One of the first blog posts I ever wrote for Hell’s Printing Press was titled “Laocoön and Languages.” The inspiration behind the post was that, in working on textual transcriptions, I had come across instances where Blake writes in a language other than English and I had been pointed to Laocoön as an example of a published Blake Archive work that deals with the problem of how to transcribe text in languages other than English.
The William Blake Archive is pleased to announce the publication of a digital edition of Blake’s French Revolution.
Continue readingThis remembrance is by Vera Serdechnaia, Candidate of Philology, Krasnodar (Russia). Vera is academic editor at the Analitika Rodis publishing house and a theatre critic. It will also appear in our summer 2020 (vol. 54, no. 1) issue.
Continue readingThe spring 2020 issue (vol. 53, no. 4) of the Blake Quarterly is now online and open access until the end of April.
Continue readingHere we are, a month into coronavirus quarantine.
Continue readingCheck out this new tutorial video on using the True Size tool in the Blake Archive!
The William Blake Archive is pleased to announce the publication of a digital edition of Blake’s water color illustrations to the plays of William Shakespeare.
Continue readingThe Tate Blake exhibition closed its doors in February and the many works on display are presumably now all safe and sound at their home institutions. At the Blake Quarterly I’ve been consulting the exhibition catalogue and referring to installation photos in the process of laying out Luisa Calè’s review for our upcoming spring 2020 issue.
Continue readingCheck out this new tutorial video on how to view the electronic edition information for works in the Blake Archive!
The William Blake Archive is pleased to announce the publication of a digital edition of To the Public, dated “October 10, 1793.” It first came to light in Gilchrist’s Life of Blake, 1863, where it was introduced with a brief heading that described “a characteristic Prospectus issued by Blake.” It had been transcribed from an “original…in engraved writing printed in blue on a single leaf about 11 x 7 ½ inches…obtained only at the last moment” from a “Mr. Frost”-perhaps William Edward Frost, a painter, member of the Royal Academy, and sometime collector of engravings by Blake’s friend Thomas Stothard (Bentley, Blake Books Supplement, page 142). Like several of Blake’s letters, then, his 1793 prospectus is known only from the transcription of unknowable accuracy from Gilchrist’s biography.
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