
Lie stinking on the earth. the buriers shall arise from the east
3569:
3400:
3202:
3062:
2549:
2511:
1311:("the five senses whelm'd/In deluge o'er the earth-born man"),
782:. Frye suggests that the name is an amalgamation of Athena and
292:
Rise from the center belching flames & roarings. dark smoke
288:
To raise his dark & burning visage thro the cleaving ground
240:
While I was Sleeping he would twine I squeezd his poisnous soul
226:
Then I have rent his limbs & left him rotting in the forest
846:
Set aged Tiriel. in deep thought whether these things were so
844:
He spoke & kneeld upon his knee. Then Ijim on the pavement
654:
565:
440:
343:
Compelld to pray repugnant & to humble the immortal spirit
298:
Drop from thy garments as thou walkest. wrapt in yellow clouds
286:
Earth thus I stamp thy bosom rouse the earthquake from his den
2402:
The Complete Writings of William Blake, with Variant Readings
2220:
Blake Books: Annotated Catalogues of William Blake's Writings
1239:, and a central character in Blake's mythology, appearing in
1177:
Because their brethren & sisters liv'd in War & Lust;
837:
O we are but the slaves of Fortune. & that most cruel man
522:
Har β Mary S. Hall believes that Har's name was derived from
290:
To thrust these towers with his shoulders. let his fiery dogs
238:
Then he would creep like a bright serpent till around my neck
162:
That you may lie as now your mother lies. like dogs. cast out
160:
As thick as northern fogs. around your gates. to choke you up
3354:
The Wood of the Self-Murderers: The Harpies and the Suicides
1152:, Plate 4, showing Har and Heva fleeing from their brethren.
1121:
as they pretend: were destroyers of all Art." Similarly, in
1105:(1822), Blake claims that "Sacred Truth has pronounced that
831:
Why do you stand confounded thus. Heuxos why art thou silent
327:
Is cut off from the weeping mouth with difficulty & pain
3498:
Themes from William Blake's The Marriage of Heaven and Hell
2305:
Essick, Robert N. "The Altering Eye: Blake's Vision in the
893:
His little hands into the depths of the sea, to bring forth
891:
Of thunder does he look upon the sun & laugh or stretch
883:
Flinging flames of discontent & plagues of dark despair
841:
Hath workd our ruin we submit nor strive against stern fate
680:. The name could also be a modification of the Hebrew word
331:
The father forms a whip to rouze the sluggish senses to act
246:
At last I caught him in the form of Tiriel blind & old
2278:
A Blake Dictionary: The Ideas and Symbols of William Blake
1327:("As the Senses of Men shrink together under the Knife of
887:
Can wisdom be put in a silver rod or love in a golden bowl
881:
Or eyed with little sparks of Hell or with infernal brands
875:
Some nostrild wide breathing out blood. Some close shut up
839:
Desires our deaths. O Ijim if the eloquent voice of Tiriel
333:
And scourges off all youthful fancies from the newborn man
329:
The little lids are lifted & the little nostrils opend
228:
For birds to eat but I have scarce departed from the place
224:
This is the hypocrite that sometimes roars a dreadful lion
164:
The stink. of your dead carcases. annoying man & beast
83:, which he would go on to use in much of his later verse.
3427:
The Works of William Blake: Poetic, Symbolic and Critical
2309:
Designs" in Morton D. Paley and Michael Phillips (eds.),
242:
Then like a toad or like a newt. would whisper in my ears
178:
Bury your mother but you cannot bury the curse of Tiriel
2242:
The Stranger from Paradise: A Biography of William Blake
877:
In silent deceit. poisons inhaling from the morning rose
835:
That we may tremble & repent before thy mighty knees
244:
Or like a rock stood in my way. or like a poisnous shrub
232:
Then like a river he would seek to drown me in his waves
172:
No your remembrance shall perish. for when your carcases
1831:
1829:
1827:
1392:(1790); "One Law for the Lion & Ox is Oppression."
2394:(Cambridge: Cambridge University Press, 2003), 191-209
1974:
1972:
1970:
1695:
1693:
352:
And now my paradise is falln & a drear sandy plain
230:
But like a tyger he would come & so I rent him too
2254:(Cambridge: Cambridge University Press, 2003), 85-109
2130:
2128:
1220:, and Ijim the eighteenth. Har's immediate father is
1113:
as Babylon & Egypt: so far from being parents of
873:
Dost thou not see that men cannot be formed all alike
833:
O noble Ijim thou hast brought our father to our eyes
714:
Heuxos β Hall believes the name was derived from the
484:
believes the character to be partially based on both
402:(1651), where the name is associated with the planet
234:
But soon I buffetted the torrent anon like to a cloud
123:
in the west, driving one of his brothers, Ijim, into
79:, it is also the first poem in which Blake used free
2390: . "Blake's Early Works" in Morris Eaves (ed.)
1870:
1868:
1849:
1847:
1845:
1843:
1841:
1808:
1806:
1804:
1802:
1800:
1749:
1747:
1745:
1743:
1741:
1647:
All quotations from the poem are taken from Erdman,
1156:
The characters of Har and Heva also reappear in the
354:
Returns my thirsty hissings in a curse on thee O Har
302:
And sit & smile upon these cursed sons of Tiriel
4075:
4038:
3971:
3864:
3821:
3786:
3735:
3728:
3702:
3650:
3609:
3508:
3457:
3411:
3370:
3213:
3033:
3008:
2916:
2879:
2868:
2715:
2612:
2599:
2560:
2414:(Los Angeles: University of California Press, 1974)
1769:
1767:
1765:
1763:
1761:
1759:
1622:
1620:
1618:
1616:
1614:
1612:
1610:
356:Mistaken father of a lawless race my voice is past
751:Hela β Damon argues that she symbolises touch and
2495:Stephen C. Behrendt, "The Worst Disease: Blake's
2175:Behrendt, Stephen C. "The Worst Disease: Blake's
1781:
1779:
1003:, S. Foster Damon believes the poem to be set in
339:And when the drone has reachd his crawling length
176:And. not a bone of all the soils of Tiriel remain
166:Till your white bones are bleachd with age for a
2381:Critical Paths: Blake and the Argument of Method
1708:Harold Bloom, "Commentary" in Erdman (1982: 946)
1295:based on the senses disappears except automatic
154:There take the body. cursed sons. & may the
1303:locks are the torturing thoughts of suppressed
1212:(1796β1803), where Har is the sixteenth son of
1172:
1015:
870:
826:
653:β honest but grim, always a ready adversary of
318:
283:
221:
151:
115:and Heva revolted and abandoned their parents.
111:Many years before the poem begins, the sons of
2434:and the Dramatization of Collapsed Language,"
2300:The Complete Poetry and Prose of William Blake
1649:The Complete Poetry and Prose of William Blake
1634:
1632:
556:of Blake's day" and the traditional spirit of
194:Har blessing Tiriel while Mnetha comforts Heva
3581:
2523:
2383:(Durham: Duke University Press, 1987), 99-110
2325:(Princeton: Princeton University Press, 1947)
2250:. "Blake as a Painter" in Morris Eaves (ed.)
529:A New System or Analysis of Antient Mythology
8:
2995:Jerusalem: The Emanation of the Giant Albion
1175:Since that dread day when Har and Heva fled.
1166:(1795), which is set chronologically before
1080:Chap: IX, stanzas 4-8 (Plate 28, lines 1-22)
1029:And form'd laws of prudence, and call'd them
956:. According to David Bindman, for example, "
940:(1789) and it is possible that he abandoned
1374:(5:32-34). Damon believes this foreshadows
1288:Jerusalem The Emanation of the Giant Albion
1206:Har and Ijim are also briefly mentioned in
1013:(1794), after the creation of mortal man,
515:Har and Heva sleeping while Mnetha looks on
3732:
3588:
3574:
3566:
3408:
3397:
3210:
3199:
3059:
2876:
2609:
2557:
2546:
2530:
2516:
2508:
2322:Fearful Symmetry: A Study of William Blake
1057:Were wither'd, & deafen'd, & cold:
999:, due to the pyramids in the illustration
3402:Scholarship, in popular culture, and more
2392:The Cambridge Companion to William Blake
2252:The Cambridge Companion to William Blake
2244:(New Haven: Yale University Press, 2001)
1514:) exchanging the present for the past,
1428:Tiriel Denouncing his Sons and Daughters
2311:Essays in Honour of Sir Geoffrey Keynes
2193:(Oxford: Oxford University Press, 1964)
1606:
699:Myratana β her name may have come from
552:believes that Har represents both the "
476:suggests is the jealous Jehovah of the
430:believes that he is partially based on
3244:Europe Supported by Africa and America
2313:(Oxford: Clarendon Press, 1973), 50-65
1564:and music by Russian/British composer
1370:) and Urthona is north (imagination).
1354:, after the Fall of the primeval man,
661:believes he may be partially based on
459:and, in addition, is a satire "of the
23:. For the opera of the same name, see
1074:They called it Egypt, & left it.
1049:Beheld their brethren shrink together
1036:Surrounded by salt floods, now call'd
7:
3466:Serenade for Tenor, Horn and Strings
2341:: Blake's Visionary Form Pedantic",
2209:William Blake: The Critical Heritage
1590:Songs of Innocence and of Experience
1025:And their children wept, & built
961:become for him an obsolete method."
718:, an Asiatic people who invaded the
665:, especially his actions during the
619:Ijim β Ostriker feels he represents
3482:Songs and Proverbs of William Blake
3347:On the Morning of Christ's Nativity
948:after making his breakthrough with
786:, the personification of memory in
532:(1776), where Bryant conflates the
380:, in which the west is assigned to
345:Till I am subtil as a serpent in a
2953:Visions of the Daughters of Albion
2448:Schuchard, Marsha Keith. "Blake's
1242:Visions of the Daughters of Albion
1072:And they left the pendulous earth:
637:13:21, where it is translated as "
467:orthodoxy, irascible and insanely
426:. In terms of Tiriel's character,
75:1789. Considered the first of his
14:
2436:Papers On Language and Literature
2422:William Blake: The Complete Poems
1334:Harold Bloom points out that the
1070:The remaining children of Urizen:
1059:And their eyes could not discern,
1022:To the jaws of devouring darkness
536:deities Harmon and Ares with the
399:De occulta philosophia libri tres
119:subsequently set himself up as a
16:Illustrated poem by William Blake
3516:William Blake in popular culture
3361:Illustrations of the Book of Job
2463:as Spenserian Allegory ManquΓ©",
2456:(New York: Garland, 1998) 115-35
1487:of eighteenth-century England."
1055:For the ears of the inhabitants,
707:, who was described in Bryant's
498:and the prince of Tyre from the
3230:Original Stories from Real Life
2939:The Marriage of Heaven and Hell
2488:William Blake Dreamer of Dreams
2445:(Oxford: Clarendon Press, 1905)
2233:(Oxford: Clarendon Press, 1978)
2222:(Oxford: Clarendon Press, 1977)
2200:(Oxford: Clarendon Press, 1967)
1389:The Marriage of Heaven and Hell
1061:Their brethren of other cities.
502:(28:1-10), who is denounced by
93:Poetical Works of William Blake
3303:A Vision of the Last Judgement
2438:, 19:2 (Spring, 1983), 167-182
1183:Creeping in reptile flesh upon
1181:Into two narrow doleful forms:
755:. She is possibly named after
1:
3441:Blake: Prophet Against Empire
3251:The Night of Enitharmon's Joy
2850:The Voice of the Ancient Bard
2469:, 71:3 (Autumn, 1992), 313-35
2361:, 21:1 (November, 1957), 1-36
2288:Blake: Prophet Against Empire
1034:And the thirty cities remaind
1027:Tombs in the desolate places,
99:the poem, he did make twelve
30:. For the minor character in
2590:There is No Natural Religion
2454:Blake, Politics, and History
2358:Huntington Library Quarterly
1179:And as they fled they shrunk
1018:They lived a period of years
931:There is No Natural Religion
696:, archrival of William Pitt.
3043:Never pain to tell thy love
2503:, 15:3 (Fall, 1979), 175-87
2372:(New York: Routledge, 1968)
2183:, 15:3 (Fall, 1979), 175-87
378:Blake's mythological system
52:Yale Center for British Art
4163:
3988:BBC Television Shakespeare
3669:The Mirror for Magistrates
1051:Beneath the Net of Urizen;
1041:: its name was then Egypt.
1001:Tiriel supporting Myratana
857:Tiriel Supporting Myratana
808:survives in only a single
394:Heinrich Cornelius Agrippa
277:. & as dark as vacant
266:Victoria and Albert Museum
48:Tiriel supporting Myratana
18:
4147:William Blake's mythology
4092:The Prince of the Pagodas
3661:Historia Regum Britanniae
3448:Witness Against the Beast
3407:
3396:
3209:
3198:
3071:
3058:
2556:
2545:
2474:Blake: The Complete Poems
2412:Blake's Human Form Divine
2375:Hilton, Nelson. "Literal/
2260:. "A New Look at Blake's
2211:(London: Routledge, 1975)
1557:
1185:The bosom of the ground:
964:
598:established by obeying a
95:. Although Blake did not
4100:The Tragedy of King Lear
3744:The History of King Lear
3009:The Pickering Manuscript
2408:Mellor, Anne Kostelanetz
2231:William Blake's Writings
1892:Ostriker (1977: 879-880)
1459:Storming of the Bastille
1396:Critical interpretations
724:Twelfth Dynasty of Egypt
434:, who suffered bouts of
388:, representative of the
89:William Michael Rossetti
4137:Poetry by William Blake
2857:(found only in Copy BB)
2735:The Clod and the Pebble
2501:Colby Library Quarterly
2424:(London: Penguin, 1977)
2181:Colby Library Quarterly
2172:(London: Vintage, 1995)
1560:) is a 1985 opera with
1457:in July 1789, with the
1053:Perswasion was in vain;
1031:The eternal laws of God
1020:Then left a noisom body
630:Vera Christiana Religio
3833:(Libretto only) (1896)
3677:Holinshed's Chronicles
3542:Catherine Blake (wife)
2472:Stevenson, W.H. (ed.)
2466:Philological Quarterly
2328:Gilchrist, Alexander.
2077:Erdman (1977: 131-132)
1955:Erdman (1988: 814-815)
1717:Erdman (1977: 133-134)
1476:Emile, or On Education
1431:
1277:Vala, or The Four Zoas
1209:Vala, or The Four Zoas
1197:
1153:
1083:
1044:The remaining sons of
981:
898:
864:
849:
747:
684:, which occurs in the
667:Regency Crisis of 1788
518:
365:
313:
269:
255:
201:
187:
55:
3752:The Yiddish King Lear
3521:William Blake Archive
3420:Life of William Blake
3310:Descriptive Catalogue
3017:Auguries of Innocence
2946:The French Revolution
2750:The Little Girl Found
2583:All Religions are One
2576:An Island in the Moon
2189:and Nurmi, Martin K.
2152:Erdman (1977: 134n43)
1794:Erdman (1977: 133n41)
1471:Jean-Jacques Rousseau
1426:
1336:points of the compass
1148:
972:
925:All Religions are One
854:
812:copy, located in the
742:
735:Lotho β son of Tiriel
592:poem of the same name
588:Alfred, Lord Tennyson
513:
337:Upon the sand. &c
260:
192:
46:
4040:Story within a story
3317:The Great Red Dragon
3024:The Mental Traveller
2745:The Little Girl Lost
2657:The Little Boy Found
2637:The Little Black Boy
2459:Spector, Sheila A. "
2441:Sampson, John (ed.)
2345:, 73 (1969), 166-176
2270:, 73 (1969), 153-165
2196:Bentley, G.E. (ed.)
2113:Mellor (1974: 29-30)
2059:Stevenson (2007: 80)
1919:Frye (1947: 243-244)
1862:Stevenson (2007: 88)
1835:Ostriker (1977: 880)
1699:Ostriker (1977: 879)
1194:; Plate 4, lines 4-9
974:Har and Heva bathing
919:The Approach of Doom
732:Yuva β son of Tiriel
3720:Cordelia of Britain
3597:William Shakespeare
3339:Agony in the Garden
3332:The Ghost of a Flea
3237:The Ancient of Days
3036:Rossetti Manuscript
2805:The Little Vagabond
2785:My Pretty Rose Tree
2755:The Chimney Sweeper
2717:Songs of Experience
2707:On Another's Sorrow
2652:The Little Boy Lost
2647:The Chimney Sweeper
2370:Blake and Tradition
2351:. "Some Sources of
1978:Ackroyd (1995: 110)
1297:sexual reproduction
1068:call'd all together
769:The Descent of Odin
763:goddess of Hell in
453:William Shakespeare
3271:Illustrations for
2967:The Book of Ahania
2960:The Book of Urizen
2893:America a Prophecy
2835:A Little Girl Lost
2815:The Human Abstract
2800:The Garden of Love
2627:The Ecchoing Green
2614:Songs of Innocence
2602:Songs of Innocence
2134:Hilton (2003: 195)
2095:Erdman (1977: 140)
2086:Erdman (1977: 151)
1996:Bindman (2003: 90)
1964:Erdman (1988: 815)
1937:Erdman (1982: 814)
1735:Erdman (1977: 137)
1726:Erdman (1977: 135)
1687:Erdman (1988: 285)
1678:Erdman (1988: 282)
1669:Erdman (1988: 281)
1660:Erdman (1988: 277)
1582:Songs of Innocence
1446:at the end of the
1432:
1415:points out, "this
1376:The Book of Urizen
1313:The Book of Urizen
1264:The Book of Ahania
1259:The Book of Urizen
1248:America a Prophecy
1154:
1010:The Book of Urizen
982:
978:Fitzwilliam Museum
865:
855:Pencil sketch for
748:
744:Tiriel led by Hela
625:Emanuel Swedenborg
579:Gulliver's Travels
519:
270:
202:
56:
32:The Book of Urizen
21:Tiriel (character)
4114:
4113:
4110:
4109:
4012:Second Generation
3889:Gunasundari Katha
3563:
3562:
3559:
3558:
3555:
3554:
3392:
3391:
3388:
3387:
3345:Illustrations of
3294:Illustrations of
3279:Illustrations of
3194:
3193:
3054:
3053:
3050:
3049:
3004:
3003:
2900:Europe a Prophecy
2864:
2863:
2830:A Little Boy Lost
2604:and of Experience
2569:Poetical Sketches
2143:Damon (1988: 282)
2122:Mellor (1974: 33)
2104:Mellor (1974: 28)
2041:Damon (1988: 179)
2023:Damon (1988: 407)
2014:Erdman (1988: 68)
2005:Erdman (1988: 83)
1928:Mellor (1974: 31)
1883:Damon (1988: 457)
1874:Bogen (1969: 150)
1853:Damon (1988: 406)
1821:Mellor (1974: 30)
1812:Damon (1988: 174)
1753:Bloom (1982: 946)
1626:Damon (1988: 405)
1526:Poetical Sketches
1455:French Revolution
1309:Europe a Prophecy
1285:(1804β1810), and
1254:Europe a Prophecy
965:Blake's mythology
694:Charles James Fox
686:Book of Leviticus
406:and the elements
4154:
3929:A Thousand Acres
3803:A Thousand Acres
3733:
3590:
3583:
3576:
3567:
3530:(1983 monologue)
3434:Fearful Symmetry
3409:
3398:
3211:
3200:
3060:
2932:The Book of Thel
2877:
2672:The Divine Image
2610:
2558:
2547:
2532:
2525:
2518:
2509:
2418:Ostriker, Alicia
2398:Keynes, Geoffrey
2389:
2367:
2297:
2284:Erdman, David V.
2274:Damon, S. Foster
2239:
2228:
2217:
2206:
2153:
2150:
2144:
2141:
2135:
2132:
2123:
2120:
2114:
2111:
2105:
2102:
2096:
2093:
2087:
2084:
2078:
2075:
2069:
2068:Frye (1947: 244)
2066:
2060:
2057:
2051:
2050:Raine (1968: 34)
2048:
2042:
2039:
2033:
2032:Frye (1947: 245)
2030:
2024:
2021:
2015:
2012:
2006:
2003:
1997:
1994:
1988:
1987:Damon (1988: 16)
1985:
1979:
1976:
1965:
1962:
1956:
1953:
1947:
1944:
1938:
1935:
1929:
1926:
1920:
1917:
1911:
1910:Hall (1969: 174)
1908:
1902:
1901:Hall (1969: 170)
1899:
1893:
1890:
1884:
1881:
1875:
1872:
1863:
1860:
1854:
1851:
1836:
1833:
1822:
1819:
1813:
1810:
1795:
1792:
1786:
1785:Frye (1947: 243)
1783:
1774:
1773:Frye (1947: 242)
1771:
1754:
1751:
1736:
1733:
1727:
1724:
1718:
1715:
1709:
1706:
1700:
1697:
1688:
1685:
1679:
1676:
1670:
1667:
1661:
1658:
1652:
1645:
1639:
1636:
1627:
1624:
1578:The Divine Image
1559:
1384:The Book of Thel
1195:
1140:The Book of Thel
1081:
954:Natural Religion
937:The Book of Thel
676:and the element
363:
311:
253:
185:
4162:
4161:
4157:
4156:
4155:
4153:
4152:
4151:
4117:
4116:
4115:
4106:
4071:
4034:
3967:
3860:
3817:
3782:
3724:
3715:Leir of Britain
3698:
3646:
3605:
3594:
3564:
3551:
3504:
3474:Ten Blake Songs
3453:
3412:Scholarly works
3403:
3384:
3379:Visionary Heads
3366:
3228:Engravings for
3215:
3205:
3190:
3067:
3046:
3029:
3000:
2974:The Book of Los
2912:
2907:The Song of Los
2883:
2871:
2860:
2711:
2603:
2595:
2552:
2541:
2536:
2483:
2387:
2365:
2349:Raine, Kathleen
2337:Hall, Mary S. "
2295:
2237:
2226:
2215:
2204:
2162:
2160:Further reading
2157:
2156:
2151:
2147:
2142:
2138:
2133:
2126:
2121:
2117:
2112:
2108:
2103:
2099:
2094:
2090:
2085:
2081:
2076:
2072:
2067:
2063:
2058:
2054:
2049:
2045:
2040:
2036:
2031:
2027:
2022:
2018:
2013:
2009:
2004:
2000:
1995:
1991:
1986:
1982:
1977:
1968:
1963:
1959:
1954:
1950:
1945:
1941:
1936:
1932:
1927:
1923:
1918:
1914:
1909:
1905:
1900:
1896:
1891:
1887:
1882:
1878:
1873:
1866:
1861:
1857:
1852:
1839:
1834:
1825:
1820:
1816:
1811:
1798:
1793:
1789:
1784:
1777:
1772:
1757:
1752:
1739:
1734:
1730:
1725:
1721:
1716:
1712:
1707:
1703:
1698:
1691:
1686:
1682:
1677:
1673:
1668:
1664:
1659:
1655:
1646:
1642:
1637:
1630:
1625:
1608:
1603:
1598:
1543:
1535:pastoral poetry
1398:
1317:The Song of Los
1273:The Song of Los
1269:The Book of Los
1196:
1192:The Song of Los
1190:
1187:
1184:
1182:
1180:
1178:
1176:
1163:The Song of Los
1150:The Song of Los
1088:The Book of Los
1082:
1079:
1076:
1073:
1071:
1069:
1063:
1062:
1060:
1058:
1056:
1054:
1052:
1050:
1048:
1043:
1042:
1037:
1035:
1033:
1032:
1030:
1028:
1026:
1024:
1023:
1021:
1019:
967:
897:
894:
892:
890:
888:
886:
884:
882:
880:
878:
876:
874:
848:
845:
843:
842:
840:
838:
836:
834:
832:
830:
803:
788:Greek mythology
554:decadent poetry
550:S. Foster Damon
500:Book of Ezekiel
482:Alicia Ostriker
445:civil authority
432:King George III
428:David V. Erdman
373:
364:
361:
358:
355:
353:
351:
349:
344:
342:
340:
338:
336:
334:
332:
330:
328:
326:
324:
322:
312:
309:
306:
303:
301:
299:
297:
295:
293:
291:
289:
287:
254:
251:
248:
245:
243:
241:
239:
237:
235:
233:
231:
229:
227:
225:
186:
183:
180:
177:
175:
173:
171:
165:
163:
161:
159:
109:
77:prophetic books
39:
17:
12:
11:
5:
4160:
4158:
4150:
4149:
4144:
4139:
4134:
4129:
4119:
4118:
4112:
4111:
4108:
4107:
4105:
4104:
4096:
4095:(1957, ballet)
4088:
4079:
4077:
4073:
4072:
4070:
4069:
4061:
4053:
4044:
4042:
4036:
4035:
4033:
4032:
4024:
4016:
4008:
4000:
3992:
3984:
3975:
3973:
3969:
3968:
3966:
3965:
3957:
3949:
3941:
3933:
3925:
3917:
3909:
3901:
3893:
3885:
3877:
3868:
3866:
3862:
3861:
3859:
3858:
3850:
3846:Vision of Lear
3842:
3834:
3825:
3823:
3819:
3818:
3816:
3815:
3807:
3799:
3790:
3788:
3784:
3783:
3781:
3780:
3772:
3764:
3756:
3748:
3739:
3737:
3730:
3726:
3725:
3723:
3722:
3717:
3712:
3706:
3704:
3700:
3699:
3697:
3696:
3693:Water and Salt
3689:
3681:
3673:
3665:
3656:
3654:
3648:
3647:
3645:
3644:
3639:
3634:
3629:
3624:
3619:
3613:
3611:
3607:
3606:
3595:
3593:
3592:
3585:
3578:
3570:
3561:
3560:
3557:
3556:
3553:
3552:
3550:
3549:
3544:
3539:
3531:
3523:
3518:
3512:
3510:
3506:
3505:
3503:
3502:
3494:
3486:
3478:
3470:
3461:
3459:
3455:
3454:
3452:
3451:
3444:
3437:
3430:
3423:
3415:
3413:
3405:
3404:
3401:
3394:
3393:
3390:
3389:
3386:
3385:
3383:
3382:
3374:
3372:
3368:
3367:
3365:
3364:
3357:
3350:
3342:
3335:
3328:
3321:
3313:
3306:
3299:
3291:
3284:
3276:
3273:Night-Thoughts
3268:
3265:Nebuchadnezzar
3261:
3254:
3247:
3240:
3233:
3225:
3223:Relief etching
3219:
3217:
3207:
3206:
3203:
3196:
3195:
3192:
3191:
3189:
3188:
3183:
3178:
3173:
3168:
3163:
3158:
3153:
3148:
3143:
3138:
3133:
3128:
3123:
3118:
3113:
3108:
3103:
3098:
3093:
3088:
3083:
3078:
3072:
3069:
3068:
3063:
3056:
3055:
3052:
3051:
3048:
3047:
3040:
3038:
3031:
3030:
3028:
3027:
3020:
3012:
3010:
3006:
3005:
3002:
3001:
2999:
2998:
2991:
2984:
2977:
2970:
2963:
2956:
2949:
2942:
2935:
2928:
2920:
2918:
2914:
2913:
2911:
2910:
2903:
2896:
2888:
2886:
2874:
2866:
2865:
2862:
2861:
2859:
2858:
2855:A Divine Image
2852:
2847:
2845:The School Boy
2842:
2837:
2832:
2827:
2822:
2817:
2812:
2807:
2802:
2797:
2792:
2790:Ah! Sun-flower
2787:
2782:
2777:
2772:
2767:
2762:
2757:
2752:
2747:
2742:
2737:
2732:
2730:Earth's Answer
2727:
2721:
2719:
2713:
2712:
2710:
2709:
2704:
2699:
2694:
2689:
2684:
2679:
2674:
2669:
2664:
2659:
2654:
2649:
2644:
2639:
2634:
2629:
2624:
2618:
2616:
2607:
2597:
2596:
2594:
2593:
2586:
2579:
2572:
2564:
2562:
2561:Early writings
2554:
2553:
2551:Literary works
2550:
2543:
2542:
2537:
2535:
2534:
2527:
2520:
2512:
2506:
2505:
2492:
2482:
2481:External links
2479:
2478:
2477:
2470:
2457:
2446:
2439:
2425:
2415:
2405:
2395:
2384:
2373:
2362:
2346:
2335:
2326:
2317:Frye, Northrop
2314:
2303:
2298: . (ed.)
2292:
2281:
2271:
2255:
2248:Bindman, David
2245:
2234:
2223:
2212:
2207: . (ed.)
2201:
2194:
2184:
2173:
2166:Ackroyd, Peter
2161:
2158:
2155:
2154:
2145:
2136:
2124:
2115:
2106:
2097:
2088:
2079:
2070:
2061:
2052:
2043:
2034:
2025:
2016:
2007:
1998:
1989:
1980:
1966:
1957:
1948:
1939:
1930:
1921:
1912:
1903:
1894:
1885:
1876:
1864:
1855:
1837:
1823:
1814:
1796:
1787:
1775:
1755:
1737:
1728:
1719:
1710:
1701:
1689:
1680:
1671:
1662:
1653:
1640:
1638:Bentley (1967)
1628:
1605:
1604:
1602:
1599:
1597:
1594:
1566:Dmitri Smirnov
1542:
1539:
1521:heroic couplet
1417:phantasmagoria
1413:Kathleen Raine
1397:
1394:
1188:
1173:
1085:Similarly, in
1077:
1016:
966:
963:
902:relief etching
871:
827:
814:British Museum
802:
799:
798:
797:
794:
791:
772:
737:
736:
733:
730:
712:
697:
670:
635:Book of Isaiah
617:
607:
574:Jonathan Swift
508:
507:
422:word for God,
372:
369:
359:
319:
307:
284:
249:
222:
198:British Museum
181:
152:
108:
105:
65:narrative poem
15:
13:
10:
9:
6:
4:
3:
2:
4159:
4148:
4145:
4143:
4142:William Blake
4140:
4138:
4135:
4133:
4132:British poems
4130:
4128:
4125:
4124:
4122:
4103:
4101:
4097:
4094:
4093:
4089:
4086:
4085:
4081:
4080:
4078:
4074:
4067:
4066:
4062:
4059:
4058:
4054:
4051:
4050:
4046:
4045:
4043:
4041:
4037:
4030:
4029:
4025:
4022:
4021:
4017:
4014:
4013:
4009:
4006:
4005:
4004:King of Texas
4001:
3998:
3997:
3993:
3990:
3989:
3985:
3982:
3981:
3977:
3976:
3974:
3970:
3963:
3962:
3958:
3955:
3954:
3950:
3947:
3946:
3942:
3939:
3938:
3934:
3931:
3930:
3926:
3923:
3922:
3918:
3915:
3914:
3910:
3907:
3906:
3902:
3899:
3898:
3894:
3891:
3890:
3886:
3883:
3882:
3878:
3875:
3874:
3870:
3869:
3867:
3863:
3856:
3855:
3854:Kuningas Lear
3851:
3848:
3847:
3843:
3840:
3839:
3835:
3832:
3831:
3827:
3826:
3824:
3820:
3813:
3812:
3808:
3805:
3804:
3800:
3797:
3796:
3792:
3791:
3789:
3785:
3778:
3777:
3773:
3770:
3769:
3765:
3762:
3761:
3757:
3754:
3753:
3749:
3746:
3745:
3741:
3740:
3738:
3734:
3731:
3727:
3721:
3718:
3716:
3713:
3711:
3708:
3707:
3705:
3701:
3694:
3690:
3687:
3686:
3682:
3679:
3678:
3674:
3671:
3670:
3666:
3663:
3662:
3658:
3657:
3655:
3653:
3649:
3643:
3640:
3638:
3635:
3633:
3630:
3628:
3625:
3623:
3620:
3618:
3615:
3614:
3612:
3608:
3604:
3603:
3598:
3591:
3586:
3584:
3579:
3577:
3572:
3571:
3568:
3548:
3545:
3543:
3540:
3537:
3536:
3532:
3529:
3528:
3524:
3522:
3519:
3517:
3514:
3513:
3511:
3507:
3500:
3499:
3495:
3492:
3491:
3487:
3484:
3483:
3479:
3476:
3475:
3471:
3468:
3467:
3463:
3462:
3460:
3456:
3450:
3449:
3445:
3443:
3442:
3438:
3436:
3435:
3431:
3429:
3428:
3424:
3422:
3421:
3417:
3416:
3414:
3410:
3406:
3399:
3395:
3381:
3380:
3376:
3375:
3373:
3369:
3363:
3362:
3358:
3356:
3355:
3351:
3349:
3348:
3343:
3341:
3340:
3336:
3334:
3333:
3329:
3327:
3326:
3322:
3320:
3318:
3314:
3312:
3311:
3307:
3305:
3304:
3300:
3298:
3297:
3296:Paradise Lost
3292:
3290:
3289:
3285:
3283:
3282:
3277:
3275:
3274:
3269:
3267:
3266:
3262:
3260:
3259:
3255:
3253:
3252:
3248:
3246:
3245:
3241:
3239:
3238:
3234:
3232:
3231:
3226:
3224:
3221:
3220:
3218:
3212:
3208:
3201:
3197:
3187:
3184:
3182:
3179:
3177:
3174:
3172:
3169:
3167:
3164:
3162:
3159:
3157:
3154:
3152:
3149:
3147:
3144:
3142:
3139:
3137:
3134:
3132:
3129:
3127:
3124:
3122:
3119:
3117:
3114:
3112:
3109:
3107:
3104:
3102:
3099:
3097:
3094:
3092:
3089:
3087:
3084:
3082:
3079:
3077:
3074:
3073:
3070:
3066:
3061:
3057:
3044:
3039:
3037:
3032:
3025:
3021:
3018:
3014:
3013:
3011:
3007:
2997:
2996:
2992:
2990:
2989:
2985:
2983:
2982:
2981:The Four Zoas
2978:
2976:
2975:
2971:
2969:
2968:
2964:
2962:
2961:
2957:
2955:
2954:
2950:
2948:
2947:
2943:
2941:
2940:
2936:
2934:
2933:
2929:
2927:
2926:
2922:
2921:
2919:
2915:
2909:
2908:
2904:
2902:
2901:
2897:
2895:
2894:
2890:
2889:
2887:
2885:
2878:
2875:
2873:
2867:
2856:
2853:
2851:
2848:
2846:
2843:
2841:
2838:
2836:
2833:
2831:
2828:
2826:
2825:A Poison Tree
2823:
2821:
2820:Infant Sorrow
2818:
2816:
2813:
2811:
2808:
2806:
2803:
2801:
2798:
2796:
2793:
2791:
2788:
2786:
2783:
2781:
2778:
2776:
2773:
2771:
2768:
2766:
2765:The Sick Rose
2763:
2761:
2758:
2756:
2753:
2751:
2748:
2746:
2743:
2741:
2740:Holy Thursday
2738:
2736:
2733:
2731:
2728:
2726:
2723:
2722:
2720:
2718:
2714:
2708:
2705:
2703:
2700:
2698:
2695:
2693:
2690:
2688:
2685:
2683:
2680:
2678:
2677:Holy Thursday
2675:
2673:
2670:
2668:
2667:A Cradle Song
2665:
2663:
2662:Laughing Song
2660:
2658:
2655:
2653:
2650:
2648:
2645:
2643:
2640:
2638:
2635:
2633:
2630:
2628:
2625:
2623:
2620:
2619:
2617:
2615:
2611:
2608:
2606:
2605:
2598:
2592:
2591:
2587:
2585:
2584:
2580:
2578:
2577:
2573:
2571:
2570:
2566:
2565:
2563:
2559:
2555:
2548:
2544:
2540:
2539:William Blake
2533:
2528:
2526:
2521:
2519:
2514:
2513:
2510:
2504:
2502:
2498:
2493:
2491:
2489:
2485:
2484:
2480:
2475:
2471:
2468:
2467:
2462:
2458:
2455:
2451:
2447:
2444:
2440:
2437:
2433:
2429:
2426:
2423:
2419:
2416:
2413:
2409:
2406:
2403:
2399:
2396:
2393:
2385:
2382:
2378:
2374:
2371:
2363:
2360:
2359:
2354:
2350:
2347:
2344:
2340:
2336:
2333:
2332:
2327:
2324:
2323:
2318:
2315:
2312:
2308:
2304:
2301:
2293:
2290:
2289:
2285:
2282:
2279:
2275:
2272:
2269:
2268:
2263:
2259:
2256:
2253:
2249:
2246:
2243:
2235:
2232:
2224:
2221:
2213:
2210:
2202:
2199:
2195:
2192:
2188:
2187:Bentley, G.E.
2185:
2182:
2178:
2174:
2171:
2167:
2164:
2163:
2159:
2149:
2146:
2140:
2137:
2131:
2129:
2125:
2119:
2116:
2110:
2107:
2101:
2098:
2092:
2089:
2083:
2080:
2074:
2071:
2065:
2062:
2056:
2053:
2047:
2044:
2038:
2035:
2029:
2026:
2020:
2017:
2011:
2008:
2002:
1999:
1993:
1990:
1984:
1981:
1975:
1973:
1971:
1967:
1961:
1958:
1952:
1949:
1943:
1940:
1934:
1931:
1925:
1922:
1916:
1913:
1907:
1904:
1898:
1895:
1889:
1886:
1880:
1877:
1871:
1869:
1865:
1859:
1856:
1850:
1848:
1846:
1844:
1842:
1838:
1832:
1830:
1828:
1824:
1818:
1815:
1809:
1807:
1805:
1803:
1801:
1797:
1791:
1788:
1782:
1780:
1776:
1770:
1768:
1766:
1764:
1762:
1760:
1756:
1750:
1748:
1746:
1744:
1742:
1738:
1732:
1729:
1723:
1720:
1714:
1711:
1705:
1702:
1696:
1694:
1690:
1684:
1681:
1675:
1672:
1666:
1663:
1657:
1654:
1650:
1644:
1641:
1635:
1633:
1629:
1623:
1621:
1619:
1617:
1615:
1613:
1611:
1607:
1600:
1595:
1593:
1591:
1587:
1584:(1789), and "
1583:
1579:
1575:
1574:A Cradle Song
1571:
1567:
1563:
1555:
1551:
1550:
1549:
1540:
1538:
1536:
1532:
1528:
1527:
1522:
1517:
1513:
1507:
1505:
1500:
1497:
1492:
1488:
1486:
1480:
1478:
1477:
1472:
1468:
1464:
1460:
1456:
1451:
1449:
1448:Age of Reason
1445:
1440:
1437:
1429:
1425:
1421:
1418:
1414:
1410:
1406:
1402:
1395:
1393:
1391:
1390:
1385:
1379:
1377:
1371:
1369:
1365:
1361:
1357:
1353:
1349:
1345:
1344:The Four Zoas
1341:
1337:
1332:
1330:
1326:
1322:
1321:The Four Zoas
1318:
1314:
1310:
1306:
1302:
1298:
1292:
1290:
1289:
1284:
1283:
1282:Milton a Poem
1279:(1796β1803),
1278:
1274:
1270:
1266:
1265:
1260:
1256:
1255:
1250:
1249:
1244:
1243:
1238:
1234:
1229:
1228:, VIII:360).
1227:
1226:The Four Zoas
1223:
1219:
1215:
1211:
1210:
1204:
1202:
1193:
1186:
1171:
1169:
1165:
1164:
1159:
1151:
1147:
1143:
1141:
1136:
1134:
1130:
1126:
1125:
1120:
1116:
1112:
1108:
1104:
1103:
1098:
1094:
1090:
1089:
1075:
1067:
1047:
1040:
1014:
1012:
1011:
1006:
1002:
998:
993:
991:
987:
979:
975:
971:
962:
959:
955:
951:
950:All Religions
947:
943:
939:
938:
933:
932:
927:
926:
921:
920:
915:
914:George Romney
911:
907:
906:Peter Ackroyd
903:
896:
869:
862:
858:
853:
847:
825:
821:
817:
815:
811:
807:
800:
795:
792:
789:
785:
781:
778:, goddess of
777:
773:
770:
766:
762:
758:
754:
750:
749:
745:
741:
734:
731:
728:
725:
721:
717:
713:
710:
706:
702:
698:
695:
691:
687:
683:
679:
675:
671:
668:
664:
660:
656:
652:
648:
644:
640:
636:
632:
631:
626:
622:
618:
615:
612:
608:
605:
601:
597:
593:
589:
585:
581:
580:
575:
571:
567:
563:
559:
555:
551:
547:
543:
539:
535:
531:
530:
525:
521:
520:
516:
512:
505:
501:
497:
496:
491:
487:
483:
479:
478:Old Testament
474:
473:Northrop Frye
470:
469:rationalistic
466:
462:
458:
454:
450:
446:
442:
437:
433:
429:
425:
421:
417:
413:
409:
405:
401:
400:
395:
391:
387:
383:
379:
375:
374:
370:
368:
357:
348:
317:
305:
282:
280:
276:
267:
263:
259:
247:
220:
218:
215:
214:shapeshifting
210:
207:
199:
195:
191:
179:
169:
157:
150:
148:
143:
139:
134:
130:
126:
122:
118:
114:
106:
104:
102:
98:
94:
90:
86:
82:
78:
74:
70:
69:William Blake
66:
62:
61:
53:
49:
45:
41:
37:
33:
29:
27:
22:
4102:(screenplay)
4099:
4090:
4087:(1789, poem)
4083:
4082:
4063:
4055:
4047:
4026:
4018:
4010:
4002:
3994:
3986:
3978:
3959:
3951:
3943:
3935:
3927:
3919:
3911:
3903:
3895:
3887:
3879:
3871:
3852:
3844:
3836:
3828:
3809:
3801:
3793:
3774:
3766:
3758:
3750:
3742:
3683:
3675:
3667:
3659:
3600:
3533:
3525:
3496:
3488:
3480:
3472:
3464:
3446:
3439:
3432:
3425:
3418:
3377:
3360:
3352:
3346:
3337:
3330:
3323:
3316:
3308:
3301:
3295:
3286:
3280:
3272:
3263:
3256:
3249:
3242:
3235:
3229:
2993:
2986:
2979:
2972:
2965:
2958:
2951:
2944:
2937:
2930:
2924:
2923:
2905:
2898:
2891:
2760:Nurse's Song
2725:Introduction
2716:
2692:Nurse's Song
2622:The Shepherd
2613:
2600:
2588:
2581:
2574:
2567:
2500:
2496:
2487:
2473:
2464:
2460:
2453:
2449:
2442:
2435:
2431:
2428:Ostrom, Hans
2421:
2411:
2401:
2391:
2380:
2376:
2369:
2356:
2352:
2342:
2338:
2329:
2320:
2310:
2306:
2299:
2286:
2277:
2265:
2261:
2258:Bogen, Nancy
2251:
2241:
2230:
2219:
2208:
2197:
2190:
2180:
2176:
2169:
2148:
2139:
2118:
2109:
2100:
2091:
2082:
2073:
2064:
2055:
2046:
2037:
2028:
2019:
2010:
2001:
1992:
1983:
1960:
1951:
1942:
1933:
1924:
1915:
1906:
1897:
1888:
1879:
1858:
1817:
1790:
1731:
1722:
1713:
1704:
1683:
1674:
1665:
1656:
1648:
1643:
1589:
1581:
1570:Introduction
1546:
1545:
1544:
1531:lyric poetry
1524:
1515:
1508:
1501:
1493:
1489:
1481:
1474:
1452:
1441:
1433:
1427:
1408:
1405:G.E. Bentley
1400:
1399:
1387:
1383:
1380:
1375:
1372:
1351:
1347:
1343:
1339:
1333:
1324:
1320:
1316:
1312:
1308:
1293:
1286:
1280:
1276:
1272:
1268:
1262:
1258:
1252:
1246:
1240:
1230:
1225:
1207:
1205:
1200:
1198:
1191:
1174:
1167:
1161:
1157:
1155:
1149:
1139:
1137:
1122:
1100:
1086:
1084:
1017:
1008:
1000:
994:
985:
983:
973:
957:
953:
949:
945:
941:
935:
929:
923:
917:
899:
872:
866:
861:Tate Britain
856:
828:
822:
818:
805:
804:
761:Scandinavian
743:
726:
709:A New System
708:
663:William Pitt
628:
621:superstition
611:neoclassical
577:
558:Christianity
527:
524:Jacob Bryant
514:
493:
416:Harold Bloom
397:
366:
320:
314:
285:
271:
261:
223:
211:
203:
193:
153:
110:
92:
84:
72:
59:
58:
57:
47:
40:
31:
25:
4068:(2015 film)
4065:The Dresser
4060:(1983 film)
4057:The Dresser
4052:(1980 play)
4049:The Dresser
3900:(1971 USSR)
3760:Safed Khoon
3729:Adaptations
3538:(1989 play)
2882:continental
2642:The Blossom
2430:. "Blake's
1541:Adaptations
1512:John Dryden
1504:natural law
1463:blacksmiths
1444:Materialism
1160:section of
1124:The LaocoΓΆn
944:to work on
910:James Barry
765:Thomas Gray
703:, Queen of
692:politician
659:Nancy Bogen
582:(1726) and
495:Oedipus Rex
390:imagination
81:septenaries
4127:1789 poems
4121:Categories
3972:Television
3953:My Kingdom
3937:Gypsy Lore
3610:Characters
3535:In Lambeth
3216:and prints
3146:Palamabron
3111:Golgonooza
3101:Enitharmon
2884:prophecies
2697:Infant Joy
1596:References
1485:absolutism
1436:iconoclasm
1237:conformity
1218:Enitharmon
1095:/Black as
810:manuscript
801:Manuscript
720:Nile Delta
705:Mauretania
544:, wife of
371:Characters
158:rain wrath
129:wilderness
71:, written
4028:King Lear
4020:King Lear
3996:King Lear
3980:King Lear
3945:King Lear
3921:King Lear
3908:(1971 UK)
3905:King Lear
3897:King Lear
3881:King Lear
3873:King Lear
3776:King Lear
3685:King Leir
3617:King Lear
3602:King Lear
3319:paintings
3281:The Grave
3214:Paintings
3065:Mythology
2870:Prophetic
2840:To Tirzah
2795:The Lilly
2780:The Tyger
2775:The Angel
1601:Citations
1586:The Tyger
1467:despotism
1366:is east (
1352:Jerusalem
1325:Jerusalem
1233:tradition
1102:On Virgil
784:Mnemosyne
771:" (1768).
753:sexuality
647:animistic
600:moral law
596:innocence
534:Amazonian
490:Sophocles
457:King Lear
3961:Lear Rex
3795:La Terre
3642:The Fool
3622:Cordelia
3547:Ancients
3490:The Lamb
3371:Sketches
2632:The Lamb
2400:. (ed.)
2368: .
2240: .
2229: .
2218: .
1592:(1794).
1562:libretto
1368:emotions
1275:(1795),
1271:(1795),
1267:(1795),
1261:(1794),
1257:(1794),
1251:(1793),
1245:(1793),
1189:β
1119:Sciences
1078:β
997:Ethiopia
990:Stukeley
958:Tiriel's
824:begins,
729:1720 BC.
614:painting
584:Tithonus
570:Selfhood
542:Harmonia
538:Egyptian
436:insanity
360:β
347:paradise
308:β
250:β
182:β
168:memorial
107:Synopsis
3830:Re Lear
3703:Related
3652:Sources
3627:Goneril
3509:Related
3458:Musical
3176:Urthona
3161:Thiriel
3156:Tharmas
3151:Spectre
3091:Bromion
2770:The Fly
2702:A Dream
2490:article
1588:" from
1580:" from
1576:" and "
1558:Π’ΠΈΡΠΈΡΠ»Ρ
1554:Russian
1301:Medusan
1093:adamant
722:in the
651:Puritan
643:Babylon
504:Ezekiel
486:Oedipus
465:deistic
461:Jehovah
412:mercury
408:sulphur
404:Mercury
386:Urthona
382:Tharmas
362:8:12-28
252:4:49-60
184:1:42-50
156:heavens
147:revenge
142:cursing
127:in the
97:engrave
36:Thiriel
28:(opera)
4084:Tiriel
4031:(2018)
4023:(2008)
4015:(2003)
4007:(2002)
3999:(1983)
3991:(1982)
3983:(1953)
3956:(2001)
3948:(1999)
3940:(1997)
3932:(1997)
3924:(1987)
3916:(1985)
3892:(1949)
3884:(1916)
3876:(1910)
3857:(2000)
3849:(1998)
3841:(1978)
3822:Operas
3814:(2009)
3806:(1991)
3798:(1887)
3787:Novels
3779:(1978)
3771:(1971)
3763:(1907)
3755:(1892)
3747:(1681)
3688:(1594)
3680:(1577)
3672:(1555)
3664:(1136)
3637:Edmund
3501:(1998)
3493:(1982)
3485:(1965)
3477:(1958)
3469:(1943)
3258:Newton
3171:Urizen
3166:Tiriel
3126:Leutha
3116:Grodna
3086:Beulah
3081:Albion
3076:Ahania
2988:Milton
2925:Tiriel
2810:London
2687:Spring
2497:Tiriel
2461:Tiriel
2450:Tiriel
2432:Tiriel
2420:(ed.)
2386:
2377:Tiriel
2364:
2353:Tiriel
2339:Tiriel
2307:Tiriel
2294:
2262:Tiriel
2236:
2225:
2214:
2203:
2177:Tiriel
1548:Tiriel
1516:Tiriel
1409:Tiriel
1401:Tiriel
1360:Reason
1356:Albion
1348:Milton
1340:Tiriel
1201:Tiriel
1168:Tiriel
1158:Africa
1133:Israel
1129:Nature
1117:&
1109:&
1107:Greece
1097:marble
1046:Urizen
1039:Africa
986:Tiriel
942:Tiriel
806:Tiriel
780:wisdom
776:Athena
759:, the
716:Hyksos
701:Myrina
682:Azazel
674:Saturn
639:satyrs
546:Cadmus
540:deity
449:Amelia
420:Hebrew
310:5:4-13
217:spirit
206:senile
133:slaves
121:tyrant
117:Tiriel
85:Tiriel
60:Tiriel
34:, see
26:Tiriel
4076:Other
3964:(TBA)
3865:Films
3736:Plays
3632:Regan
3527:Blake
3136:Luvah
3106:Fuzon
3096:Enion
2917:Other
2872:books
2682:Night
2343:BYNPL
2267:BYNPL
2170:Blake
1496:fable
1364:Luvah
1329:flint
1222:Satan
1066:Fuzon
1005:Egypt
678:earth
586:from
488:from
279:Orcus
275:Matha
138:blind
125:exile
101:sepia
63:is a
3838:Lear
3811:Fool
3768:Lear
3710:LlΕ·r
3325:Pity
3186:Vala
3181:Utha
3034:The
2880:The
1572:", "
1533:and
1350:and
1331:").
1305:lust
1235:and
1216:and
1115:Arts
1111:Rome
952:and
946:Thel
928:and
912:and
767:'s "
690:Whig
604:Eden
564:and
562:Adam
443:and
410:and
3913:Ran
3599:'s
3204:Art
3141:Orc
3131:Los
3121:Har
2499:",
2388:βββ
2366:βββ
2355:",
2296:βββ
2264:",
2238:βββ
2227:βββ
2216:βββ
2205:βββ
2179:",
1506:."
1473:'s
1407:, "
1362:),
1214:Los
1064:So
757:Hel
657:."
655:Sin
627:'s
590:'s
576:'s
566:Eve
526:'s
471:."
463:of
455:'s
441:law
396:'s
113:Har
91:'s
67:by
4123::
2410:.
2319:.
2276:.
2168:.
2127:^
1969:^
1867:^
1840:^
1826:^
1799:^
1778:^
1758:^
1740:^
1692:^
1631:^
1609:^
1556::
1479:.
1346:,
1203:.
727:c.
492:'
424:El
414:.
149:;
73:c.
3695:"
3691:"
3589:e
3582:t
3575:v
3045:"
3041:"
3026:"
3022:"
3019:"
3015:"
2531:e
2524:t
2517:v
1552:(
1510:(
976:(
863:)
859:(
711:.
669:.
616:.
264:(
196:(
170:.
50:(
38:.
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
