The Pickering Manuscript 4

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William Blake
(1757–1827)

The Pickering Manuscript

[Autograph fair copy].

ca. 1807

Gift of Mrs. Landon K. Thorne, 1971

MA 2879
Item description: 

This volume of ten poems in Blake's hand is the unique source for seven of his poetic works, including "Auguries of Innocence."

A dog starved at his master's gate
Predicts the ruin of the state.

The manuscript is named for a previous owner, B. M. Pickering, who acquired it in 1866 and published it for the first time that year. The poems probably date from about 1801 to 1804. As a "fair copy," it shows that Blake had copied all of the poems into a neat form with few corrections. Based on its paper stock and internal references, the manuscript has been dated to about 1807.

About this exhibition: 

William Blake (1757–1827) occupies a unique place in the history of Western art. His creativity included both the visual and literary arts. In his lifetime he was best known as an engraver; now he is also recognized for his innovative poetry, printmaking, and painting. Blake's keen perception of the political and social climate found expression throughout his work. His strong sense of independence is evident in the complex mythology that he constructed in response to the age of revolution.

Blake was already recognized as an engraver at age twenty-five, when his first volume of poems appeared. At thirty-three, in The Marriage of Heaven and Hell, he audaciously claimed that his birth had marked the origin of a "new heaven" in which his own art would exemplify the creativity prefigured by Milton and Michelangelo. By that time, Blake, in one of his most productive periods, had already produced Songs of Innocence and was at work on a series of illuminated books. In 1818 he met John Linnell, a young painter and engraver, through whom a group of young artists became Blake's followers. Calling themselves the Ancients, they helped perpetuate Blake's influence for generations.

The Morgan's Blake collection—one of this country's most distinguished—began with purchases as early as 1899 by Pierpont Morgan. During the tenure of Charles Ryskamp, director from 1969 to 1986, major gifts almost doubled the size of its Blake holdings. In recent years Ryskamp's own gifts of engravings, letters, and related materials have significantly enriched its scholarly resources.

Translation: 

The honey of her Infant lips
The bread & wine of her sweet smile
The wild game of her roving Eye
Does him to Infancy beguile

For as he eats & drinks he grows
Younger & younger every day
And on the desart wild they both
Wander in terror & dismay

Like the wild Stag she flees away
Her fear plants many a thicket wild
While he pursues her night & day
By various arts of Love beguild

By various arts of Love & Hate
Till the wide desart planted oer
With Labyrinths of wayward Love
Where roams the Lion Wolf & Boar

Till he becomes a wayward Babe
And she a weeping Woman Old
Then many a Lover wanders here
The Sun & Stars are nearer rolld

The trees bring forth sweet Extacy
To all who in the desart roam
Till many a City there is Built
And many a pleasant Shepherds home

But when they find the frowning Babe
Terror strikes thro the region wide
They cry the Babe the Babe is Born
And flee away on Every side

For who dare touch the frowning form
His arm is witherd to its root
Lions Boars Wolves all howling flee
And every Tree does shed its fruit

And none can touch that frowning form
Except it be a Woman Old
She nails him down upon the Rock
And all is done as I have told

The Land of Dreams

Awake awake my little Boy
Thou wast thy Mothers only joy
Why dost thou weep in thy gentle sleep
Awake thy Father does thee keep

O what Land is the Land of Dreams
What are its Mountains & what are its Streams
O Father I saw my Mother there
Among the Lillies by waters fair

Among the Lambs clothed in white
She walkd with her Thomas in sweet delight

Credits: 

This online exhibition is presented in conjunction with the exhibition William Blake's World: "A New Heaven Is Begun" on view September 11, 2009, through January 3, 2010.

This exhibition is made possible through the generosity of Fay and Geoffrey Elliott.