Abstract
Early in the eighteenth century a certain John O’Neil got into debt and difficulties, these latter apparently political to some extent; and escaped both by marrying a woman named Ellen Blake, who kept a shebeen at Rathmines, Dublin, and taking her name. He had a son James, I am told, by a previous wife or mistress, and this son took also the name of Blake, and in due course married, settled in London as a hosier, and became the father of five children, one of whom was the subject of this memoir. John O’Neil had also a son by his wife Ellen; and this son, settling in Malaga, in Spain, entered the wine trade, and became the founder of a family, and from one of this family, Dr Carter Blake, I have the story.1 James Blake was living over his shop at 28, Broad Street, Golden Square, when, in the year 1757, his son William Blake was born. He had already a son John, the best beloved of father and mother, who grew up to be the black sheep of the family, and he begot afterwards James, who was to pester William with what Tatham calls ‘bread and cheese advice’,2 and Robert, whom William came to love like his own soul, and a daughter, of whom we hear little, and among that little not even her name. This family grew up among ideas less conventional than might be looked for in the house of a small shopkeeper.
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Notes
For a vigorous debunking of this supposed Irish lineage for Blake see G. E. Bentley, Jr, and Martin K. Nurmi, A Blake Bibliography: Annotated Lists of Works, Studies, and Blakeana (Minneapolis: University of Minnesota Press, 1964) p. 17.
Hugh Kenner, in A Colder Eye: The Modern Irish Writers (New York: Knopf, 1983) p. 162n
Hazard Adams, Blake and Yeats: The Contrary Vision (Ithaca, NY: Cornell University Press, 1955) pp. 46–7.
Liber Paragranum, in Franz Hartmann, The Life of Philippus Theophrastus, Bombast of Hohenheim, Known by the Name of Parcelsus [see p. 234, note 35b above] (London: Redway, 1887) p. 18
[Thomas Chatterton (1752–70)], Poems, Supposed to have been Written at Bristol, by Thomas Rowley, and Others, in the Fifteenth Century, ed. Thomas Tyrwhitt (London: Payne, 1777).
Blake, illus. to Vala or The Four Zoos (1796?–1807?), Night the Second, MS. p. 27 (WWB III, unpaged Vala or The Four Zoas reproductions, no. 5, and Vala or The Four Zoas text; Bentley, Blake’s Writings, pp. 1113–14). Ellis and Yeats described this illustration as ‘Albion seeing his softer passions outside of himself in odorous stupefaction’ (II, 360); Bentley described the female figure only as ‘a nude woman’ and suggested that the male could be Luvah (Blake’s Writings, p. 1113 n); Martin Butlin, The Paintings and Drawings of William Blake (New Haven: Yale University Press, 1981) I, 278
Gilchrist, Life of Blake (1880) I, 38
Blake, An Island in the Moon (1784?) (WWB I, 186–201
For Falk, see a query and reply, both perhaps written by William Wynn Wescott, a founder of the Golden Dawn, in Notes and Queries, 8 Dec 1888 and 9 Feb 1889, quoted in Ellic Howe, The Magicians of the Golden Dawn: A Documentary History of a Magical Order: 1887–1923 (London: Routledge and Kegan Paul, 1972) pp. 46–7
Richard Cosway (1742–1821), an eminent English miniaturist, saw spirits frequently from 1811 on; see George C. Williamson, Richard Cosway R. A. (London: Bell, 1905) pp. 53–61.
Jacob Boehme wrote, in his Theosophical Letters, no. 10 [1620], that his inspiration came like a shower-burst of rain (Platzregen) — Sämtliche Schriften, facsimile of 1730 edn (Stuttgart: Frommanns, 1956) IX [XXI],40. Among the books that Yeats owned, this passage is translated by Franz Hartmann in The Life and Doctrines of facob Boehme: The God-Taught Philosopher: An Introduction to the Study of his Works (London: Kegan Paul, Trench, Trübner, 1891) p. 53
Cookworthy (in part) and Thomas Hartley, A Treatise concerning Heaven and Hell (London: Phillips, 1778)
Blake, A Descriptive Catalogue (1809), no. VIII (WWB II, 377
See Blake, Jerusalem, pl. 60, 11. 56–9 (Bentley, Blake’s Writings, p. 546: ‘Babel mocks saying, there is no God nor Son of God[,] /That thou O Human Imagination, O Divine Body art all / A delusion, but I know thee O Lord...’) and Blake’s annotations (1826) to William Wordsworth, Poems, vol. I (1815) 374–5
Edward Young, The Complaint, and the Consolation; or, Night Thoughts, Nights I-IV (London: Edwards, 1797), 43
Gilchrist, Life of Blake (1880) I, 125
William Hayley (1745–1820), The Life, and Posthumous Writings, of William Cowper, Esqr., 3 vols (London: Johnson, 1803–4)
Blake’s statement reported by Allan Cunningham, Lives of the Most Eminent British Painters, Sculptors, and Architects (1830), quoted in Gilchrist, Life of Blake (1880) I, 160
Cunningham, Lives of the Most Eminent British Painters, quoted in Gilchrist, Life of Blake (1880) I, 160–1
Crabb Robinson’s diary, 18 Feb 1826, quoted in Gilchrist, Life of Blake (1880) I, 392
Robert Hartley Cromek to Blake, May 1807, publ. in Gentleman’s Magazine, new ser. 37 (1852) 150, quoted in Gilchrist, Life of Blake (1880) I, 227
John Varley (1778–1842), English landscape painter and art teacher, was a founder of the Royal Society of Painters in Water Colours. The quoted phrase is from Gilchrist, Life of Blake (1880) I, 34–5
George Richmond to Samuel Palmer, 15 Aug 1827, quoted in Gilchrist, Life of Blake (1880) I, 406
Yeats apparently conflated this from two adjacent passages in Gilchrist, Life of Blake (1880) I, 405–6
Gilchrist, Life of Blake (1880) I, 406
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© 1988 Micheal Yeats
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O’Donnell, W.H. (1988). Introduction to Poems of William Blake, ed. W. B. Yeats (1893, rev. 1905). In: O’Donnell, W.H. (eds) Prefaces and Introductions. The Collected Edition of the Works of W. B. Yeats. Palgrave Macmillan, London. https://doi.org/10.1007/978-1-349-06236-2_8
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