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EDWARD LARRISSY I On the face of it there might not seem to be that much material relating to âthe Orientâ in Blake, let alone to âOrientalismâ. There are some things to go on, but his âAsiaâ, in The Song of Los, is notoriously thin on the Asiatic, and the remarks on Asia in the Descriptive Catalogue centre, in a somewhat schematic way, on a conception linking ancient art to the depiction of aspects of God (âCherubimâ, according to Blake). One may feel impelled to fall back on such measures as including the Hebrew in the âorientalâ â which is not in itself a false or dishonourable inclusion, of course, and indeed is a necessary one. Furthermore, Saree Makdisi has claimed recently that, in the 1790s, Blake is the âonly major poet who categorically refused to dabble in recognizably Orientalist themes or motifsâ.1 This is an understandable claim, and it seeks corroboration in those aspects of Blake which are contemptuous of prejudice: in his readiness to see the human form divine in âheathen turk or jewâ, as in âA Divine Imageâ from Songs of Innocence, which Makdisi cites.2 Nevertheless, I think that, with so little evidence to go
Romanticism – Edinburgh University Press
Published: Apr 1, 2005
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