For Children: The Gates of Paradise (Blake emblem book), 213–14, 214, 215, 216, 228, 251, 252, 266, 267
“Death’s Door” image, 266
forgiveness, 140, 153, 225
For the Sexes: The Gates of Paradise (Blake reissued emblem book), 213, 214, 252, 253, 254, 255
“Keys of the Gate,” 213
lines added to, 266
Fountain Court, Number 3 (London), 258, 261, 264
fourteeners (verse style), 144
Four Zoas, The (Blake), 47, 94–95, 155–62, 173, 182, 195, 204, 207, 236
Albion, the Ancient Man and, 142
apocalypse and, 185, 186–87
Blake’s changing myth and, 140
Blake’s made-up names for, 155
clarity gained from reading aloud of, 143–45
elements in Milton and Jerusalem from, 136
Epistle to the Ephesians quote and, 252
erotic drawings and, 209, 210
four psychic components of, 140–41, 155–57 (see also Zoas)
fourteen competing accounts and, 162
injustice and, 245
as major prophecy, 181
as never published, 136, 155
original title of (see Vala)
psychic breakup accounts and, 161, 162
recycling into Milton of, 136, 186
sequence in writing of, 186
subtitle: The Torments of Love and Jealousy in the Death and Judgment of Albion the Ancient Man, 136
Vala’s transformations and, 222, 223, 224
Fox, Susan, 219
France, 13, 14, 103, 104, 117, 118, 134, 187. See also French Revolution
franchise extension movement (1790s), 96
Frankenstein, Dr. (fictional), 183
Franklin, Benjamin, 108
free love, 198–208, 209, 218
meaning of, 201
French Revolution, 89, 96, 102, 107, 112, 118, 121
Blake’s disillusion with, 101, 117, 187
frescoes, 33, 37
Freud, Sigmund, 154, 156, 162, 207–8, 211
Frost, Robert, 124
Frost at Midnight (Coleridge), 231–32
fruit of knowledge, 83. See also forbidden fruit
Frye, Northrop, 112, 142, 182, 188, 218, 292n6
Fuller, David, 81, 144, 222
funerary effigies, 67
Fuseli, Henry, 93, 266
The Nightmare, 202–3, 228 (color plate 29)
Garden of Eden. See Eden
Garden of Love (Blake), 208
garden poems, 73–74
Gates of Paradise. See For Children: The Gates of Paradise
Gauls, 190
GE Building (New York), 239
Geddes, Alexander, 246
gender, 102, 212–34
androgyny and, 102, 229, 256, 257
artistic creation and, 184
Clod and the Pebble and, 77–78
emanations concept and (see emanations)
free love and, 198–208
Jerusalem and, 183–84
marital roles and, 91, 92, 93
Milton’s family tyranny and, 165, 212, 218–19
misogyny and, 208, 212, 217–18, 222, 227
symbolism and, 183, 184, 214, 215, 217, 224–29. See also female headings; male headings; patriarchy; sexuality
Generation (birth-death cycle), 48, 141, 192, 206, 213, 217, 229, 247
Genesis, 70, 81, 83, 176, 214, 217, 218, 237–38, 242, 246–47 (color plate 38)
genitalia depiction. See female genitalia; male genitalia
genius, talent vs., 1
geometry, 125–26
George III, king of Great Britain, 108, 115, 117
Gilchrist, Alexander, 98, 150, 225, 257, 267
Blake biography by, 8
on Blake’s marriage, 19, 196, 204, 270
on Blake’s appearance, 20, 24
on Blake’s career disappointments, 36, 37
on Catherine Blake’s visions, 19
on Hayley, 132
on Urizen portrayal, 242
Gilchrist, Anne, 267, 269
Glad Day (later Albion Rose) (Blake), 98
Glen, Heather, 64
Gnosticism, 175, 209, 246
God, 49, 88, 248–55
Blake’s concept of, 120, 153, 235, 237–39, 243, 245–47 (color plate 36)
Blake’s vs. Milton’s concept of, 165
chariot (Merkabah) of, 158
creation and, 81, 83, 84, 85, 123, 169, 237–38, 242, 246
death of Jesus and, God 217
destruction of peoples and, 236
Ezekiel’s vision and, 158, 159
as the Father, 112, 217, 243, 247
Job’s trials and, 248–49, 250, 251, 252
Lamb of, 145, 149, 150, 154, 167, 227
Milton’s concept of, 83, 165
Old Testament names for, 120, 169, 246–47, 252, 256
Paul’s description of, 243
Satan’s rebellion against, 249, 253
Seven Eyes of, 160, 227, 246
Urizen appropriation of the role of, 153–54, 169, 174, 175, 239, 243
Goethe, Johann Wolfgang von, Heidenröslein (Little Heath Rose), 76
golden compasses, 237, 238
Golding, Arthur, Ovid translation, 144
gold leaf, 228
Golgonooza (city of artistic creation), 185, 188, 192, 194, 247
Golgotha, 188, 192, 194
Gombrich, E. H., 27, 33, 247
gonorrhea, 92
Gordon Riots (1780), 99
Gothic ballad, 135, 136
Gothic forms, 9, 229
Goya, Francisco, 118
grain of sand, 122, 124
grapes of wrath, 187
Grave, The (Blair; Blake illus.), 19, 93, 266–67, 268
Gray, Thomas: The Bard, 290n39
Hyperion, 132
Ode on a Distant Prospect of Eton College, 41, 42, 43, 45
Great Queen Street (London), 10, 89, 258
Greek gods, 156
Greek vase painting, 33
griffin (Christ symbol), 226
guilt, 70, 73, 75, 225
Hagstrum, Jean, 245
hallucinatory drugs, 26
hammer, 80, 81, 108, 147, 169, 173, 174, 175, 176, 184, 185, 190, 194, 207
hand painting, 4
harem fantasy, 201
harlot, 91, 92, 221, 253
harp smashing, symbol of, 117
Hayley, William, 128, 130, 132–37, 139–40, 155, 180
Blake’s consolation letter to, 168
Blake’s relationship with, 184, 258, 260
Blake’s spiritual struggle with, 164
eccentricity of, 132
Milton biography by, 164
praise for Catherine Blake by, 195
solemn calling belief of, 136
Heaven, 62, 67, 101, 169
Blake’s concept of, 136, 141
Milton and, 165
heavenly host, 132
Heber (biblical), 189
Hebrew Bible. See Old Testament
Hebrew poetry, 144
Hebrews, Epistle to the, 62
Hegel, G. W. F., 142
Heidenröslein (Little Heath Rose) (Goethe), 76
heliotropes, 74
Hell, 26, 77, 118, 153, 164, 197
Blake conception of, 101
damnation and, 83, 135, 136, 225
harrowing of, 66
Job’s Nightmare and, 249. See also Marriage of Heaven and Hell, The; Proverbs of Hell
Hephaestus, 169
Heppner, Christopher, 247
Herculaneum, 115
Hercules Building (London), 151, 152, 258
Herrick, Robert, “Gather ye rosebuds while ye may,” 75
Hesketh, Lady, 135
hierarchical personality components, 156
Hindu gods, 156
History of Tommy Playlove and Jacky Lovebook: Wherein Is Shown the Superiority of Virtue over Vice (children’s book), 52
Blake and Homosexuality, 181
Holloway, John, 92
Holy Grail, 146
Holy Thursday (Blake), 93
Homeric poems, 246
homoeroticism, 181
Hope, representation of, 226
House of the Interpreter (No. 3 Fountain Court), 264
Human Abstract, The (Blake), 87
human existence. See existence
human experience. See Experience
humanity (universal man), 141, 157
human life cycle. See cycle of life
human sacrifice, 256
Hume, David, 48, 212
Hunt, Leigh, 37
Hunt, Robert, 37, 260
Huntington Library (Pasadena), 98
Huxley, Aldous, The Doors of Perception, 26
Hyde Park (London), 151
hymns, 51, 54, 75–76, 80, 135, 243
Hyperion (Blake watercolor), 132 (color plate 19)
Hyperion (Gray poem), 132
iambic meter, 80, 88
ideal forms, 35–36
Idea of the Holy, The (Otto), 251
illuminated books, 4–6, 93, 104, 105, 118, 133, 195
archive of plate versions of, 4, 5
Blake earnings from, 32
Blake invention of, 38
Blake reshuffling of plate sequence, 6
coloring of, 4–5, 260
as combination of images and words, 38
production procedure, 25–26, 27. See also
Lambeth Books; specific works
imagery, 58, 67
of natural world, 229, 231–34
“reading” of, 50. See also symbolism
imagination, 40, 41, 43, 125, 174, 184, 232
greatness of Blake’s, 270, 271
intellectual bondage of, 125
reality created by, 188
as true reality to Blake, 164
Urthona as, 155, 162. See also artistic creativity
immortality, symbol of,, 213, 229
impersonal subjectivity, 75–76
industrialism, 147, 160
infantile megalomania, 188
Infant Joy (Blake), 54–57, 60, 70, 71, 94 (color plate 4)
Infant Sorrow (Blake), 70–71, 72
Inferno (Dante), 47
infinity, 124–27
inhibition, 76
injustice, 245
Innocence, 50–66
America vision of, 115
Blake conception of, 66
Blake mystical experience and, 131
Blake mythology and, 141
contrasted with Experience, 77, 84–85
nurturing gardens and, 73
insanity, 2, 93–94, 133–36, 184
inspiration, 127
institutional religion. See religion
international linear style. See romantic classicism
intuition, 43, 125, 127, 156, 160
irony, 81
Irving, Edward, 269
Irvingite (Holy Catholic Apostolic) Church, 269
Isaiah (prophet), 8, 146, 163, 177, 252, 269–70
“I saw a chapel all of gold” (Blake), 208–9, 221
Israeli army (modern), 158
Israelites, 103, 121, 123, 189–90, 216, 221
Babylonian captivity of, 157–58
bondage in Egypt of, 147
Exodus from Egypt of, 123
Merkabah (chariot of God) and, 158
Italian language, 224–25
Jacob (biblical), 214
jealousy, 18, 136, 188, 204–8, 220
Jefferson, Thomas, 108
Jehovah, 120, 169, 252, 256
Jerusalem (Albion’s emanation), 216, 227–29
plate illustrations of, 228–29 (color plates 32, 36)
resemblance to Botticelli’s Venus of, 229, 230
reunion with Albion of, 183, 257
three sets of wings of, 228
Jerusalem (Blake long poem), 34, 89, 91, 103, 136, 138, 139–45, 188, 227–28, 229, 230, 260
address “To the Jews,” 189–90
address “To the Public,” 143, 261, 262
ambiguous message of, 194
apocalypse and, 185, 187, 188
Blake’s prophetic calling and, 163, 181
Blake’s changing myth and, 140–41
childbirth and, 217
copies, 260 (color plates 25, 26, 33, 39, 40)
copy E, plate 3 (detail), 262 (color plate 33)
Crucifixion image and, 256 (color plate 39)
culmination of, 183
enlargement over time of, 186
on female gratification, 201
Female Will and, 183
final plate of, 190, 191, 192, 194 (plate 100)
forms of error and, 182
foundational idea of, 141
frontispiece of, 177, 178, 192
inspired scriptural books and, 248
length and complexity of, 182
missing words from metal plate of, 261
obscurity of, 142
printing (1820) of, 186
reconciliation scene, 256–57 (color plate 40)
Revelation compared with, 143
sequence in writing of, 186
Southey’s view of, 149
Spectre character and, 183–85, 191
subtitle: The Emanation of the
Jerusalem (Blake long poem)
Giant Albion, 227
symbolism and, 141, 183–88, 192, 194
title page of, 228, 229 (color plate 35)
trilithons image and, 189–90 (color plate 26)
unfallen Zoas at end of, 173
Jerusalem (Blake short lyric), 1, 145–48
appeal to reformers of, 148
modern adaptations of, 148
as section of Milton, 145, 167
text of, 145–46
underlying pessimism of, 154
Jerusalem (Butterworth play), 148
Jerusalem (city and symbol): creation again of, 97, 154
London as, 89, 149–54, 151, 153
temple in, 209, 221
Jesus, 77, 105, 158, 177, 209, 216
Blake’s concept of, 120, 140, 153, 217, 236, 243, 246, 251, 255–56, 269
as Christ the redeemer, 226, 243, 252
common representations of, 47
Crucifixion of, 62, 105, 188, 255, 256 (color plate 39)
empty tomb of, 110
harrowing of hell and, 66
human form of, 65, 120, 140, 160
as infant with Mary, 56, 59
of Innocence, 65
Jerusalem as bride of, 227
Jerusalem lyric and, 148, 167
legendary visit to England of, 148
Prodigal Son parable and, 209
Songs of Innocence and, 40, 65, 120
symbols of, 226
virgin birth and, 225, 236
Jimson, Gulley (fictional), 270
Job, Book of, 248–53, 250, 270
Job’s Evil Dreams (Blake engraving), 249, 250, 251, 252, 270
John, Gospel of, 110, 158, 160, 177
symbol of, 158
John of Patmos, 155, 157, 163
Johnson, Joseph, 36
Johnson, Samuel, 41, 94, 164, 218, 247
Dictionary, 44
Jonson, Ben, 172
Joseph (husband of Mary), 56
Joseph of Arimathea, 146
Joshua, Book of, 221
Joyce, James, 88 A Portrait of the Artist as a Young Man, 172, 177
Judas, 153
Jung, Carl, 156, 218
Keats, John, 9, 197, 231
La Belle Dame sans Merci, 221
Ode to a Nightingale, 233
“Keys of the Gates, The” (Blake), 213
kingdom of God, 146–47
King James Bible, 251
King Lear (Shakespeare), 110
knowledge, 83, 247
tree of, 51, 112. See also forbidden fruit
Kubla Khan (Coleridge)
, 231
Laing, R. D., 136
lamb, symbolism of, 54, 60, 61, 62, 64, 81, 84. See also Lamb of God
Lamb, The (Blake), 59–60, 61, 62, 64, 67, 81
Lambeth (London neighborhood), 104, 151–52
Lambeth Books, 104, 163, 170
themes of early vs. later, 140. See also America: A Prophecy; Book of Urizen; Europe; Marriage of Heaven and Hell, The; Visions of the Daughters of Albion
Lambeth Palace, 153, 194
Lamb of God, 145, 149, 150, 154, 167, 227
Langer, Susanne, 75–76
La Rochefoucauld, François de, 206
Last Judgment (Blake watercolor painting), 146, 261
Last Judgment (Michelangelo), 137
Last Supper, 146
Lavater, Johann Caspar, 14
Law, tablets of. See Ten Commandments
Lawrie, Lee, “Wisdom,” 239, 240
Leader, Zachary, 65
Leah (biblical), 214
Leonardo da Vinci, 33
Leutha’s vale, 199
liberation, 108, 110
liberty, 89
Library of Congress, 26, 51, 56
Life, celebration of, 85. See also cycle of life
light: Blake vision of, 130–31, 133
Blake vs.
Newton view of, 123
Light Shining Out of Darkness (Cowper hymn), 135
lilies, 205
Lincoln, Andrew, 162
Lincoln’s Inn, 89
Lines Written during a Period of Insanity (Cowper), 135
Linnell, John, 19, 249, 269
sketch of Blake by, 264, 265
Little Girl Lost, A (Blake), 71, 73
Little Heath Rose (Goethe), 76
Little Vagabond, The (Blake), 93
Locke, John, 36, 136
London (Blake), 87–93, 90, 153, 203, 253
driving rhythm of, 88
as masterpiece, 67, 87
placement in Songs of Experience of, 93
powerful closing line of, 92
social indictments of, 93
London: Blake’s images of, 89, 149–54
Blake’s move away from, 128–29
Blake’s residences in, 7, 88, 104, 151, 152, 258, 259, 261
Blake’s return to (1803), 136, 258
Blake’s youth in, 7–9
chimney sweeps and, 63–66
Gordon Riots and, 99
map of (frontispiece); ongoing expansion of, 150–51
political radicals and, 89
workhouses of, 62, 151, 153
London Stone (milestone), 151
Lorrain, Claude, 137
Los (Zoa), 171–81, 190, 191, 192, 194 (color plates 21, 22, 23, 32, 100)
apocalypse and, 186, 187
artistic creativity and, 162, 175–76, 176, 184–85
blacksmith symbol and, 173–74, 183–84, 189 (color plate 25)
Blake as avatar of, 160
Blake encounter with, 180–81 (color plate 24)
childbirth and, 217
creation and, 175, 247
emanation of, 190, 191, 192, 195, 206
fall of, 162, 172–73, 174
first appearance of, 169
formation of, 184
Eternity's Sunrise: The Imaginative World of William Blake Page 32
