Q&A: Exhibition at Petworth House

Our latest Q&A is with Andrew Loukes, curator of collections and exhibitions at Petworth House, about their upcoming Blake exhibition...

Hacking [away at] FOUR ZOAS

As ever and as always, work continues on the Four Zoas. 

Q&A with Dr. Martens and a giveaway

Dr. (Doc) Martens, the footwear/clothing/accessory company, currently has a Blake collection in collaboration with Tate Britain. I asked them...

Publication: Water Color Drawings for Young's NIGHT THOUGHTS

The William Blake Archive is pleased to announce the publication of a digital edition of Blake’s water color drawings...

Blake’s Divisive "Lord’s Prayer" Marginalia

Over the last few weeks, I’ve been working piecemeal on encoding Blake’s marginalia for Robert Thornton’s The Lord’s Prayer,...
Blake Quarterly
Q&A: Exhibition at Petworth House
BAND
Hacking [away at] FOUR ZOAS
Blake Quarterly, Giveaway
Q&A with Dr. Martens and a giveaway
Publications
Publication: Water Color Drawings for Young's NIGHT THOUGHTS
BAND
Blake’s Divisive "Lord’s Prayer" Marginalia
Uncategorized

Imaging Ecstasy: Tagging Emotions in Illustration Markup

My contributions to Hell’s Printing Press typically investigate aspects of my own job at the WBA—illustration markup—and focus on the process of textual tagging (see my earlier post about textual tagging broadly as well as studies of the tags “streams of gore” and “lunging”). Assigning tags from our list of terms is both an illuminating and challenging process as Blake continually experimented with new iconography, forms, and materials. Tagging specific figures from literature, religion, and Blakean mythology often involves research to identify characters such as Lamech, Libicoco, and the “nameless shadowy female.” However, some of the most difficult tags to assign, I have found, are those associated with mental states and emotions.

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Blake Quarterly

Guest post: Portrait of a poet with a book

Today we have a guest post from Jonathan Morse of the University of Hawai’i at Mānoa. Jon sent us a message asking if we had a use for an image he’d found in the collections of the Library of Congress; his post is the result of that correspondence.

Between January and May 1920, William Butler Yeats toured the United States and Canada under the management of the J. B. Pond Lycaeum Lecture Bureau, addressing audiences on such topics as “The Irish Movement and the Irish Theatre” and “The Younger Generation.” By “the younger generation” he meant contemporary poets. So far as I have been able to learn from the newspaper coverage online at newspapers.com, in the Library of Congress, and in the archives of the student newspapers that covered his appearances at Oberlin and Yale, he never mentioned Blake.

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BATS

Teaching First-Year Composition with the William Blake Archive

I am happy to report that I have finished my last spellcheck list, and will be switching tasks to assist with image mark-up. Not an unwelcome “vicissitude,”

in the sense of the “Grateful vicissitude” of the perfectly-balanced changes from light to darkness that Milton describes in Paradise Lost. But I will miss the curiosities that I came across while checking Blake: An Illustrated Quarterly for spelling errors.

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BAND, XML

What I Learned from Researching Choice Tags

One of BAND’s long term projects is what we’re calling the <choice> Tag Project. The ultimate idea behind this project is to standardize our use of <choice> tags in textual transcriptions. Since there have been several blog posts written on this topic in the past, I thought a good way to begin would be to read those three posts and then to look through recently transcribed BADs in order to get a thorough exposure to all the different ways in which people are using <choice> tags.

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Publications

Publication: TIRIEL Manuscript & Designs

The William Blake Archive is pleased to announce the publication of digital editions of the manuscript and the designs for Blake’s Tiriel.

The ManuscriptTiriel (c. 1789) comprises a manuscript of fifteen pages of eight numbered sections plus three sketches and twelve known finished drawings (three untraced since 1863). Most of the drawings are more or less clearly related to passages in the manuscript. Originally, Blake may have planned to engrave the writing and the illustrations or a selection of them and assemble the two in a set sequence—with or without a publisher. Alternatively, he may have envisioned a typographic work with engraved illustrations. But he never saw the project through to completion, and the materials are now dispersed.

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Publications

Publication: JERUSALEM Copy F

The William Blake Archive is pleased to announce the publication of a digital edition of Jerusalem The Emanation of The Giant Albion Copy F, from the Morgan Library and Museum. Jerusalem is Blake’s masterpiece in illuminated printing, consisting of 100 relief and white-line etchings divided into four chapters. It is his longest illuminated book and its plates are among his largest, at approximately 22.5 x 16 cm. Though dated 1804 on its title plate, it was not printed in its entirety until c. 1820. Sixty plates may have been completed by 1807; a few examples were exhibited in 1812. The printing of 1820 produced Copies A, C, and D. In the next year, Blake printed Copies B (chapter 1 only, Plates 1-25) and E. Blake printed Copy F in 1827. Copies H-J are posthumous. Most lifetime copies have hand tinting in gray or black, but only Copies B and E are colored. There are two arrangements of the plates in chapter 2, early (Copies A and C) and late (Copies D and E).

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Blake Quarterly

A Last Hurrah

Our last hurrahs are like singers’ farewell tours—they tend to come around again next year—but this is a farewell to our fiftieth volume, which officially ends on 30 June, even though we have already published all four issues.

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