Titlebook: Blake: Songs of Innocence and Experience; David W. Lindsay Textbook 1989Latest edition Macmillan Publishers Limited 1989 design.experience

languid

Eden: ‘The Ecchoing Green’re reproduced by this process. The earliest known example is a sequence of ten minute and rather clumsy plates with the general title . (Keynes 1966, 98; Erdman 1975, 24–6). The seven ‘Principles’ which contain the main substance of this work identify the primary faculty as the ‘Poetic Genius’, affi

孤獨(dú)無助

Generation: ‘The Little Girl Lost’ and ‘The Little Girl Found’ formulated them. Such dissatisfaction expresses itself in self-parody, in the continual re-fashioning of mythical characters, in the ironic use of words previously used unironically, in sequels which reinterpret the works they continue, in the insertion of new material into completed texts, and in

PUT

set598

Scripture: ‘The Human Abstract’hich occupied him from adolescence to old age. The prose-poem entitled ‘Samson’, which appeared in ., was clearly designed as the start of a biblical epic like Gessner’s .. His Swedenborgian period fostered his interest in those books which the New Church acknowledged as ‘the Word’; and it also enco

獨(dú)特性

凝視

Introductiono be aware that this form is entirely different from that in which the work was created. The first step towards intelligent understanding is to envisage the work in its original form, which in most cases can be seen as the form in which it was most truly itself.

macabre

Camouflage

POLYP

嚙齒動(dòng)物

Transition and system of resentment, delusion, and prophetic indignation. By 1794 Blake was ready to engrave the title page for this new volume and the frontispiece and title page for its second part; and by about 1795 . was an apparently completed work, although it still lacked ‘To Tirzah’.