<rdf:RDF xmlns:rdf="http://www.w3.org/1999/02/22-rdf-syntax-ns#" xmlns:dcterms="http://purl.org/dc/terms/">
<rdf:Description rdf:about="https://humanitieshub.sdsu.edu/omeka/items/show/2983">
    <dcterms:title><![CDATA[Blake&#039;s vision of the book of Job]]></dcterms:title>
    <dcterms:creator><![CDATA[Joseph Wicksteed]]></dcterms:creator>
    <dcterms:publisher><![CDATA[J.M. Dent &amp; Sons Limited: London]]></dcterms:publisher>
    <dcterms:date><![CDATA[1910]]></dcterms:date>
</rdf:Description><rdf:Description rdf:about="https://humanitieshub.sdsu.edu/omeka/items/show/1686">
    <dcterms:title><![CDATA[William Blake&#039;s Circle of Destiny]]></dcterms:title>
    <dcterms:creator><![CDATA[Milton O. Percival]]></dcterms:creator>
    <dcterms:publisher><![CDATA[New York, Octagon Books]]></dcterms:publisher>
    <dcterms:date><![CDATA[1977]]></dcterms:date>
</rdf:Description><rdf:Description rdf:about="https://humanitieshub.sdsu.edu/omeka/items/show/1685">
    <dcterms:title><![CDATA[Milton]]></dcterms:title>
    <dcterms:creator><![CDATA[William Blake]]></dcterms:creator>
    <dcterms:publisher><![CDATA[Boulder, Colo. : Shambhala]]></dcterms:publisher>
    <dcterms:date><![CDATA[1978]]></dcterms:date>
    <dcterms:contributor><![CDATA[edited and with a commentary by Kay Parkhurst Easson and Roger R. Easson]]></dcterms:contributor>
    <dcterms:relation><![CDATA[Series: Sacred art of the world.]]></dcterms:relation>
</rdf:Description><rdf:Description rdf:about="https://humanitieshub.sdsu.edu/omeka/items/show/1684">
    <dcterms:title><![CDATA[Fearful Symmetry: a Study of William Blake]]></dcterms:title>
    <dcterms:creator><![CDATA[Northrop Frye]]></dcterms:creator>
    <dcterms:publisher><![CDATA[Princeton, N.J. : Princeton University Press]]></dcterms:publisher>
    <dcterms:date><![CDATA[1949]]></dcterms:date>
</rdf:Description><rdf:Description rdf:about="https://humanitieshub.sdsu.edu/omeka/items/show/1630">
    <dcterms:title><![CDATA[The Divine Comedy of Dante Alighieri]]></dcterms:title>
    <dcterms:description><![CDATA[The narrative describes Dante&#039;s travels through Hell, Purgatory, and Paradise or Heaven, while allegorically the poem represents the soul&#039;s journey towards God.]]></dcterms:description>
    <dcterms:creator><![CDATA[Dante Alighieri]]></dcterms:creator>
    <dcterms:publisher><![CDATA[New York, The Heritage press]]></dcterms:publisher>
    <dcterms:date><![CDATA[1944]]></dcterms:date>
    <dcterms:contributor><![CDATA[Translated into English verse by Melville Best Anderson; with notes and elucidations by the translator, an introduction by Arthur Livingston, and thirty-two drawings by William Blake now printed for the first time]]></dcterms:contributor>
</rdf:Description><rdf:Description rdf:about="https://humanitieshub.sdsu.edu/omeka/items/show/1621">
    <dcterms:title><![CDATA[Blake&#039;s Dante: complete illustrations to the Divine Comedy]]></dcterms:title>
    <dcterms:creator><![CDATA[William Blake]]></dcterms:creator>
    <dcterms:publisher><![CDATA[New York : Harmony Books]]></dcterms:publisher>
    <dcterms:contributor><![CDATA[by Milton Klonsky]]></dcterms:contributor>
</rdf:Description><rdf:Description rdf:about="https://humanitieshub.sdsu.edu/omeka/items/show/1620">
    <dcterms:title><![CDATA[The Urizen Books]]></dcterms:title>
    <dcterms:description><![CDATA[In Lambeth in the 1790&#039;s, against a background of war and revolution in the American colonies and in Europe, and at home the denial of civil liberties and emergent radicalism, William Blake composed three uncompromising books in illuminated printing with which to present alternative accounts of creation and the beginning of social and religious oppression. These books are chapters from Blake&#039;s &#039;Bible of Hell&#039;. Urizen, the Book of Los and Ahania set out to describe the dissemination of the autocratic mythology of Urizen, Blake&#039;s inflexibly rationalist and myopic law-giver. The message is often obscure but it is a feature of this edition that much of Blake&#039;s meaning is recovered by relating his words and images to the events and circumstances with which he and his few early readers were familiar. The works stand, more than has subsequently been thought, as Blake&#039;s sensible and considered response to the difficult times of their composition.]]></dcterms:description>
    <dcterms:tableOfContents><![CDATA[The (first) book of Urizen -- The book of Ahania -- The book of Los.]]></dcterms:tableOfContents>
    <dcterms:creator><![CDATA[William Blake]]></dcterms:creator>
    <dcterms:publisher><![CDATA[London : William Blake Trust ; Princeton, N.J. : Princeton University Press]]></dcterms:publisher>
    <dcterms:date><![CDATA[1995]]></dcterms:date>
    <dcterms:contributor><![CDATA[Edited with introductions and notes by David Worrall]]></dcterms:contributor>
    <dcterms:relation><![CDATA[Series : Blake, William, 1757-1827. Blake&#039;s illuminated books ; Vol. 6.]]></dcterms:relation>
</rdf:Description><rdf:Description rdf:about="https://humanitieshub.sdsu.edu/omeka/items/show/1618">
    <dcterms:title><![CDATA[Milton a poem, and the final illuminated works: the ghost of Abel, On Homers poetry, [and] On Virgil Laocoön]]></dcterms:title>
    <dcterms:description><![CDATA[William Blake&#039;s Milton, one of his two great illuminated epics, is featured in this fifth volume of the Blake Trust collected edition of Blake&#039;s illuminated books. This is the first-ever reproduction of the magnificent copy of Milton in the New York Public Library, presented here in full colour. As the editors demonstrate, this was Blake&#039;s own copy and reflects his final intentions for one of his most sublime, and at the same time most personal, poems. Blake&#039;s three final works in illuminated printing, The Ghost of Abel, On Homers Poetry [and] On Virgil, and Laocoon, are also included in this volume. Although brief, these texts and their accompanying designs present some of Blake&#039;s most important statements on art, religion, and the spirit of imagination they share. Nineteen additional illustrations of related drawings and variant printings of the plates, many in colour, supplement all four works. Milton is a difficult and cryptic poem for those uninitiated in the ways of Blake&#039;s allusive and allegorical style. In an introductory essay, the editors directly address the nature of the poem&#039;s complexity, demonstrate how Blake&#039;s methods set out to disconcert conventional concepts of time, space, and human identity, and suggest some ways readers coming to Milton for the first time can understand and enjoy the challenges it offers. The editors also present a plate-by-plate commentary on how the illustrations contribute to the creation of a composite, visual-verbal experience. The extensive notes to the newly-edited letterpress text will also assist readers through Milton, its central themes and its byways, its heights and its depths. An equally helpful introduction and notes are provided for the three shorter works. Scholars will find much new information in this volume. The editors describe the experimental graphic techniques Blake used in Milton and uncover the multiple layers of revision he lavished on the copy reproduced. A previously unrecognized version of one of the most important full-page designs is described for the first time, while the generally-accepted dates of composition for the three final illuminated works have been revised substantially. The introduction and notes offer fresh insights into the difficult relationship between Blake and his patron William Hayley that in turn shaped Blake&#039;s sense of his great predecessor, John Milton, and the role he would play in Milton.]]></dcterms:description>
    <dcterms:creator><![CDATA[William Blake]]></dcterms:creator>
    <dcterms:publisher><![CDATA[Princeton, N.J. : William Blake Trust/Princeton University Press]]></dcterms:publisher>
    <dcterms:contributor><![CDATA[Edited with introductions and notes by Robert N. Essick and Joseph Viscomi]]></dcterms:contributor>
    <dcterms:relation><![CDATA[Series : Blake, William, 1757-1827. Blake&#039;s illuminated books ; Vol. 5]]></dcterms:relation>
</rdf:Description><rdf:Description rdf:about="https://humanitieshub.sdsu.edu/omeka/items/show/1616">
    <dcterms:title><![CDATA[The Continental Prophecies]]></dcterms:title>
    <dcterms:description><![CDATA[If the Urizen books contain Blake&#039;s account of Genesis, written and depicted from the &#039;devilish&#039; perspective of a &#039;Bible of Hell&#039;, then the continental prophecies present his critical reckoning with the history of his own times, a fascinatingly complex and multi-faceted account of the struggle between revolutionary counter-revolutionary thought of the first half of the 1790s. In America, the first of the continental poems, Blake moves away from his earlier mode of historical allegory and enters the realm of prophetic utterance. In poetry and imagery alike, Blake&#039;s prophecies follow Old Testament models in the sense that they are less concerned with prediction than with the process of social and political criticism. While America still contains many historical references, these are integrated in a mythical &#039;plot&#039; that transcends the narrow confines of historical reportage and pamphleteering. In Europe and in &#039;Africa&#039; and &#039;Asia&#039; (the two parts that make up The Song of Los) Blake is even less concerned with concrete historical events than in developing the myth of Orc and Urizen, Enitharmon and Los which describes and criticizes the intricate structure of social oppression that the author saw as resulting from human kind&#039;s history under the rule of organised state religion. Each of the three books also attempts to point a way toward the prerequisites for the equally complex process of millenial liberation. The commentary aims to introduce readers of the three books to the structural unity and many-layered meaning of Blake&#039;s visual-verbal myth-making, and to guide them through the maze of critical approaches and interpretation that they have elicited.]]></dcterms:description>
    <dcterms:tableOfContents><![CDATA[America, a prophecy -- Europe, a prophecy -- The song of Los.]]></dcterms:tableOfContents>
    <dcterms:creator><![CDATA[William Blake]]></dcterms:creator>
    <dcterms:publisher><![CDATA[London : William Blake Trust ; Princeton, N.J. : Princeton University Press]]></dcterms:publisher>
    <dcterms:contributor><![CDATA[Edited with introductions and notes by D.W. Dörrbecker]]></dcterms:contributor>
    <dcterms:relation><![CDATA[Series : Blake, William, 1757-1827. Blake&#039;s illuminated books ; Vol. 4]]></dcterms:relation>
</rdf:Description><rdf:Description rdf:about="https://humanitieshub.sdsu.edu/omeka/items/show/1615">
    <dcterms:title><![CDATA[The Early Illuminated Books]]></dcterms:title>
    <dcterms:tableOfContents><![CDATA[All religions are one -- There is no natural religion -- The book of Thel -- The marriage of heaven and hell -- Visions of the daughters of Albion.]]></dcterms:tableOfContents>
    <dcterms:creator><![CDATA[William Blake]]></dcterms:creator>
    <dcterms:publisher><![CDATA[Princeton, N.J. : William Blake Trust/Princeton University Press]]></dcterms:publisher>
    <dcterms:contributor><![CDATA[Edited with introductions and notes by Morris Eaves, Robert N. Essick, and Joseph Viscomi]]></dcterms:contributor>
    <dcterms:relation><![CDATA[Series: Blake, William, 1757-1827. Blake&#039;s illuminated books ; Vol. 3]]></dcterms:relation>
</rdf:Description></rdf:RDF>