Обсуждение:Иерусалим. Эманация Гиганта Альбиона (Блейк)/50

Jerusalem The Emanation of The Giant Albion, object 50 (Bentley 50, Erdman 50, Keynes 50)

Сектор E пластина Иллюстрация:

Изображение тесно связано с текстом на листе 70, строки 2-16, в котором описывается "образ могучего Хэнда, который сидит сидит на скале Альбиона" (строка 2). На его плечах "три сильные жилистые шеи с тремя ужасными и страшными головами... размышляющими непрестанно" (строки 5-6). Он, как сказано там, представляет собой "совокупность двенадцати сыновей Альбиона" (строка 11), которые "делятся на двенадцать: ключицы и грудь, раздираются с болью" (строка 13), "И они сочетаются в три образа, называемых Бэконом, Ньютоном и Локком "(строка 16). Таким образом трехглавый, трижды коронованный обнажённый мужчина с меланхолическим ("задумчивым") выражением сидит на берегу острова волны стреловидности с текстурированной поверхностью и крутыми склонами, белый как скалы Дувра на юго-восточном побережье Англии . Лицом вперед с ноги наполовину погружен в воду, рука сидит на плоской поверхности у подножия скал. С открытием в верхней части груди возникает змеевидного поток других обнаженных мужчин, предположительно Бэкона, Ньютона, Локка, которые парят на фоне пламени, которые продолжают в правом поле тексте выше. На рисунке ближайший Рука имеет две головы; от открытия в груди возникает вторую фигуру, от кого, хотя в его задней стороне положении грудь не может быть видел-третья фигура возникает. В приведенных выше горизонта по обе стороны от острова небе контрастные сцены: слева, полосы дождя, разряд молнии, и сферу, которая может быть полная луна; справа, восход солнца или закат показывая солнце частично видимый на горизонте и двух других сферах над ним, возможно, других солнц, хотя верхний может быть Луна с его полумесяцем видимого на самом верху. Лучи света шоу на темном небе, что продолжается до правого края и в верхней части пластины.

Sector E plate Illustration:

The design is closely related to the text of plate 70, lines 2-16, which describes the "form of mighty Hand sitting on Albions cliffs" (line 2). His shoulders "Bear Three strong sinewy Necks & Three awful & terrible Heads . . . brooding incessantly" (lines 5-6). He is said there to represent "the aggregate of the Twelve Sons of Albion" (line 11), which "divide to Twelve: the key-bones & the chest dividing in pain" (line 13), "And there they combine into Three Forms, named Bacon & Newton & Locke" (line 16). Thus a three-headed, three-crowned nude male with a melancholy ("brooding") expression sits at the edge of a wave-swept island with a textured surface and steep sides, white like the cliffs of Dover on the southeast coast of England. Facing forward with his legs half-immersed in the water, Hand sits on a flat surface at the foot of the cliffs. From an opening in his upper chest emerges a serpentine stream of other nude males, presumably Bacon, Newton, and Locke, who hover against a background of flames that continue into the right margin of the text above. The figure nearest Hand has two heads; from an opening in his chest emerges a second figure from whom—though in his rear-facing position his chest cannot be seen—a third figure emerges. In the skies above the horizon on either side of the island are contrasting scenes: on the left, streaks of rain, a bolt of lightning and a sphere that may be a full moon; on the right, a sunrise or sunset showing the sun partially visible at the horizon and two other spheres above it, perhaps other suns, though the top one may be a moon with its crescent visible at the top. Beams of light show against a dark sky that continues up the right margin and across the top of the plate.

Component (Sector CD)

Keywords: male, nude, Hand, sitting, heads, multiple, facing forward, facing left, twisted, crown, beard, melancholy, arms bent, head on hands, chest, legs together, Albion's sons, dividing, arms bent upward The design is closely related to the text of plate 70, lines 2-16, which describes the "form of mighty Hand sitting on Albions cliffs" (line 2). His shoulders "Bear Three strong sinewy Necks & Three awful & terrible Heads . . . brooding incessantly" (lines 5-6). He is said there to represent "the aggregate of the Twelve Sons of Albion" (line 11), which "divide to Twelve: the key-bones & the chest dividing in pain" (line 13), "And there they combine into Three Forms, named Bacon & Newton & Locke" (line 16). Thus a three-headed, three-crowned nude male with short hair, beard, and a melancholy ("brooding") expression sits at the edge of the cliffs of Dover. Hand sits on a flat surface at the foot of the cliffs. His lower body is rotated clockwise to face left, while his upper body faces forward. His legs are in the water (hence visible only above the knees). His left head rests on his left hand and his right head on his right in a position conventionally associated with melancholy. From an opening in his upper chest emerges a serpentine stream of other nude males, presumably Bacon, Newton, and Locke.

Component (Sector C)

Keywords: male, nude, short hair, Albion's sons, dividing, Bacon, heads, multiple, chest, facing left, facing down, facing up, facing right, climbing, arm wrapped around head, arm bent, hovering, leg drawn up, legs spread, leg bent at knee, pushing, left foot, squatting, looking, rising, flying, sloating, curly hair The design is closely related to the text of plate 70, lines 2-16, which describes the division of three-headed Hand into the twelve Sons of Albion, who combine into the three forms of Bacon, Newton, and Locke. From an opening in Hand's upper chest emerges a serpentine stream of hovering nude males, presumably Bacon, Newton, and Locke, perhaps in that order. The short-haired, two-headed one nearest Hand may be Bacon, who sometimes associated himself with two-headed Janus; from an opening in his chest emerges a second figure. The body of the Bacon figure faces the viewer while his heads face left and right (or down and up, respectively). The lower part of his right leg disappears into Hand's chest (at least one leg of every figure is not visible from the knees down). His left leg is drawn up and his foot planted on Hand's face, as if to push from that point. A bit of his right arm is visible just above Hand's crown; his bent left arm is raised up over his left head and disappears behind the top of his right head. It is possible that this figure's two heads may in fact be the heads of two separate bodies, the rear one invisible below the neck.

Component (Sector CD)

Keywords: male, nude, short hair, Albion's sons, dividing, Newton, facing away, arm bent, hovering, leg bent at knee, body horizontal, arms raised vertically, twisted, pushing, seen from behind, muscular, flying, floating, right foot The design is closely related to the text of plate 70, lines 2-16, which describes the division of three-headed Hand into the twelve Sons of Albion, who combine into the three forms of Bacon, Newton, and Locke. From an opening in Hand's upper chest emerges a serpentine stream of hovering nude males, presumably Bacon, Newton, and Locke, perhaps in that order. The middle figure in that fiery stream, perhaps Newton, faces away with his left leg half-buried in the chest of the Bacon figure (at least one leg of every figure, including Hand, is not visible from the knees down). His right leg is bent and his foot planted against the side of Bacon's head, as if to push from that point. His upper body twists clockwise into a horizontal position. He raises his arms vertically as if holding the third figure, who, by implication at least, is presumably emerging from the Newton figure's (invisible) chest.

Component (Sector D)

Keywords: male, nude, long hair, Albion's sons, dividing, Locke, hovering, legs together, twisted, body horizontal, head up, head bent back, facing up, floating, flying, arm raised horizontally, arm raised vertically, looking, fingers spread, palm out, muscular The design is closely related to the text of plate 70, lines 2-16, which describes the division of three-headed Hand into the twelve Sons of Albion, who combine into the three forms of Bacon, Newton, and Locke. From an opening in Hand's upper chest emerges a serpentine stream of nude males, presumably Bacon, Newton, and Locke, perhaps in that order. The third figure, perhaps Locke because of the long hair depicted in the most familiar portrait of him, emerges last, with his half-visible legs together (at least one leg of every figure, including Hand, is not visible from the knees down) and his arms raised horizontally. He twists his body clockwise to turn his face upward.

Component (Sector CD)

Keywords: sea, island, net, web, line, Dover, cliff, Britain, grass An island with steep white cliffs, probably intended for Britain's Dover cliffs, is washed by foaming waves. The network of lines on the cliff face (densest on the left) suggests comparison with the scene on plate 4, where the entire area behind the text is potentially the face of a Dover cliff (with a similar network of lines in the right margin).

Component (Sector E)

Keywords: rain, storm, darkness, dark, night, lightning, sunrise, sunset, beams of light, moon, crescent, sun, sea, fire, cloud In the skies above the horizon on either side of the island are contrasting scenes: on the left, streaks of rain (from the cloud of text), a bolt of lightning, and perhaps a full moon in a stormy night sky; on the right, a sunrise or sunset showing the sun partially visible at the horizon and two other suns(?) above it. The topmost sphere may be a moon with its crescent visible at the top. Beams of light show against a dark sky that continues up the right margin and across the top of the plate to enclose the text in the outline of a cloud. There is an additional area of rain(?) beyond the cloud near the top right corner.