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Песни невинности и опыта
Песни Невинности Копия G, 1789 (Йельский центр британского искусства). Одна из первых 16-17 копий, отпчатанных совместно c Кэтрин Блейк в 1789 году. Иллюстрации легко окрашены акварелью. Продано в 1872 на аукционе в Лондоне, цена не указана; перепродано в 1895 на аукционе Сотбис за 20 фунтов; перепродано в 1958 на аукционе в Сотбис за 3800 фунтов для Пола Меллона, передавшего это в Йельский центр британского искусства, Нью-Хейвен, США, в1992 году. Состоит из 31 объекта (гравюры) и включает в себя Фронтиспис, Титул и 23 стихотворения:
- 1. Вступление
- 2. Сон
- 3. Потерянная девочка (1,5 стр.)
- 4. Найденная Девочка (1,5 стр.)
- 5. Агнец
- 6. Цветок
- 7. Эхо на лужайке (2 стр.)
- 8. Божественный образ
- 9. Трубочист
- 10. Дитя-Радость
- 11. Пастух
- 12. Ночь (2 стр.)
- 13. Колыбельная(2 стр.)
- 14. Потерянный Мальчик
- 15. Найденный Мальчик
- 16. Песня Няни
- 17. Святой Четверг
- 18. О Чужом Горе
- 19. Весна (2 стр.)
- 20. Школьник
- 21. Песня Смеха
- 22. Чёрный Мальчик (2 стр.)
- 23. Голос древнего барда
Галерея
object 1
object 2
object 3
object 4
object 12
Songs of Innocence, copy G, 1789 (Yale Center for British Art)
Copy Information | Electronic Edition Information
object 1 (Bentley 2, Erdman 2, Keynes 2)-- "Frontispiece to Songs of Innocence"
object 2 (Bentley 3, Erdman 3, Keynes 3)-- "Title Page"
object 3 (Bentley 4, Erdman 4, Keynes 4)-- "Introduction"
object 4 (Bentley 26, Erdman 26, Keynes 26)-- "A Dream"
object 5 (Bentley 34, Erdman 34, Keynes 34)-- "The Little Girl Lost"
object 6 (Bentley 35, Erdman 35, Keynes 35)-- "The Little Girl Found"
object 7 (Bentley 36, Erdman 36, Keynes 36)-- "The Little Girl Found (continued)"
object 8 (Bentley 8, Erdman 8, Keynes 8)-- "The Lamb"
object 9 (Bentley 11, Erdman 11, Keynes 11)-- "The Blossom"
object 10 (Bentley 6, Erdman 6, Keynes 6)-- "The Ecchoing Green"
object 11 (Bentley 7, Erdman 7, Keynes 7)-- "The Ecchoing Green (continued)"
object 12 (Bentley 18, Erdman 18, Keynes 18)-- "The Divine Image"
object 13 (Bentley 12, Erdman 12, Keynes 12)-- "The Chimney Sweeper"
object 14 (Bentley 25, Erdman 25, Keynes 25)-- "Infant Joy"
object 15 (Bentley 5, Erdman 5, Keynes 5)-- "The Shepherd"
object 16 (Bentley 20, Erdman 20, Keynes 20)-- "Night"
object 17 (Bentley 21, Erdman 21, Keynes 21)-- "Night (continued)"
object 18 (Bentley 16, Erdman 16, Keynes 16)-- "A CRADLE SONG"
object 19 (Bentley 17, Erdman 17, Keynes 17)-- "A CRADLE SONG (continued)"
object 20 (Bentley 13, Erdman 13, Keynes 13)-- "The Little Boy Lost"
object 21 (Bentley 14, Erdman 14, Keynes 14)-- "The Little Boy Found"
object 22 (Bentley 24, Erdman 24, Keynes 24)-- "NURSES Song"
object 23 (Bentley 19, Erdman 19, Keynes 19)-- "HOLY THURSDAY"
object 24 (Bentley 27, Erdman 27, Keynes 27)-- "On Anothers Sorrow"
object 25 (Bentley 22, Erdman 22, Keynes 22)-- "Spring"
object 26 (Bentley 23, Erdman 23, Keynes 23)-- "Spring (continued)"
object 27 (Bentley 53, Erdman 53, Keynes 53)-- "The School Boy"
object 28 (Bentley 15, Erdman 15, Keynes 15)-- "Laughing Song"
object 29 (Bentley 9, Erdman 9, Keynes 9)-- "The Little Black Boy"
object 30 (Bentley 10, Erdman 10, Keynes 10)-- "The Little Black Boy (continued)"
31 (Bentley 54, Erdman 54, Keynes 54)-- "The Voice of the Ancient Bard"
<poem> Title: Songs of Innocence Origination: William Blake: author, inventor, delineator, etcher, printer, colorist Origination: Catherine Blake: printer Publisher: William Blake Place of Publication: London Note: The place of publication is not recorded in the volume, but Blake was living in London at the time of its composition, etching, and printing. Date: 1789 Composition Date: 1789 Print Date: 1789 Number of Objects: 31 Object Order: 2-5, 25, 27, 53, 19, 24, 15, 9, 10, 54, 6, 7, 12, 18, 26, 34-36, 13, 14, 16, 17, 22, 23, 11, 8, 20, 21 Note: Bentley plate numbers are used unless otherwise stated. Object Size: ranging between 12.3 x 7.7 cm. and 10.9 x 6.3 cm. Number of Leaves: 17 Note: Objects 1-3 as arranged in this copy are printed on individual leaves; all other plates are printed recto/verso. Leaf Size: 17.7 x 12.7 cm. Medium: relief etching, with some white-line etching, and hand coloring Printing Style: relief Ink Color: raw sienna Support: wove paper Watermark: none Etched Numbers: none Penned Numbers: none Frame Lines: none Binding: brown russia Note: The frontispiece, object 1 as arranged in this copy, is bound facing the title page, object 2. Stab Holes: none Provenance
Name: Lessing J. Rosenwald Collection, The Library of Congress Date: Acquired by Rosenwald in 1937; given to The Library of Congress 1945. Dealer: A. S. W. Rosenbach acting for Rosenwald in 1937 Price: £750 plus dealer's fees in 1937 Note: R. H. Clarke, perhaps by 1825 when the volume was bound; sold anonymously at Sotheby's, 26 May 1906, lot 267 (£83 to the dealer Robson); William E. Moss by 1914; sold from the Moss collection, Sotheby's, 2 March 1937, lot 143 (£750 to A. S. W. Rosenbach acting for Lessing J. Rosenwald); given by Rosenwald to the Library of Congress in 1945. Present Location
Library of Congress 101 Independence Avenue SE Washington, D.C. 20540-4740 USA Telephone: 202-707-5434 Fax: 202-707-4142 Email: rbsc@loc.gov URL: http://lcweb.loc.gov/rr/rarebook/ Department: Rare Book and Special Collections Division Collection: Lessing J. Rosenwald Collection Accession Number: PR4144.S6 1789b Accession Number: 1797
- Songs of Innocence, copy B, 1789 (Library of Congress): electronic edition
- Songs of Innocence, copy G, 1789 (Yale Center for British Art): electronic edition
- Songs of Innocence, copy U, 1789 (The Houghton Library): electronic edition
Dates are the probable dates of printing.
This lyric anthology evokes a predominantly pastoral world prior to the dualisms of adult consciousness. Human, natural, and divine states of being have yet to be separated. The child is the chief representative of this condition; other recurrent figures, such as the shepherd and lamb, point ultimately to the figure of Christ as the incarnation of the unity of innocence. In a few poems, the rhetoric, irony, and divided consciousness of experience begin to insinuate themselves into the landscape of innocence. In 1794, Blake combined Innocence with its contrary companion, the Songs of Experience, to create the combined Songs of Innocence and of Experience.
Blake etched the Songs of Innocence in relief, with white-line work in some designs, on thirty-one plates in 1789, the date on the title page. The first printing, also of 1789, produced sixteen (or possibly seventeen) copies: U (black ink) and possibly untraced copy V; I, J, X, and "Innocence" of Songs of innocence and of Experience copy F (green ink); A-H, K-M, Z (yellow ochre or raw sienna ink). In addition, the "Innocence" section of what would later become Songs of Innocence and of Experience copies B-E were printed in this first session. After 1794, the printing history of Innocence becomes complex because Blake began printing it with Experience to form copies of the combined Songs while continuing also to issue Songs of Innocence and Songs of Experience separately. Complicating matters further are the facts that some separately issued copies of Innocence were combined with Experience by collectors and dealers, and that copies of Innocence now separate were once part of copies of the combined Songs.
In 1795, Blake printed both sections of Songs of Innocence and of Experience copies A and R. In a separate print-run of the same year, he printed eight sets of Innocence and nine sets of Experience impressions to form Innocence copy N, the "Innocence" section of combined Songs copy J, the "Experience" section of combined Songs copies J, O, and S, and both sections of combined Songs I, L, M, and BB. The "Innocence" section of combined Songs copy O was once joined with the "Experience" section of combined Songs copy K; untraced Innocence copy W was probably once joined with the "Experience" section of combined Songs copy N. In c. 1802, Blake printed three copies of Songs of Innocence (O, R and Y printed as a single copy and later divided into incomplete copies, and the "Innocence" section of combined Songs copy P), along with two copies of Experience (the "Experience" sections of Songs of Innocence and of Experience copies P and Q). In c. 1804, he printed another three copies of Songs of Innocence (P, Q, and the "Innocence" section of combined Songs copy Q); in c. 1811 he printed two more copies (Innocence copy S and the "Innocence" section of combined Songs copy S). This was the last time Blake printed Songs of Innocence separately. Songs of Innocence copy T is posthumous, with hand coloring in imitation of copy B. No two copies of Songs of Innocence share the same arrangement of the plates.
Between 1818 and 1827, Blake always printed Innocence and Experience as parts of the combined Songs. In seven of the eight copies produced, the plate order remained the same
Copies B and U are a study in contrasts, yet both are from the earliest printings of this book. Copy B, now in the Rosenwald Collection, Library of Congress, was printed with fifteen other copies of Innocence in 1789, four of which were later joined with Experience impressions, printed in 1794, to form Songs of Innocence and of Experience copies B, C—which is in the Archive—D, and E. Unlike many of these early copies of Innocence, copy B still consists of all 31 plates originally composed and executed for Innocence. Like them, however, it was printed in a raw sienna ink on 17 leaves and exemplifies Blake's early printing and coloring style. The plates were wiped of their plate borders, the illustrations very lightly washed in watercolors, and the texts left unwashed. This mode of presentation, along with printing both sides of the leaves to create facing pages, emphasized the prints as book pages rather than prints or paintings. Good examples of printing and coloring illuminated plates to look like minatures can be seen in Songs copy Z, also in the Archive.
Innocence copy U, from the Houghton Library, Harvard University, is an excellent example of printing illuminated plates to look like prints. Like etchings and engravings, they were printed on one side of the leaf in black ink and left uncolored. Copy U, which was printed with untraced copy V, had been dated c. 1814, because of some stylistic similarities it shares with illuminated works assumed to have been produced around that time. But, in fact, copy U is the first copy of Innocence printed. The presence of a unique first state for "Infant Joy" proves this sequence; the bottom part of the "J" in the title is missing in all extant impressions, but here it extends into the flower. Copy U was printed before copy B and all other early copies; the ink color, printing style (recto only), and lack of hand coloring suggest a date of printing before Blake had developed his special ways of producing his illuminated books and instead repeated styles and techniques long familiar to him as a commercial engraver.
Примечания
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© D. Smirnov-Sadovsky. Translation. Commentary / © Д. Смирнов-Садовский. Перевод. Комментарий
