![]() ![]() Sometimes old ballads, sometimes his own songs, Even then, as late as 1825, he "still sang, Music of more complicated structure." At the Linnells', he "would sit byįrom his eyes, while he listened to the Border Music was important to Blake, there can be no doubt. Song which was to accompany it, and the music to which the verse was to be sung, was the offspring too of the same moment." Must the poetry's setting, then, be musical as well as visual. ![]() ![]() Manifest in the illuminated print: "As he drew the figure he meditated the The third Power was Music, and music,Īccording to Cunningham, was an integral part of the composing process as Were only two of the "three Powers in Man of conversing with Paradise which In short, to read it as originally presented. Poetry as graphic art consisting of text and illustration in complex relations. Of their setting." Some fine, hand-colored facsimiles have made it possible to read Blake's illuminated Ruthven Todd points out, "no one can fully understand the Songs divorced From William Blake's Songs of Innocence and ofĬompanion to the New Musical Settings by Gregory Forbes ![]()
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