things and scatter in sunder the gatherings of former friends; love which masters the senses and transfigures the creatures of the earthly life, leaving no light or sustenance but what comes of itself. Then follow the stages of love, and the phases of action and passion bred from either stage; of these we have already taken account. If this view of the poem be wholly or partially correct, then we may roughly sum up the problem by saying that its real obscurity arises in the main from a verbal confusion between the passion of art and the passion of love. These are always spoken of by Blake in terms which prove that in his nature the two feelings had actually grown into each other; had become interfused past all chance of mutual extrication. Art was to him as a lust of the body; appetite as an emotion of the soul. This saying, true as to some extent it must be of all great men, was never so exclusively and finally true of any other man as of this one. It is no bad sample of Blake's hurried manner of speech, that having sustained halfway through his poem an allegory of intellect in its relations to art and to common life, he should suddenly stumble over a type of his own setting up, and be led off into a new allegory of, love which might better have made a separate poem. As it is, the two symbols are welded together not without strength and cunning of hand.
Some further and final notice may here be taken of the manifold designs scattered about the MS. pages which we have found so prodigal of verse. Among the most curious of these we rank a series of drawings not quite so roughly pencilled as the rest, each inscribed with a
