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PAINTING, like poetry, has followers, the body of whose genius is light compared to the length of its wings, and who, rising above the ordinary sympathies of our nature, are, like Napoleon, betrayed by a star which no eye can see save their own. To this rare class belonged William Blake. He was the second son of James Blake and Catharine his wife, and born on the 28th of November, 1757, in 28, Broad Street, Carnaby Market, London. His father, a respectable hosier, caused him to be educated for his own business, but the love of art came early upon the boy; he neglected the figures of arithmetic for those of Raphael and Reynolds; and his worthy parents often wondered how a child of theirs should have conceived a love for such unsubstantial vanities. The boy, it seems, was privately encouraged by his mother. The love of designing and sketching grew upon him, and he desired anxiously to be an artist. His father began to be pleased with the notice which his son obtained—and to fancy that a painter's study might after all be a fitter place than a hosier's shop for one who drew designs on the backs of all the shop bills, and made sketches on the counter. He consulted an eminent artist, who asked so large a sum for instruction, that the prudent shopkeeper hesitated, and young Blake declared he would prefer being an engraver—a profession which would bring bread at least, and through which he would be connected with painting. It was indeed time to dispose of him. In addition to his attachment to art, he had displayed poetic symptoms—scraps of paper and the blank leaves of books were found covered with groups and stanzas. When his father saw sketches at the top of the sheet and verses at the bottom, he took him away to Basire, the engraver, in Green Street, Lincoln's Inn Fields, and bound him apprentice for seven years. He was then fourteen years old.

It is told of Blake that at ten years of age he became an artist, and at twelve a poet. Of his boyish pencillings I can find no traces—but of his early intercourse with the Muse the proof lies before me in seventy pages of verse, written, he says, between his twelfth and his twentieth year, and published, by the advice of friends, when he was thirty. There are songs, ballads, and a dramatic poem ; rude sometimes and unmelodious, but full of fine thought and deep and peculiar feeling. To those who love poetry for the music of its bells, these seventy pages will sound harsh and dissonant; but by others they will be more kindly looked upon. John Flaxman, a judge in all things of a poetic nature, was so touched with many passages, that he not only counselled their publication, but joined with a gentleman of the name of Matthews in the expense, and presented the printed sheets to the artist to dispose of for his own advantage. One of these productions is

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an address to the Muses—a common theme, but sung in no common manner.

“Whether on Ida's shady brow,
Or in the chambers of the east,
The chambers of the sun, that now
From ancient melody have ceas'd;

Whether in heaven ye wander fair,
Or the green corners of the earth,

Or the blue regions of the air,
Where the melodious winds have birth;

Whether on crystal rocks ye rove,
Beneath the bosom of the sea,

Wandering in many a coral grove,
Fair Nine ! forsaking poesie;

How have ye left the ancient love,
That Bards of old enjoyed in you, -

The languid strings now scarcely move,
The sound is forced—the notes are few.”

The little poem called “The Tiger” has been admired for the force and vigour of its thoughts by poets of high name. Many could weave smoother lines—few could stamp such living images. “Tiger! Tiger! burning bright In the forest of the night, What immortal hand or eye Framed thy fearful symmetry?

In what distant deeps or skies
Burned the fervour of thine eyes?
On what wings dare he aspire—
What the hand dare seize the fire?

And what shoulder and what art
Could twist the sinews of thy heart?
When thy heart began to beat,
What dread hand formed thy dread feet?
WOL. II. - L. -

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