The Marriage of Heaven and Hell - Blake, William.pdf

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Copyright
Copyright © 1994 by Dover Publications, Inc. All
rights reserved.
Bibliographical Note
This Dover edition, first published in 1994, is an unabridged
republication of the work originally published by Blake ca.
1794. A publisher’s note and the complete text of
The
Marriage of Heaven and Hell
have been specially prepared
for this edition.
Library of Congress Cataloging in Publication Data
Blake,
William, 1757—1827.
The marriage of Heaven and Hell : in full color / William
Blake.
p. cm.
9780486132242
1. Blake, William, 1757—1827—Manuscripts—Facsimiles.
2. Illumination of books and manuscripts, English. 3.
Manuscripts, English—Facsimiles. I. Tittle.
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PR4144. M3 1994
821’.7—dc20
94—471 CIP
Manufactured in the United States by Courier Corporation
28122111
www.doverpublications.com
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NOTE
WILLIAM BLAKE was born in 1757, son of a London
haberdasher. He received some schooling in art, first in a
drawing school and later at the Royal Academy of Arts.
When he was seventeen, Blake was apprenticed to the
engraver James Basire. Using the skills he acquired during his
apprenticeship, Blake began developing his own process of
“illuminated printing”—using etched copper plates to print
pages that were then colored by hand. Because this process
was so time-consuming, Blake’s illuminated books were
printed only in limited numbers, and though Blake’s method
prohibited a wide circulation of his books, he nevertheless felt
that it was the best forum for his poetic and philosophical
writings. As can be seen in
The Marriage of Heaven and Hell,
the illuminated illustrations work together with Blake’s text to
add depth and resonance to the work.
The Marriage of Heaven and Hell,
of which only nine copies
are known to exist, was probably begun in 1789 and
completed in 1790. The third of the illuminated books,
The
Marriage of Heaven and Hell
is principally a prose statement
of Blake’s philosophic message. Often considered one of the
first Romantic poets, Blake believed in the power of the
imagination and in the stultifying effects of conventionality.
In
The Marriage or heaven and Hell,
these beliefs are
illustrated not only by Blake’s reversal of traditional notions
of Good and Evil, Angels and Devils, and Heaven and Hell,
but by his celebration of the tensions produced by these
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