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The Four Zoas 63ironic stance, permits a distance that keeps the reader from becomingits victim. In fact, it is more likely that the reader, pulled betweenthe individual and universal, the inner and the outer, the private andthe public, remains at a desirable point of instability afforded by theaesthetic experience, a dizzying perspective from which all perspectivescan be imagined but from which none can be authenticated—asublime position from which the inner and outer worlds can betraversed at will.While The Four Zoas parodies Paradise Lost and the wholetradition of biblical interpretation, the poem also supplements andsupplants a story told for thousands of years, a story whose form existsin Eastern and Western traditions with differing cultural contexts andinterpretive implications. Urizen, himself a palimpsest of all mythicalstories of creation, brings the reader to reassess, to reread the story’sother textual forms as well as Paradise Lost, which is itself a colossalpalimpsest. The Four Zoas, far from simply satirizing Milton’s appropriationof the garden story, seduces the reader into interpreting thepoem’s relationship to the other Urizen textualities. In doing so, Blakepresents the seductive manner with which not only narrative but alsonotions of self and other, individual and society, and private and publicare elicited and formed. Thus The Four Zoas renders the sublime. Justas Urizen creates by measurement and logic, so must Blake’s readerscome to terms with a fragmented text, one that tempts us to create anarrative structure out of disparate allusions and symbolism. Urizenis an ironic interpreter consumed by the game in which he engages.Blake frames Urizen as an aspect of the human psyche that transactsin isolation with great effort and infinite destructive power. The FourZoas parodies this interpretive transaction, one that fails to connectto the necessary dimensions of human life, none of which can becontained in narrative. For life, art, and the self are, for William Blake,sublime creations incapable of being bound by the fetters of reason.WORKS CITEDAckroyd, Peter. Blake: A Biography. New York: Knopf, 1996.Altizer, Thomas J. J. The New Apocalypse: The Radical Christian Vision of WilliamBlake. East Lansing, MI: Michigan State UP, 1967.Ault, Donald. Narrative Unbound: Re-Visioning William Blake’s The Four Zoas.Barrytown, NY: Station Hill, 1987.
64William BlakeBaudelaire, Charles. “The Thyrsus: To Franz Liszt.” Baudelaire, Rimbaud,Verlaine: Selected Verse and Prose Poems. Secaucus, NJ: Citadel, 1947.Bidlake, Steven. “Blake, the Sacred, and the French Revolution: 18th-CenturyIdeology and the Problem of Violence.” European Romantic Review 3(Summer 1992): 1–20.Blake, William. The Complete Poetry and Prose of William Blake. Ed. David V.Erdman. Commentary by Harold Bloom. New York: Doubleday, 1988.Bloom, Harold. Blake’s Apocalypse: A Study in Poetic Argument. New York:Doubleday, 1963.. The Anxiety of Influence: A Theory of Poetry. New York: OUP, 1973.Burke, Edmund. A Philosophical Enquiry into the Origins of our Ideas of theSublime and the Beautiful. London: Routledge, 1958.Damrosch, Leopold, Jr. Symbol and Truth in Blake’s Myth. Princeton: PrincetonUP, 1980.Frye, Northrop. Fearful Symmetry: A Study of William Blake. Princeton UP,1947, 1969.Haigney, Catherine. “Vala’s Garden in Night the Ninth: Paradise Regained orWoman Bound?” Blake: An Illustrated Quarterly 20, no. 4 (Spring 1987).Kant, Immanuel. Critique of the Power of Judgment. 1790. Trans. Paul Guyer.Cambridge: Cambridge UP, 2000.Lincoln, Andrew. Spiritual History: A Reading of William Blake’s Vala or TheFour Zoas. Oxford: Clarendeon, 1995.Loudon, Michael Douglas. “The Story of William Blake’s The Four Zoas:A Guide to the Events of the Epic.” Diss. University of New York atBuffalo, 1983.MacLeish, Archibald. “Ars Poetica.” Literature: Reading, Reacting, Writing. Ed.Laurie G. Kirszner and Stephen R. Mandell. New York: HBJ, 1997.Rosso, George Anthony, Jr. Blake’s Prophetic Workshop: A Study of The FourZoas. London: Associated UP, 1993.. “Blake’s Prophetic Workshop: Narrative, History, Apocalypse in TheFour Zoas.” Diss. University of Maryland, 1987.Shaviro, Stephen. “ ‘Striving with Systems’: Blake and the Politics of Difference”Boundary 2 (10, no. 3) 1982.Yogev, Michael. “Covenant of the Word: The Bible in William Blake’s LateProphetic Poems.” Diss. U of Washington, 1991.
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Bloom’s Literary ThemesTHE SUBLIM
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Bloom’s Literary Themes: The Subl
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, Series Introduction by Harold Blo
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Series Introduction by Harold Bloom
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xviVolume Introduction by Harold Bl
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xviiiVolume Introduction by Harold
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2Kate Chopinsublime that cannot be
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4Kate Chopinand tongue, eyes and sk
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6Kate Chopinone of ravishment; as R
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8Kate Chopin(10.3); “she uses the
Page 29 and 30: 10Kate Chopincan signify both life
Page 31 and 32: 12Kate Chopinas being like an abyss
Page 33 and 34: 14Kate Chopinfirst time alone, bold
Page 35 and 36: 16Kate Chopinwith wanting itself
Page 37 and 38: 18Kate Chopinshe finds a new idiom
Page 39 and 40: 20Kate ChopinI have relied upon the
Page 41 and 42: 22Kate Chopinsemiotic collapse, def
Page 43 and 44: 24Kate ChopinWhile it would be extr
Page 45 and 46: 26Kate Chopin24. Walter Benn Michae
Page 47 and 48: 28Rainer Maria Rilkearrived at the
Page 49 and 50: 30Rainer Maria Rilkereference an an
Page 51 and 52: 32Rainer Maria RilkeThe Duino Elegi
Page 53 and 54: 34Rainer Maria Rilkehe anticipated
Page 56 and 57: EMMA(JANE AUSTEN),.“ ‘Hurrying
Page 58 and 59: Emma 39a transformation, if even mo
Page 60 and 61: Emma 41and the use of the third per
Page 62: Emma 43WORKS CITEDAusten, Jane. The
Page 65 and 66: 46Edgar Allan Poeassociate with Rom
Page 67 and 68: 48Edgar Allan PoeIn this sense, “
Page 69 and 70: 50Edgar Allan Poehouse as a slave (
Page 71: 52Edgar Allan PoeCanning. As he rea
Page 75 and 76: 56William BlakeBlake’s “The Tyg
Page 77 and 78: 58William Blakecommand to establish
Page 79: 60William Blakeportrays Rahab as a
Page 86 and 87: Frankenstein 67aspiring hero learns
Page 88 and 89: Frankenstein 69that a dream fades a
Page 90 and 91: Frankenstein 71The creation is at o
Page 92 and 93: Frankenstein 73This powerfully char
Page 94: Frankenstein 75through reality. To
Page 97 and 98: 78Mary ShelleyShelley’s fiction.
Page 99 and 100: 80Mary ShelleyIII.There is an intri
Page 101 and 102: 82Mary Shelleyinto discourse, the a
Page 103 and 104: 84Mary Shelleyregard him as editor
Page 105 and 106: 86Mary Shelleydesire”; he simply
Page 108: “GOD’S GRANDEUR”(GERARD MANLE
Page 111 and 112: 92Gerard Manley Hopkinsdefinition,
Page 113 and 114: 94Gerard Manley Hopkins[i.e., heed]
Page 115 and 116: 96Gerard Manley Hopkinspower. Just
Page 117 and 118: 98Gerard Manley Hopkins“strikes l
Page 119 and 120: 100The Poetry of Homer and Sapphofr
Page 121 and 122: 102The Poetry of Homer and SapphoTh
Page 123 and 124: 104The Poetry of Homer and Sapphofu
Page 125 and 126: 106The Poetry of Homer and SapphoYe
Page 127 and 128: 108The Poetry of Homer and Sappho4.
Page 129 and 130: 110The Poetry of John Keatsterror a
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112The Poetry of John Keatsprocess
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114The Poetry of John Keatshe belie
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116The Poetry of John Keatsthe infi
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118The Poetry of John Keatsas trans
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120The Poetry of John KeatsHowever,
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122The Poetry of John Keatsam indeb
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124The Poetry of John KeatsIn The F
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126The Poetry of John KeatsNotes1.
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128The Poetry of John KeatsAeschylu
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King Lear(William Shakespeare),.“
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King Lear 133intellect would have p
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King Lear 135incidents recorded in
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King Lear 137Of the secondary plot
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King Lear 139it be the stars that g
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King Lear 141disaster, a flame whic
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King Lear 143age was precisely this
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King Lear 14512. Compare Edmund’s
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148Samuel Taylor Coleridgelength) (
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150Samuel Taylor Coleridgedevotion
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152Samuel Taylor Coleridgeauthority
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154Samuel Taylor Coleridgethat her
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156Samuel Taylor ColeridgeMilton, M
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158William WordsworthI“Tintern Ab
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160William Wordsworth“depth” of
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162William Wordsworthintrospection,
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164William WordsworthThat awful Pow
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166William WordsworthBy now it shou
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168William Wordsworththat was, up t
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170William Wordsworthharmony” and
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172William Wordsworththe landscape.
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174William Wordsworthwhen first”
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176William Wordsworthmost obvious e
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178William Wordsworthinto a single
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180William Wordsworthphenomenology
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182William Wordsworthprophetic hear
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184William Wordsworth(1) the prevai
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The Poetry of Robert Lowell,.“Rob
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The Poetry of Robert Lowell 189For
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The Poetry of Robert Lowell 191as w
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The Poetry of Robert Lowell 193avat
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The Poetry of Robert Lowell 195Two
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The Poetry of Robert Lowell 197most
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The Poetry of Robert Lowell 199infi
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The Poetry of Robert Lowell 201As i
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The Poetry of Robert Lowell 203Chur
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The Poetry of Robert Lowell 205As L
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The Poetry of Robert Lowell 207At t
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The Poetry of Robert Lowell 209not
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The Poetry of Robert Lowell 211iden
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The Poetry of Robert Lowell 21313.
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Moby-Dick(Herman Melville),.“The
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Moby Dick 217transported into a tra
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Moby Dick 219appalls him about the
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Moby Dick 221these jets as both a c
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Moby Dick 223has nailed to the mast
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Moby Dick 225Sealts, Merton M., Jr.
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228John MiltonIf we divide the peri
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230John MiltonSuch was the nidus or
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232John Miltonis the translation of
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234John MiltonIn the description of
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236Percy Bysshe ShelleyMerely allow
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238Percy Bysshe Shelleythe sublime
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240Percy Bysshe ShelleyShelley call
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242Percy Bysshe ShelleyThe impulse
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Song of Myself(Walt Whitman),.“Th
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Song of Myself 247the spirit behind
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Song of Myself 249flower named in t
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Song of Myself 251In what way is
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Song of Myself 253interplay of the
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256The Poetry of William Butler Yea
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286AcknowledgmentsWlecke, Albert O.
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288IndexBurke, Kenneth, 21n11, 178,
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290IndexFredericks, Nancy, 216, 220
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292Indexlute, 47, 48Lyotard, Jean-F
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294IndexSatan, 70, 76, 203, 232-233
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296Index“Meditations in Time of C
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