Titlebook: Blake, Myth, and Enlightenment; The Politics of Apot David Fallon Book 2017 The Editor(s) (if applicable) and The Author(s) 2017 Romanticis

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Indikation für Drug-eluting Stents (DES)ressed an elite public, ‘of the Rich and those who have the direction of public Works’ and the ‘Noblemen and Gentlem[e]n’ subscribers to the Royal Academy and British Institution (E527). Blake objected that his art was excluded from these arenas. His motto, Milton’s dictum ‘.’ (E527), suggests that

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Indikation für Drug-eluting Stents (DES)h the apocalyptic impulses of the 1790s internalised in the imagination, akin to Milton’s ‘Paradise within thee, happier farr’ (. xii.587).. Even as firm an advocate of public and political interpretations of Blake as Erdman argues that, after the failed exhibition, his work was ‘destined rather for

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David FallonQuestions the common (mis)apprehension/representation of Blake as simply anti-Enlightenment.Approaches Blake’s appropriation of, and engagement with, myth in political terms.Looks at a broad range of

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,‘Breathing! Awakening!’: Contesting and Transforming Apotheosis in ,,erican War began All its dark horrors passed before my face | Across the Atlantic to France. Then the French Revolution commencd in thick clouds’ (E708). This chapter will argue that Blake embodies this expansive perception of revolution in .’s mythical mode, its use of apotheosis imagery, and the sublime personification of Orc.

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,‘Breathing! Awakening!’: Contesting and Transforming Apotheosis in ,,erican War began All its dark horrors passed before my face | Across the Atlantic to France. Then the French Revolution commencd in thick clouds’ (E708). This chapter will argue that Blake embodies this expansive perception of revolution in .’s mythical mode, its use of apotheosis imagery, and the s

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,‘Serpentine Dissimulation’: Apotheosis in ,, ,, and ,, of maintaining free thought and debate in a climate of repression. He probably produced . (1794) between engraving work on Stedman’s . (1796), dated 2 December 1793, and six plates for George Cumberland’s . (1796), dated 5 November 1794.. British reformers experienced deepening crisis. In May 1794,

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,‘The Name of the Wicked Shall Rot’: Blake’s Oriental Apotheoses of Nelson and Pitt,ressed an elite public, ‘of the Rich and those who have the direction of public Works’ and the ‘Noblemen and Gentlem[e]n’ subscribers to the Royal Academy and British Institution (E527). Blake objected that his art was excluded from these arenas. His motto, Milton’s dictum ‘.’ (E527), suggests that