By Jeremy Tambling
Blake's evening Thoughts discusses Blake as a poet and artist of evening, contemplating evening via graveyard poetry and younger within the eighteenth century, urbanism within the 19th and Levinas and Blanchot's writings within the 20th. Taking "night" because the breakdown of rational revolutionary inspiration and of proposal in line with techniques of identification, the e-book reads the lyric poetry, a few Prophetic works, together with a bankruptcy on The 4 Zoas, the illustrations to younger, and Dante, and appears at Blake's writing of insanity.
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Additional resources for Blake's Night Thoughts
6 Leverkühn’s texts ask where transgression begins. The poems are images of each other and imaginations of disgust. The speaker addresses the rose, not the worm, as if turning upon the vulnerable thing, and the tone of the first line includes fascination, disgust, blame, accusation, prurience. Contrarily, the apostrophe also implies an attempt to speak to a person, recalling ‘O Rose of May! / Kind sister, sweet Ophelia’ (Hamlet IV. vi. 156–7) as Laertes marks his sister’s madness. And the rose cannot, or does not, reply, so its labelling – perhaps accusing – as ‘sick’ needs reading critically.
Posthumous and spectral, they still breathe, still lack. 15 Viola’s first line evokes Blake’s ‘Never pain to tell thy love’, the second ‘The Sick Rose’, and the third ‘Ah! Sunflower’, linking all through ‘concealment’: female for Viola (though, since she is concealed as a male, she may make concealment a law for males), male in ‘Never pain’. 16 In Shakespeare, ‘concealment’ that ‘fed on her damask cheek’ is the worm even without ‘like a worm i’ th’ bud’ because ‘damask’ brings in the rose. This gives more emphasis to the ‘dark’ of ‘his dark secret love’: a dark secret implies something obscure, enigmatic.
Night is this apparition: ‘everything has disappeared’. It is what we sense when dreams replace sleep, when the dead pass into the deep of the night, when night’s deep appears in those who have disappeared. Apparitions, phantoms and dreams are an allusion to this empty night. 3 ‘Does the Eagle know what is in the pit? 5 Karl Philipp Moritz (1756– 1793) in Anton Reiser (1785–1790) shows the Pietistic, melancholic, young autobiographical subject letting his physical pain ‘put his soul in a mood where Young’s Night Thoughts, which he happened to acquire at that time, was a most welcome book – he fancied that here he recognized all his previous ideas about the emptiness of life and the vanity of all earthly things’.
Blake's Night Thoughts by Jeremy Tambling