A blake dictionary the ideas and symbols of william blake

A BLAKE DICTIONARY S Foster Damon Courtesy of the John Hay Library, Brown University A BLAKE DICTIONARY The Ideas and Symbols of William Blake S Foster Damon UPDATED EDITION with a new foreward and annotated bibliography by Morris Eaves Dartmouth College Press Hanover, New Hampshire DARTMOUTH COLLEGE PRESS An imprint of University Press of New England www.upne.com © 1965, 1988, 2013 Trustees of Brown University foreword and annotated bibliography © 2013 Dartmouth College Press All rights reserved For permission to reproduce any of the material in this book, contact Permissions, University Press of New England, One Court Street, Suite 250, Lebanon NH 03766; or visit www.upne.com Cover illustration: The Lovers’ Whirlwind, Dante’s Divine Comedy, Hell, Canto V, 37–138, c 1825 (detail) Library of Congress Cataloging-in-Publication Data Damon, S Foster (Samuel Foster), 1893–1971 A Blake dictionary: the ideas and symbols of William Blake / S Foster Damon; updated edition with a new foreword and annotated bibliography by Morris Eaves — Updated ed p cm Includes index ISBN 978-1-61168-443-8 (pbk.: alk paper) ISBN 978-1-61168-341-7 (ebook) Blake, William, 1757–1827—Dictionaries Symbolism in literature—Dictionaries I Eaves, Morris, 1944– II Title PR4146.A24 2013 821’.7—dc23 2012043195 FOR GEOFFREY KEYNES to whom all Blake lovers are indebted permanently Forgive what you not approve, & love me for this energetic exertion of my talent BLAKE · JERUSALEM Contents Foreword Blake as Conceived: Lessons in Endurance by Morris Eaves Acknowledgments Introduction A Blake Dictionary Index by Morris Eaves Illustrations by Blake and Maps Foreword Blake as Conceived: Lessons in Endurance The study of Blake inevitably leads to controversy; the reader of this dictionary might never guess that there was anything but an agreed orthodoxy “Guides to a New Language,” October 1968 S Foster Damon was the young Turk of Blake studies when William Blake: His Philosophy and Symbols was published in 1924 He was “the patriarch of Blake studies” (Bloom review, 24) when A Blake Dictionary: The Ideas and Symbols of William Blake was published in 1965 As I revise this foreword, Philosophy and Symbols is approaching its ninetieth birthday, A Blake Dictionary its fiftieth, and Damon has been dead since 1971 It’s fair to ask what A Blake Dictionary is good for at this late hour Though Damon loved to pore over patriarchal tomes himself, he would have understood that people entering strange territory want up-to-date guidebooks When I started getting serious about Blake, my guides were Northrop Frye’s Fearful Symmetry (1947), David Erdman’s Blake: Prophet against Empire (1954), and Damon’s Dictionary That was 1968, after all, and the Dictionary was nearly new But today I’d still endorse my own experience: if Blake is where you’re going, Frye, Erdman, and Damon should be your guides As an introductory offer they remain unbeatable To understand the power of the Dictionary in this durable trio, we start with the recognition that Damon’s lifetime coincided with the incorporation of Blake into legitimate fields of study The process began well before Damon arrived on the scene and may continue indefinitely, but the crucial decades were those bracketed by Damon’s Blake books From the 1920s through the 1960s, various factors cooperated to assign to the name William Blake a set of attributes and a location in history The rough consensus achieved during Damon’s lifetime is by and large the one we are still operating with today It leads us to expect to find William Blake at home in one of the six slots allotted to the so-called major English Romantic poets in standard textbooks devoted to the standard subject of English Romantic poetry To the extent that the Blake of Damon’s Philosophy and Symbols is the same as the Blake of the Dictionary in most essentials, the Dictionary is an annotated index to its own predecessor The sustained equilibrium in the meaning of “Blake” that made it possible for a book published in 1965 to represent a book published in 1924 has less to with the consistency of the author than with the consistency of the scholarly institutions appraising him Not that he or they never changed or never learned anything new during all those years But the fact that the Blake that Damon calls to memory for his Dictionary is very largely the same Blake that Damon had first assembled for his Philosophy and Symbols four decades earlier confirms not just Damon’s stubborn faith in his own critical powers but also the capacity of institutions to retain what they need to retain and to build on the remembered past, while resolutely sloughing off what they need to “Damon’s Philosophy and Symbols (1924) has been the foundation stone on which all modern interpretations of Blake have built” (Bateson review, 25) Having laid the foundation in the 1920s, it was only proper for Damon the pioneer to return to it in the 1960s with a late scholarly tribute to his own work By then a flourishing temple of Blake studies had arisen, presided over by an academic caste that some observers (not I) have identified as the middle-management bureaucracy of a veritable Blake industry As a scholarly resource, Damon’s Dictionary has stood up as well as it has for as long as it has because it belongs to that collective effort Some reviewers pointed out what they saw as a discrepancy between the impersonality of a proper dictionary and the “eccentric and occasionally oracular” (Erdman review, 607) personality of this one Damon himself played up the independence that made his compilation A, not The, Blake Dictionary: “It is not the intention of this book to compile digests of the works of other scholars or to confute their theories I have felt it better to make a new start and to attempt to present fresh evaluations of Blake’s symbols” (p xxviii) To the contrary, the nucleus of the Dictionary was precisely a digest of Damon’s ideas that had become common property over the years Damon expanded, and occasionally changed, this digest, under the influence of other scholars’ ideas that he had found congenial Consequently, even as he insisted on his independence, he regularly acknowledged his institutional position with gestures toward scholarly posterity: “When a final answer has not been possible, I have tried to assemble the material for others to work on” (p xxviii; also p xxvii) Many of the parts of other scholars’ works that Damon refused to digest were, after all, the peripheral bits for which no consensus yet existed And his own attempts at “new” starts and “fresh evaluations” are, for the most part, simply the parts of the Dictionary one must learn to ignore Fortunately, those are few, and they usually advertise their own peculiarity The best reason for studying Damon is neither to acquire a real English Blake from the bowels of history nor to retrieve a curiosity-Blake from the fascinating mind of an eccentric scholar, but to acquire the Blake that unglamorously satisfies the rules and requirements of the institutions housing our artistic memory, in which Damon lived and thrived He later said it himself, with a bit of irony and unmistakable pride: “At last, Blake was academically respectable” (“How I Discovered Blake,” 3)—made respectable by a remarkable academic whose work of Blake scholarship had been rejected by Harvard as too inconsequential to merit a Ph.D Thus what we have before us in the Dictionary is undeniably a sturdy Blake, well crafted for the very purpose of being remembered, read, taught, and written about within our institutions of reading, teaching, and writing Of course, despite its endurance, we would never want to mistake this brilliantly conceived Blake for the only conceivable Blake Nor, however, can we pretend that we know at present how to conceive any other Blake of comparable usefulness In short, the essence of the Blake who materializes in the pages of Damon’s Dictionary is nothing less than the currently indispensable Blake And only because of that indispensability does it matter in the least that the Dictionary is “a rich treasury embodying the results of a lifetime of masterly and devoted research into every aspect of Blake’s work and thought” (Pinto review, 153) Yes, the treasury is rich Equally important, it is still, remarkably, the coin of the realm Needless to say, Damon’s academically respectable Blake did not come from nowhere Even by 1924 the way had been well prepared The single most important event in the history of Blake’s reputation had already taken place It was, essentially, a solution to the problem of Blake’s double mastery of words and pictures, which made it very difficult to achieve a good fit between Blake’s works and the structures that commit poets and painters to different kinds of institutional memory Today’s academic division between departments of art and departments of English reflects and extends a separation with an extensive history both inside and outside institutions of higher education Though it became routine in the later twentieth century to celebrate Blake’s magnificent twofold achievement in art and literature, that boast could begin to register effectively only at a certain ripe and recent historical moment Until then, for all practical purposes Blake’s doubleness was a kind of duplicity, an indigestible alliance, like a dessert combined with an entrée Blake died, after all, in 1827, an engraver and painter in a circle that included mainly engravers, painters, and buyers of art He was barely known to the writers such as Wordsworth and Coleridge with whom he is now yoked in anthologies of English Romantic poetry Although Blake, as an engraver and painter, was virtually unknown to his poet-contemporaries, a fundamental change in Blake’s reputation occurred when his potential audience found a way to conclude that he was essentially a poem maker rather than a picture maker The change began to come on strongly in the last third of the nineteenth century, with the efforts of Algernon Charles Swinburne, William Michael Rossetti, and others to promote and produce editions of Blake’s poems Since many of those “poems” had originally been crafted as “illuminated books” in “illuminated printing”—usually relief-etched and watercolored combinations of text and design—they were doomed to run afoul of the institutional standards for poetic legibility The first duty of an editor is to present poems We all know what poems look like: in an illuminated edition, though, pictures may be present as ornaments and illustrations but not as integral poetic elements Blake the printmaker and painter was not forgotten, however; in certain narrow circles his art was even revered But on the larger cultural stage the emphasis was steadily shifting from the visual element in his work to the verbal, and the memories of his literary and artistic work were being stored ever more systematically in separate cultural compartments The institutions of literacy edited the illuminated books into poems, lowering the visual component to the status of the ornamental and the dispensable Meanwhile, the institutions of imagery operated by art historians, collectors, and curators looked past the illuminated books—the mainstay, curiously, of Blake’s literary reputation— toward the categories of Blake’s oeuvre where pictures rather than words are primary, because there he most clearly conformed to the conventional definition of a visual artist These moves to separate words from images were portentous On the side of the literary institutions, where most of the action was, the decision to regard the component of visual design in Blake’s output as a separate rather than an integral part of his work had the curious effect of transforming the design component from a disadvantage (how does one reproduce these illuminated plates for consumption; having reproduced them, how does one read them?) to a modest advantage As long as Blake’s visual art did not have to be coordinated systematically with the verbal in the process of interpretation, the visual art could signal his surplus creativity—his difference from the norm and even from the five Romantic poets to whom his future was beginning to be tied Thus, as long as the illuminated books did not have to be reproduced as illuminated books, as long as they could be edited, printed, interpreted, and taught as poems, the visual element of the work could serve handily as a kind of placeholder in accounts of Blake, marking his difference from the rest of his poetic family Meanwhile, in the practice of literary criticism the visual element could have the (diminished) role of an optional rhetorical opportunity rather than a haunting, forbidding obligation that no practicing critic would know how to live up to Moreover, as the burden of responsibility for Blake’s reputation shifted from the institutions of art history and art collecting to the institutions of literary history and criticism, some major impediments to a favorable appraisal of Blake, such as the entrenched orthodox standards of drawing, became much more manageable After all, the literary types in whose hands Blake’s fortunes lay cared little and knew less about such orthodoxies It was not for nothing, then, that Foster Damon traced the beginning of his serious study of Blake to a literary edition: “The present study of the philosophy and symbols of William Blake was begun ten years ago, when Dr Sampson’s edition of Blake’s Poetic Works made most of the texts accessible in their correct form” (Philosophy and Symbols, vii) Sampson’s edition had in fact first been published in 1905, but Damon used the so-called Oxford Edition of 1913, 1914, and later printings In any event, Tesshina, 398a-b Tetragrammaton, 215d Text of B’s work, editing of, 1, 144b-c Thames, 398b-d; 32b, 267a, 385b, 434d Thammuz, 398d Tharmas, 399a-401a See also Zoa body as, 363a, 399a, 458d in “Circle of Life,” 87a-b, 400d circumference as, 75c, 87c Enion and, 122c-123d, 399c-400d in passing in Genesis Ms title page, 313d, 401a name of, 124a, 401a ox as, 313d, 401a sea shells and, 363a west assigned to, 399a-b, 444a York as, 455b Thebes, 69b Thel, 401a-d; 6c, 430a Thel, The Book of See Book of Thel “Then She Bore Pale Desire,” 104b, 161c Theophilus of Antioch: To Autolycus, 450c-d Theosophical Society, 392d Theotormon, 401d-402c Malbecco and, 385a, 402b, 438c mills of, 273d name of, 312d-313a, 401d Oothoon and, 124c (diagram), 130d, 402b, 437d, 438b-c sex and, 124c (diagram), 132b mentioned, 309c There is No Natural Religion, 402c-d; 343d Theresa, Saint [Teresa], 343b, 398a “There’s Dr Clash,” 362a Theron and Aspasio (Hervey), 184d Theseus, 165b Thiralatha, 402d-403b Diralda as, 104a, 378d sex and, 124c (diagram), 132b, 403a Sotha and, 124c (diagram), 378d Thiriel, 403b; 9a Thirteen, 220c Thirty-Two Nations, 294d-295b; 19b See also names of the nations “Thirty-Two Nations, The” (diagram), 295 Thistle, 403b-c Thomson, James, 331a Thor, 403c-d; 434a, 442c Thoth, 182c Thought See Mind Three Books of Philosophy (Paracelsus), 322c Three Classes of Men See Classes Threefold form of man, 397b Threefoldness See Triads; Trinities; Trinity Thulloh, 403d Thurlow, Lord, 166d Thyme, 403d-404a Tiara, 235c Tiger See Tyger Tigris River, 185c Timaeus (Plato), 222a, 328d Time, 404a-405b; 29b, 247b[c], 299c, 340d, illus I (#34) See also Moment; Sea of Time and Space; Years Time-spirit in Visions, 438a, b Tipperary, 405b Tiriel, character, 405b-407a; 7d Tiriel, 405b-407a Book of Thel and, 52a Har in, 174a-c, 405c, 406a-b, c Hela in, 179b-c, 406b Ijim in, 194d-195a, 406b, d illustrations in, 319a, 405b senses in, 179c, 406d, 408c-d text of viii:18, 271b viii:37, 191c-d West in, 405b, 444a “Tiriel Supporting Myratana,” 406a Tirzah, 407a-408a See also “To Tirzah” Albion’s daughters and, 14c Cambel and, 66a (twice) Charlotte as, 411d chastity as, 253b[c] daughters of, 18d in Gates of Paradise, 149d in Milton, 278b Prioress as, 79b, 407d Rahab and, 330d-340a, 407b-d Song of, 18d Zelophehad’s daughter as, 457c, d Titans, 32c Titus, 408a To Autolycus (Theophilus of Antioch), 450c-d “To Autumn,” 331b Todd, Ruthven: Tracks in the Snow, 61b, c, 300d “To H C Six Years Old” (Wordsworth), 451b Tongue, 408a-c, 408c; 399b To Nobodaddy, 301c, 422c Tophet, 186b “Tornado,” 98c “To Spring,” 331b “To Summer,” 331b “To the Evening Star,” 331b, 449d “To the Muses,” 117b, 289c, 331b-c “To Tirzah” Biblical source for, 100b, 301a, 323c death and sleep in, 269b Innocence and Experience in, 197c, 378c mother-image cast off in, 83d, 100b, 407d Touch, 408c-d; 49d, 155c, 364c-d, 367b, 406b, d, 444a Tower of Babel See Babel, Tower of Tower of London, 246a-b[b-c], 255a[b] “To Winter,” 331b Town & Country Magazine, 78c Tracks in the Snow (Todd), 61b, c, 300d Traditions, 268a, 346d Tragedy, 203b, 236a [b], b[c], 331d, 373b Trajan, 408d Transfiguration, 408d-409a “Transfiguration, The,” 408d-409a Transgressors, 409a, 410a See also Classes; Reprobate inspired, 187c Mary the Virgin as, 264c-d in Maternal Line, 266c prophets as, 335c Transjordan, 347d-348a Transmigration of souls, 108b, 110a Transubstantiation 83c Treachery in Europe, illus., 133a Treason See Blake, William, trial for treason of Treatise concerning Heaven and Hell, A (Swedenborg), 392d (twice) Tree, 410a-411d of Life, 151d, 152a, 176c, 314c, 410c-d of Mystery, 410d-411d in Book of Ahania, 50d, 410d-411a in Byron’s Cain, 153c in Genesis Ms title page, 459d polypus as, 333c raven and, 341c, 410d religion as, 291b, 345c Tree of Life and, 410c mentioned, 17d, 140b Trent, 411d Triads See Trinities; Trinity; Welsh Triads “Trial of William Blake, The” (Ives), 360d Tribes of Israel See Israel, Tribes of Trilithons, 388a-b Trinities Accuser, Executioner, Judge, 345b Allamanda, Bowlahoola, Entuthon-Benython, 17a, 57a-b Amalek, Canaan, Moab, 18d, 283a Arthur, Bladud, Merlin, 30a, 47b Bacon, Locke, Newton, 35b, 343b[c], 298c, 343c Chaucer, Milton, Shakespeare, 35c Coban, Hand, Hyle, 15b, 89c, 172d, 192d Head, Heart, Loins, 8a, 43c, 57d, 243d [244a], 283a, 342b Heart, Lungs, Stomach, 57a-b Isis, Horus, Osiris, 199b[c], 311d (twice) Trinity B’s idea of, 393a Elohim and, 119c in Genesis Ms title page, 151c-152a, 158c God and Jesus identified in, 158c Holy Ghost and Jesus in, 187a of Milton, 276d-277a Swedenborg’s idea of, 393a Tharmas in, 399a Word and, 450c-d Zoas and, 419a-b, 459a Trismegistus [Hermes Trismegistus], 182c-183b Triumphs of Temper, The (Hayley), 176d, 177b Troja Nova, 61a Troy, 411d-412a; 234b, 442c Troy, New, 61a Truchsess, Count, 412a Truchsessian Gallery, 412a-d; 167b, 397c True Christian Religion (Swedenborg), 194d-195a, 306a, 392c, d, 393c Trumbull, John, painter: “Battle of Bunker’s Hill,” 442d Trumbull, John, poet: M’Fingal, 435c Truth in America c:10, 387c art as, 28d in B’s works, ix, xi eternity as, 129b-c Jesus as, 159b-c, 235b Lord’s Supper acceptance of, 353c-d Spirit of, as Comforter, 221d Tubal, 412d Turkey, 412d-413a Turner, Dawson, 209b “Turret, The,” Hayley’s Felpham home, 136d, 177b water color by B, 137b Tweed, 413a Twelve Gods of Asia, 42c, 44c, 161c-162a Twenty-Four Cathedral Cities See Cathedral Cities Twenty-Seven Churches See Churches, Twenty-Seven Twenty-Seven Heavens See Beulah, Churches or Heavens of Twofold vision, 296c, 436b-c “Two Lovers in the Lilly.” See Jerusalem, plates of, pl 28 Tyburn, 413b-c; 65d, 379c Tyburn Brook, 398c, 413b Tyburn Road, 315a-c Tyger, 413c-414d creation of, 269c, 414a in forest, 141a horses and, 189c lion and, 242b[c], 413d-414a Urizen and, 160c, 386b, 414b-c, 419d, 422d wrath of, 242b[c], 413c-414c in passing, 453b “Tyger, The,” 173d, 232b, 386b, 414a-d, 422d Tyne, 414d Tyranny, brass the metal of, 58b Tyre, 414d-415b; 372c Tyre, King of, 69b-c, 357a, 414d Tyrone, 415b Udan-Adan, 416a-c Ugly Man, 197b[c], 209a, 375a See also Man, Beautiful and Man, Strong Ugolino, Count B’s designs of, 97c, 149d in Chaucer’s Monkes Tale, 79c-d, 97b Fuseli’s painting of, 97b-c in Gates of Paradise, 149d Reynolds’s painting of, 97b as Romantic artistic subject, 97a-c “Ugolino, Count” (Fuseli), 97b-c “Ugolino Relating His Death,” 97d Ulro, 416c-417d; 150c, 367c-d Ulster, 417d See also place names Una, 384b Underhill, Evelyn, 291c Understanding, 80b (twice), 359c Union See Reunion United States of America, 69d, 317c See also America Unity See Reunion Universality, 196c-d Universal Tent, 397d Universal Theology (Swedenborg), 406d Universe, 417d-418d See also Nature; Stars B’s concept of, 77b-c, 142c, 328d, 394a body as, 295b in The Marriage, 262b-c mill as, 274a-b in Milton, 280c-d Mundane Shell in, 288c-d of Newton, 298b-c Ptolemaic, 358d, 359a tent in, 397d wheels of, 445c Young’s, 455d Upas tree, 411c, d Uranus, planet, 358d Urizen, 419a-426a See also Book of Urizen; Zoa abstraction and, 4c Africa and, 6d Albion and, 10c-d in “Ancient Britons,” 197b[c] Apollo as, 26a, 334c, 419b architecture and, 27a, 420d in Book of Ahania, 7d-8d, 50d-51a, 411a, 423a-b Books of, 424a-c Bromion and, 60a “Changes” of, and embryology, 53c-d in “Circle of Life,” 86d, 304b, 420a Creator as, 94c, 343a, 419d, 420b-c See also Urizen, Tyger and cruelty as, 410d daughters of, 8a, 424c-425b See also Eleth; Ona; Uva Decalogue authored by, 90b-c, 287a-b, 420c in “Earth’s Answer,” 205a, 422d Elohim as, 154a, 160c in Europe, 83b, 91c, 133a, 420c in “Fertilization of Egypt,” 117a in Four Zoas, 10c-d, 143a, 329c-d, 411a-b, 420d-422b in Genesis Ms title page, 151d God as, 160c, 276d, 420b-c gold and, 162c-d, 424d horses of, 189d, 420a-b in Job illustrations, 26a, 189d, 221a, 390a Lake of, 232a left foot symbol of, 354d Los and, 247b-c[c-d] in The Marriage, 263c, 310a-b, 377c, 420c, 422c in Milton, 140c (twice), 277b, 278b, 363c, 423c-d in “Milton’s Dream,” 277a, 423d night and, 299c North and, 302a Orc and, 8b, 310a-b, b, d, 311a-b in Paracelsus, counterpart of, 322c plowman as, 329c, 420c Pope as, 83b Prince of Light as, 335a reason and, 197b[c], 341d, 419a Satan as, 26a, 143a, 419b, c-d, 422b science and, 27a, 360b-c separation of nations and, 294b silver and, 373b-c, 424c in Song of Los, 7a, 423b-c sons of, 117b-c, 425b-426a See also Fuzon; Grodna; Thiriel; Utha South the compass point of, 379a-b Temple of, 257d [258a] Tiriel and, 407a Tyger and, 160c, 386b, 414b-c, 419d, 422d Ugly Man as, 197b[c] (twice), 209a in Visions, 422c, 438a, b, c, vortices of, 440c weapons of, 55d, 422c-d, 443b wrath of, 414b-c, 419d, 452d, 453b Urizen, The [First] Book of See Book of Urizen, The [First] Urizen, The Second Book of: Book of Ahania as, 50c Urthona, 426b-427c See also Zoa division of, 124b, 426c-d humanity as, 190b Los and, 12c-d, 246c-d [246d-247a], 335b, 382c, 426c, d mills of, 273a, 446b nadir as, 75c, 426c name of, 312d, 426b right hand symbol of, 354d Rintrah and, 349d in “Song of Liberty,” 263c, 426b, 427b Spectre of, 12c-d, 382c-d, 385b, 427c Strong Man as, 208d-209a Ussher, Archbishop James, 454c Utha, 427c Uveth, 427c Uzzah, 427c-d Vagina, Luban as, 254a [253d] See also Female, genitals of Vala, 428a-432d Albion and, 11d-12c See also Vala, in Jerusalem Albion’s sons and, 16a in America 14, illus., 366a in Beautiful Man, 209a in “Circle of Life,” 87a cup of, 431d-432a daughters of, as Maternal Line, 266a-b garden of, 385b, 432a-b in Jerusalem, 11d-12c, 16a, 148a-b, 211a, c, d, 390c, 430c-431d Lilly of Havilah as, 240c[d], 430d Luvah and, 255d-256a, 255c-d [255d-256a], 295d, 429a-b, 429c-430a, 430d Rahab and, 339b, 429c-d, 431c-d Shadowy Female as, 369b, 429b throne of, in Jerusalem 23, illus., 390c veil of, 11d-12a, 266d, 288b, 295d, 298a, 432b-d worm as, 452b mentioned, 449c Vala See Four Zoas Vala; or, The Four Zoas (Bentley, ed.), 142b, 144c Vale, Conway’s, 91d-92a Vale of Rephaim, 346c-d; 32c Valley of Delight, 237d [238b] Valley of Peor, 325c-d Vampire, Lamia as, 233d Van Dyck, Sir Anthony, 412b Varley, John, 154d, 318c Vates, 335b Vauxhall, 232b Vegetable looking-glass, 393b Vegetarianism, 374d Vegetate, 432d-433b; 150c, illus I (#49) Veil, 41a, 80b, 215a See also Vala, veil of Velutello, Sessi: text of Dante, 97d Vengeance, 433b-d cross and, 95b in Ghost of Abel, 3a, 153d-154b [154a-c] as punishment for sin, 160d-161a, 227b, 433b in religion, 345a Satan and, 160d-161a Stone of Night as, 387b-c in Twenty-Seven Churches, 85c-86a in “VLJ,” illus I (#75) Venus, 433d-434a Cambel as, 66a, 433d Eve as, 152a, 433d Friga as, 146b, 434a garden as, 385b in Il Penseroso illustrations, 227a, 327c, d (twice), 376d Intelligences of, 282c-d Mars and, 433d, 442c mirtle and, 282b pudica, 152a, 433d temple of, 384b mentioned, 334c Versification B’s, 332b B’s and Milton’s, 274c-d of Book of Ahania, Book of Los, and Book of Urizen, 46b, 53a couplet as cage in, 174b-c Dryden’s, 110b, 333d-334a [in Everlasting Gospel, 133c—2nd pr only] of French Revolution, 146b Hayley’s, 178b Ossian’s, influence on B, 312c-d of Poetical Sketches, 331b (twice), c Pope’s, 333d-334a Verulam, 434a-d; 35c, 67d, 385b See also Bacon, Francis Vesputius, Americus, 434d Vials of wrath in “VLJ,” 235d, 460b, illus I (#14, 26) Via Negativa, 291d Vices and virtues, 436a-b See also Good and evil; Morality Victorian period, 79c Vindication of the Rights of Women (Wollstonecraft), 438d Vintage, 434d-435b; 10c-11a, 13a-b, 133a, 176b-c, 236b See also Last Judgment Viper, 435b-d; 145d See also Serpent Virgil, 435d-436a; 167c, 442b Aeneid, 112b, 234b, 349a-b “Virgil, Mission of.” See Dante Alighieri, Divine Comedy, B’s illustrations of Virgil, On, 308a-b Virgin, illus XI (#24) “Virgin, The Assumption of the,” 213a, 264c Virginia, 436a Virginity, 436a; illus XI (#24) See also Chastity; Mary the Virgin Virtues, 436a-b See also Good and evil; Morality; and names of virtues Vision, 436b-437b See also Eye allegory vs., 17c, 437c B’s painting and, 318c-319a, 436c Divine, 9d, 10c levels of, 125c, 164c, 266d, 291c-d, 296c, 436d-437a of Swedenborg, 392c symbolism and, 17c, 436c, 437c Visionary Heads, 154d, 318c Vision of Columbus (Barlow), 20d “Vision of the Last Judgment, A,” B’s paintings See Last Judgment, B’s pictures of Vision of the Last Judgment, A, B’s essay, 437b-c; 3b, 387a, 450a-b See also Last Judgment Visions of the Daughters of Albion, 437c-438d Albion’s daughters in, 14a-b Book of Thel and, 52c-d, 401c, 437d Bromion in, 60b-c, 437d, 438b, b-c eagles in, 112d free love in, 147d illustrations in, 402b Marygold in, 265c Milton’s divorce pamphlets and, 275a Oothoon in See Oothoon plates of pl i, frontispiece, illus., 402b pl ii, title page, illus., 340d, 422c, 443b pl 1:5-11, 303d pl 3:2-13, 243b[c], 438b pl 4:23-24, 180c pl 4, illus., 402b pl 5:28, 80d pl 6, illus., 402b pl 7:24, 373c pl 8:11-12, 402b, 438c Sea of Time and Space in, illus., 363a Taylor’s influence on, 397b Theotormon in, 402a-b, 437d, 438b-c Urizen in, 422c, 438a, b, c mentioned, 232d Vitruvian Man, 13d Vivien, 270b “Voice of the Ancient Bard, The,” 36d, 286b Voltaire, 438d-440a Alps associated with, 18c B’s vision of, 187c, 439a Bolingbroke and, 50a Book of Thel influenced by, 52c Candide, 91c, 439a, d deism and, 101d Holy Ghost and, 187c, 343c, 439a in “Mock on, Mock on, Voltaire, Rousseau,” 298c Moeurs des Nations, 439d Paine and, 318a, b Philosophe Ignorant, 439d Rousseau and, 351c-352a, 439c-d mentioned, 100c Volüspa, 428a Vortex, 440a-d Vultures and eagles, 112d Wagner, Richard, 196a Siegfried, 428a Wainwright, Thomas Griffiths, 209b [Waite, Arthur Edward, 223a—2nd pr only] [Pictorial Key to the Tarot, 223a—2nd pr only] Waldseemüller, Martin, 434d Wales, 441a-b; 66a, 92d-93a, 242d-243a [243a-b], 362a-b See also Counties; place names Wallis, J P R., and D J Sloss: The Prophetic Writings of William Blake, 144c, 266b Walpole, Horace, 195d Castle of Otranto, 331a Mysterious Mother, 195d Walton, 441c War, 441c-442c See also names of wars and warriors; Revolution Antichrist as, 25c Arthur and, 29d Babel as, 33c Bible as spiritual, 45c-d Caesar as cause of, 64b Charlemaine as, 78a Cheviot associated with, 81b Church Militant and, 86a, 254d [255a] classicism and, 167c, 188d, 313c, 327d, 350d, 442b Constantine promotes, 91d corporeal vs spiritual, 301d-302a dragon as, 107c-d, 442b in Europe, illus., 133a fire as, 139a in Golgonooza, 163 (diagram) Greece and, 167c, 327d Homer and, 188d, 442b inspiration threatened by, 391c-d in Jerusalem, 12d-13c Jesus permits, 257c[d] London affected by, 244c-d [244d-245a] Mars and, 263c-d, 442c Molech symbol of, 284b Odin god of, 306a-b in Oxford, 313d-314a in polar regions, 29d, 332c Prester Serpent authorizes, 334c Priam and, 294c, 334c-d, 442c printing press as, 335a Satan as, 356c-d, 442a sex and, 124c, (diagram), 146b-c, 169b, 284b, 306a, 332c, 356d, 368a-b, 378d-379a, 433d, 442b-c of sexes, 14c, 30a, 124c, 125a, 367c-d Sotha as, 378c spider as cause of, 385c Sussex affected by, 392a Thor god of, 403c-d, 442c Urizen’s book of, 424c vintage as, 435a Whore of Babylon motivates, 83a Wicker Man symbol of, 447a-b wine-press as, 442b, 449a War Inconsistent with Christianity (Warner), 38c-d, 72b Warner, Richard Bath as, 38c-d, 72b, d, 210b War Inconsistent with Christianity, 38c-d, 72b War of 1812, 19d Warren, Joseph, 442c-d; 55b, c “War Song to Englishmen, A,” 349c Warwick, 442d Washington, George, 442d-443a; 55b Water, 443a-b See also Cloud; Elements; Flood of Noah; Rainbow; Sea of Time and Space matter as, 265c, 303d, 443b Tharmas’s element as, 399b, 443a Urizen’s weapons and, 422c-d, 443b Utha as, 427c West and, 443a, 444a Waterford, 443b “Waters of Babylon, By the,” 258c Water wheels, 446c Watling-Street, 443c Watson, Caroline, 177d Watson, Richard, Bishop: An Apology for the Bible, 317d-318a B’s annotations to, 101d Watteau, Jean Antoine, 412b Way to Christ (Behmen), 39c Weaver, Luvah as, 255b[c] Weaving on looms of Cathedron, 74b-c Web of religion, 421d-422a Wells See Bath Welsh Triads, 443c-d Wesley, Charles, 271b Wesley, John See Westley, John West, Benjamin, 47d, 456d West, 444a See also Compass points America and, 19b body as, 19b, 444a brass and, 58b, 271a circumference as, 75c Ethinthus, Manathu-Varcyon, and, 261c Ireland and, 197d [197d-198a] Tharmas, 399a-b, 444a Wales and, 441a worm and, 451c Westley, Charles, 271b Westley, John, 444a-b; 271b, c, 446c Westmeath, 444b Westminster, 444b-c Westminster Abbey, 106d Westmoreland, 444c Wexford, 444d Whale, 444d; 309c, 379c Wheat, 222a Wheels, 444d-446c; 16b-c, 345b-c, 445c-446a “When Klopstock England Defied,” 229c, 301c “When Old Corruption First Begun,” 375a Whirlwind in Job illustrations, 216c, 220b, c, 221c, 223a Whitefield, George, 446c-447a; 140d, 271b, c (twice), 444a-b Whitehall, Banqueting House at, 72c Whitehead, William, 37a “Who Made the Tyger?” (Raine), 414b Whore of Babylon See Babylon, Whore of; Mystery; Rahab “Whore of Babylon, The,” 83a, 107d Whores and whoredom See Harlots and harlotry “Why Was Cupid a Boy,” 167c-d, 376d Wicker Man, 447a-b Wicklow, 447b Wicksteed, Joseph, 140b Blake’s Vision of the Book of Job, 217b-c, 222b Widow, illus XI (#21) Wife, illus XI (#41) Wife, Elynittria represents, 120a Wife of Bath, 79b-c, 407d-408a, 432a Wigtoun [Wigtown], 447b Wilford, Francis, 108c-109a Will, 447b-448a See also Female Will; Providence Willan, Thomas, 448b Willan’s Farm, 448a-b; 216b, 265b William, in King Edward the Third, 228d William Blake’s Illustrations to the Bible (ed Goyder and Keynes), 46b, 286c “William Blake’s London Residences” (Miner), 448a-b William the Conqueror, 301d Williams, Tennessee, 448a Summer and Smoke, 298a-b Wilson, Mona: The Life of William Blake, 412a Wilts [Wiltshire], 448b Wimbledon, 448b-c Winchester, 448c-d; 178d Windsor, 42a, 448d-449a Wine, 222a, 236b, 289d, 442a-b Wine-press of Los, 449a; 278d, 335a, 446c Wine-press of Luvah, 442b Winter, 449a-c Wisdom See also Knowledge in B’s painting, 319a cherubim as, 80a in “Hervey’s Meditations,” illus XI (#39) Jerusalem as, 41b love and, 393b owl as false, 219c, 313c ruby as, 324d, 352b Wisdom of Solomon, 303d Witnesses of Revelation, 444a-b, 447a, illus I (#10) Wodin, 449c; 306a-b, 403c-d Wolds, 449c Wolf, 449c-d Wollstonecraft, Mary, 314c Vindication of the Rights of Women and Visions, 438d Woman, sex See Female Woman, The [Mary the Virgin], 449d See also Mary the Virgin Woman Clothed with the Sun, 449d Woman in the Wilderness, 449d-450b; 82a, c, illus I (#b4) Woman Old, 268c, d, 369d Womb, 74b Wonders of the Peake (Cotton), 102b-c Worcester, 450b-c Word, 450c-d; 269a, 386b, 408a Wordsworth, William, 450d-451c Excursion, 451a Ode on Intimations of Immortality, 451b Recluse, 451a “To H C Six Years Old,” 451b Works of William Blake, The (ed Ellis and Yeats), 144b, 375a World Church of This See Church, false material, 99a-b, 369b, 380b-c, 390a, 393b-c, 416c, 445b See also Fall of Man; Matter; Space; Time spiritual, 393b-c Worlds, Three: of Behmen, 40b-41a Worm, 451c-452c in Book of Thel, 401b, 452b-c of death, 221a, 451d Hyle as, 193 marriage as, 348b, 452c Orc as, 309d, 310b, 452b, c Wrath, 452c-453b of God See God, Angry in “Hervey’s Meditations,” 184b, illus XI (#33) lion as, 242b[c] Molech as, 284b Rintrah as, 349d of Salamandrine men, 354b Shaddai and, 368c of Tharmas, 400a Tyger as, 242b[c], 413c-414c in passing, 453b of Urizen, 414b-c, 419d, 452d, 453b in “VLJ,” 235d, 460b, illus I (#14, 26) Writing, 89d, 374a Yale University Library, sheets of Book of Ahania in, 50c Years, 454a seven thousand years, 454b six thousand years, 454b-455a two hundred years, 454b Yeats, William Butler, and E J Ellis: eds., Works of William Blake, 144b, 375a Yod, 455a; 23c York, 455a-b Yorkshire, 455b-c Young, Edward, 455c-456d Conjectures on Original Composition, 455c Night Thoughts, 455c, c-d Blair’s Grave and, 47b B’s illustrations to, 456a-d; 319c, 390c, illus XII (Note: The numbers below—e.g., 87: III, 12 refer to the place of the individual water color in the whole sequence of B’s water color illustrations to Night Thoughts (87); the “Night” being illustrated (III); and the place of the water color in the sequence of water colors for that particular “Night” (12).) 29: I, 24 (“Rose so red”), 456b 78: III (title page), a, 450b 84: III, 9, 456b, illus XII 87: III, 12, 390c 108: III (last page), 33, 215b 113: IV, 4, 456c 117: IV, 8, 300b 119: IV, 10, 6a 148: IV, 39, 140a 179: V, 24, 456c 215: V, 60 (“O the soft Commerce”), 456b 299: VII, 27, 297c 345: VIII (title page), a, 82d, 107d 508: IX, 118a Book of Thel and, 52c, 456b-c Gates of Paradise and, 150a, 358c, 456c-d Satan in, 358b “Sick Rose” and, 456b text of (referred to by “Night” and line numbers) I:132, 456c I:355, 456b III:66, 456b III:117-123, 390c IV:4, 456c IV:19, 456c IV:96, 300b IV:136, 6a IV:687, 140a V:1063, 456b-c VII:27, 297c IX:167, 329c IX:1851, 118a Revenge, 455c “Youthful Poet, The,” 370a Yuva, 456d Zaara, 457a Zacharias, illus I (#13) Zaretan, 457a-b Zazel, 457b; 7d, 406c, d Zebulun, 457b-c Gate of, 24d Zechariah, 272c Zeitgeist, 438a, b Zelophehad, 457c-d daughters of, 273b, 457c-d See also Hoglah; Milcah; Noah, female; Tirzah Zenith, 457d-458a See also Center; Circumference; Nadir Zeus See Jove; Jupiter Zibeah [Zibiah], 458a; 266b Zillah, 458a-b; 266a Zion, 458b-c Zipporah, 266a Zodiac, 8a, 425c Zoonomia (Darwin), 452b Zoas, 458c-460b See also Four Zoas; Luvah; Tharmas; Urizen; Urthona Cathedral Cities and, 70 (diagram), 71a, c, (table) cherubim as, 80b from Ezekiel, 135a[b], 458c-d, 459c in Genesis Ms., 151c-d in imagination, 418b-c in Jerusalem, 212 (diagram) in Job illustrations, 220d metals and, 271a in Mundane Egg, 288a-b (diagram) in Paracelsus, 322c rivers of Eden as, 115a, 458d Trinity and, 419a-b, 459a in “VLJ,” illus I (#9, 14) wheels as, 445a Library of Congress Cataloging in Publication Data Damon, S Foster (Samuel Foster), 1893–1971 A Blake dictionary Bibliography: p Includes index Blake, William, 1757–1827 — Dictionaries, indexes, etc I Eaves, Morris, 1944– II Title PR4146.A24 1988 821′.7 87–40509 ISBN 978-1-61168-443-8 EBOOK ISBN 978-1-61168-341-7 ... Illustrations by Blake and Maps are at the end of the Dictionary A ABARIM is a mountain range east of the Dead Sea From Mount Abarim, Moses beheld the Promised Land (Numb xxvii:12) It is one of the. .. rediscover the dangerous Blake, the angry, flawed Blake, the crank the ingrate, the sexist, the madman, the religious fanatic, the tyrannical husband, the second-rate draughtsman” (410–11) seemed a. .. comprehensive annual checklists of Blake scholarship and art sales Back issues are being integrated into The William Blake Archive.) Erdman, David V., et al A Concordance to the Writings of William Blake