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This historic book may have numerous typos and missing text. Purchasers can download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1907. Excerpt: ... CHAPTER XXVIII A LITTLE BIT OF INTERPRETATION But we have gone on too long with fatal facility, offering no hint of interpretation to Blake's myth, though it is in this that the Eeal Blake is most to be found. Something has been done in notes elsewhere--a small postscript on a fewpoints may be added now. Blake devoted himself to his books of Jerusalem and Milton all through his exhibition period. These are not at all what they would have been but for that harassing period of perpetual visits, interviews, and letters that kept Blake constantly distracted in the service of Hay ley and his Life of Romney, during the years 1804 and 1805, when Milton was reduced to two books and Jerusalem was begun. Here again we must look at what has already been noticed when comparing the styles of Thel and Tiricl. The parts of Milton that evidently belong to Felpham contain a freer and smoother diction than that which is habitual in Jerusalem. There is a marked change of style. It is the difference in tone between a narrative and a manifesto. The difference between Vala and Jerusalem is still more distressingly noticeable. The tendency to melody of language which is a physical thing in a poet, and has a close connection with the nerves that direct lus articulation, is always injured if he is obliged to talk much prose. The Arabs say that if their best racer goes once in the plough his gallop is never the same afterwards. Prolonged business conversations cause a poet to lose a fairyland note from his verse, and to descend to a sort of inspired and emphatic talking. Sometimes he brings with him what was best from his earlier manner and only drops a retarding and belittling sweetness. No one would say that Shakespeare's verse in Antony and Cleopatra was worse than in Romeo and...
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