By William Blake, Alfred Kazin
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This is the publication model of a 1976 variation, which used to be a reprint of the 1946 version released through The Viking Press, New York.
The copyright web page monitors an eISBN, declining to say its e-book date.
About the book
The moveable Blake includes the airtight genius's most vital works: Songs of Innocence and Songs of Experience of their entirety; choices from his “prophetic books”—including The Marriage of Heaven and Hell, Visions of the Daughters of Abion, America, The e-book of Urizen, and The 4 Zoas—and from different works of poetry and prose, in addition to the full drawings for The ebook of Job.
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A notice from the uploader
This is the publication model of a 1976 variation, which was once a reprint of the 1946 variation released by way of The Viking Press, New York.
The copyright web page screens an eISBN, declining to say its ebook date.
About the book
The transportable Blake comprises the airtight genius's most crucial works: Songs of Innocence and Songs of expertise of their entirety; decisions from his “prophetic books”—including the wedding of Heaven and Hell, Visions of the Daughters of Abion, the United States, The e-book of Urizen, and The 4 Zoas—and from different works of poetry and prose, in addition to the entire drawings for The booklet of Job.
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Additional resources for The Portable William Blake: Selected and Arranged with an Introduction by Alfred Kazin
With apparent disdain for romanticism, in ‘Hamlet and His Problems’ Eliot conceives of a technique that serves as the foundation for his poetics of impersonality – the objective correlative. As he explains, ‘the only way of expressing emotion in the form of art is by finding an objective correlative; in other words, a set of objects, a situation, a chain of events which shall be the formula of that particular emotion; such that when the external facts, which must terminate in sensory experience, are given, the emotion is immediately evoked’ (789).
When studying the poem or fiction, the archetypal critic, like the formalist, assumes that the art object represents a special space, one that is more or less selfcontained, and in some fashion outside the strictures of history or personage. But Frye differs from some formalists in his understanding of literature as permanent and universal, applicable to and connected with human life throughout time. ‘The true father or shaping spirit of the poem is the form of the poem itself,’ Frye explains in Anatomy of Criticism (1957), ‘and this form is a manifestation of the universal spirit of poetry, the “onlie begetter” of Shakespeare’s sonnets who was not Shakespeare himself’ (98).
Eliot’s tradition is exclusive and hierarchical and does not account for the many other cultural forces that might make a popular novel or rock lyric or situation comedy as important in the creation of a given text as Dante’s Inferno. Aren’t all of the forces the artist experiences important in the culminating art object? Eliot responds with a resounding ‘no’ and asserts that if we approach a poet with his idea of tradition in mind, ‘we shall often find that not only the best, but the most individual parts of his work may be those in which the dead poets, his ancestors, assert their immortality most vigorously’ (784).