Jason Crawford
- Published in print:
- 2017
- Published Online:
- February 2017
- ISBN:
- 9780198788041
- eISBN:
- 9780191833489
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780198788041.001.0001
- Subject:
- Literature, 17th-century and Restoration Literature, Poetry
This book is about the genealogies of modernity, and about the lingering power of some of the cultural forms against which modernity defines itself: religion, magic, the sacramental, the medieval. ...
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This book is about the genealogies of modernity, and about the lingering power of some of the cultural forms against which modernity defines itself: religion, magic, the sacramental, the medieval. The book explores the emergence of modernity by investigating the early modern poetics of allegorical narrative, a literary form that many modern writers have taken to be paradigmatically medieval. In four of the most substantial allegorical narratives produced in early modern England—William Langland’s Piers Plowman, John Skelton’s The Bowge of Courte, Edmund Spenser’s The Faerie Queene, and John Bunyan’s The Pilgrim’s Progress—allegory is intimately linked with a self-conscious modernity, and with what many commentators have, in the last century, called “the disenchantment of the world.” The makers of these early modern narratives themselves take a keen interest in metaphors and postures of disenchantment. They fashion themselves as skeptics, spell-breakers, prophets against false institutions and false belief. And they often regard their own allegorical forms as another dangerous enchantment, a residue of the medieval past they have set out to renounce. In the context of various early modern crises of historical loss and revolutionary dissent, English poets from Langland to Bunyan become increasingly militant in their skepticism about allegory and about the theologies of incarnation that undergird it. But their self-regard also responds to paradoxes and anxieties at the core of allegory’s medieval poetics, and they discover that the things modernity has tried to repudiate—the old enchantments—are not as alien, or as absent, as they seem.Less
This book is about the genealogies of modernity, and about the lingering power of some of the cultural forms against which modernity defines itself: religion, magic, the sacramental, the medieval. The book explores the emergence of modernity by investigating the early modern poetics of allegorical narrative, a literary form that many modern writers have taken to be paradigmatically medieval. In four of the most substantial allegorical narratives produced in early modern England—William Langland’s Piers Plowman, John Skelton’s The Bowge of Courte, Edmund Spenser’s The Faerie Queene, and John Bunyan’s The Pilgrim’s Progress—allegory is intimately linked with a self-conscious modernity, and with what many commentators have, in the last century, called “the disenchantment of the world.” The makers of these early modern narratives themselves take a keen interest in metaphors and postures of disenchantment. They fashion themselves as skeptics, spell-breakers, prophets against false institutions and false belief. And they often regard their own allegorical forms as another dangerous enchantment, a residue of the medieval past they have set out to renounce. In the context of various early modern crises of historical loss and revolutionary dissent, English poets from Langland to Bunyan become increasingly militant in their skepticism about allegory and about the theologies of incarnation that undergird it. But their self-regard also responds to paradoxes and anxieties at the core of allegory’s medieval poetics, and they discover that the things modernity has tried to repudiate—the old enchantments—are not as alien, or as absent, as they seem.
The late A. D. Nuttall
- Published in print:
- 1998
- Published Online:
- October 2011
- ISBN:
- 9780198184621
- eISBN:
- 9780191674327
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780198184621.001.0001
- Subject:
- Literature, Poetry, Drama
The Trinity of orthodox Christianity is harmonious. The Trinity for Blake is, conspicuously, not a happy family: the Father and the Son do not get on. It might be thought that so cumbersome a notion ...
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The Trinity of orthodox Christianity is harmonious. The Trinity for Blake is, conspicuously, not a happy family: the Father and the Son do not get on. It might be thought that so cumbersome a notion is inconceivable before the rise of Romanticism but the Ophite Gnostics of the 2nd century AD appear to have thought that God the Father was a jealous tyrant because he forbade Adam and Eve to eat from the Tree of Knowledge and that the serpent, who led the way to the Tree of Knowledge, was really Christ. This book explores the possibility of an underground ‘perennial heresy’, linking the Ophites to Blake. The ‘alternative Trinity’ is intermittently visible in Marlowe's Doctor Faustus and even in Milton's Paradise Lost. Blake's notorious detection of a pro-Satan anti-poem, latent in this ‘theologically patriarchal’ epic is less capricious, better grounded historically and philosophically, than is commonly realised.Less
The Trinity of orthodox Christianity is harmonious. The Trinity for Blake is, conspicuously, not a happy family: the Father and the Son do not get on. It might be thought that so cumbersome a notion is inconceivable before the rise of Romanticism but the Ophite Gnostics of the 2nd century AD appear to have thought that God the Father was a jealous tyrant because he forbade Adam and Eve to eat from the Tree of Knowledge and that the serpent, who led the way to the Tree of Knowledge, was really Christ. This book explores the possibility of an underground ‘perennial heresy’, linking the Ophites to Blake. The ‘alternative Trinity’ is intermittently visible in Marlowe's Doctor Faustus and even in Milton's Paradise Lost. Blake's notorious detection of a pro-Satan anti-poem, latent in this ‘theologically patriarchal’ epic is less capricious, better grounded historically and philosophically, than is commonly realised.
Derek Hirst and Steven N. Zwicker
- Published in print:
- 2012
- Published Online:
- September 2012
- ISBN:
- 9780199655373
- eISBN:
- 9780191742118
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199655373.001.0001
- Subject:
- Literature, 17th-century and Restoration Literature, Poetry
This book studies the poetry and polemics of one of the greatest of early modern writers, a poet of immense lyric talent and political importance. The book situates these writings and this writer ...
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This book studies the poetry and polemics of one of the greatest of early modern writers, a poet of immense lyric talent and political importance. The book situates these writings and this writer within the patronage networks and political upheavals of mid-seventeenth-century England. It tracks his negotiations among personalities and events; it explores his idealizations, attachments, and subversions; and it speculates on the meaning of the narratives that he told of himself within his writings — what we call Andrew Marvell’s ‘imagined life’. The book draws the figure of this imagined life from the repeated traces that Marvell left of lyric yearning and satiric anger, and it suggests how these were rooted both in the body and in the imagination. The book sheds new light on some of Marvell’s most familiar poems — Upon Appleton House, The Garden, To His Coy Mistress, and An Horatian Ode; but at its centre is an extended reading of Marvell’s The unfortunate Lover, his least familiar and surely his most mysterious lyric, and his most sustained narrative of the self. By attending to the lyric, the polemical, and the parliamentary careers together, this book offers a reading of Marvell and his writings as an interpretable whole.Less
This book studies the poetry and polemics of one of the greatest of early modern writers, a poet of immense lyric talent and political importance. The book situates these writings and this writer within the patronage networks and political upheavals of mid-seventeenth-century England. It tracks his negotiations among personalities and events; it explores his idealizations, attachments, and subversions; and it speculates on the meaning of the narratives that he told of himself within his writings — what we call Andrew Marvell’s ‘imagined life’. The book draws the figure of this imagined life from the repeated traces that Marvell left of lyric yearning and satiric anger, and it suggests how these were rooted both in the body and in the imagination. The book sheds new light on some of Marvell’s most familiar poems — Upon Appleton House, The Garden, To His Coy Mistress, and An Horatian Ode; but at its centre is an extended reading of Marvell’s The unfortunate Lover, his least familiar and surely his most mysterious lyric, and his most sustained narrative of the self. By attending to the lyric, the polemical, and the parliamentary careers together, this book offers a reading of Marvell and his writings as an interpretable whole.
Josephine Nock-Hee Park
- Published in print:
- 2008
- Published Online:
- May 2008
- ISBN:
- 9780195332735
- eISBN:
- 9780199868148
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195332735.001.0001
- Subject:
- Literature, Poetry, American, 20th Century Literature
This book traces an American literary history of transpacific alliances which spans the 20th century. Increasing material and economic ties between the U.S. and East Asia at the end of the 19th ...
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This book traces an American literary history of transpacific alliances which spans the 20th century. Increasing material and economic ties between the U.S. and East Asia at the end of the 19th century facilitated an imagined spiritual and aesthetic accord that bridged the Pacific, and this study reads the expression and repercussions of these links in American Orientalist and Asian American poetry. After considering both the transcendence and constraints of a structure of alliance between East and West in the introductory chapter, the first half of the study examines two key American instigators of Orientalist poetics, Ezra Pound and Gary Snyder, who imagined an identity between Eastern philosophy and idealized notions of America. Their literary alliances imposed a singular burden on Asian American poets, and the second half of the study considers a range of formal negotiations with this legacy in the poetry of Lawson Fusao Inada, Theresa Hak Kyung Cha, and Myung Mi Kim. In examining avant‐garde Asian American poetry against an American Orientalist past, this book reads the intersection of modernist and minority poetics.Less
This book traces an American literary history of transpacific alliances which spans the 20th century. Increasing material and economic ties between the U.S. and East Asia at the end of the 19th century facilitated an imagined spiritual and aesthetic accord that bridged the Pacific, and this study reads the expression and repercussions of these links in American Orientalist and Asian American poetry. After considering both the transcendence and constraints of a structure of alliance between East and West in the introductory chapter, the first half of the study examines two key American instigators of Orientalist poetics, Ezra Pound and Gary Snyder, who imagined an identity between Eastern philosophy and idealized notions of America. Their literary alliances imposed a singular burden on Asian American poets, and the second half of the study considers a range of formal negotiations with this legacy in the poetry of Lawson Fusao Inada, Theresa Hak Kyung Cha, and Myung Mi Kim. In examining avant‐garde Asian American poetry against an American Orientalist past, this book reads the intersection of modernist and minority poetics.
Erik Gray
- Published in print:
- 2018
- Published Online:
- January 2018
- ISBN:
- 9780198752974
- eISBN:
- 9780191815928
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/oso/9780198752974.001.0001
- Subject:
- Literature, Poetry, World Literature
Love begets poetry; poetry begets love. These two propositions have seemed evident to thinkers and poets across the Western literary tradition. Plato writes that “anyone that love touches instantly ...
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Love begets poetry; poetry begets love. These two propositions have seemed evident to thinkers and poets across the Western literary tradition. Plato writes that “anyone that love touches instantly becomes a poet.” And even today, when poetry has largely disappeared from the mainstream of popular culture, it retains its romantic associations. But why should this be so—what are the connections between poetry and erotic love that lead us to associate them so strongly with one another? An examination of different theories of both love and poetry across the centuries reveals that the connection between them is not merely an accident of cultural history—the result of our having grown up hearing, or hearing about, love poetry—but something more intrinsic. Even as definitions of them have changed, the two phenomena have consistently been described in parallel terms. Love is characterized by paradox. Above all, it is both necessarily public, because interpersonal, and intensely private; hence it both requires expression and resists it. In poetry, especially lyric poetry, which features its own characteristic paradoxes and silences, love finds a natural outlet. This study considers both the theories and the love poems themselves, bringing together a wide range of examples from different eras in order to examine the major structures that love and poetry share. It does not aim to be a comprehensive history of Western love poetry, but an investigation into the meaning and function of recurrent tropes, forms, and images employed by poets to express and describe erotic love.Less
Love begets poetry; poetry begets love. These two propositions have seemed evident to thinkers and poets across the Western literary tradition. Plato writes that “anyone that love touches instantly becomes a poet.” And even today, when poetry has largely disappeared from the mainstream of popular culture, it retains its romantic associations. But why should this be so—what are the connections between poetry and erotic love that lead us to associate them so strongly with one another? An examination of different theories of both love and poetry across the centuries reveals that the connection between them is not merely an accident of cultural history—the result of our having grown up hearing, or hearing about, love poetry—but something more intrinsic. Even as definitions of them have changed, the two phenomena have consistently been described in parallel terms. Love is characterized by paradox. Above all, it is both necessarily public, because interpersonal, and intensely private; hence it both requires expression and resists it. In poetry, especially lyric poetry, which features its own characteristic paradoxes and silences, love finds a natural outlet. This study considers both the theories and the love poems themselves, bringing together a wide range of examples from different eras in order to examine the major structures that love and poetry share. It does not aim to be a comprehensive history of Western love poetry, but an investigation into the meaning and function of recurrent tropes, forms, and images employed by poets to express and describe erotic love.
Andrew Epstein
- Published in print:
- 2016
- Published Online:
- June 2016
- ISBN:
- 9780199972128
- eISBN:
- 9780190608965
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199972128.001.0001
- Subject:
- Literature, Poetry, 20th-century Literature and Modernism
Attention Equals Life examines why a quest to pay attention to daily life has increasingly become a central feature of both contemporary American poetry and the wider culture of which it is a part. ...
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Attention Equals Life examines why a quest to pay attention to daily life has increasingly become a central feature of both contemporary American poetry and the wider culture of which it is a part. Drawing on theories and debates about the nature of everyday life from fields in the humanities, this book traces the modern history of this preoccupation and considers why it is so much with us today. Attention Equals Life argues that it is no coincidence a potent hunger for everyday life exploded in the post-1945 period. This cultural need could be seen as a reaction to rapid and dislocating cultural, political, and social transformations that have resulted in a culture of perilous distraction, interruption, and fragmented attention. The book argues that poetry has mounted a response, and even resistance, to a culture that is gradually losing its capacity to pay attention. It examines why a compulsion to represent the everyday became predominant in decades after modernism, why it has often led to unusual projects and formal innovations, and why poetry in particular might be an everyday-life genre par excellence. The book considers the forms this preoccupation takes and examines their aesthetic, philosophical, and political ramifications. By exploring these innovative strategies, unusual projects, and new technologies as methods of attending to dailiness, Attention Equals Life uncovers an important factor at the heart of twentieth- and twenty-first–century literature.Less
Attention Equals Life examines why a quest to pay attention to daily life has increasingly become a central feature of both contemporary American poetry and the wider culture of which it is a part. Drawing on theories and debates about the nature of everyday life from fields in the humanities, this book traces the modern history of this preoccupation and considers why it is so much with us today. Attention Equals Life argues that it is no coincidence a potent hunger for everyday life exploded in the post-1945 period. This cultural need could be seen as a reaction to rapid and dislocating cultural, political, and social transformations that have resulted in a culture of perilous distraction, interruption, and fragmented attention. The book argues that poetry has mounted a response, and even resistance, to a culture that is gradually losing its capacity to pay attention. It examines why a compulsion to represent the everyday became predominant in decades after modernism, why it has often led to unusual projects and formal innovations, and why poetry in particular might be an everyday-life genre par excellence. The book considers the forms this preoccupation takes and examines their aesthetic, philosophical, and political ramifications. By exploring these innovative strategies, unusual projects, and new technologies as methods of attending to dailiness, Attention Equals Life uncovers an important factor at the heart of twentieth- and twenty-first–century literature.
Sonya Stephens
- Published in print:
- 1999
- Published Online:
- October 2011
- ISBN:
- 9780198158776
- eISBN:
- 9780191673351
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780198158776.001.0001
- Subject:
- Literature, European Literature, Poetry
The aim of this book is to offer a new reading of Baudelaire's Petits Poèmes en Prose that demonstrates the significance of ironic otherness for the theory and functioning of the work and for the ...
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The aim of this book is to offer a new reading of Baudelaire's Petits Poèmes en Prose that demonstrates the significance of ironic otherness for the theory and functioning of the work and for the genre of the prose poem itself. The book considers Baudelaire's choice of this genre and the way in which he seeks to define it, both paratextually and textually. It examines the ways in which the prose poem depends on dualities and déboublements as forms of lyrical and narrative difference which, in their turn, reveal ideological otherness and declare the oppositionality of the prose poem. Finally, the book demonstrates a relationship between these forms of otherness and Baudelaire's theory of the popular comic arts and, in doing so, proposes that the prose poems should be read as literary caricature.Less
The aim of this book is to offer a new reading of Baudelaire's Petits Poèmes en Prose that demonstrates the significance of ironic otherness for the theory and functioning of the work and for the genre of the prose poem itself. The book considers Baudelaire's choice of this genre and the way in which he seeks to define it, both paratextually and textually. It examines the ways in which the prose poem depends on dualities and déboublements as forms of lyrical and narrative difference which, in their turn, reveal ideological otherness and declare the oppositionality of the prose poem. Finally, the book demonstrates a relationship between these forms of otherness and Baudelaire's theory of the popular comic arts and, in doing so, proposes that the prose poems should be read as literary caricature.
Andrew Epstein
- Published in print:
- 2006
- Published Online:
- October 2011
- ISBN:
- 9780195181005
- eISBN:
- 9780199851010
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195181005.001.0001
- Subject:
- Literature, Poetry
Despite the deep-seated notion that the archetypal American poet sings a solitary “Song of Myself,” much of the most enduring American poetry has actually been preoccupied with friendship and its ...
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Despite the deep-seated notion that the archetypal American poet sings a solitary “Song of Myself,” much of the most enduring American poetry has actually been preoccupied with friendship and its pleasures, contradictions, and discontents. This book examines this obsession with the problems and paradoxes of friendship, tracing its eruption in the New American Poetry that emerges after World War II as a potent avant-garde movement. The book argues that a clash between friendship and non-conformity is central to post-war American poetry and its development. By focusing on some of the most important and influential postmodernist American poets, the book offers a new interpretation of the peculiar dynamics of American avant-garde poetic communities and the role of the individual within them. At the same time, this study challenges both the reductive critiques of American individualism and the idealized, heavily biographical celebrations of literary camaraderie one finds in much critical discussion. The book foregrounds a fundamental paradox: that at the heart of experimental American poetry pulses a commitment to individualism and dynamic movement that runs directly counter to an equally profound devotion to avant-garde collaboration and community. It demonstrates that this tense dialectic between an aversion to conformity and a poetics of friendship actually energizes post-war American poetry, drives the creation, meaning, and form of important poems, frames the interrelationships between certain key poets, and leaves contemporary writers with a complicated legacy to negotiate.Less
Despite the deep-seated notion that the archetypal American poet sings a solitary “Song of Myself,” much of the most enduring American poetry has actually been preoccupied with friendship and its pleasures, contradictions, and discontents. This book examines this obsession with the problems and paradoxes of friendship, tracing its eruption in the New American Poetry that emerges after World War II as a potent avant-garde movement. The book argues that a clash between friendship and non-conformity is central to post-war American poetry and its development. By focusing on some of the most important and influential postmodernist American poets, the book offers a new interpretation of the peculiar dynamics of American avant-garde poetic communities and the role of the individual within them. At the same time, this study challenges both the reductive critiques of American individualism and the idealized, heavily biographical celebrations of literary camaraderie one finds in much critical discussion. The book foregrounds a fundamental paradox: that at the heart of experimental American poetry pulses a commitment to individualism and dynamic movement that runs directly counter to an equally profound devotion to avant-garde collaboration and community. It demonstrates that this tense dialectic between an aversion to conformity and a poetics of friendship actually energizes post-war American poetry, drives the creation, meaning, and form of important poems, frames the interrelationships between certain key poets, and leaves contemporary writers with a complicated legacy to negotiate.
Justin Quinn
- Published in print:
- 2015
- Published Online:
- October 2015
- ISBN:
- 9780198744436
- eISBN:
- 9780191805783
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780198744436.001.0001
- Subject:
- Literature, Poetry, 20th-century Literature and Modernism
This book is about the transnational movement of poetry during the Cold War. Beginning in the 1950s, it examines transnational engagements across the Iron Curtain, reassessing US poetry through a ...
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This book is about the transnational movement of poetry during the Cold War. Beginning in the 1950s, it examines transnational engagements across the Iron Curtain, reassessing US poetry through a consideration of overlooked radical poets of the mid-century, and then asking what such transactions tell us about the way that anglophone culture absorbed new models during this period. The Cold War synchronized culture across the globe, leading to similar themes, forms, and critical maneuvers. Poetry, a discourse routinely figured as distant from political concerns, was profoundly affected by the ideological pressures of the period. But beyond such mirroring, there were many movements across the Iron Curtain, despite the barriers of cultural and language difference, state security surveillance, spies, traitors, and translators. This book shows how such factors are integral to transnational cultural movements during this period, and have influenced even postwar anglophone poetry that is thematically distant from the Cold War. For this purpose, the exchanges between anglophone and Czech poetry are examined; the latter stood on the other side of the Iron Curtain as receptor and, which has been overlooked, part creator of the anglophone tradition in this period. By stepping outside the frameworks by which anglophone poetry are usually considered, this book provides original readings of such figures as Robert Lowell, Derek Walcott, Allen Ginsberg, and Seamus Heaney, and shows the ideological mechanisms that were at work behind the promotion of the aesthetic as a category independent of political considerations, foremost among these postcolonial theory.Less
This book is about the transnational movement of poetry during the Cold War. Beginning in the 1950s, it examines transnational engagements across the Iron Curtain, reassessing US poetry through a consideration of overlooked radical poets of the mid-century, and then asking what such transactions tell us about the way that anglophone culture absorbed new models during this period. The Cold War synchronized culture across the globe, leading to similar themes, forms, and critical maneuvers. Poetry, a discourse routinely figured as distant from political concerns, was profoundly affected by the ideological pressures of the period. But beyond such mirroring, there were many movements across the Iron Curtain, despite the barriers of cultural and language difference, state security surveillance, spies, traitors, and translators. This book shows how such factors are integral to transnational cultural movements during this period, and have influenced even postwar anglophone poetry that is thematically distant from the Cold War. For this purpose, the exchanges between anglophone and Czech poetry are examined; the latter stood on the other side of the Iron Curtain as receptor and, which has been overlooked, part creator of the anglophone tradition in this period. By stepping outside the frameworks by which anglophone poetry are usually considered, this book provides original readings of such figures as Robert Lowell, Derek Walcott, Allen Ginsberg, and Seamus Heaney, and shows the ideological mechanisms that were at work behind the promotion of the aesthetic as a category independent of political considerations, foremost among these postcolonial theory.
Harold Fisch
- Published in print:
- 1999
- Published Online:
- October 2011
- ISBN:
- 9780198184898
- eISBN:
- 9780191674372
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780198184898.001.0001
- Subject:
- Literature, Poetry, Shakespeare Studies
In this book of the poetics of influence, the indebtedness of Shakespeare, Milton, and Blake to a common source, namely the Bible, becomes a powerful tool for displaying three fundamentally different ...
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In this book of the poetics of influence, the indebtedness of Shakespeare, Milton, and Blake to a common source, namely the Bible, becomes a powerful tool for displaying three fundamentally different poetic options as well as three different ways of dealing with a conflict central to western culture. In fresh and original discussions of Julius Caesar, Antony and Cleopatra, Hamlet, and King Lear, the author discerns what he terms the metagon: not the struggle between the characters on the stage, but a struggle for the control of the play between biblical and non-biblical modes of imagining. Milton seems more single-minded in his reliance on biblical sources, yet from his analysis of Paradise Lost and Samson Agonistes, the author concludes that there are unresolved contradictions, both aesthetic and theological, which threaten the coherence and balance of these poems as well. Blake in his turn perceived these contradictions in the work of his predecessors, condemning both Shakespeare and Milton for allowing their writing to be curbed by Greek and Latin models and claiming for himself a more authentic inspiration — that of ‘the Sublime of the Bible’. But Blake’s marvellous achievements in the sublime mode, as for instance in his Illustrations to Job, often reverse the direction of his biblical source, replacing dialogue with monologue.Less
In this book of the poetics of influence, the indebtedness of Shakespeare, Milton, and Blake to a common source, namely the Bible, becomes a powerful tool for displaying three fundamentally different poetic options as well as three different ways of dealing with a conflict central to western culture. In fresh and original discussions of Julius Caesar, Antony and Cleopatra, Hamlet, and King Lear, the author discerns what he terms the metagon: not the struggle between the characters on the stage, but a struggle for the control of the play between biblical and non-biblical modes of imagining. Milton seems more single-minded in his reliance on biblical sources, yet from his analysis of Paradise Lost and Samson Agonistes, the author concludes that there are unresolved contradictions, both aesthetic and theological, which threaten the coherence and balance of these poems as well. Blake in his turn perceived these contradictions in the work of his predecessors, condemning both Shakespeare and Milton for allowing their writing to be curbed by Greek and Latin models and claiming for himself a more authentic inspiration — that of ‘the Sublime of the Bible’. But Blake’s marvellous achievements in the sublime mode, as for instance in his Illustrations to Job, often reverse the direction of his biblical source, replacing dialogue with monologue.
