It may seem an immediate departure to discuss Blake's biography, but it must be considered. Leaving formal school at ten, Blake first entered a drawing school, very early evincing great artistic talent. An eight year apprenticeship with engraver James Basire was a milestone of Blake's rather low key life. Blake's talents in the art of engraving were immeasurably important to both the full expression of his poetry and visual art.

As a poet, Blake opted for an almost facile, rhythmic, lyrical approach. His metre was superbly tight, his vocabulary surprisingly controlled for an 18th century writer. Of the two parts, Songs of Experience is the better of the two; not only did five years give Blake's poetry just one more dash of prowess, but his topics are dealt with in a more effective and interesting manner. His subject matter also becomes more bleak, more wearily phrased. A perfect example: Here is a stanza from ...Innocence's The Divine Image

For mercy has a human heart
Pity, a human dress
And love, the human form divine
And peace the human dress

Compare this with the poem of the same name in experience:

Cruelty has a human heart,
And jealousy a human face
Terror, the human form divine
And secrecy, the human dress

Whyfore this turnabout, from an almost sanguine mentality to one so dour and unmitigatedly bleak that Blake excluded this poem and attendant engraving in most editions of his Songs...

First, the death of Robert, Blake's beloved younger brother and apprentice. It is said that Blake stayed up a fortnight nursing his ill brother; a four day sopor followed. Later, Blake was to report that he was visited by Robert's spirit, laden with ideas as to the format of the Songs. ...Such poems as the Chimney Sweeper and the Little Boy Lost are frightful, cynical visions of the fractured side of London life. Take this stanza from Little Boy Lost, a story of a child martyed for speaking his mind:

The weeping child could not be heard
The weeping parents wept in vain
They strip'd him to his little shirt
And bound him with an iron chain

And burned him in a holy place
Where many had been burned before
The weeping parents wept in vain
Are such things done on Albions shore?

This darker judgement of life does not preclude the two motifs most sacred to Blake: Religion and love. Poems such as the Clod and the Pebble, The Pretty Rose Tree, both Holy Thursdays, the Laughing Song, and the Lamb all explore some aspect of divine justice or the perverse or beautiful aspects of love.

Something fascinating: In that very racist, colony-crazy, native torching time, Blake iconoclastically treats the subject of race in the Little Black Boy, which describes a black child of such spiritual perception that he is able to guide his paler brethren on the path to God. This intimation of an oppressed race's closeness to an arcane but majestic God is a keynote in the study of the fiercely individualistic Blake. Buy this book when you see it.

I bought this book for a friend's birthday. At home, I read it through, soon experiencing the shameful thought that I wanted to keep it for myself. I didn't keep it, but I quickly found my own copy.

Fool that I am, I have never appreciated poetry much. This book opened my eyes. I write this review in the hope that someone may be encouraged to read it, and experience the wonder that it brought to me.

No words can do justice to these poems. I just marvel at how such seemingly simple compositions could contain so much meaning. Blake cuts straight to the spiritual essence of human existence. There are very few books that I could say have deepened my faith in God. This is one.

I was recently lucky to see the Gutenburg to Gone With the Wind Exhibit in Austin, Texas recently. At that marvelous exhibit I got to see one of Blake's original editions of Songs of Innocence. After that, I (of course) had to find a copy with the amazing poems and the amazing artwork by Blake. This edition satisfied both criteria well. First of all, the poems are brilliant. Everybody has read such works as "Little Boy Lost," "Little Boy Found," "The Shepherd," "The Lamb," and "The Tyger." These poems are just as good as they are made out to be. Each poem is excrutiatingly simple (in the style of children's verse), and each has such depth. The artwork is all in this edition, too, and it is fabulous. The colors are exactly like those of Blake's. I really think that the poems should never be read without Blake's engravings. This is a marvelous book for poetry lovers to own. It is high quality and affordable. Any fan of Blake's should own this book.

Jerusalem is Blake's monumental final work, 100 densely filled large plates/pages. It also seems the most Blakean (it begins with a friendly address to the reader that has had all the friendly words gouged out); not surprisingly, Blake produced only one color copy (reproduced here), which he never sold. The book overwehlms, presenting essentially all of Blake's very complicated questions about authenticity and creation through particularly abstract mythology. It is therefore a good idea to have some experience with Blake's earlier books before attempting J. The text does not exist without Blake's awesome illustrations/illuminations. While this edition is excellent, I give it only four stars because 1. the transcription of the plates does not occur on opposite pages, but rather in a separate section, and 2. the editorial assistence is scarce, and when present, oblique. These faults are noticable mainly in relation to other outstanding titles in the Blake Trust series (published later), and are hardly fatal. You're unlikely to find a better edition.

I recommend that any fan of William Blake buy this volume and the other 5 in the series. The books are beautiful, large, and handsomely bound. Each book is reproduced in full color, using a six-color printing process rather than the standard four. The pages are heavy, opaque and have a gorgous lustre indicating very high quality paper. The text of each book accompanies the color reproductions in standard typeface with very competent commentary to boot.

Why is it that on every bargain table in America you can find countless decent reproductions of The Impressionists and Picasso and Dali etc etc, but Blake's vast body of work is only available in esoteric and expensive editions? Princeton University Press has filled this void more or less affordably with a beautifully recreated series of the Prophetic Books. Now if we can just get someone to do The Illustrations to Gray and Edward Young and The Bible and Milton and Dante and and and!!!