The Traveller in the Evening: The Last Works of William Blake by Morton D. Paley (PDF)

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There has never been a book about Blake’s last period, from his meeting with John Linnell in 1818 to his death in 1827, although it includes some of his greatest works. In The Traveller in the Evening, Morton Paley argues that this late phase involves attitudes, themes, and ideas that are either distinctively new or different in emphasis from what preceded them. After an introduction on Blake and his milieu during this period, Paley begins with a chapter on Blake’s illustrations to Thornton’s edition of Virgil. Paley relates these to Blake’s complex view of pastoral, before proceeding to a history of the project, its near-abortion, and its fulfillment as Blake’s one of greatest accomplishments as an illustrator. In Yah and His Two Sons the presentation of the divine, except where it is associated with art, is ambiguous where it is not negative. Paley takes up this separate plate in the context of artists’s representations of the Laocoön that would have been known to Blake, and also of what Blake would have known of its history from classical antiquity to his own time. Blake’s Dante water colours and engravings are the most ambitious accomplishment of the last years of his life, and Paley shows that the problematic nature of some of these pictures, with Beatrice Addressing Dante from the Car as a main example, arises from Blake’s own dividedand sharply polarized attitude toward Dante’s Comedy. The closing chapter, called “Blake’s Bible,” is on the Bible-related designs and writings of Blake’s last years. Paley discusses The Death of Abel (addressed to Lord Byron “in the Wilderness”) as a response to its literary forerunners, especially Gessner’s Death of Abel and Byron’s Cain. For the Job engravings Paley shows how the border designs and the marginal texts set up a dialogue with the main illustrations unlike anything in Blake’s Job water colours on the same subjects. Also included here are Blake’s last pictorial work on a Biblical subject, The Genesis manuscript, and Blake’s last writing on a Biblical text, his vitriolic comments on Thornton’s translations of the Lord’s Prayer.

User’s Reviews

Opiniones editoriales Review `Review from previous edition superbly lucid and learned account of Blake’s late works’Seamus Perry, Times Literary Supplement`iThe Traveller in the Evening/i extends Morton Paley’s distinguished career of scholarship on Blake’s art and thought . . . displays an encyclopedic knowledge of Blake’s art and life as well as an immense erudition about the art world of the time, various strands of apocalytic religiousthought, and the social and cultural milieu of London.”Stephen L. Carr, Studies in Romanticism`It is gratifying to encounter such solid and pioneering scholarly detail in so readable a form, helped not least by Paley’s admirable clarity and quirky humour. . . . an oustanding contribution to our understanding of these neglected later works, providing authoritative scholarship ofimportance for anyone working on the period.’Angus Whitehead, The Cambridge Quarterly`Very few scholars other than Morton D. Paley would be capable of executing a project as complex as this, that is, one requiring simultaneously an intimate familiarity with both the literary and artistic traditions as they culminated in iJerusalem/i, and the intellectual facility to preventthe composite books from impinging upon an analysis devoted to the last works. Paley is able to view each of these texts individually in its own right and all collectively in order to illuminate the dimensions of Blake’s creativity in his last decade.’Sheila A. Spector, The Wordsworth Circle About the Author Morton D. Paley is Emeritus Professor in the Department of English at the University of California at Berkeley. A well-known and widely-published critic on Romanticism, he received the Distinguished Scholar Award, Keats-Shelley Association of America in 2002, and a festschrift on Romanticism and Millenarianism, ed. Tim Fulford, was published by Palgrave in 2002 in his honour. His publications include: Editor (with Meg Harris Williams), Linguistic Transformations in Romantic Aesthetics from Coleridge to Emily Dickinson. Lewiston, N.Y. Edward Mellen Press. 2002.Apocalypse and Millennium in English Romantic Poetry Oxford: The Clarendon Press, 1999.Portraits of Coleridge Oxford: The Clarendon Press, 1999.Coleridge’s Later Poetry Oxford: The Clarendon Press. 1996. 2nd ed., 1999.Editor, The Last Man by Mary Shelley. With an introduction and notes. Oxford. Oxford University Press. 1994.Editor (with T. J. Fulford), Coleridge’s Visionary Languages Cambridge and New York. Boydell and Brewer. 1993.Jerusalem by William Blake. A newly edited text, with an introduction, commentaries on the poetry and the designs, and 105 reproductions. London: The Tate Gallery for The William Blake Trust, 1991.The Apocalyptic Sublime London and New Haven. Yale University Press. 1986.The Continuing City: William Blake’s Jerusalem Oxford. The Clarendon Press. 1983.William Blake Oxford. Phaidon. 1978. German translation by P. – M. Hottenroth. Stuttgart. W. Kohlhammer. 1978. New printing: Ware, Hens. Omega Books. 1983.(With Robert N. Essick), Robert Blair’s The Grave Illustrated by William Blake London. Scolar Press. 1982.Editor (with Michael Phillips), William Blake: Essays in Honour of Sir Geoffrey Keynes Oxford. The Clarendon Press. 1973.Energy and the Imagination: A Study of the Development of Blake’s Thought Oxford. The Clarendon Press. 1970.Editor, Twentieth Century Interpretations of Songs of Innocence and of Experience Englewood Cliffs, N. J. Prentice-Hall. 1969.

Reviews from Amazon users which were colected at the time this book was published on the website:

⭐Good, well written. Bedside table thoughts to Blake.William Blake (1757-1827) is best known for his Songs of Innocence and his Songs of Experience, but he is a lot more. Morton D. Paley concentrates in this book on the last ten years or so of Blake’s life and he particularly scrutinizes what Blake’s main production in these years was, i.e. his engravings, etchings, watercolours and paintings, most of them being illustrations of various books. He of course considers the poetical production of these years, but it is rather smaller when compared with the artistic production. He thus examines successively Blake’s illustrations of Thornton’s Virgil, Blake’s engraving Yah and His Two Sons Satan and Adam, Blake’s illustrations of Dante’s Divine Comedy, Blake’s illustrated books on biblical subjects (The Everlasting Gospel, The Ghost of Abel, The Book of Job, Genesis, The Book of Enoch) and finally Blake’s annotations of Thornton’s new translation and presentation of The Lord’s Prayer .This is a great endeavour for many reasons. I will give some. It is very difficult to assess the engravings with the help of the texts they illustrate because Blake remains independent till the end and never hesitates to introduce a differenciation from or even a contradiction with the texts. It is very difficult to capture the deeper meaning of these engravings and it necessitates a lot of patience and erudition. The author is led to that naturally because in most of these engravings some text is including or injected into the work of art. The meaning in these cases can only come from the dialogue that Blake creates between text and picture. The author also understands very well that his approach has to be visual to follow Blake’s inspiration, the meaning has to come from the very structure of the work of art and cannot be reduced to the text it includes or the text it illustrates. Just for these reasons, this book is a great treat to read slowly and enrich with the enormous culture that is alluded to constantly by the author. You definitely need to know Blake’s poetry or to be able to check some of the poems, to know Blake’s art and to be able to check some works along with your reading (both the poems and the illustrations are not reproduced in the volume: some quotations are given when necessary and a few engravings are reproduced in black and white). You also need to know your Bible, Old and New Testaments alike, plus all the apocrypha and pseudepigrapha available knowing that Blake was a Bible scholar, even if he would hate this word applied to him. He knew the Bible very well, in English of course, in Greek definitely, probably in Latin too and partially in Hebrew. In other words you need at least three versions of the Bible (King James’s Authorized Version, a standard modern version and naturally a good edition of the Jerusalem Bible with a lot of notes) plus many marginal books and gospels and texts that you can luckily and easily find on the Internet (best site available : the Wesleyan Nazarene University library). We feel in every page of this book that Morton D. Paley has that knowledge and always considers that the readers must have it.This is a book for research workers, definitely not for students.1. Blake and dual thinkingThe first element I would like to emphasize is Blake’s refusal of any dual thinking. He considers that our common way of putting things in front of our eyes is wrong: we seem not to be able to think without dividing every little problem or issue into two opposing and antagonistic elements. This dual thinking is for Blake the most satanic inspiration we can find in our life. He refuses all science and philosophy, particularly what Paley calls the « classics », i.e. the Greek heritage and all that was derived from it on one hand, and the modern scientific vision, particularly that of Newton and Bacon. Had he been French he would have said Descartes and maybe Pascal. Blake cultivates a conception that is founded on intuition, on spiritual communion with nature, humanity and God, an experience that must be direct, without any intermediary, complete, without any compromission, absolute, without any fear or awe. For him that is art and for him art is the only human activity that can bring man face to face with his creator, with the real God he believes in. « Jesus & his Apostles & his Disciples were all Artists. » (p. 97) Paley’s book is full of references concerning this approach of Jesus and religion. From this axiom Blake comes to the simple idea that arts and artists being more or less marginalized in society, if not persecuted, it is because power institutions have perverted Jesus’s teaching by imposing onto this teaching the Greek heritage of philosophy and science and the Roman héritage of war and power. Blake sees three enemies to pure art and pure religion that can only come from the heart, and these three enemies are the values of the God of the World, i.e. Satan. First money and the greed it feeds in merchants and landowners. Second power that grows along with any state-institution, and the church is no better than any king, they take part in what Blake calls Caesar. Third violence that nourishes the need for Caesar to have an army to conquer, control and eventually impose his will and create an empire. « Their [Jesus’s & his Apostles’ & Disciples’] Works were destroyed by the Seven Angels of the Seven Chruches of Asia. » (p. 97) This is an allusion to the first part of the Book of Revelation in which John addresses his recommendations to the seven churches of Asia. Hence the church is part of Caesar and the Empire and it has perverted Jesus’s teaching to justify the state, to consolidate its power and to cover up its crimes. The previous two quotations end up where we started, that is to say with science: « Antichrist Science. » (p. 97) Paley draws the conclusion that science is this Antichrist using a pure transitive reading from left to right. I think it is slightly more complex. Transitive reading is fine if it identifies the seven churches of Asia with that Antichrist. But if we do that we come to a brand new way of looking at science. The church, along with the state and the merchants have codified Jesus’s preaching into a set of laws that make everything lawful, particularly with repression, mind-control and taxes. Blake will annotate Thornton’s Lord’s Prayer as follows: « Lawful Bread Bought with Lawful Money & a Lawful Heaven seen thro a Lawful Telescope by means of Lawful Window Light. The Holy Ghost & whatever cannot be Taxed is Unlawful & Witchcraft. Spirits are Lawful but not Ghosts especially Royal Gin is Lawful Spirit. No Smuggling real British Spirit & Truth. » (p. 290-291) In other words religion has become a science, just like politics and war. In that perspective the science of Newton or Bacon is just part of the system and serves the same purpose: to make a profit, to control people, to rationalize (which includes the word ration) the world for the good of the God of the World, i.e. Satan. This makes me think of the description of Babylon in the Book of Revelation:« There will be mourning and weeping for her by the kings of the earth who have fornicated with her and lived with her in luxury. They see the smoke as she burns, while they keep at a safe distance from fear of her agony. They will say:`Mourn, mourn for this great city,Babylon, so powerful a city,doomed as you are within a single hour.’« There will be weeping and distress over her among all the traders of the earth when there is nobody left to buy their cargoes of goods; their stocks of gold and silver, jewels and pearls, linen and purple and silks and scarlet; all the sandalwood, every piece in ivory or fine wood, in bronze or iron or marble; the cinnamon and spices, the myrrh and ointment and incense; wine, oil, flour and corn; their stocks of cattle, sheep, horses and chariots, their slaves, their human cargo. » (Revelation, 18:9-13)Here Paley is right we should go bacik to the religious dissenters and radicals of the 17th century to discover that it is not the rejection of science per se that is here at stake, but of its perversion by the Caesars and the Empire of the world, by Satan, into an usable artifact to make a profit and control the people.I insist again on the concept of lawfulness used by Blake to debunk this Babylon. We will come back to it in time. The fundamental Law in this perverting process is the Thora, the Law of Moses, the ten commandments. The people of Israel, or rather their masters, started perverting the divine creation when they started writing down hundreds of pages of laws about everything and anything else. These laws became the tools used by kings, priests and merchants alike to impose their Babylon.At this point I would like to say that the number three (the three evils : merchants, kings and priests, warriors) seems to be fundamentally evil for Blake, hence we must ask the question of a numerical symbolism. At the same time the idea of a beginning is essential and we must ask the question where is that beginning and what will the end be?2. Blake and numerical symbolismWe are going to envisage the numerical symbolism in Blake from what Paley says and intimate some tentative ideas about it first.We will start with the analysis of the plate p. 159 entitled Beatrice Addressing Dante from the car. Paley sees a lot of things but does not capture the visual numerical symbolism this drawing contains. The antagonistic dualism we have spoken of is visible in the gryphon that pulls the car. It is composed of the head and wings (raised but not moving at all, like the wings of the animals in John’s or Ezekiel’s visions) of an eagle and the body of a lion and it is absolutely static. The two animals make us think of John and Mark and their gospels, though we wonder why only two when the four are associated in Isaiah’s, Ezekiel’s and John’s visions (let’s see that as a reduction of the perfect four two the dual two and that explains the total immobility of the gryphon), but this allusion is not the most signifying element. From this gryphon an arc of cloud starts and goes over its head where it parts into two branches one going over Beatrice standing in the car and the other descending towards the wheel where it seems to disolve. In front of this gryphon stands a dubitative Dante on the extreme right of the picture, dubitative we are going to see why. On the extreme left two women are standing immobile, one in green for hope, one in red for charity. These three characters are the vertical frames of the picture. But these two women are not alone: a third one, in white for faith, is dynamically swirling in front of the car showing with her left hand the pages of an open book that seems to be carried by the disolving cloud of the lower branch we have just seen and pointing with her right hand at the eagle-head of the gryphon (an allusion to John’s Gospel and Book of Revelation). So there are three women but not unified in their stances and four characters in the foreground of the picture and yet not unified. They are not the subject of the picture. They are one of the first indicators we see that something is wrong. The car and Beatrice are the main subject even if seen behind this foreground of four people. The first element of the car, on which our eyes easily set is the wheel that seems to be turning and in this turning movement (looking like a whirlwind) we can see three human figures, two going counterclockwise and one going clockwise. Which way is the wheel turning? Backward like two characters seem to imply, or forward like one character seems to imply? And this turning wheel is in total contradiction with the absolutely still gryphon. Beatrice is standing on the car, not nude but her body clearly visible behind a transparent veil. She also wears a vast mantle and a crown on or slightly over her head. Three elements, where Dante had four in the text, the robe is missing clearly implying that Beatrice is nude and her nude body is supposed to be seen. The three colours of Dante are still there: white for the veil, red for the bottom of the mantle, green for the rest of the mantle, plus a fourth one gold for the crown (the veil was held by some green olive wreath in Dante). But whereas Dante’s colours were all vertical, Blake’s colours are horizontal in three layers red, green and gold from bottom to top in contrast and contradiction with the vertical white veil. The inversion of the first direction and the contradiction with the second are in sharp contrast with the text and the supposed lateral movement of the car: a vertical alignment against an horizontal movement with a clear emphasis on three for Blake. But Beatrice stands between a front set of three animals’ heads and a fourth one behind. The four animals are probably the four evangelists: John, the eagle, at the top of the front group of three, then Mark, the lion, and finally Luke, the ox, with the fourth one, Matthew, the man, at the back (to the left of the picture). These are four animals because it is an allusion to the Book of Revelation. But we see that beatrice has split the four evangelists who are unified like brothers normally and find themselves divided in three and one here. This disunification reminds us of the four foreground characters.All these contradictions and manipulations of standard symbols on the basis of numbers show why Dante is dubitative: he cannot believe his own eyes. Beatrice is the disorder-monger of the tableau.But this leads us to the idea that four is probably a positive number, be it only because it is the number that represents Christ in his crucifixion and sacrifice.The book is full of such symbols.3. Blake and JobLet’s take three pictures from the book of Job. The first one, plate 14, p. 249, entitled When the morning stars sang together, & all the Sons of God shouted for joy. The central picture is divided in three strata. On top four angels dancing their arms raised in the sky and crossing their arms one left one with one right one, building a design which was extremely common in romanesque art and that came from Ireland: this design was used to designate Christ in his second coming, hence omega. In the middle layer God is squatting on a vault of cloud, his arms in crucified position and superimposed onto another line of clouds, hence building a big X with four arms, a symbol of the crucifixion precisely. Under his right arm, on the left, God has a representation of Helios driving the cart of the sun drawn by one horse up into the sky. Under his left arm, on the right, Selene is bearing the moon drawn by two serpents. Hence we have the day and the night (we could say a lot about each element of these two pictures). Under the vault on which God is standing we have Job and his wife next to each other but not touching, the wife to the left and Job in the middle (an echo of the two characters of the sun vignette), and on the right the three wise men packed together shoulder to shoulder, the three wise men who failed in their attempt to make Job accept the Law of the state and religion of Israel, and this Law says that if Job has suffered some divine punishment it is because he is guilty of not respecting the Law, which brings Job’s protest that he has always respected the Law. One character is missing, the young man who spoke last as if to introduce God, seen as Shaddai systematically in this Book, and this young man spoke with his heart and not his science, with his complete spirit and not the Law, and he prepared the discourse of Shaddai just after him that will make Job change his mind about his stand in front of God: he doesn’t claim he is innocent anymore but he accepts God’s decisions no matter what they are because it is God’s free will to do what he wants with humanity and no one can discuss it. And this episode introduces a very important element since Job is forgiven, God means forgiveness, though Job was the victim of a silly bet between God and Satan, this last element showing that God does not follow a rule, a Law, but his inspiration of the moment. The three wise men are fools, and that illuminates the three evangelists separated from the fourth one by Beatrice: three you are fools, four are truthful. The truthfulness comes with the fourth one in a united group.And yet it is not enough. Around the picture, in the margins of the page we have a lot of elements. Three round or almond-shaped vignettes on each side with the six days of the creation altogether around the picture in vertical alignment from top to bottom, but in the sixth vignette, the third on the right, the one at the bottom there, the sixth day of creation, there is no man created by God. An afterthought maybe, or the realization that this creation was not exactly his best success. Three on the left, three on the right, that builds the two cups of Solomon’s sign, of David’s star: the cup of God pouring his light into the cup of man, quite fitting for the creation of the world. And yet it cannot work because the two groups of three are aligned and not in the shape of triangles, and vertical which does not make it easy to pour from one cup to the other. Six, the very divine number six, is thus perverted by Blake, but probably because it was perverted by God.Plate 19 is not reproduced in the book and yet it is interesting because in the margins it introduces a lot of women but not in any disorderly way. Right and left two women float at the bottom of the margin bearing fruit and flowers. Right and left float at the top of the margin two women scattering petals. They build the X we said was four and a sign of Jesus on his cross but in a rich context because it is the promise of salvation and redemption. Above each of the two upper inset corners two groups of two women appear in the palms, announcing the second coming of Christ, because four and four make eight, a standing omega, the end of the Apocalypse. Going down in both left and right margins two groups of three women are picking the same symbolism as the Genesis vignettes in plate 14, with the same perversion of Solomon’s number and sign. At the bottom to the left a big bunch of roses and to the right a bunch bunch of lilies, traditional symbols of Mary Magdalena and of Mary the Virgin respectively. The future is in the hands of women. They accompanied Jesus to his end (both Maries), they announced his resurrection (Mary Magdalena), and here they announce his Second Coming. It is such symbolism that makes me say that Paley is wrong when he says: « Blake repeatedly denigrates the female principle. » But more about it later.Plate 20, still of the Book of Job, is very interesting. In the centre picture Job, at the end of his story is sitting inside a home and telling his three daughters his tale. He is exactly in the same position as God in plate 14, or nearly, but his two outstretched arms and his head point to three vignettes telling the whole episode. On the left the destruction of Job’s servants by the Chaldeans, Satan hovering over the scene, in the middle God appears in a whirlwind, and on the right a ploughman is destroyed by Satan himself. This is a rewriting of the story and we know better: Job is a fool. What does it make God? But, quasi-symetrically at his feet the three daughters are sitting on the floor, one on the left, one in the middle and one on the right. The three daughters rebuild with the three vignettes, Job being the central node of it, a six branch star. Not Solomon’s sign since the pouring cup is under and the receiving cup is over. Once again no pouring of God’s light into man’s cup. Job is a fool. But the six branch star is David’s sign and this announces that all this foolery is going to bring Jesus, the descendant of David, and the three daughters are a preview or premonition of the three Maries at the foot of the cross. At this point three is maybe bad except when there is perfect unity, like the three Maries in their sorrow at the foot of the cross.We could go on and on showing how this fundamentally christian and romanesque numerical symbolism leads us to meanings that Paley only hinted at or vaguely evoked. It is this element that is essential. A last remark on this point: This numerical symbolism is not significant in itself but, like in romanesque art, in its spatial disposition, here in the picture, as it was in the Middle Ages in the church from one capital to the next and then to the next and to the next again, building or drawing a pilgrimage of salvation in the church itself for the faithful entering the main porch and moving towards the altar and the choir where their human cup would be able to receive the light of God poured from his cup into theirs. I could demonstrate such pilgrimages in some great romanesque churches, or some humbler romanesque churches in Issoire or Arlanc in Auvergne. And you could discover that many of the figures represented on these capitals are extremely similar to those engraved, etched or painted by Blake. Blake is deeply romanesque, a lot more romanesque than romantic.4. Blake and the beginning[…]5. Blake and the endThen what is the end?The final touch to that picture comes with Enoch, a set of sketches more than anything else. Another evidence that God did not do things properly, did not create a spiritual world. After the fall men procreated some beautiful women, and some of the angels, heavily male and oversexed, envy these women, come down on earth, capture them, procreate with them some giant race that destroys humanity, or nearly. These angels should have been pure Spirit, but God somehow failed here too. Then he will repair the damage by causing more damage with the flood and the man who will be entrusted with the salvaging Ark will be an albino, white as snow with red flashing eyes. Is that a good sign? Blake did not go far enough in that project to give more details.6. Blake and the JewsSo, can we say like Paley that Blake was antisemitic when he said things against the Jews? Paley writes: « There can be little doubt that Blake wished no harm to the Jews themselves, although he was capable of giving expression to deplorable anti-semitic stereotypes. » (p. 200) It is clear that in our context some remarks by Blake are absolutely unacceptable, but that does not make him an antisemite. He would be here with us he could phrase the same ideas a different way to satisfy our post-Shoah consciousness and repentance. But it is out of place to study Blake in his context and analyze his phrases in our context. Blake was no more an antisemite than Shakespeare or Ben Jonson. Blake was a man with a vision and his vision was first of all contained in the Bible, that is to say in a completely Jewish context. For him Jesus was a Jew and he was a perfect Jew because he implemented and used the heart, the spirit and the brain God gave him to respond to concrete situations and reject all kinds of alienations and oppressions, what Blake, after John, and many others in the Old Testament, calls Babylon. For him there is both absolute continuation from Genesis to the Book of Revelation, and a serious rift in the fabric with Jesus who restructures the Jewish faith to make it go back to the visionary imagination, the artistic freedom of the great prophets and the great patriarchs of the Old Testament. For Blake if the project Jesus was carrying, in the name of the Holy Spirit of God, failed it is because Babylon subverted the project: but Babylon is not the Jews. It is Satan behind pulling the strings of the greedy merchants who do not even hesitate to sell human beings as slaves to make a profit, the caesars, kings and priests alike, who do not hesitate to enslave their peoples to make a profit called taxes, the generals and admirals who do not hesitate to enslave foreign free people or exterminate them if necessary, to put their hands on their riches and resources and make a profit. All that is called Empire by Blake or Babylon.Actually on this question, which is very serious indeed, a great amount of research is to be made to analyze the fine and tricky connections between all the elements at stake in Blake’s works but also in the works of all the poets, writers and artists of his time to really evaluate if his position is antisemitic or of another dimension, and hence needs to be reworded in a way more palatable for our consciousness. Yes, when Blake says: « If Humility is Christianity; you O Jews are the true Christians. », we are justified in asserting that such a declaration in today’s context would have to be declared antisemitic of a sort. But we should also think of a recent debate about a recent film in which many critics saw at the time an antisemite film and now are backing up on their previous declarations and only admit that this film could lead some to antisemitic interpretations. I am afraid Blake here is just in the same situation. We have to reassess this part of his works and analyze in great details and nuances the real meaning of his words for him and him only, and then eventually take the necessary precautions when bringing such poetry, prose or art to the public, so that there will be no anachronic assimilation on our part and no unacceptable interpretation on the public’s part.To conclude this long retension, I have to say that this book was a marvellous experience and that every single page of it was worth the average five or six minutes it required to be read, documented and hopefully digested. We should read such books more often.Dr Jacques COULARDEAUVery interesting book by one of the great Blakean scholars in perfect condition.

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