William Blake was born in London. He attended art schools, including the Royal Academy school, and at the age of fourteen was apprenticed to an engraver. In 1800 he secured a patron at Gelpham, but found the arrangement stultifying. Determined to follow his “Divine Visions,” he returned to London. He published numerous collections of poetry illustrated with his own fantastic etchings until the 1820s, when he devoted himself exclusively to pictorial art. His early work reveals his dissatisfaction with the prevailing literary styles of his day; he took as his models the Elizabethan and early seventeenth-century poets, the Ossianic poems, and the work of Collins, Chatterton, and other eighteenth-century poets working outside the prevailing contemporary literary conventions. He discarded the heroic couplet for lines ending in near and partial rhyme, and employed novel rhythms and bold figures of speech that conveyed a multiplicity of meanings. Between 1795 and 1820, Blake developed a complex mythology to explain human history and suffering and came to see himself as a visionary, prophet figure, or Bard. His writings in this vein center around the biblical stories of the Fall, the Redemption, and the reestablishment of Eden, but Blake gave these materials his own spin. In his mythos, the Fall is seen as a psychic disintegration that results from the “original sin” of Selfhood, and the Redemption and return to Eden as a reinstitution of psychic wholeness, a “Resurrection of Unity.” His schema centers around a “Universal Man” who incorporates God rather than around a transcendent Being distinct from humanity.
From: The Norton Anthology of Poetry, 4th Edition.
