Uilyam Bleyk - William Blake

Uilyam Bleyk ismli boshqa odamlar uchun qarang Uilyam Bleyk (ajralish).

Uilyam Bleyk
Tomas Fillipsning portretidagi Bleyk (1807)
Portretdagi Bleyk
tomonidan Tomas Fillips (1807)
Tug'ilgan(1757-11-28)1757 yil 28-noyabr
Soho, London, Angliya
O'ldi12 avgust 1827 yil(1827-08-12) (69 yosh)
Charing xoch, London, Angliya[1]
KasbShoir, rassom, bosmaxona
JanrVizyoner, she'riyat
Adabiy harakatRomantizm
Taniqli ishlarBegunohlik va tajriba qo'shiqlari, Osmon va do'zaxning nikohi, To'rt hayvonot bog'i, Quddus, Milton, "Va qadim zamonlarda bu oyoqlarni qildilar "
Turmush o'rtog'i
​
(m. 1782)​
Imzo

Uilyam Bleyk (1757 yil 28-noyabr - 1827-yil 12-avgust) ingliz shoiri, rassomi va matbaachisi edi. Uning hayoti davomida umuman tan olinmagan Bleyk hozirgi kunda tarixning muhim figurasi hisoblanadi she'riyat va tasviriy san'ati Romantik asr. U nimani chaqirdi bashoratli asarlar 20-asr tanqidchisi tomonidan aytilgan Northrop Frye "ingliz tilidagi eng kam o'qiladigan she'rlar to'plamiga munosib bo'lgan narsani" shakllantirish.[2] Uning vizual san'ati XXI asr tanqidchisini boshqargan Jonathan Jones uni "uzoq va uzoq Britaniyada yaratgan eng buyuk rassom" deb e'lon qilish.[3] 2002 yilda Bleyk 38 raqamiga joylashtirildi BBC ning so'rovnomasi 100 eng buyuk britaniyaliklar.[4] U yashagan paytida London uning butun hayoti, o'tgan uch yil bundan mustasno Felpxem,[5] u xilma-xil va ramziy jihatdan boy ishlab chiqardi uvr, bu "Xudoning tanasi" deb tasavvurni o'z ichiga olgan[6] yoki "inson mavjudligining o'zi".[7]

Garchi Bleyk zamondoshlari tomonidan aqldan ozgan deb hisoblansa ham o'ziga xos u keyingi tanqidchilar tomonidan o'zining ekspresivligi va ijodkorligi va o'z ishidagi falsafiy va tasavvuf osti oqimlari uchun yuqori hurmatga sazovor. Uning rasmlari va she'riy asarlari romantik harakatning bir qismi va "romantikaga qadar" sifatida tavsiflangan.[8] Dushman bo'lgan sodiq nasroniy Angliya cherkovi (haqiqatan ham uyushgan dinning deyarli barcha shakllarida) Bleykning ideallari va ambitsiyalari ta'sir ko'rsatgan Frantsuzcha va Amerika inqiloblar.[9] Keyinchalik u ushbu siyosiy e'tiqodlarning ko'pini rad etgan bo'lsa-da, u siyosiy faol bilan do'stona munosabatda bo'ldi Tomas Peyn; kabi mutafakkirlarning ta'siri ham bo'lgan Emanuel Swedenborg.[10] Ushbu ma'lum ta'sirlarga qaramay, Bleyk ijodining o'ziga xosligi uni tasniflashni qiyinlashtiradi. 19-asr olimi Uilyam Maykl Rossetti uni "ulug'vor nuroniy" sifatida tavsifladi,[11] va "o'tmishdoshlar tomonidan o'rab olinmagan, zamondoshlari qatoriga kirmaydigan, taniqli yoki osongina taxmin qilinadigan vorislar bilan almashtirilmagan odam".[12]

Hayotning boshlang'ich davri

28 Broad Street (hozirgi Broadwick Street) 1912 yilgi rasmda. Bleyk shu erda tug'ilgan va 25 yoshigacha shu erda yashagan. Uy 1965 yilda buzilgan.[13]

Uilyam Bleyk 1757 yil 28-noyabrda 28-sonli Broad Street (hozirgi Broadwick St.) da tug'ilgan Soho, London. U etti bolaning uchinchisi edi,[14][15] ulardan ikkitasi go'daklikda vafot etdi. Bleykning otasi Jeyms a hosier.[15] U o'n yoshida o'qishni va yozishni o'rganish uchun maktabda juda uzoq vaqt o'qigan va boshqa yo'l bilan onasi Ketrin Bleyk tomonidan uyda o'qitilgan (nee Rayt).[16] Blaklar bo'lsa ham Ingliz dissidentlari,[17] Uilyam 11-dekabr kuni suvga cho'mdi Sent-Jeyms cherkovi, Pikadli, London.[18] Muqaddas Kitob Bleykga erta va chuqur ta'sir ko'rsatdi va butun hayoti davomida ilhom manbai bo'lib qoldi.

Bleyk rasmlarning nusxalarini gravyura qilishni boshladi Yunoncha qadimiy asarlar unga otasi tomonidan sotib olingan, bu amalda haqiqiy rasm chizishdan ustun bo'lgan. Ushbu rasmlar doirasida Bleyk o'zining klassik shakllariga ilk marotaba ijodi orqali erishdi Rafael, Mikelanjelo, Marten van Xemskerk va Albrecht Dyurer. Jeyms va Ketrin yosh Uilyamga sotib olishga qodir bo'lgan bosma nashrlar va bog'lab qo'yilgan kitoblarning soni shundan dalolat beradiki, Bleyklar hech bo'lmaganda bir muncha vaqt farovonlikdan bahramand bo'lishgan.[17] Uilyam o'n yoshida bo'lganida, ota-onasi uning qattiqqo'l temperamentini yaxshi bilar edi, chunki u maktabga yuborilmadi, aksincha Parsning rasm maktabida rasm chizish uchun o'qishga kirdi. Strand.[19] U o'zi tanlagan mavzularda jon kuydirib o'qidi. Ushbu davrda Bleyk she'riyatga izlanishlar olib bordi; uning dastlabki ishi bilimlarni namoyish etadi Ben Jonson, Edmund Spenser, va Zabur.

Basiraga shogirdlik

Yaratguvchining arxetipi - Bleyk ijodidagi tanish obraz. Mana demiurgik shakl Urizen u to'qigan dunyo oldida ibodat qiladi. The Los qo'shig'i qatorining uchinchisi yoritilgan kitoblar umumiy sifatida tanilgan Bleyk va uning rafiqasi tomonidan bo'yalgan Continental bashorati.

1772 yil 4-avgustda Bleyk shogirdlik qildi o'ymakor Jeyms Basir ning Buyuk Qirolicha ko'chasi, 52,10 funt sterling miqdorida, etti yil muddatga.[15] Muddat oxirida 21 yoshida u professional gravyurachiga aylandi. Bleykning shogirdligi davrida ikkalasi o'rtasidagi jiddiy kelishmovchiliklar yoki mojarolar haqida hech qanday ma'lumot saqlanib qolmagan, ammo Piter Akroyd biografiyasining ta'kidlashicha, keyinchalik Bleyk Basirning nomini badiiy dushmanlar ro'yxatiga qo'shgan va keyin uni kesib tashlagan.[20] Shu bilan bir qatorda, Basirening chizish uslubi o'sha paytda eskirgan uslub bilan ajralib turardi. oddiy yoki mezzotint uslublar.[21] Taxminlarga ko'ra, Bleykning ushbu eskirgan shakldagi ko'rsatmasi uning ish topishiga yoki keyingi hayotda tan olinishiga zarar etkazgan bo'lishi mumkin.[iqtibos kerak ]

Ikki yildan so'ng Basire shogirdini rasmlardan nusxa ko'chirish uchun yubordi Gotik Londondagi cherkovlar (ehtimol Bleyk va uning sherigi Jeyms Parker o'rtasidagi mojaroni hal qilish uchun). Uning tajribalari Vestminster abbatligi uning badiiy uslubi va g'oyalarini shakllantirishga yordam berdi. O'z davridagi Abbey zirh kostyumlari bilan bezatilgan, dafn marosimlari rasmlari va turli xil rangli mumsimon buyumlar bilan bezatilgan. Akroydning ta'kidlashicha, "... eng tezkor taassurot xira rang va rangda bo'lar edi".[22] Gothicni ushbu yaqindan o'rganish (u "tirik shakl" deb bilgan) uning uslubida aniq izlar qoldirgan.[23] Ko'p vaqt o'tgach, Bleyk Abbeyda rasm chizish bilan shug'ullangan, uni vaqti-vaqti bilan o'g'il bolalar to'xtatib turishgan Vestminster maktabi, Abbeyga ruxsat berilganlar. Ular uni masxara qilishdi va bir kishi uni shu qadar qiynadiki, Bleyk bolani "dahshatli zo'ravonlik bilan qulab tushganida" iskala bilan yiqitdi.[24] Bleyk dekanga shikoyat qilganidan so'ng, o'quvchilarning imtiyozi qaytarib olindi.[23] Bleyk Abbeyda vahiylarni boshdan kechirganini ta'kidladi. U Masihni ko'rdi u bilan Havoriylar va rohiblar va ruhoniylarning katta yurishi bo'lib, ularning xitoblarini eshitdilar.[23]

Qirollik akademiyasi

1779 yil 8-oktyabrda Bleyk talaba bo'ldi Qirollik akademiyasi Strand yaqinidagi Eski Somerset uyida.[25] O'qish shartlari hech qanday to'lovni talab qilmasa ham, olti yil davomida u o'z materiallarini etkazib berishi kerak edi. U erda u kabi zamonaviy rassomlarning tugallanmagan uslubi deb bilgan narsalarga qarshi chiqdi Rubens, maktabning birinchi prezidenti tomonidan qo'llab-quvvatlangan, Joshua Reynolds. Vaqt o'tishi bilan Bleyk Reynoldsning san'atga bo'lgan munosabatini, ayniqsa uning "umumiy haqiqat" va "umumiy go'zallik" ga intilishini yomon ko'rdi. Reynolds uning yozgan Ma'ruzalar "abstraktsiyalarga, umumlashtirishga va tasniflashga moyillik - bu inson ongining ulug'vorligi"; Bleyk o'zining shaxsiy nusxasiga marginaliyada "Umumlashtirish - bu ahmoq bo'lish; alohida ta'kidlash - bu xizmatni ajratish" deb javob berdi.[26] Bleyk, shuningdek, Reynoldsning ikkiyuzlamachilikning bir turi deb biladigan ochiqchasiga kamtarligini yoqtirmasdi. Reynoldsga qarshi moda yog'li rasm, Bleyk o'zining dastlabki ta'sirining klassik aniqligini afzal ko'rdi, Mikelanjelo va Rafael.

Devid Bindmanning ta'kidlashicha, Bleykning Reynoldsga qarshi qarama-qarshiliklari shunchaki prezidentning fikrlaridan kelib chiqqan (Bleyk kabi, Reynolds ham tarixiy rasm landshaft va portretdan ko'ra ko'proq qiymatga ega bo'lish), aksincha "uning ideallarini amalda qo'llamaslikdagi ikkiyuzlamachiligiga qarshi".[27] Shubhasiz, Bleyk Qirollik akademiyasida ko'rgazmaga qarshi chiqishni istamadi va 1780 va 1808 yillar oralig'ida olti marta ishlarni taqdim etdi.

Bleyk do'sti bo'ldi Jon Faxman, Tomas Stothard va Jorj Cumberland Qirollik akademiyasida birinchi yil davomida. Ular Stothard va Cumberlandning qo'shilishlari bilan radikal qarashlarni o'rtoqlashdilar Konstitutsiyaviy axborot jamiyati.[28]

Gordon tartibsizliklari

Bleykning birinchi biografi, Aleksandr Gilchrist, 1780 yil iyun oyida Bleyk Buyuk Qirolicha ko'chasidagi Basirening do'koni tomon ketayotganida, uni shiddat bilan to'plangan olomon qirib tashlaganligi haqida yozadi. Newgate qamoqxonasi.[29] Olomon belkurak va tirnoq bilan qamoqxona darvozalariga hujum qilib, binoni yoqib yubordi va mahbuslarni ichkariga qo'yib yubordi. Xabarlarga ko'ra, Bleyk hujum paytida olomonning birinchi safida bo'lgan. Rim katolikchiligiga qarshi sanktsiyalarni bekor qiladigan parlament qonun loyihasiga javoban tartibsizliklar Gordon tartibsizliklari va hukumat tomonidan juda ko'p qonunchilikni keltirib chiqardi Jorj III va birinchi politsiya kuchini yaratish.

Peri raqsi bilan Oberon, Titaniya va Puck (1786)

Nikoh va erta martaba

Bleyk uchrashdi Ketrin Boucher 1782 yilda u turmush qurish taklifini rad etish bilan yakunlangan munosabatlarni tiklaganida. U Ketrin va uning ota-onasi uchun yuragini xafa qilgani haqida hikoya qilib berdi, shundan so'ng u Ketrindan "Menga rahm qilyapsizmi?" U ijobiy javob berganida, u: "Keyin men seni yaxshi ko'raman", deb e'lon qildi. Bleyk 1782 yil 18-avgustda o'zidan besh yosh kichik bo'lgan Ketringa uylandi Sent-Meri cherkovi, Batterseya. Savodsiz Ketrin X bilan to'y shartnomasini imzoladi. To'y to'g'risidagi guvohnomaning asl nusxasini cherkovda ko'rish mumkin, u erda 1976-1982 yillarda esdalik oynalari o'rnatilgan.[30] Keyinchalik, Ketrinni o'qish va yozishni o'rgatishdan tashqari, Bleyk uni gravyurachi sifatida o'rgatdi. Uning hayoti davomida u bebaho yordamni isbotladi va uni chop etishga yordam berdi yoritilgan asarlar va ko'plab baxtsizliklar paytida uning ruhini saqlab qolish.

Bleykning birinchi she'rlar to'plami, She'riy eskizlar, 1783 yil atrofida bosilgan.[31] Otasining o'limidan so'ng, Bleyk va sobiq shogirdi Jeyms Parker 1784 yilda bosmaxona ochdi va radikal noshir bilan ish boshladi. Jozef Jonson.[32] Jonsonning uyi o'sha paytdagi inglizlarning etakchi intellektual dissidentlari: ilohiyotchi va olim uchun uchrashuv joyi bo'lgan Jozef Priestli, faylasuf Richard Prays, rassom Jon Genri Fuseli,[33] erta feministik Meri Wollstonecraft va ingliz inqilobiy Tomas Peyn. Bilan birga Uilyam Vorsvort va Uilyam Godvin, Bleyk frantsuz va amerika inqiloblaridan katta umidvor bo'lgan va a Frigiya kepkasi frantsuz inqilobchilari bilan birdamlikda, lekin ko'tarilishidan umidsiz edi Robespyer va Terror hukmronligi Fransiyada. 1784 yilda Bleyk o'zining tugallanmagan qo'lyozmasini yaratdi Oydagi orol.

Bleyk tasvirlangan Haqiqiy hayotdan asl hikoyalar (2-nashr, 1791) Meri Vullstonekraft tomonidan. Ular jinsiy tenglik va nikoh instituti to'g'risida ba'zi fikrlarni o'rtoqlashgandek tuyuladi, ammo ularning uchrashganligini isbotlovchi dalillar yo'q. 1793 yillarda Albion qizlarining qarashlari, Bleyk majburiy iffat va sevgisiz turmush qurishning shafqatsiz absurdligini qoraladi va ayollarning o'zini o'zi bajara olish huquqini himoya qildi.

1790 yildan 1800 yilgacha Uilyam Bleyk Shimolda yashagan Lambet, London, 13 Gerkules binolarida, Gerkules yo'li.[34] Mulk 1918 yilda buzib tashlangan, ammo hozirda ushbu joy plakat bilan belgilangan.[35] Yaqin atrofdagi temir yo'l tunnellarida Bleykni yodga oladigan 70 ta mozaikaning bir qatori mavjud Vaterloo stantsiyasi.[36][37][38] Mozaikalar asosan Bleykning yoritilgan kitoblaridan illyustratsiyalarni ko'paytiradi, Begunohlik va tajriba qo'shiqlari, Osmon va do'zaxning nikohi, va bashoratli kitoblar.[38]

Yengillik

1788 yilda 31 yoshda Bleyk tajriba o'tkazdi yengillik, u o'zining ko'plab kitoblari, rasmlari, risolalari va she'rlarini ishlab chiqarish uchun foydalanadigan usul. Jarayon shuningdek yoritilgan bosma, tayyor mahsulotlar esa yoritilgan kitoblar yoki bosmaxonalar deb nomlanadi. Yoritilgan bosma she'rlar matnini mis plitalarga qalam va cho'tkalar bilan, kislotaga chidamli vositadan foydalanib yozishni o'z ichiga olgan. Tasvirlar so'zlar bilan bir qatorda avvalgi uslubda paydo bo'lishi mumkin yoritilgan qo'lyozmalar. Keyin u ishlov berilmagan misni eritib, dizaynni relyefda qoldirish uchun plitalarni kislotaga solib qo'ydi (shu sababli nomi).

Bu dizayndagi chiziqlar kislota ta'sirida va plastinka bosilgan plastinkada odatdagi ishlov berish usulini qaytarishdir. intaglio usul. Rölyefni zarb qilish (Bleyk uni "stereotip "ichida Hobilning ruhi) o'zining yoritilgan kitoblarini intaglio orqali tezroq chiqarish uchun vosita sifatida ishlatilgan. Stereotip, 1725 yilda ixtiro qilingan jarayon, yog'och o'ymakorligidan metall quyma yasashdan iborat edi, ammo Bleykning innovatsiyasi, yuqorida ta'riflanganidek, juda boshqacha edi. Ushbu plitalardan bosilgan sahifalar qo'lda bo'yalgan edi akvarellar va birlashtirilib, hajm hosil qilish uchun. Bleyk taniqli asarlarining aksariyati, shu jumladan yoritilgan bosmadan foydalangan Begunohlik va tajriba qo'shiqlari, Thel Kitobi, Osmon va do'zaxning nikohi va Quddus.[39]

Gravyuralar

Evropa Afrika va Amerika tomonidan qo'llab-quvvatlanadi Uilyam Bleyk gravyurasi

Garchi Bleyk o'zining yengilligi bilan tanilgan bo'lsa-da, uning tijorat ishlari asosan iborat edi intaglio o'yma, 18-asrda rassomning tasvirini mis plastinka ichiga surib qo'ygan standart o'yma jarayoni, bu murakkab va mashaqqatli jarayon bo'lib, plitalar bir necha oy yoki yillar davomida bajarilishi kerak edi, lekin Bleykning zamondoshi sifatida, Jon Boydell Bunday gravyuralar "tijorat bilan bog'lanib bo'lmaydigan aloqani" taklif qildi va rassomlarga ommaviy auditoriya bilan bog'lanish imkonini berdi va XVIII asr oxiriga kelib juda muhim faoliyatga aylandi.[40]

Evropa Afrika va Amerika tomonidan qo'llab-quvvatlanadi Arizona universiteti san'at muzeyi kollektsiyasida saqlangan Bleykning gravyurasidir. Gravyurada Bleykning do'sti tomonidan yozilgan kitob bor edi Jon Gabriel Stedman deb nomlangan Surinamning qo'zg'olonchi negrlariga qarshi besh yillik ekspeditsiyaning hikoyasi (1796).[41] Unda uchta jozibali ayol bir-birini quchoqlashi tasvirlangan. Qora Afrika va Oq Evropa tenglik imo-ishora bilan qo'llarini ushlaydilar, chunki oyoqlari ostida qaqragan er gullaydi. Evropa marvarid ipini taqadi, uning singillari esa qul bilakuzuklarini kiyib olgan Afrika va Amerika "mamnun qullar" sifatida tasvirlangan.[42] Ba'zi olimlarning fikriga ko'ra, bilakuzuklar tarixiy haqiqatni anglatadi, shu bilan birga qo'l qisilishi - Stedmanning "qizg'in istagi": "biz faqat rangimiz bilan farq qilamiz, lekin barchasi bir qo'l tomonidan yaratilgan".[42] Boshqalar bu "rang va qullik masalalari, o'sha paytda ko'rib chiqilgan va Bleykning asarlari aks etgan fikr muhitini ifoda etadi", deyishdi.[43]

Bleyk intaglio gravyurasini o'z ishida ishlatgan, masalan Ayub kitobining rasmlari, o'limidan oldin tugatilgan. Ko'pgina tanqidiy ishlar Bleykning relyefini texnika sifatida o'yib chiqarishga qaratilgan, chunki bu uning san'atining eng yangi jihati, ammo 2009 yildagi tadqiqotlar Bleykning omon qolgan plitalariga, shu jumladan, Ish kitobi: ular "deb nomlanuvchi usuldan tez-tez foydalanganligini namoyish qilmoqdalarrepussiya ", xatolarni plastinkaning orqa tomoniga urib urish orqali ularni yo'q qilish vositasi. O'sha davrdagi o'ymakorlik ishlariga xos bo'lgan bunday usullar Bleyk uchun ishlatgan plastinkada tezroq va suyuqroq chizish usulidan juda farq qiladi. yengilligi va nima uchun gravyuralar bu qadar uzoq bajarilganligini ko'rsatadi.[44]

Keyinchalik hayot va martaba

Uydagi uy Felpxem Bleyk 1800 yildan 1803 yilgacha yashagan

Bleykning Ketrin bilan turmushi uning o'limigacha yaqin va bag'ishlangan edi. Bleyk Ketringa yozishni o'rgatdi va u unga bosma she'rlarini rang berishda yordam berdi.[45] Gilxrist nikohning dastlabki yillarida "bo'ronli vaqtlar" ni nazarda tutadi.[46] Ba'zi biograflar Bleyk a olib kelmoqchi bo'lgan deb taxmin qilishmoqda kanizak ning radikal tarmoqlari e'tiqodiga muvofiq nikoh to'shagiga Swedenborgiya jamiyati,[47] ammo boshqa olimlar bu nazariyalarni taxmin sifatida rad etishdi.[48]Semyuel Foster Deymon o'z lug'atida Ketrinning o'lik tug'ilgan qizi bo'lishi mumkinligini taxmin qiladi Thel Kitobi bu elegiya. Shunday qilib u Kitobning g'ayrioddiy tugashini ratsionalizatsiya qiladi, lekin u taxmin qilayotganini ta'kidlaydi.[49]

Felpxem

1800 yilda Bleyk kottejga ko'chib o'tdi Felpxem, Sasseksda (hozir G'arbiy Sasseks ), asarlarini tasvirlaydigan ishni bajarish Uilyam Xeyli, kichik shoir. Bleyk aynan shu kottejdan boshladi Milton (sarlavha sahifasi 1804 yilga bag'ishlangan, ammo Bleyk 1808 yilgacha u ustida ishlashni davom ettirdi). Ushbu asarning muqaddimasida she'r boshlangan "Va qadim zamonlarda bu oyoqlarni qildilar "bu madhiya uchun so'z bo'lgan"Quddus ". Vaqt o'tishi bilan Bleyk Xeylining haqiqiy san'atkorlikka qiziqmasligi va" tijoratning ashaddiyligi "(E724) bilan mashg'ul ekanligiga ishonib, yangi homiysidan norozi bo'lishni boshladi. Milton: she'r, unda Bleyk "Jismoniy do'stlar - ruhiy dushmanlar" deb yozgan. (4:26, E98)

"Skofeld" ichkariga "soxta mo''jizalar" kiygan Quddus Plitalar 51

Bleykning hokimiyat bilan bog'liq muammolari 1803 yil avgustda, askar Jon Shofild bilan jismoniy janjallashishda qatnashganida paydo bo'ldi.[50] Bleykga nafaqat tajovuzda, balki qirolga qarshi fitna va xiyonatkor so'zlarni aytishda ayblangan. Shofildning ta'kidlashicha, Bleyk "Qirolga la'nat. Askarlar hammasi qullar" deb hayqirgan.[51] Bleyk tozalangan Chichester assize ayblovlar. Sasseks okrugida chop etilgan xabarga ko'ra, "u [dalillarning] xarakterini ixtiro qilgani ... shunchalik ravshan ediki, oqlanish natijasiga olib keldi".[52] Keyinchalik Shofild illyustratsiyasida "aql-idrok soxta mo''jizalar" kiygan holda tasvirlangan Quddus.[53]

Londonga qaytish

Bleykning 1804 yildagi eskizlari Jon Faxman

Bleyk 1804 yilda Londonga qaytib keldi va yozishni va tasvirlashni boshladi Quddus (1804-20), uning eng ambitsiyali asari. Belgilarni tasvirlash g'oyasini o'ylab topgan Chaucer "s Canterbury ertaklari, Bleyk dileriga yaqinlashdi Robert Kromek, gravyurani marketing maqsadida. Bleyk mashhur asarni yaratish uchun juda ekssentrik bo'lganligini bilib, Kromek darhol Bleykning do'sti Tomas Stotardga ushbu kontseptsiyani amalga oshirishni buyurdi. Bleyk uning aldanganini bilgach, Stothard bilan aloqani uzdi. U akasining ko'rgazmasida mustaqil ko'rgazma tashkil etdi galantereya dagi Broad Street 27 dagi do'kon Soho. Ko'rgazma Kanterberi illyustratsiyasining o'z versiyasini (shu nom bilan) sotish uchun ishlab chiqilgan Canterbury ziyoratchilari), boshqa asarlar bilan bir qatorda. Natijada, u o'zining yozgan Ta'riflovchi katalog (1809), unda nima bor Entoni Blunt Chaucerning "yorqin tahlili" deb nomlanadi va muntazam ravishda Chauser tanqidining klassikasi sifatida antologiyaga uchraydi.[54] Shuningdek, uning boshqa rasmlari haqida batafsil tushuntirishlar mavjud edi. Ko'rgazma juda kam ishtirok etdi, u erda birorta ham tempera yoki akvarel sotilmadi. Uning yagona sharhi, yilda Tekshiruvchi, dushmanlik qildi.[55]

Bleykniki Buyuk Qizil Ajdaho va Quyosh bilan kiyingan ayol (1805) hisoblanadi bir qator illyustratsiyalardan biri ning Vahiy 12.

Shuningdek, shu vaqt ichida (taxminan 1808 y.) Bleyk san'at haqidagi o'z fikrlarini kuchli polemik izohlarda kuchli ifoda etdi. Ma'ruzalar ning Ser Joshua Reynolds, qoralash Qirollik akademiyasi firibgarlik sifatida va "Umumlashtirish - bu ahmoq bo'lishdir" deb e'lon qilish.[56]

1818 yilda uni Jorj Kamberlendning o'g'li ismli yosh rassom bilan tanishtirdi Jon Linnell.[57] A ko'k blyashka Bleyk va Linnellni Xempsteddagi Shimoliy Enddagi Old Uldesda eslaydi.[58] Linnell orqali u uchrashdi Samuel Palmer, o'zlarini "deb atagan rassomlar guruhiga mansub Shoreham qadimgi. Guruh Bleykning zamonaviy tendentsiyalarni rad etishi va ma'naviy va badiiy Yangi asrga bo'lgan ishonchi bilan o'rtoqlashdi. 65 yoshida Bleyk ishni boshladi rasmlar uchun Ish kitobi, keyinchalik hayratga tushdi Ruskin, Bleykni yaxshi bilan taqqoslagan Rembrandt va tomonidan Vaughan Uilyams, uning baletiga asos solgan Ish: Raqslar uchun maska rasmlarni tanlash bo'yicha.

Keyingi hayotda Bleyk o'zining ko'plab asarlarini, xususan Muqaddas Kitobdagi rasmlarini sotishni boshladi Tomas Bots, Bleykni ishi badiiy xizmatga ega bo'lgan odamga qaraganda ko'proq do'st sifatida ko'rgan homiysi; bu Bleykning butun hayoti davomida fikrlariga xos bo'lgan.

Dantening Ilohiy komediya

Uilyam Bleykning obrazi Minotavr tasvirlash Inferno, Canto XII, 12-28, Minotaur XII
"Uilyam Bleyk rahbari" Jeyms De Vill. 1823 yil sentyabr oyida gips quyish paytida olingan hayot maskasi, Fitsvilliam muzeyi.

Uchun komissiya Dante "s Ilohiy komediya Bleykga 1826 yilda Linnell orqali bir qator gravyuralarni yaratish maqsadida kelgan. 1827 yilda Bleykning o'limi korxonani qisqartirgan va faqat bir nechta akvarel tugallangan, faqat etti gravyurasi tasdiqlangan shaklga kelgan. Shunga qaramay, ular maqtovga sazovor bo'lishdi:

Dante akvarellari Bleykning eng boy yutuqlaridan biri bo'lib, ushbu murakkablikdagi she'rni tasvirlash muammosiga to'liq qo'shilib ketgan. Akvarel mahorati avvalgidan ham yuqori darajaga ko'tarildi va she'rda mavjud bo'lgan uchta holat atmosferasini farqlashda favqulodda ta'sir ko'rsatishda ishlatilgan.[59]
Bleykniki Sevishganlar girdobi Canto V-da jahannamni tasvirlaydi Dante "s Inferno

Bleyk she'rdagi illyustratsiyalar shunchaki hamrohlik qiladigan asarlar emas, aksincha, matnning ba'zi ma'naviy yoki axloqiy jihatlarini tanqidiy qayta ko'rib chiqadigan yoki sharhlar beradigan ko'rinadi.

Loyiha hech qachon tugamaganligi sababli, Bleykning niyati yashiringan bo'lishi mumkin. Ba'zi ko'rsatkichlar Bleykning illyustratsiyasi ularning hammasi qo'shib berilgan matnga mos kelishi haqidagi taassurotni kuchaytiradi: Gomer Qilich va uning sahobalarini ko'tarish, Bleyk, "Dantes komediyasidagi hamma narsa shuni ko'rsatadiki, u zolim maqsadlar uchun u bu dunyoni Muqaddas Ruhga emas, balki Barchaning va ma'buda tabiatning asosiga aylantirgan." Bleyk Dantening she'riy asarlariga qoyil qolishidan norozi bo'lib tuyuladi qadimgi Yunoniston Va Dante jahannamda jazolarni tayinlaydigan ravshan shodlikdan (bu shafqatsiz hazil tomonidan tasdiqlangan kantoslar ).

Shu bilan birga, Bleyk Dantening materializmga bo'lgan ishonchsizligi va hokimiyatning buzuq tabiati bilan o'rtoqlashdi va Dante ijodi muhiti va obrazlarini tasviriy tarzda namoyish etish imkoniyatidan aniq foydalangan. U o'limga yaqinlashganday tuyulgan bo'lsa ham, Bleykning markaziy mashg'uloti uning Dantening rasmlarini qizg'in ishlashi edi. Inferno; u oxirgisidan birini o'tkazgani aytiladi shiling u chizishni davom ettirish uchun qalamga egalik qildi.[60]

O'lim

Tosh toshi Bunxill maydonlari, London, 1927 yilda Bleyk qabri ustiga qurilgan va 1964–65 yillarda hozirgi joyiga ko'chib o'tgan
Kitob toshi Bleyk qabrida, 2018 yilda ochilgan

Bleykning so'nggi yillari Fontanlar sudida o'tkazilgan Strand (mulk 1880-yillarda buzilgan, qachonki Savoy mehmonxonasi qurilgan).[1] O'lgan kuni (1827 yil 12-avgust) Bleyk o'zining Dante seriyasida tinimsiz ishladi. Oxir-oqibat, xabar berilishicha, u ishni to'xtatib, yotog'ining yonida ko'z yoshlari bilan o'tirgan xotiniga murojaat qildi. Uni ko'rib, Bleyk yig'lab yuborgan deyishadi: "Keytda turing! O'zingiz kabi saqlang - men sizning portretingizni chizaman - chunki siz men uchun farishta bo'lgansiz". Ushbu portretni tugatgandan so'ng (hozir yo'qolgan), Bleyk asboblarini qo'ydi va madhiyalar va baytlarni kuylashni boshladi.[61] O'sha kuni kechqurun soat oltida, xotiniga har doim yonida bo'lishini va'da qilgandan so'ng, Bleyk vafot etdi. Gilchristning xabar berishicha, uyda yashash muddati tugashi bilan birga bo'lgan ayol: "Men odam emas, balki muborak farishtaning o'limida edim", dedi.[62]

Jorj Richmond maktubida Bleykning o'limi haqida quyidagi ma'lumotlarni keltiradi Samuel Palmer:

U vafot etdi ... eng ulug'vor tarzda. U borishini aytdi o'sha mamlakat u butun hayoti davomida o'zini baxtli ko'rishni xohlagan va ifoda etgan Najot orqali Iso Masih - O'limidan oldin uning yuzi adolatli bo'ldi. Ko'zlari Yorqinlashdi va u osmonda ko'rgan narsalarini kuylay boshladi.[63]

Ketrin Bleykning dafn marosimini Linnell tomonidan unga qarz bergan pul bilan to'lagan. Bleykning jasadi vafotidan besh kun o'tgach - to'yining 45 yilligi arafasida - boshqalar bilan baham ko'rilgan uchastkada ko'milgan Dissenter dafn etilgan joy Bunxill maydonlari, bugungi kunda Londonning Islington tumani.[64][38] Ota-onasining jasadlari o'sha qabristonga ko'milgan. Tantanalarda Ketrin qatnashdi, Edvard Kalvert, Jorj Richmond, Frederik Tetam va Jon Linnell. Bleykning o'limidan so'ng, Ketrin Tetamning uyiga uy bekasi sifatida ko'chib o'tdi. U Bleykning ruhi tomonidan muntazam ravishda tashrif buyurganiga ishongan. U o'zining yoritilgan asarlari va rasmlarini sotishda davom etdi, lekin birinchi "janob Bleyk bilan maslahatlashmasdan" hech qanday savdo operatsiyasini o'tkazmadi.[65] O'lim kuni, 1831 yil oktyabrda, u eri singari xotirjam va quvnoq bo'lib, uni "go'yo u faqat xonada bo'lgani kabi, uning oldiga kelayotganini aytish uchun chaqirdi va bunday bo'lmaydi uzoq endi ".[66]

Uning o'limida ko'p yillik tanishi Frederik Tetam Bleykning asarlarini egallab oldi va ularni sotishda davom etdi. Keyinchalik Tetham fundamentalistga qo'shildi Irvingit cherkov va o'sha cherkovning konservativ a'zolari ta'siri ostida u bid'at deb bilgan qo'lyozmalarni yoqib yuborgan.[67] Yo'q qilingan qo'lyozmalarning aniq soni noma'lum, ammo o'limidan sal oldin Bleyk do'stiga "yigirma fojia yozgan ekan" Makbet ", ulardan hech biri omon qolmaydi.[68] Boshqa bir tanishim Uilyam Maykl Rossetti ham Bleykning sifatini kam deb hisoblagan asarlarini yoqdi,[69] va Jon Linnel Bleykning bir qator rasmlaridan jinsiy tasvirlarni o'chirib tashlagan.[70] Shu bilan birga, nashr uchun mo'ljallanmagan ba'zi asarlarni do'stlar saqlab qolishdi, masalan uning daftarchasi va Oydagi orol.

Bleyk qabri ikki tosh bilan yodlangan. Birinchisi, "Yaqinda shoir-rassom Uilyam Bleyk 1757-1827 va uning rafiqasi Ketrin Sofiya 1762-1831" ning qoldiqlari "deb yozilgan edi. Yodgorlik toshi qabrdan taxminan 20 metr (66 fut) uzoqlikda joylashgan bo'lib, u 2018 yil 12 avgustgacha belgilanmagan.[38] 1965 yildan beri yillar davomida Uilyam Bleyk qabrining aniq joyi yo'qolgan va unutilgan. Hudud zarar ko'rgan Ikkinchi jahon urushi; qabr toshlari olib tashlandi va bog 'yaratildi. Dafn etilgan joylar "yaqin" ekanligidan dalolat beruvchi yodgorlik toshi a II sinf ro'yxati tuzilishi 2011 yilda.[71][72] Portugaliyalik er-xotin Kerol va Luis Garrido 14 yillik tergov ishlaridan so'ng aniq ko'milgan joyni qayta kashf etdilar va Bleyk Jamiyati doimiy yodgorlik plitasini tashkil qildi, u 2018 yil 12-avgustda ushbu joyda ommaviy marosimda ochildi.[38][72][73][74] Yangi toshda uning she'ridan bir oyat ustida "Bu erda Uilyam Bleyk 1757–1827 yillarda shoir rassomi payg'ambar yotgan" deb yozilgan. Quddus.

The Diniy san'at uchun Bleyk mukofoti 1949 yilda Avstraliyada uning sharafiga qurilgan. 1957 yilda Bleyk va uning rafiqasi uchun yodgorlik Vestminster abbatligida barpo etilgan.[75] Yana bir yodgorlik yotadi Sent-Jeyms cherkovi, Pikadli, u erda suvga cho'mgan.

Uilyam Bleyk uchun yodgorlik Sent-Jeyms cherkovi, Pikadli

Bleyk vafot etganida, u 30 dan kam nusxasini sotgan edi Begunohlik va tajriba qo'shiqlari.[76]

Siyosat

Bleyk biron bir siyosiy partiyada faol bo'lmagan. Uning she'riyatida Devid Erdmanning katta tadqiqotida qayd etilganidek, sinfiy hokimiyatni suiiste'mol qilishga qarshi isyon munosabati doimiy ravishda aks etgan. Bleyk: Payg'ambar imperiyaga qarshi: Shoirning o'z davri tarixini talqini. Bleyk bema'ni urushlar va uning yomon ta'siridan xavotirda edi Sanoat inqilobi. Uning she'riyatining aksariyati frantsuz va amerika inqiloblari ta'sirini ramziy allegoriyada bayon etadi. Erdmanning ta'kidlashicha, Bleyk ulardan monarxiyani shunchaki mas'uliyatsiz merkantilizm bilan almashtirganiga ishongan holda ko'ngli qolgan va Bleyk qullikka chuqur qarshi bo'lganligini ta'kidlagan va uning ba'zi she'rlari asosan chempion sifatida o'qilganiga ishongan "ozod sevgi "ularning qullikka qarshi ta'siri qisqa vaqt ichida o'zgartirildi.[77] Yaqinda o'tkazilgan tadqiqot, Uilyam Bleyk: Vizyoner anarxist Bleyk va uning zamondoshi deb tasniflangan Piter Marshal (1988) tomonidan Uilyam Godvin kabi zamonaviy anarxizmning kashshoflari.[78] Inglizlar Marksistik tarixchi E. P. Tompson oxirgi tugagan ish, Hayvonga qarshi guvohlik: Uilyam Bleyk va axloq qonuni (1993) da'volari, uning qanchalik ilhomlanganligini ko'rsatmoqda dissident diniy g'oyalar davrida monarxiyaning eng radikal muxoliflari fikrlashiga asoslangan Ingliz fuqarolar urushi.

Uning qarashlarini rivojlantirish

Xudo ettinchi kunni barakalaydi, 1805 akvarel

Bleykning keyingi she'riyatida murakkab ramziy ma'noga ega bo'lgan xususiy mifologiya bo'lganligi sababli, uning kech asarlari, avvalgi kitobga qaraganda ancha kam nashr etilgan. The Amp Bleyk antologiyasi tomonidan tahrirlangan Patti Smit kabi ko'plab tanqidiy tadqiqotlar singari, avvalgi ishlarga katta e'tibor beradi Uilyam Bleyk D. G. Gillxem tomonidan.

Oldingi asar, asosan, isyonkor xarakterga ega va bu ayniqsa dogmatik dinga qarshi norozilik sifatida qaralishi mumkin Osmon va do'zaxning nikohi, unda "Iblis" tomonidan tasvirlangan raqam, deyarli avtoritar xudoga qarshi bosh ko'targan qahramon. Kabi keyingi ishlarda Milton va Quddus, Bleyk o'zini fidoyilik va kechirim bilan qutqarilgan insoniyatning o'ziga xos qarashlarini ochib beradi, shu bilan birga an'anaviy dinning qattiq va xiralashgan avtoritarizmiga nisbatan avvalgi salbiy munosabatini saqlab qoladi. Bleykning barcha o'quvchilari Bleykning avvalgi va keyingi asarlari o'rtasida uzluksizlik mavjudligiga rozi emaslar.

Psixoanalist Iyun Singerning yozishicha, Bleykning kechikkan asarlarida avvalgi asarlarida birinchi bo'lib kiritilgan g'oyalar rivojlangan, ya'ni inson tanasi va ruhining yaxlitligiga erishish gumanitar maqsadi. Uning Bleyk tadqiqotining kengaytirilgan nashrining yakuniy qismi Muqaddas Kitob keyingi asarlarda va'da qilingan "Jahannam Injili" deb taxmin qilish mumkin Osmon va do'zaxning nikohi. Bleykning so'nggi she'ri haqida, Quddus, u shunday deb yozadi: "Insonda ilohiy va'da Osmon va do'zaxning nikohinihoyat bajarildi. "[79]

Jon Midlton Merri o'rtasidagi uzilishlarni qayd etadi Nikoh va keyinchalik ishlagan, bunda ilk Bleyk "Energiya va aql o'rtasidagi keskin salbiy qarshilikka" e'tibor qaratgan bo'lsa, keyinchalik Bleyk fidoyilik va kechirimlilik tushunchalarini ichki yaxlitlikka olib boradigan yo'l sifatida ta'kidladi. Ning keskin dualizmidan voz kechish Osmon va do'zaxning nikohi xususan xarakterini insonparvarlashtirish orqali dalolat beradi Urizen keyingi asarlarda. Murri keyingi Bleykni "o'zaro tushunish" va "o'zaro kechirish" ni topganligi bilan tavsiflaydi.[80]

Diniy qarashlar

Bleykniki Qadimgi kunlar, 1794. "Qadimgi kunlar "ning 7-bobida tasvirlangan Doniyor kitobi. Ushbu rasmda hozirda Britaniya muzeyida saqlanayotgan rasmning D nusxasi tasvirlangan.[81]

Garchi Bleykning an'anaviy dinga qarshi hujumlari o'z davrida dahshatli bo'lgan bo'lsa-da, uning dindorlikni rad etishi dinni rad etish emas edi o'z-o'zidan. Uning pravoslavga munosabati yaqqol ko'rinib turibdi Osmon va do'zaxning nikohi. U erda Bleyk bir nechtasini sanab o'tadi Jahannamning maqollari, ular orasida quyidagilar mavjud:

  • Qamoqxonalar qonun toshlari bilan, fohishaxonalar din g'ishtlari bilan qurilgan.
  • Catterpillar sifatida [sic ] tuxum qo'yishi uchun eng chiroyli barglarni tanlaydi, shuning uchun ruhoniy eng adolatli quvonchga la'natlaydi. (8.21, 9.55, E36)

Yilda Abadiy Xushxabar, Bleyk Isoni faylasuf yoki an'anaviy masihiy shaxs sifatida emas, balki dogma, mantiq va hatto axloqdan ustun bo'lgan nihoyatda ijodiy mavjudot sifatida taqdim etadi:

Agar u Dajjolni sudralib yurgan Iso bo'lsa,
U bizni xursand qilish uchun hamma narsani qilgan bo'lar edi:
Sinagogalarga yashirincha kirib bordi
Biz itlarga o'xshagan oqsoqollar va ruhoniylarga emas,
Ammo Qo'zi yoki eshak kabi kamtar,
O'ziga bo'ysundi Kayafalar.
Xudo insonni o'zini kamtar tutishini istamaydi (55–61, E519–20)

Bleyk uchun Iso ilohiylik va insoniyat o'rtasidagi hayotiy munosabatlar va birlikni ramziy ma'noda anglatadi: "Hammasi dastlab bitta tilga va bitta dinga ega edi: bu Iso dini, abadiy Xushxabar edi. Antik davr Iso Xushxabarini targ'ib qiladi". (Ta'riflovchi katalog, Plitalar 39, E543)

Bleyk mo'ljallangan o'zining mifologiyasi, bu asosan uning tarkibida ko'rinadi bashoratli kitoblar. Bular ichida u "Urizen", "Enitharmon", "Bromion" va "Luvah" kabi bir qator obrazlarni tasvirlaydi. Uning mifologiyasi Muqaddas Kitobda ham, yunon va nors mifologiyasida ham asos bor ko'rinadi.[82][83] va bu uning abadiy Xushxabar haqidagi g'oyalariga hamroh bo'ladi.

"Men tizimni yaratishim kerak, yoki boshqa birovning ta'siriga tushishim kerak. Men sabab va taqqoslamayman; mening biznesim yaratishdir."

Bleykda Los tomonidan aytilgan so'zlar Quddus Gigant Albionning chiqishi.

Bleykning pravoslav nasroniylikka qarshi eng kuchli e'tirozlaridan biri shundaki, u bu tabiiy istaklarni bostirishga undaydi va er yuzidagi quvonchni susaytirdi. Yilda Oxirgi hukmning ko'rinishi, Bleyk shunday deydi:

Erkaklar osmonga o'zlarining ehtiroslarini jilovlaganliklari va boshqarganliklari yoki ehtiroslari yo'qligi uchun emas, balki o'zlarining tushunchalarini rivojlantirganliklari uchun kiradilar. Osmon xazinalari bu ehtirosning inkorlari emas, balki barcha ehtiroslar o'zlarining abadiy shon-sharafida paydo bo'lmagan aqlning haqiqatlari. (E564)

Enitharmon quvonch kechasi, 1795; Bleykning ko'rish qobiliyati Hecate, Qora sehrning yunon xudosi va jinoyatchilar dunyosi

Uning din haqidagi so'zlari Osmon va do'zaxning nikohi:

Barcha Muqaddas Kitoblar yoki muqaddas kodlar quyidagi Xatolarga sabab bo'lgan.
1. Insonning ikkita haqiqiy printsipi bor: Viziya va qalb.
2. Yomonlik deb ataladigan Energiya tanadan yolg'iz va Yaxshi deb nomlangan Aql Ruhdan yolg'iz.
3. Xudo insoniyatni Uning energiyasiga ergashgani uchun abadiy azoblashi.
Ammo bularning quyidagi qarama-qarshiliklari haqiqatdir
1. Inson o'z Ruhidan farq qiladigan tanaga ega emas, chunki bu chaqirilgan jasad - bu beshinchi hislar bilan ajralib turadigan Ruhning bir qismi, bu hozirgi zamondagi ruhning asosiy kirish joylari.
2. Energiya - bu yagona hayot va tanadan, aql esa energiyaning bog'langan yoki tashqi doirasidir.
3. Energiya abadiy zavqdir. (Plitalar 4, E34)

Tanasi Hobil Odam Ato va Momo Havo tomonidan topilgan, v. 1825. Yog'ochdagi akvarel.

Bleyk ruhdan farq qiladigan tana tushunchasiga bo'ysunmaydi, bu ruhning hukmronligiga bo'ysunishi kerak, lekin tanani hislarning "farqlashi" dan kelib chiqqan holda ruhning kengayishi deb biladi. Shunday qilib, tanaviy da'vatlarni inkor etishga qaratilgan pravoslavlik tanasi va ruhi o'rtasidagi munosabatni noto'g'ri tushunishdan kelib chiqqan dualistik xato. Boshqa joyda u Shaytonni "xato holati" va najoddan tashqari narsa deb ta'riflaydi.[84]

Bleyk qarshi chiqdi sofistika ning diniy og'riqni oqlaydi, yovuzlikni tan oladi va adolatsizlik uchun kechirim so'raydi. U o'zini rad qilishni jirkanch qildi,[85] u buni diniy repressiya bilan, xususan jinsiy repressiya:[86]

Ehtiyotkorlik Imkoniyat yo'qligi bilan davolangan boy badavlat keksa xizmatkor.
Kim xohlasa, lekin harakat qilsa, u tug'ilmaydi yuqumli kasallik. (7.4-5, E35)

U "gunoh" tushunchasini odamlarning xohish-istaklarini bog'laydigan tuzoq deb bilgan (briarlarning Sevgi bog'i) va tashqaridan kiritilgan axloq kodeksiga bo'ysunishni cheklash hayot ruhiga zid deb hisoblagan:

Tozalik hamma joyga qum sepadi
Qizil oyoq-qo'llar va olovli sochlar
Ammo Desire minnatdor
U erda mevalar va go'zallik o'simliklari. (E474)

U bilan ushlamadi ta'limot Xudoning Xudo sifatida, insoniyatdan ajratilgan va undan ustun bo'lgan mavjudot;[87] bu uning Iso Masih haqidagi so'zlarida aniq ko'rinib turibdi: "U yagona Xudo ... va men ham, siz ham shundaysiz". In-da aytilgan ibora Osmon va do'zaxning nikohi bu "barcha xudolar insonning ko'kragida joylashganligini erkaklar unutishgan".

Ma'rifatparvarlik falsafasi

Bleyk bilan juda murakkab munosabatlar mavjud edi Ma'rifat falsafa. Uning inson hayotining eng muhim elementi sifatida tasavvurni qo'llab-quvvatlashi ma'rifatparvarlik g'oyalariga zid edi ratsionalizm va empiriklik.[88] O'zining ko'rgazmali diniy e'tiqodlari tufayli u unga qarshi chiqdi Nyuton koinotning ko'rinishi. Ushbu fikr Bleykdan olingan parchada aks ettirilgan Quddus:

Bleykniki Nyuton (1795) ning "yagona qarash" ga qarshi ekanligini namoyish etadi ilmiy materializm: Nyuton ko'zini kompasga tikadi (eslab Maqollar 8:27,[89] uchun muhim parcha Milton )[90] o'z boshidan chiqqanday tuyulgan varaqqa yozish.[91]

Men ko'zlarimni Evropaning maktablari va universitetlariga qarataman
Mana, Voki dahshatli bo'lgan Locke Loom
Nyutonning suv g'ildiraklari bilan yuvilgan. matoni qoraytiring
Og'ir gulchambarlarda har bir millat ustiga burmalar; shafqatsiz Ishlar
Ko'p g'ildiraklardan men g'ildiraksiz g'ildirakni, tirnoqli tirnoqlarni ko'rib chiqaman
Moving by compulsion each other: not as those in Eden: which
Wheel within Wheel in freedom revolve in harmony & peace. (15.14–20, E159)

Blake believed the paintings of Ser Joshua Reynolds, which depict the naturalistic fall of light upon objects, were products entirely of the "vegetative eye", and he saw Locke and Newton as "the true progenitors of Sir Joshua Reynolds' aesthetic".[92] The popular taste in the England of that time for such paintings was satisfied with mezzotints, prints produced by a process that created an image from thousands of tiny dots upon the page. Blake saw an analogy between this and Newton's particle theory of light.[93] Accordingly, Blake never used the technique, opting rather to develop a method of engraving purely in fluid line, insisting that:

a Line or Lineament is not formed by Chance a Line is a Line in its Minutest Subdivision[s] Strait or Crooked It is Itself & Not Intermeasurable with or by any Thing Else Such is Job. (E784)

It has been supposed that, despite his opposition to Enlightenment principles, Blake arrived at a linear aesthetic that was in many ways more similar to the Neoklassik engravings of John Flaxman than to the works of the Romantics, with whom he is often classified.[94] However, Blake's relationship with Flaxman seems to have grown more distant after Blake's return from Felpham, and there are surviving letters between Flaxman and Hayley wherein Flaxman speaks ill of Blake's theories of art.[95] Blake further criticized Flaxman's styles and theories of art in his responses to criticism made against his print of Chaucer's Caunterbury Pilgrims in 1810.[96]

Jinsiy hayot

Bleykniki Lut va uning qizlari, Xantington kutubxonasi, v. 1800

19th-century "free love" movement

Since his death, William Blake has been claimed by those of various movements who apply his complex and often elusive use of symbolism and allegory to the issues that concern them.[97] In particular, Blake is sometimes considered (along with Meri Wollstonecraft va uning eri Uilyam Godvin ) a forerunner of the 19th-century "ozod sevgi " movement, a broad reform tradition starting in the 1820s that held that marriage is slavery, and advocated the removal of all state restrictions on sexual activity such as homosexuality, prostitution, and adultery, culminating in the birth control movement of the early 20th century. Blake scholarship was more focused on this theme in the earlier 20th century than today, although it is still mentioned notably by the Blake scholar Magnus Ankarsjö who moderately challenges this interpretation. The 19th-century "free love" movement was not particularly focused on the idea of multiple partners, but did agree with Wollstonecraft that state-sanctioned marriage was "legal prostitution" and monopolistic in character. It has somewhat more in common with early feminist movements[98] (particularly with regard to the writings of Mary Wollstonecraft, whom Blake admired).

Blake was critical of the marriage laws of his day, and generally railed against traditional Christian notions of chastity as a virtue.[99] At a time of tremendous strain in his marriage, in part due to Catherine's apparent inability to bear children, he directly advocated bringing a second wife into the house.[100] His poetry suggests that external demands for marital fidelity reduce love to mere duty rather than authentic affection, and decries jealousy and egotism as a motive for marriage laws. Poems such as "Why should I be bound to thee, O my lovely Myrtle-tree?" and "Earth's Answer" seem to advocate multiple sexual partners. Uning she'rida "London " he speaks of "the Marriage-Hearse" plagued by "the youthful Harlot's curse", the result alternately of false Prudence and/or Harlotry. Albion qizlarining qarashlari is widely (though not universally) read as a tribute to free love since the relationship between Bromion and Oothoon is held together only by laws and not by love. For Blake, law and love are opposed, and he castigates the "frozen marriage-bed". Yilda Vizyonlar, Blake writes:

Till she who burns with youth, and knows no fixed lot, is bound
In spells of law to one she loathes? and must she drag the chain
Of life in weary lust? (5.21-3, E49)

In the 19th century, poet and free love advocate Algernon Charlz Svinburn wrote a book on Blake drawing attention to the above motifs in which Blake praises "sacred natural love" that is not bound by another's possessive jealousy, the latter characterised by Blake as a "creeping skeleton".[101] Swinburne notes how Blake's Osmon va do'zaxning nikohi condemns the hypocrisy of the "pale religious letchery" of advocates of traditional norms.[102] Another 19th-century free love advocate, Edvard Karpenter (1844–1929), was influenced by Blake's mystical emphasis on energy free from external restrictions.[103]

In the early 20th century, Pierre Berger described how Blake's views echo Mary Wollstonecraft's celebration of joyful authentic love rather than love born of duty,[104] the former being the true measure of purity.[105] Irene Langridge notes that "in Blake's mysterious and unorthodox creed the doctrine of free love was something Blake wanted for the edification of 'the soul'."[106] Michael Davis's 1977 book William Blake a New Kind of Man suggests that Blake thought jealousy separates man from the divine unity, condemning him to a frozen death.[107]

As a theological writer, Blake has a sense of human "fallenness ". S. Foster Damon noted that for Blake the major impediments to a free love society were corrupt human nature, not merely the intolerance of society and the jealousy of men, but the inauthentic hypocritical nature of human communication.[108] Thomas Wright's 1928 book Uilyam Bleykning hayoti (entirely devoted to Blake's doctrine of free love) notes that Blake thinks marriage should in practice afford the joy of love, but notes that in reality it often does not,[109] as a couple's knowledge of being chained often diminishes their joy. Pierre Berger also analyses Blake's early mythological poems such as Ahaniya as declaring marriage laws to be a consequence of the fallenness of humanity, as these are born from pride and jealousy.[110]

Some scholars have noted that Blake's views on "free love" are both qualified and may have undergone shifts and modifications in his late years. Some poems from this period warn of dangers of predatory sexuality such as Kasal atirgul. Magnus Ankarsjö notes that while the hero of Albion qizlarining qarashlari is a strong advocate of free love, by the end of the poem she has become more circumspect as her awareness of the dark side of sexuality has grown, crying "Can this be love which drinks another as a sponge drinks water?"[111] Ankarsjö also notes that a major inspiration to Blake, Mary Wollstonecraft, similarly developed more circumspect views of sexual freedom late in life. In light of Blake's aforementioned sense of human 'fallenness' Ankarsjö thinks Blake does emas fully approve of sensual indulgence merely in defiance of law as exemplified by the female character of Leutha,[112] since in the fallen world of experience all love is enchained.[113] Ankarsjö records Blake as having supported a commune with some sharing of partners, though David Worrall read Thel Kitobi as a rejection of the proposal to take concubines espoused by some members of the Swedenborgian church.[114]

Blake's later writings show a renewed interest in Christianity, and although he radically reinterprets Christian morality in a way that embraces sensual pleasure, there is little of the emphasis on sexual libertarianism found in several of his early poems, and there is advocacy of "self-denial", though such abnegation must be inspired by love rather than through authoritarian compulsion.[115] Berger (more so than Swinburne) is especially sensitive to a shift in sensibility between the early Blake and the later Blake. Berger believes the young Blake placed too much emphasis on following impulses,[116] and that the older Blake had a better formed ideal of a true love that sacrifices self. Some celebration of mystical sensuality remains in the late poems (most notably in Blake's denial of the virginity of Jesus's mother). However, the late poems also place a greater emphasis on forgiveness, redemption, and emotional authenticity as a foundation for relationships.

Baholash

Creative mindset

Northrop Frye, commenting on Blake's consistency in strongly held views, notes Blake "himself says that his notes on [Joshua] Reynolds, written at fifty, are 'exactly Similar' to those on Locke and Bacon, written when he was 'very Young'. Even phrases and lines of verse will reappear as much as forty years later. Consistency in maintaining what he believed to be true was itself one of his leading principles ... Consistency, then, foolish or otherwise, is one of Blake's chief preoccupations, just as 'self-contradiction' is always one of his most contemptuous comments".[117]

Blake's "A Negro Hung Alive by the Ribs to a Gallows", an illustration to J. G. Stedman's Surinamning qo'zg'olonchi negrlariga qarshi Besh yillik ekspeditsiyaning hikoyasi (1796)

Blake abhorred slavery[118] and believed in racial and sexual equality. Several of his poems and paintings express a notion of universal humanity: "As all men are alike (tho' infinitely various)". In one poem, narrated by a black child, white and black bodies alike are described as shaded groves or clouds, which exist only until one learns "to bear the beams of love":

When I from black and he from white cloud free,
And round the tent of God like lambs we joy:
Ill shade him from the heat till he can bear,
To lean in joy upon our fathers knee.
And then I'll stand and stroke his silver hair,
And be like him and he will then love me. (23-8, E9)

Blake retained an active interest in social and political events throughout his life, and social and political statements are often present in his mystical symbolism. His views on what he saw as oppression and restriction of rightful freedom extended to the Church. His spiritual beliefs are evident in Tajriba qo'shiqlari (1794), in which he distinguishes between the Old Testament God, whose restrictions he rejected, and the New Testament God whom he saw as a positive influence.

Vizyonlar

From a young age, William Blake claimed to have seen visions. The first may have occurred as early as the age of four when, according to one anecdote, the young artist "saw God" when God "put his head to the window", causing Blake to break into screaming.[119] At the age of eight or ten in Pexem javdari, London, Blake claimed to have seen "a tree filled with angels, bright angelic wings bespangling every bough like stars."[119] According to Blake's Victorian biographer Gilchrist, he returned home and reported the vision and only escaped being thrashed by his father for telling a lie through the intervention of his mother. Though all evidence suggests that his parents were largely supportive, his mother seems to have been especially so, and several of Blake's early drawings and poems decorated the walls of her chamber.[120] On another occasion, Blake watched haymakers at work, and thought he saw angelic figures walking among them.[119]

Bitning Arvohi, 1819–1820. Having informed painter-astrologer Jon Varli of his visions of apparitions, Blake was subsequently persuaded to paint one of them.[121] Varley's anecdote of Blake and his vision of the flea's ghost became well-known.[121]

Blake claimed to experience visions throughout his life. They were often associated with beautiful religious themes and imagery, and may have inspired him further with spiritual works and pursuits. Certainly, religious concepts and imagery figure centrally in Blake's works. God and Christianity constituted the intellectual centre of his writings, from which he drew inspiration. Blake believed he was personally instructed and encouraged by Bosh farishtalar to create his artistic works, which he claimed were actively read and enjoyed by the same Archangels. In a letter of condolence to Uilyam Xeyli, dated 6 May 1800, four days after the death of Hayley's son,[122] Blake wrote:

I know that our deceased friends are more really with us than when they were apparent to our mortal part. Thirteen years ago I lost a brother, and with his spirit I converse daily and hourly in the spirit, and see him in my remembrance, in the region of my imagination. I hear his advice, and even now write from his dictate.

In a letter to John Flaxman, dated 21 September 1800, Blake wrote:

[The town of] Felpham is a sweet place for Study, because it is more spiritual than London. Heaven opens here on all sides her golden Gates; her windows are not obstructed by vapours; voices of Celestial inhabitants are more distinctly heard, & their forms more distinctly seen; & my Cottage is also a Shadow of their houses. My Wife & Sister are both well, courting Neptune for an embrace... I am more famed in Heaven for my works than I could well conceive. In my Brain are studies & Chambers filled with books & pictures of old, which I wrote & painted in ages of Eternity before my mortal life; & those works are the delight & Study of Archangels. (E710)

In a letter to Thomas Butts, dated 25 April 1803, Blake wrote:

Now I may say to you, what perhaps I should not dare to say to anyone else: That I can alone carry on my visionary studies in London unannoy'd, & that I may converse with my friends in Eternity, See Visions, Dream Dreams & prophecy & speak Parables unobserv'd & at liberty from the Doubts of other Mortals; perhaps Doubts proceeding from Kindness, but Doubts are always pernicious, Especially when we Doubt our Friends.

Yilda Oxirgi hukmning ko'rinishi Blake wrote:

Error is Created Truth is Eternal Error or Creation will be Burned Up & then & not till then Truth or Eternity will appear It is Burnt up the Moment Men cease to behold it I assert for My self that I do not behold the Outward Creation & that to me it is hindrance & not Action it is as the Dirt upon my feet No part of Me. What it will be Questiond When the Sun rises do you not see a round Disk of fire somewhat like a Guinea O no no I see an Innumerable company of the Heavenly host crying Holy Holy Holy is the Lord God Almighty I question not my Corporeal or Vegetative Eye any more than I would Question a Window concerning a Sight I look thro it & not with it. (E565-6)

Despite seeing angels and God, Blake has also claimed to see Satan on the staircase of his South Molton Street home in London.[76]

Aware of Blake's visions, Uilyam Vorsvort commented, "There was no doubt that this poor man was mad, but there is something in the madness of this man which interests me more than the sanity of Lord Bayron va Valter Skott."[123] In a more deferential vein, John William Cousins wrote in Ingliz adabiyotining qisqacha biografik lug'ati that Blake was "a truly pious and loving soul, neglected and misunderstood by the world, but appreciated by an elect few", who "led a cheerful and contented life of poverty illumined by visions and celestial inspirations".[124] Blake's sanity was called into question as recently as the publication of the 1911 Britannica entsiklopediyasi, whose entry on Blake comments that "the question whether Blake was or was not mad seems likely to remain in dispute, but there can be no doubt whatever that he was at different periods of his life under the influence of illusions for which there are no outward facts to account, and that much of what he wrote is so far wanting in the quality of sanity as to be without a logical coherence".

Madaniy ta'sir

Asosiy maqola: Uilyam Bleyk ommaviy madaniyatda
William Blake's portrait in profile, by Jon Linnell. This larger version was painted to be engraved as the frontispiece of Alexander Gilchrist's Life of Blake (1863).

Blake's work was neglected for a generation after his death and almost forgotten by the time Alexander Gilchrist began work on his biography in the 1860s. Nashr etilishi Uilyam Bleykning hayoti rapidly transformed Blake's reputation, in particular as he was taken up by Pre-Rafaelitlar and associated figures, in particular Dante Gabriel Rossetti va Algernon Charlz Svinburn. In the 20th century, however, Blake's work was fully appreciated and his influence increased. Important early and mid-20th-century scholars involved in enhancing Blake's standing in literary and artistic circles included S. Foster Deymon, Jefri Keyns, Northrop Frye, Devid V. Erdman and G. E. Bentley Jr.

While Blake had a significant role in the art and poetry of figures such as Rossetti, it was during the Modernist period that this work began to influence a wider set of writers and artists. Uilyam Butler Yits, who edited an edition of Blake's collected works in 1893, drew on him for poetic and philosophical ideas,[125] while British surrealist art in particular drew on Blake's conceptions of non-mimetic, visionary practice in the painting of artists such as Pol Nash va Graham Sutherland.[126] His poetry came into use by a number of classical composers such as Benjamin Britten, Norma Vendelburg va Ralf Vaughan Uilyams, who set his works. Modern British composer Jon Tavener set several of Blake's poems, including Qo'zi (as the 1982 work "Qo'zi ") va Tyger.

Kabi ko'plab Iyun xonandasi have argued that Blake's thoughts on human nature greatly anticipate and parallel the thinking of the psychoanalyst Karl Jung. In Jung's own words: "Blake [is] a tantalizing study, since he compiled a lot of half or undigested knowledge in his fantasies. According to my ideas they are an artistic production rather than an authentic representation of unconscious processes."[127][128] Similarly, Diana Hume George claimed that Blake can be seen as a precursor to the ideas of Zigmund Freyd.[129]

Blake had an enormous influence on the shoirlarni mag'lub etish 1950 yillar va 1960-yillarning qarshi madaniyati, frequently being cited by such seminal figures as beat poet Allen Ginsberg, songwriters Bob Dilan, Jim Morrison,[130] Van Morrison,[131][132] and English writer Aldous Xaksli.

Much of the central mag'rurlik ning Filipp Pullman fantaziya trilogiyasi Uning qorong'i materiallari is rooted in the world of Blake's Osmon va do'zaxning nikohi. Canadian music composer Kathleen Yearwood is one of many contemporary musicians that have set Blake's poems to music. After World War II, Blake's role in popular culture came to the fore in a variety of areas such as popular music, film, and the grafik roman, leading Edward Larrissy to assert that "Blake is the Romantic writer who has exerted the most powerful influence on the twentieth century."[133]

Ko'rgazmalar

Memorial marking Blake's birthplace in Soho, Vestminster shahri

Major recent exhibitions focusing on William Blake include:

  • The Ashmolean muzeyi ning (Oksford ) exhibition William Blake: Apprentice and Master, open from December 2014 until March 2015, examined William Blake's formation as an artist, as well as his influence on young artist-printmakers who gathered around him in the last years of his life.[134]
  • The Viktoriya milliy galereyasi 's exhibition Uilyam Bleyk in summer 2014 showcased the Gallery's collection of works by William Blake which includes spectacular watercolours, single prints and illustrated books.[135]
  • The Morgan kutubxonasi va muzeyi ko'rgazma William Blake's World: "A New Heaven Is Begun", open from September 2009 until January 2010, included more than 100 watercolours, prints, and illuminated books of poetry.[136]
  • An exhibition at Teyt Britaniya 2007-2008 yillarda, Uilyam Bleyk, coincided with the two hundred and fiftieth anniversary of William Blake's birth and included Blake works from the Gallery's permanent collection, but also private loans of recently discovered works which had never before been exhibited.[137]
  • The Shotlandiya milliy galereyasi 2007 exhibition Uilyam Bleyk coincided with the two hundred and fiftieth anniversary of William Blake's birth and featured all of the Gallery's works associated with Blake.[138]
  • An exhibition at Teyt Britaniya 2000-2001 yillarda, Uilyam Bleyk, displayed the full range of William Blake's art and poetry, together with contextual materials, arranged in four sections: One of the Gothic Artists; The Furnace of Lambeth's Vale; Chambers of the Imagination; Many Formidable Works.[139]
  • In 2016 the world's first William Blake antique bookstore and art gallery opened in San Francisco as a satellite of the Bay area Jon Uindl Antiquarian Bookseller.[140][141]
  • A major exhibition on Blake at Teyt Britaniya in London opened in the autumn of 2019.[142]

Bibliografiya

On Blake

  • Piter Abbs (2014 yil iyul). "William Blake and the forging of the creative self". London jurnali: 49–62.
  • Piter Akroyd (1995). Bleyk. Sinkler-Stivenson. ISBN  1-85619-278-4.
  • Donald Ault (1974). Visionary Physics: Blake's Response to Newton. Chikago universiteti. ISBN  0-226-03225-6.
  •  ———  (1987). Narrative Unbound: Re-Visioning William Blake's The Four Zoas. Station Hill Press. ISBN  1-886449-75-9.
  • Stephen C. Behrendt (1992). Reading William Blake. London: Macmillan Press. ISBN  0-312-06835-2 .
  • G.E. Bentli (2001). The Stranger From Paradise: A Biography of William Blake. Yel universiteti matbuoti. ISBN  0-300-08939-2.
  •  ———  (2006). Blake Records. Ikkinchi nashr. Yel universiteti matbuoti. ISBN  0-300-09685-2.
  •  ———  (1977). Blake Books. Clarendon Press. ISBN  0-19-818151-5.
  •  ———  (1995). Blake Books Supplement. Clarendon Press.
  • Garold Bloom (1963). Blake's Apocalypse. Ikki kun.
  • Jeykob Bronovski (1972). William Blake and the Age of Revolution. Routledge & K. Pol. ISBN  0-7100-7277-5 (qattiq), ISBN  0-7100-7278-3 (Pbk.)
  •  ———  (1944). William Blake, 1757–1827. A man without a mask. Secker va Warburg, London. Reprints: Penguin 1954; Haskell House 1967.
  • Helen P. Bruder (1997). William Blake and the Daughters of Albion. Basingstoke: Macmillan Press, and New York: St. Martin's Press. ISBN  0-333-64036-5.
  • G. K. Chesterton, Uilyam Bleyk. Duckworth, London, n.d. [1910]. Reprint: House of Stratus, Cornwall, 2008. ISBN  0-7551-0032-8.
  • Steve Clark and David Worrall, eds (2006). Blake, Nation and Empire. Basingstoke: Macmillan Press, and New York: St. Martin's Press.
  • Tristanne J. Connolly (2002). William Blake and the Body. Nyu-York: Palgrave Macmillan.
  • S. Foster Deymon (1979). A Blake Dictionary. Qayta ko'rib chiqilgan nashr. University of New England. ISBN  0-87451-436-3.
  • Michael Davis (1977) Uilyam Bleyk. A new kind of man. Berkli Kaliforniya universiteti.
  • Morris Eaves (1992). The Counter-Arts Conspiracy: Art and Industry in the Age of Blake. Kornell universiteti matbuoti. ISBN  0-8014-2489-5.
  • Devid V. Erdman (1977). Bleyk: Payg'ambar imperiyaga qarshi: A Poet's Interpretation of the History of His Own Times. Prinston universiteti matbuoti. ISBN  0-486-26719-9.
  •  ———  (1988). The Complete Poetry & Prose of William Blake. Anchor. ISBN  0-385-15213-2.
  • R. N. Essick (1980). William Blake: Printmaker. Prinston universiteti matbuoti. ISBN  0-691-03954-2.
  •  ———  (1989). William Blake and the Language of Adam. Clarendon Press. ISBN  0-19-812985-8.
  • R. N. Essick & D. Pearce, eds. (1978). Blake in his time. Indiana universiteti matbuoti.
  • Michael Ferber, The Social Vision of William Blake. Princeton University Press, Princeton, 1985.
  • Irving Fiske (1951). Bernard Shaw's Debt to William Blake. London: The Shou Society [19-page pamphlet].
  • Northrop Frye (1947). Qo'rqinchli simmetriya. Prinston universiteti matbuoti. ISBN  0-691-06165-3.
  •  ——— tahrir. (1966). Blake. Tanqidiy maqolalar to'plami. Prentice-Hall.
  • Alexander Gilchrist, Life and Works of William Blake, (2d ed., London, 1880). Reissued by Cambridge University Press, 2009. ISBN  978-1-108-01369-7.
  • Jean H. Hagstrom, Uilyam Bleyk. Poet and Painter. An introduction to the illuminated verse, University of Chicago, 1964.
  • Hoeveler, Diane Long (1979). "Blake's Erotic Apocalypse: The Androgynous Ideal in "Jerusalem"" (PDF). Essays in Literature. G'arbiy Illinoys universiteti. 6 (1): 29–41. Olingan 31 yanvar 2013. To become androgin, to overcome the flaws inherent in each sex, emerges as the central challenge for all Blake's characters.
  • Jefri Keyns, editor 2nd ed. (1969) Blake Complete Writings. Oksford universiteti matbuoti.
  • James King (1991). William Blake: His Life. Sent-Martin matbuoti. ISBN  0-312-07572-3.
  • Saree Makdisi (2003). William Blake and the Impossible History of the 1790s. Chikago universiteti matbuoti.
  • Benjamin Xit Malkin (1806). Otaning bolasi haqida xotiralari Longsmans, Hurst, Rees, and Orme, Paternoster Row, London. {See : : Arthur Symons, Uilyam Bleyk (1907, 1970) at 307–329.}
  • Piter Marshal (1988). William Blake: Visionary Anarchist. Ozodlik matbuoti. ISBN  0-900384-77-8
  • Emma Mason, "Elihu's Spiritual Sensation: William Blake's Illustrations to the Book of Job," in Michael Lieb, Emma Mason and Jonathan Roberts (eds), Injilni qabul qilish tarixi to'g'risida Oksford qo'llanmasi (Oxford, OUP, 2011), 460–475.
  • W. J. T. Mitchell (1978). Blake's Composite Art: A Study of the Illuminated Poetry. Yel universiteti matbuoti. ISBN  0-691-01402-7.
  • Jozef Natoli (1982, 2016) Twentieth-Century Blake Criticism: Northrop Frye to the Present. Nyu-York: Routledge. ISBN  978-1-1389-3914-1.
  • Victor N. Paananen (1996). Uilyam Bleyk. Nyu-York: Twayne Publishers. ISBN  0-8057-7053-4.
  • Laura Quinney (2010). William Blake on Self and Soul. Garvard universiteti matbuoti. ISBN  978-0-674-03524-9.
  • Ketlin Reyn (1970). Uilyam Bleyk. Oksford universiteti.
  • George Anthony Rosso Jr. (1993). Blake's Prophetic Workshop: A Study of The Four Zoas. Associated University Presses. ISBN  0-8387-5240-3.
  • Gholam Reza Sabri-Tabrizi (1973). The 'Heaven' and 'Hell' of William Blake. Nyu-York: Xalqaro noshirlar.
  • Mark Schorer (1946). William Blake: The Politics of Vision. New York: H. Holt and Co.
  • Basil de Sélincourt (1909). Uilyam Bleyk. London:Duckworth and co..
  • Iyun xonandasi, Muqaddas Kitob: Bleyk, Jung va jamoaviy ongsiz (New York: Putnam 1970). Reprinted as: Blake, Jung, and the Collective Unconscious (Nicolas-Hays 1986).
  • Sheila A. Spector (2001). Wonders Divine: the Development of Blake's Kabbalistic Myth. Bucknell Univ. Pr. ISBN  978-0838754689
  • Algernon Charlz Svinburn, William Blake: A Critical Essay. John Camden Hotten, Piccadilly, London, 2d. ed., 1868.
  • Artur Symons, Uilyam Bleyk. A. Constable, London 1907. Reprint: Cooper Square, New York 1970. {Includes documents of contemporaries about Wm. Blake, at 249–433.}
  • E. P. Tompson (1993). Hayvonga qarshi guvohlik bering Kembrij: Kembrij universiteti matbuoti ISBN  0-521-22515-9.
  • Joseph Viscomi (1993). Blake and the Idea of the Book (Princeton University Press). ISBN  0-691-06962-X.
  • David Weir (2003). Brahma in the West: William Blake and the Oriental Renaissance (SUNY Press).
  • Mona Wilson (1927). Uilyam Bleykning hayoti (London: The Nonesuch Press)
  • Roger Whitson and Jason Whittaker (2012). William Blake and the Digital Humanities: Collaboration, Participation, and Social Media (London: Routledge) ISBN  978-0415-6561-84
  • Jason Whittaker (1999). William Blake and the Myths of Britain (London: Macmillan).
  • W. B. Yeats (1903). Yaxshilik va yovuzlik g'oyalari (London and Dublin: A. H. Bullen). {Two essays on Blake at 168–175, 176–225}.
  • A Comparative Study of Three Anti-Slavery Poems Written by William Blake, Hannah More and Marcus Garvey: Black Stereotyping tomonidan Jeremi Kroubo Dagnini for GRAAT On-Line, January 2010.
  • V. M. Rossetti, ed., Poetical Works of William Blake, (London, 1874)
  • A. G. B. Russell (1912). Engravings of William Blake.
  • Bleyk, Uilyam, William Blake's Works in Conventional Typography, edited by G. E. Bentley, Jr., 1984. Facsimile ed., Scholars' : Facsimiles & Reprints, ISBN  978-0-8201-1388-3.

Adabiyotlar

  1. ^ a b "Blake & London". The Blake Society. 28 mart 2008 yil. Olingan 15 avgust 2014.
  2. ^ Frye, Northrop and Denham, Robert D. Collected Works of Northrop Frye. 2006, pp 11–12.
  3. ^ Jones, Jonathan (25 April 2005). "Blake's heaven". The Guardian. Buyuk Britaniya
  4. ^ "BBC - Buyuk Britaniyaliklar - Top 100". Internet arxivi. Arxivlandi asl nusxasi 2002 yil 4-dekabrda. Olingan 12 aprel 2013.
  5. ^ Tomas, Edvard. A Literary Pilgrim in England. 1917, p. 3.
  6. ^ Yeats, W. B. V. B. Yeatsning to'plamlari. 2007, p. 85.
  7. ^ Wilson, Mona. Uilyam Bleykning hayoti. The Nonesuch Press, 1927. p. 167.
  8. ^ "Nyu-York Tayms Tayms" muhim bilimlar uchun qo'llanma. 2004, p. 351.
  9. ^ Bleyk, Uilyam. Blake's "America, a Prophecy"; And, "Europe, a Prophecy". 1984, p. 2018-04-02 121 2.
  10. ^ Kazin, Alfred (1997). "An Introduction to William Blake". Arxivlandi asl nusxasi 2006 yil 26 sentyabrda. Olingan 23 sentyabr 2006.
  11. ^ Blake, William and Rossetti, William Michael. The Poetical Works of William Blake: Lyrical and Miscellaneous. 1890, p. xi.
  12. ^ Blake, William and Rossetti, William Michael. The Poetical Works of William Blake: Lyrical and Miscellaneous. 1890, p. xiii.
  13. ^ "Blake & London". The Blake Society. Olingan 18 yanvar 2013.
  14. ^ Blake, William (3 April 1999). "Uilyam Bleyk". Uilyam Bleyk. Olingan 18 noyabr 2017.
  15. ^ a b v Bentley, Gerald Eades and Bentley Jr., G. Uilyam Bleyk: Tanqidiy meros. 1995, pp. 34–5.
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