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BLAKE AND WORDSWORTH 299 in electrotype), proofs, uncoloured copies, watercoloured copies, and colourprinted copies. To the comparative novice, the most exciting single work shown was doubtless Mr Mellon's unique copy of Jerusalem with its hundred stunning coloured plates, but to the Blake connoisseur there were yet more extraordinary things to be seen. One of the most exciting opportunities afforded by the exhibition was to be able to see side by side, probably for the first time in history, five of the six traceable copies of The First Book of Urizen (1794). (One more copy is reliably recorded but has not been located for over forty years.) The five copies have different numbers of plates, in varying arrangements of the order, coloured in different ways, and with figures added to or removed from the designs. All Blake's major works in Illuminated Printing were included, mostly from the collection of Mr Mellon. The physical dimensions of all are small, but the effect is often monumental, as in the frontispiece of America with a giant manacled angel sitting with his head bowed on his knees on a breach in the wall (no. 43). These are designs which enter into the consciousness and haunt one afterwards with images of power - and hope. The exhibition was an extraordinary tour de force and reflects great credit on all who participated in it. But exhibitions are by their nature ephemeral, and they live beyond their closing chiefly in the catalogues which describe them. Bindman's catalogue is a worthy record of a wonderful occasion, but it is also a work of scholarship of importance in its own right. The contexts in which the designs and books are set, the analyses of technical and iconographic elements, the organization of the exhibits into meaningful groupings in Blake's life and accomplishment all display the mind of a scholar of wide learning and deep understanding of Blake's art. Such exhibitions as this one justify themselves by the pleasure they give to the viewers and the understanding and joy which they multiply in the scholarship and criticism they engender. The first permanent accomplishment of the great Mellon Blake exhibition is in this fine catalogue. Its combination of deft scholarship, hundreds of reproductions, and low price makes this an admirable work with which to begin or extend one's knowledge or collection of Blake. Kathy Lochnanand DavidBindmanare tobe congratulated on anaccomplishmentwhich has immeasurablybenefited lovers ofBlake, both those who saw the exhibitions in New Haven and Toronto and those who can only enjoy them through this catalogue. Blake and Wordsworth JAMES R. BENNETT Heather Glen. Vision and Disenchantment: Blake's 'Songs' and Wordsworth's 'Lyrical Ballads' Cambridge: Cambridge University Press 1983.399. $49.50 cloth, $17.50 paper 'Initial readings, "placing" of the texts, a detailed description of its language, further contextualization (intra- and extra-textual), comparisons made with other UNIVERSITY OF TORONTO QUARTERLY, VOLUME 54, NUMBER 3, SPRING 1985 300 JAMES R. BENNETT texts examined in the same way: these are the main factors in the approach to style suggested here.' This summarizing sentence from an essay by John Spencer and Michael Gregory, 'An Approach to the Study of Style' (in Linguistics and Style, ed John Spencer, 1964), could have been Heather Glen's model for her henceforth indispensable study of Blake and Wordsworth. For she shows how the Songs of Innocence and of Experience and Lyrical Ballads derive from the personal, social, linguistic, literary, and ideological circumstances in which they were written; she provides numerous examinations of the complex linguistic patterns which inform individual poems; and most important of all, by constant explicit comparison of one author's text with another's, she establishes a highly concrete set of norms by which both shared and unique features are clarified. But Vision and Disenchantmentis not primarily a work of stylistics: 'vision' (Blake) and 'disenchantment' (Wordsworth) epitomize the logical foundations of each author. Unobtrusively (antinomianism, associationism, Newtonian science, and popular prophecy appear in the Index, but not class, exploitation, inequality, oppression, poverty, community, creativity, freedom, or ideology, or any of her underlying evaluative terms), Glen assesses the relative value to the human future of the two authors. Her significant evaluation...

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