“看不见的门会打开”

Jodie Marley
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引用次数: 0

摘要

叶芝对19世纪90年代布莱克的批评取决于他对神秘和神秘系统的了解,他将这些系统作为解读这位浪漫主义诗人的框架。本文考察了《威廉·布莱克的作品:诗意、象征和批判》(1893年)和叶芝在19世纪90年代对其当代布莱克评论家的评论,以及他与神秘主义诗人和艺术家乔治·威廉·拉塞尔(Æ)的关系,他多次将后者比作布莱克。叶芝强调Boehme和Swedenberg在布莱克体系中的重要性,这对布莱克在20世纪的批判遗产产生了重大影响,如s.Foster Damon在《威廉·布莱克:他的哲学与符号》(1924)和Kathleen Raine的《布莱克与传统》(1969)中对布莱克的处理。叶芝在19世纪90年代与布莱克的交往也促成了布莱克作为一位神秘而富有远见的艺术家的流行观念,这种观念至今仍在继续。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
‘Invisible Gates Would Open’
Yeats’s Blake criticism of the 1890s hinged on his knowledge of the esoteric and occult systems that he used as his framework for interpretation of the Romantic poet. This article examines The Works of William Blake: Poetic, Symbolic, and Critical (1893) and Yeats’s 1890s reviews of his contemporary Blake critics, as well as his relationship with the mystic poet and artist George William Russell (Æ), whom he repeatedly compared to Blake. Yeats’s emphasis on the importance of Boehme and Swedenborg in Blake’s system had a major influence on Blake’s critical legacy in the twentieth century, such as S. Foster Damon’s approach to Blake in William Blake: His Philosophy and Symbols (1924) and Kathleen Raine’s Blake and Tradition (1969). Yeats’s engagement with Blake in the 1890s also contributed to the popular conception of Blake as a mystic and visionary artist which still continues.
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