Иерусалим. Эманация Гиганта Альбиона (Блейк)/23
| ← Лист 22 | Иерусалим. Эманация Гиганта Альбиона/Лист 23 , пер. Д. Смирнов-Садовский (р. 1948) |
Лист 24 → |
| Язык оригинала: английский. Название в оригинале: Plate 22. — Дата создания: ок. 1804—1820 (перевод). |
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Albion thy fear has made me tremble; thy terrors have surrounded me |
Notes
- ↑ 22:10 Hatred] mended from Ratred
23:7 But thou! O wretched Father!] Jerusalem now speaks.
24:58 Dead . . . Alive] mended from dead . . . alive
24:60 Followed by a line deleted almost without trace; compare 47:1.
Plate 26, engraved in white line, portrays “HAND” in flames and with nails in his extended palms, turned toward “JERUSALEM”, who lifts her hands in amazement. The rhymed lines are incised in outline alongside the figures.
27:15 Willans] mended (perhaps from “Williams”)
Plate 28 exists in an early state (in a proof page in the Morgan Library); extensive changes were made in the picture, but not the text, before final printing. Female and male figures embracing in the center of a large flower were re-engraved from a position in which they could be assumed to be copulating to one in which they could not. Perhaps illustrating Jerusalem-Vala's attempt “to melt his [Albion's] Giant beauty, on the moony river” (19:47). (In 1977 the Morgan acquired another working proof, intermediate between the early and the final states.)
Plates 29-46 are found in two arrangements. The sequence followed here is that of copies A C F; numbers within brackets indicate the sequence of copies D E.
29:47 involve] Possibly a mistake for “involves”; yet the construction “behold the cloud involve me” would not be unBlakean.
31:18 States . . . Systems] These two words, in an unevenly deleted line, are somewhat conjectural.
32:34 Conjectural restoration of deeply gouged deletion.
33:1 Line added (by engraving) after the etching of the plate.
33:10 blue] mended from pale (in all copies, but restored to “pale” in A; a proof exists of the unmended plate)
35:6 Line crowded into a paragraph break, before etching, but indented to go with second paragraph.
35:10 Line crowded into paragraph break, before etching.
37:32-35 (reverse writing, on scroll):
Each Man is in his Spectre's power Untill the arrival of that hour, When his Humanity awake And cast his Spectre into the Lake These lines are close to the final draft in the Notebook (p 8- misbound as 12) except for an unfinished 2nd stanza. A rearrangement of the 1st stanza lines was tried by numbering them 4, 3, 1, 2, but the numbers were canceled. Here is the Notebook text:
[4] [This world]<Each Man> is in [the]<his> Spectres power [3] Untill the arrival of that hour [1] [Untill]<When> [the]<his> Humanity awake [2] And cast [the]<his own> Spectre into the Lake And there to Eternity aspire The selfhood in a flame of fire Till then the Lamb of God 40:40 Line lacking in proof (Morgan Library); added to plate by engraving.
42:47 friend] sic, probably a parody of “aborred fiend”, though possibly a scribal error
43:28 rocks] etched locks, but see line 2; emendation suggested by Joanne Witke
43:83 trembling] mended from Albion slept (though “slept” is conjectural)
47:1 Blake probably did not delete this line because of its redundancy with the plate's concluding line (for a similar refrain enclosing a plate, see America 9) but to accommodate some rearrangement of plates subsequently abandoned.
[Begin Page 811] 49:35 Void] ground rdg on plate, error in copying Milton 5:22
Plate 51, a full-page illustration, was inscribed “Vala Hyle Skofield” when issued as a separate print. Monogram WB in lower left corner (for use with separate print) is visible in copy A and posthumous copies.
Plate 52. The 7 stanzas beginning “I saw a Monk . . .” are an almost exact transcription of stanzas numbered 1 to 7 in a much longer draft in Blake's Notebook (p 8—misbound as 12). In order of composition these seven were originally stanzas 1, 2, 3, 4, 15, 16, and 14. (For another poem, of nine stanzas, drawn from the same Notebook draft, see “The Grey Monk” in the Pickering Manuscript, below.)
1 Charlemaine] Constantine 1st ms rdg del
3 as we] where he ms rdg
5-8 A variant stanza was written beside this in the ms:
Gibbon plied his lash of steel Voltaire turnd his wracking wheel Charlemaine & his barons bold Stood by & mockd in iron & gold Another variant ms stanza was written in the margin:
The Wheel of Voltaire whirld on high Gibbon aloud his lash does ply Charlemaine & his Clouds of War Muster around the Polar Star (The final line 7 was composed after these variant stanzas were rejected.)
7 The Schools . . . rolld] Charlemaine & his barons bold 1st ms rdg del
9 Thou . . . afar] Seditious Monk said Charlemaine 1st ms rdg del
10 In vain . . . War] The Glory of War thou condemnst in vain 1st ms rdg del
11 your . . . you] thy . . . thou ms rdg
17-20 When Satan . . . mercys Lord] ms stanza“5” (variant: Mercys), replacing:
Untill the Tyrant himself relent The Tyrant who first the black bow bent Slaughter shall heap the bloody plain Resistance & war is the Tyrants gain 21 Titus! Constantine!] O Charlemaine O 1 st ms rdg del
23 Grecian Mocks] mocks & scorn 1st ms rdg del
25 For a Tear] For the tear 1st ms rdg del; A tear 2nd ms rdg
25-28 Variant ms stanza, abandoned but not deleted:
But The Tear of Love & forgiveness sweet And submission to death beneath his feet The Tear shall melt the sword of steel And every wound it has made shall heal (The “feet” in the second line are the Tyrant's.)
The following stanza, numbered “8”, was begun, alongside stanza 7:
a Grecian Scoff is a wracking wheel [The] Roman pride is a sword of steel [Vict] Glory & Victory a [?Ron][<plaited>] [?Trojan] phallic Whip (“Ron” a start on “Roman”? These lines first a variant of stanza 2?)
27 of a Martyrs] for anothers 1st ms rdg del; of the Martyrs 2 nd ms rdg
53:8, Line added within a paragraph break, before etching
53:24 Line added within a paragraph break, before etching
55:20 Conclave] etched Concave, clearly wrong for the context
56:37 earth-Worm] mended by pen to earth-Worms in copy F, perhaps not by Blake
Plate 57. In the illustration are the names “York London Jerusalem”.
58:3 Street] possibly a mistake for Streets
60:55 Not: but] Keynes emends to Nought but (yet compare 93:20 and 96:16; perhaps the intended opposition is “Art thou alive! or art thou Not:”)
63:5-6 Albion's bringing Luvah “To justice in his own City of Paris” (here and in pl 66) points to a date of composition after one or more probably both the Treaties of Paris of 1814 and 1815. See Erdman 430[466].
65:62 him from his] etched him from him his
[Begin Page 812] 69:1 combined] mended in copper to conjoined (restored in the Mellon copy by pen)
72:53 Mirror writing: Women the comforters of Men become the Tormenters & Punishers
73:37,Deletion covered by vines in most copies; legible in posthumous copies, under magnification.
73:43 Deletion covered by vines in most copies; legible in posthumous copies, under magnification
Plate 76 is a full-page illustration, with the names “Albion” and “Jesus” incised beneath its two figures. “Albion” is deleted in copies D E; “Jesus” in copies C D E F.
77:1-4 I give you . . . wall] Four lines from Blake's Notebook (p 46 reversed)
77:1 give] have given 1st ms rdg del
77 The Real [Selfhood] . . . Man] incised in the bottom corners of the plate, partly legible in copy F and in posthumous copies. (The fourth segment is G. E. Bentley's deciphering.) Blake first deleted “hood” and later the whole passage.
Plate 81. The mirror writing in the inscription reads:
In Heaven the only Art of Living Is Forgetting & Forgiving Especially to the Female But if you on Earth Forgive You shall not find where to Live 81:15-16 Since these two lines appear below the illustration, they may be considered as its caption; but they also serve as part of the text. (Keynes prints them as such but in a note says they are not part of teh text.)
Plate 82 shows many signs of haste. The deletion in lines 47-48 should perhaps be respected as a successful revision, but that in lines 67-68 leaves an awkward gap.
82:43 his hands . . . & his feet] written his hands . . . & his hands
83:1 Corruptibility] etched Corrupability mended in copy E
83:30 Affection] mended from affection
83:87 Awake] Whether given an exclamation point or not, this word seems to hang in midair. Plate 84 (different in technique, lettering, content) obviously did not originally follow. Part of the Daughters' song of building appears to be lost.
85:11 Myriads] mended from myriads
88:30 sending] etched sendinding
89:2 endure] The plural subject of this verb must be the “double” nay “Twelvefold” Hermaphroditic form.
89:26 flocks] Rocks in previous transcription, corrected by Bentley
90:58 And] mended from and
90:67 thunder's] I have inserted the apostrophe called for by the syntax and context; it is the thunder of Los that utters Plate 91.
91:1 Preceded by a deleted line which I can partly decipher as “Forgiveness of Enemies ?can [ ] only [ ] God [ ]”
Plate 92 includes an illustration inscribed “Jerusalem”. A deleted line follows 93:1.
94:27 Line probably added during a rewriting of the page. (Examination of Plate 95 reveals that the text of Plate 94 was first etched in the top half of 95 and was probably identical to the re-etched version except for this line.)
Plate 96 is etched on what was once the lower left quarter of a large plate on which Blake had etched a commercial manifesto for “MOORE & Co's Manufactory & Warehouse, of Carpeting and Hosiery Chiswell Street. MOOR-FIELDS” in 1797 or I798.
98:11 Sexual Threefold] mended from Sexual Twofold (The plate bears other signs of hasty writing.)
98:34 regenerations] mended from regenations
98:45 the Covenant of] mended from thy Covenant (thy Covenant restored in the Morgan copy by pen)
98:48 Sacrifices] The terminal “s” almost hidden by the decorative border—but not a true deletion.
Plate 99 bears traces of an earlier use of the copper for some architectural and vaguely scenic design, not identified.
