{"id":473,"date":"2022-12-16T04:58:36","date_gmt":"2022-12-16T04:58:36","guid":{"rendered":"https:\/\/www.ajdrake.com\/education\/?page_id=473"},"modified":"2023-03-27T06:48:00","modified_gmt":"2023-03-27T13:48:00","slug":"e212-questions-blake-spr-2011","status":"publish","type":"page","link":"https:\/\/www.ajdrake.com\/academic\/e212-questions-blake-spr-2011\/","title":{"rendered":"E212 Questions – Blake – Spr. 2011"},"content":{"rendered":"\n

EMAIL<\/strong><\/a>\u00a0|\u00a0SYLLABUS<\/strong><\/a>\u00a0|\u00a0POLICIES<\/strong><\/a>\u00a0| QUESTIONS<\/a><\/strong>\u00a0|\u00a0PRESENTATIONS<\/strong><\/a>\u00a0|\u00a0JOURNALS<\/strong><\/a>\u00a0|\u00a0PAPER<\/strong><\/a>\u00a0|\u00a0EXAM<\/strong><\/a><\/p>\n\n\n\n

Assigned: Songs of Innocence and of Experience<\/em> (81-97), The Marriage of Heaven and Hell<\/em> (110-22).<\/p>\n\n\n\n

Songs of Innocence<\/em> Blake Archive Image, Copy A, British Museum, Title Page<\/a> and Frontispiece<\/a><\/strong><\/p>\n\n\n\n

Note: The William Blake Archive<\/a> <\/strong>offers complete copies of Blake\u2019s major works, and is well worth using\u2014below, I have included links to the plates for the specific poems we are covering, so please have a look at them if your time permits, especially if you are doing a presentation on Blake.  Attending not only to the words but to the imagery surrounding and intertwining with them may help you develop some very promising ways to interpret the poems.  Blake is not strictly a poet\u2014even his words are part of works of visual art, so it\u2019s best to keep that in mind when you enjoy his poetry.  The Archive allows you to magnify plate images and to view comparative copies.<\/p>\n\n\n\n

General Questions<\/strong><\/p>\n\n\n\n

1.  What do you consider to be the task or purpose of Songs of Innocence<\/em>?  In other words, do the songs teach us anything?  What might the title itself Songs of Innocence<\/em> add to our understanding of this purpose\u2014how does it lend itself to two different interpretations of the songs\u2019 perspective on innocence?<\/p>\n\n\n\n

2.  Are adult limitations in understanding different in kind from a child\u2019s limitations?  What bounds the perceptions of an adult?  What bounds the perceptions of a child?  Can you remember some feeling, perception, or incident from your childhood that suggests the difference between a grown-up\u2019s understanding of either very joyful or very distressing things and the understanding of a child?  If you can (and it\u2019s not something you don\u2019t want to write about) discuss it as part of your response.<\/p>\n\n\n\n

\u201cIntroduction\u201d Blake Archive Image, Copy A, British Museum<\/a><\/strong><\/p>\n\n\n\n

3.  In the Introductory lyric, what is the child\u2019s role in this poem?  In what circumstances does he appear to the piper, and when does he choose to vanish?  Also trace the progression of the boy\u2019s demands\u2014what is the piper expected to do, and why?<\/p>\n\n\n\n

4.  How does the piper react to the child\u2019s requests\u2014what does he do in response to them?  How does his task take shape as he tries to do what the child suggests?  Is that task simply to sing joyful songs, or is it more complex?  If so, how?<\/p>\n\n\n\n

\u201cThe Ecchoing Green\u201d Blake Archive Image, Copy A, British Museum<\/a>, and Continuing Plate<\/a><\/strong><\/p>\n\n\n\n

5.  In \u201cThe Ecchoing Green,\u201d how do the poem\u2019s aged characters (as reported in the second stanza, lines 11-20) perceive the children\u2019s joyful play?  To what extent do they seem to connect to it, and in what way?<\/p>\n\n\n\n

6.  In \u201cThe Ecchoing Green,\u201d how does the child speaker interpret the passage of time?  That is, how does the child view the cessation of play and the coming on of night?  What difference is there between this young speaker\u2019s view and that of the poem\u2019s adults?<\/p>\n\n\n\n

\u201cThe Lamb\u201d Blake Archive Image, Copy A, British Museum<\/a><\/strong><\/p>\n\n\n\n

7.  In \u201cThe Lamb,\u201d how are the child, the lamb, and Christ (the Lamb of God) set in relation to one another?  Why is it so easy for the child to identify the lamb\u2019s creator, and so easy to invoke God\u2019s blessing on the lamb?  What traditional perspective on (or dimension of) the religious symbolism is not<\/em> part of this poem?<\/p>\n\n\n\n

\u201cThe Little Black Boy\u201d Blake Archive Image, Copy A, British Museum<\/a> and Continuing Plate<\/a><\/strong><\/p>\n\n\n\n

8.  In \u201cThe Little Black Boy,\u201d where might the young speaker have learned that he is \u201cbereaved of light\u201d?  How would you characterize the way he initially interprets the significance of his race and that of the white \u201cEnglish boy\u201d he mentions?<\/p>\n\n\n\n

9.  In \u201cThe Little Black Boy,\u201d how does the child\u2019s mother accommodate his understanding and yet correct it?  What story does she tell him?  What is the significance of \u201cclouds\u201d in that story?  How does she teach him to view racial difference?<\/p>\n\n\n\n

\u201cThe Chimney Sweeper\u201d Blake Archive Image, Copy A, British Museum<\/a><\/strong><\/p>\n\n\n\n

10.  In \u201cThe Chimney Sweeper,\u201d to what extent does the young speaker interpret his situation\u2014practically a form of industrial-age slavery\u2014in a positive light?  Does the content of his narration undercut his innocent trust in God?  If so, how?<\/p>\n\n\n\n

11.  In \u201cThe Chimney Sweeper,\u201d what is the speaker\u2019s relationship to little Tom Dacre?  How does he try to comfort Tom?  How do you interpret the significance of Tom\u2019s dream as well as the concluding stanza, with its final line consisting of an \u201cif\/then\u201d moral pronouncement?<\/p>\n\n\n\n

\u201cThe Divine Image\u201d Blake Archive Image, Copy A, British Museum<\/a><\/strong><\/p>\n\n\n\n

12.  In \u201cThe Divine Image,\u201d why are \u201cmercy, pity, peace, and love\u201d good attributes in this poem\u2014what sanctifies them?  How do you interpret the moral significance of this poem whose contrary companion is to be found in \u201cThe Human Abstract\u201d from Songs of Experience<\/em>?<\/p>\n\n\n\n

\u201cHoly Thursday\u201d Blake Archive Image, Copy A, British Museum<\/a><\/strong><\/p>\n\n\n\n

13.  In \u201cHoly Thursday,\u201d how does the speaker describe the annual progression of the children from their charity schools to St. Paul\u2019s Cathedral in London?  What images does the speaker employ to describe them, and to what effect?  Is this poem less \u201cinnocent-sounding\u201d than some of the others?  If so, why\u2014what do certain of its lines or phrases suggest about the true nature of \u201ccharity\u201d?<\/p>\n\n\n\n

\u201cNurse\u2019s Song\u201d Blake Archive Image, Copy A, British Museum<\/a><\/strong><\/p>\n\n\n\n

14.  In \u201cNurse\u2019s Song,\u201d what is the difference in the way the Nurse perceives the children\u2019s playing and their own understanding of their day\u2019s events?  How does an adult perceive time (and play) differently than a child?  If this poem is a gentle competition between children and an adult, who wins\u2014or perhaps the question should instead be, \u201cwhat is the outcome?\u201d<\/p>\n\n\n\n

\u201cInfant Joy\u201d Blake Archive Image, Copy A, British Museum<\/a><\/strong><\/p>\n\n\n\n

15.  In \u201cInfant Joy,\u201d we hear a brief dialogue between a newborn child and a singer, perhaps the one who takes up the task at the beginning of Songs of Innocence.<\/em>  What does the poem suggest happens to us when we transition from a nameless being to one endowed with a name?  What is gained, and what is lost?  Furthermore, in this poem the child names herself\u2014what is the significance of that?<\/p>\n\n\n\n

Songs of Experience<\/em> Blake Archive Image, Copy A, British Museum, Title Page<\/a> and Frontispiece<\/a><\/strong><\/p>\n\n\n\n

\u201cIntroduction\u201d Blake Archive Image, Copy A, British Museum<\/a><\/strong><\/p>\n\n\n\n

16.  In the \u201cIntroduction,\u201d what is the difference between the \u201cPiper\u201d of the introduction to Songs of Innocence<\/em> and the \u201cBard\u201d in Songs of Experience?<\/em>  What might we suppose to be the Bard\u2019s task in the latter collection, which was created some five years after Songs of Innocence<\/em>?<\/p>\n\n\n\n

17.  In the \u201cIntroduction,\u201d how do you interpret the persistent nature-symbolism\u2014the references to \u201cEarth,\u201d light and darkness, the \u201cstarry floor\u201d and \u201cwatry shore,\u201d and so forth?  What question does the poem ask by way of initiating Songs of Experience?<\/em><\/p>\n\n\n\n

\u201cEarth\u2019s Answer\u201d Blake Archive Image, Copy A, British Museum<\/a><\/strong><\/p>\n\n\n\n

18.  In \u201cEarth\u2019s Answer,\u201d who does Earth say prevents her from being regenerated\u2014in what manner and to what end does he hinder Earth\u2019s regeneration?  What ideal relationship between nature and humanity does the poem imply, and what is the relationship as it stands in the poem?<\/p>\n\n\n\n

\u201cThe Clod and the Pebble\u201d Blake Archive Image, Copy A, British Museum<\/a><\/strong><\/p>\n\n\n\n

19.  In \u201cThe Clod and the Pebble,\u201d is the Clod\u2019s interpretation of love privileged?  Is the Pebble\u2019s?  Or do both have some legitimacy or power?  What \u201cexperienced\u201d understanding of love emerges when you put both interpretations together?<\/p>\n\n\n\n

\u201cHoly Thursday\u201d Blake Archive Image, Copy A, British Museum<\/a><\/strong><\/p>\n\n\n\n

20.  In \u201cHoly Thursday,\u201d how has the speaker\u2019s perspective changed from the corresponding poem in Songs of Innocence?<\/em>  What allows the speaker to see things differently?  What has been gained, and what lost, with the change in perspective?<\/p>\n\n\n\n

21.  In \u201cHoly Thursday,\u201d how do you understand the poem\u2019s references to natural things\u2014sun, rain, fields, thorns, etc.?  What do they add to our perspective on the children\u2019s situation?  How do they differentiate the poem from its counterpart in Songs of Innocence?<\/em><\/p>\n\n\n\n

\u201cChimney Sweeper\u201d Blake Archive Image, Copy A, British Museum<\/a><\/strong><\/p>\n\n\n\n

22.  Compare \u201cThe Chimney Sweeper\u201d to its companion poem in Songs of Innocence.<\/em>  <\/strong>What allows the speaker to see things differently?  What has been gained, and what lost, with the change in perspective?<\/p>\n\n\n\n

23.  In \u201cThe Chimney Sweeper,\u201d what does the child say about his parents, their conception of God, and God\u2019s Priest and King?  What enables the parents to constitute a heavenly realm from the misery that surrounds them? <\/p>\n\n\n\n

\u201cNurse\u2019s Song\u201d Blake Archive Image, Copy A, British Museum<\/a><\/strong><\/p>\n\n\n\n

24.  Compare \u201cNurse\u2019s Song\u201d to its companion poem in Songs of Innocence.<\/em>  What difference in perspective distinguishes the Nurse in the poem of experience from the one in the poem of innocence?  In addition, how do you interpret the final line, in which the Nurse insists that the children are wasting their \u201cwinter and night in disguise\u201d?<\/p>\n\n\n\n

\u201cThe Sick Rose\u201d Blake Archive Image, Copy A, British Museum<\/a><\/strong><\/p>\n\n\n\n

25.  In \u201cThe Sick Rose,\u201d what does the worm or caterpillar symbolize?  Moreover, characterize the unhealthy sexuality figured by this poem: what has gone wrong? <\/p>\n\n\n\n

26.  Compare \u201cThe Sick Rose\u201d with its unassigned companion in Songs of Innocence,<\/em> \u201cThe Blossom,\u201d<\/a><\/strong> which runs as follows: \u201cMerry Merry Sparrow \/ Under leaves so green \/ A happy Blossom \/ Sees you swift as arrow \/ Seek your cradle narrow \/ Near my Bosom. \/ Pretty Pretty Robin \/ Under leaves so green \/ A happy Blossom \/ Hears you sobbing sobbing \/ Pretty Pretty Robin \/ Near my Bosom.\u201d  How does the latter poem re-imagine sexual experience?<\/p>\n\n\n\n

\u201cThe Fly\u201d Blake Archive Image, Copy A, British Museum<\/a><\/strong><\/p>\n\n\n\n

27.  With regard to \u201cThe Fly,\u201d see King Lear<\/em> 4.1, where Gloucester says \u201cAs flies to wanton boys, are we to the gods. \/ They kill us for their sport.\u201d  To what extent is the speaker\u2019s thought about the fly in Blake\u2019s poem similar?  Is his identification with the fly uplifting or pessimistic?  What power is attributed to \u201cthought\u201d?<\/p>\n\n\n\n

\u201cThe Tyger\u201d Blake Archive Image, Copy A, British Museum<\/a><\/strong><\/p>\n\n\n\n

28.  In \u201cThe Tyger,\u201d the speaker in part imagines the creation of the tyger.  How and from what \u201cmaterials\u201d is the tyger created?  Who is the creator?  What is the significance of the poem\u2019s references to \u201cfire,\u201d \u201cburning,\u201d and the \u201cfurnace\u201d with respect to the tyger\u2019s creation? <\/p>\n\n\n\n

29.  In \u201cThe Tyger,\u201d do you understand Blake\u2019s beast to be a \u201ctyger of the mind\u201d\u2014an imaginary or symbolic tiger\u2014rather than an existing, flesh-and-blood animal?  Or would giving an either\/or response oversimplify the matter?  Explain the reasons for responding as you do.<\/p>\n\n\n\n

30.  In \u201cThe Tyger,\u201d what emotional stance or progression does the poem imply in the speaker\u2019s contemplation of the Tyger and the process whereby it came to exist?  In particular, why does the speaker feel compelled to ask, \u201cDid he smile his work to see? \/ Did he who made the Lamb make thee?\u201d (19-20)?  What great moral issue has the speaker raised in posing the questions that he has throughout the poem?<\/p>\n\n\n\n

31.  Examine the plate for \u201cThe Tyger\u201d included in the Norton edition or in the link above, and describe the Tyger\u2019s appearance.  (The William Blake Archive\u2019s \u201ccomparison tool\u201d allows viewers to compare different versions of Blake\u2019s plates, so you can view several \u201ctygers.\u201d)  What sort of \u201ctyger\u201d is this that Blake has engraved\u2014is it the one you expected based on the text of the poem?  Why or why not?  Also, what effect does the odd spelling \u201ctyger\u201d create?<\/p>\n\n\n\n

\u201cMy Pretty Rose Tree\u201d \/ \u201cAh Sun-flower\u201d Blake Archive Image, Copy A, British Museum<\/a><\/strong><\/p>\n\n\n\n

32.  What two troubling dimensions of love do \u201cMy Pretty Rose Tree\u201d and Ah Sun-flower,\u201d taken together, invoke?  Why does the speaker in the first poem refuse the flower offered to him, and what is the consequence of his refusal?  And with regard to the second poem, what thematic use does Blake make of the sun-flower\u2019s \u201caspiration\u201d or growth skywards\u2014to what dimension or experience of love does he relate this flower?<\/p>\n\n\n\n

\u201cThe Garden of Love\u201d Blake Archive Image, Copy A, British Museum<\/a><\/strong><\/p>\n\n\n\n

33.  In \u201cThe Garden of Love,\u201d explain the speaker\u2019s perspective on religion-enforced morality as a power that crushes free sexual expression and connection.  To what extent, if any, is the speaker complicit in what is happening\u2014what in the poem leads you to respond as you do?<\/p>\n\n\n\n

\u201cLondon\u201d Blake Archive Image, Copy A, British Museum<\/a><\/strong><\/p>\n\n\n\n

34.  Articulate the system of oppression that the poem \u201cLondon\u201d describes: what kinds of oppression does the speaker mention, and how does he reinforce the idea that they all work together as a tyrannical system that destroys the human spirit?  What stylistic features and word choices help the poet convey the intensity and pervasiveness of the injustices he describes?<\/p>\n\n\n\n

\u201cThe Human Abstract\u201d Blake Archive Image, Copy A, British Museum<\/a><\/strong><\/p>\n\n\n\n

35.  In \u201cThe Human Abstract\u201d (the contrary companion of \u201cThe Divine Image\u201d in Songs of Innocence<\/em>), why is it significant that Blake\u2019s title includes the word \u201cabstract\u201d\u2014what does that word mean in context, and how is abstraction perhaps the key to the erroneous thinking that the poem laments?  Moreover, what progression of mental states does the poem describe, and what are the material consequences of those successive states?<\/p>\n\n\n\n

\u201cInfant Sorrow\u201d Blake Archive Image, Copy A, British Museum<\/a><\/strong><\/p>\n\n\n\n

36.  In \u201cInfant Sorrow,\u201d why is the child sad following the ordeal of birth?  What relationship to the father and mother does the infant-speaker assert?  What happens in this poem that didn\u2019t happen in its companion or contrary \u201cInfant Joy,\u201d and to what effect?<\/p>\n\n\n\n

\u201cA Poison Tree\u201d Blake Archive Image, Copy A, British Museum<\/a><\/strong><\/p>\n\n\n\n

37.  What story does \u201cA Poison Tree\u201d relate?  What is the apple, in symbolic terms, and why does the speaker decide to use it kill the foe?  Why does the foe try to steal the apple?  As with \u201cThe Human Abstract,\u201d what progression of mental states does this poem trace?  What are the material consequences of those successive states?<\/p>\n\n\n\n

\u201cTo Tirzah\u201d Blake Archive Image, Copy T, British Museum<\/a><\/strong><\/p>\n\n\n\n

38.  Tirzah in \u201cTo Tirzah\u201d is one of Blake\u2019s figures for material nature, in addition to what the Norton editors say.  Blake seems to have added this poem to Songs of Experience<\/em> only in later copies.  Does that mean we should take the speaker\u2019s attitude towards nature and the human body as definitive?<\/p>\n\n\n\n

39.  Look up the editorial reference to the Gospel of John<\/em> 2:4 and its surrounding context.  How does it affect your understanding of \u201cTo Tirzah\u201d?  (Time permitting, you might also look up Song of Solomon<\/em> 4:6 and I Corinthians<\/em> 15:44, and discuss how they affect your view of Blake\u2019s poem.<\/p>\n\n\n\n

\u201cA Divine Image\u201d<\/strong><\/p>\n\n\n\n

40.  Refer back to \u201cThe Divine Image\u201d in Songs of Innocence.<\/em>  What was Blake suggesting about the relation between the human and the divine in that poem?  How has the representation of that relationship changed in \u201cA Divine Image\u201d?<\/p>\n\n\n\n

41.  The Norton editors say that \u201cThe Human Abstract\u201d is subtler than \u201cA Divine Image.\u201d  How so?  Which poem do you consider a more effective contrary to \u201cThe Divine Image\u201d in Songs of Innocence,<\/em> and why?<\/p>\n\n\n\n

The Marriage of Heaven and Hell<\/em><\/strong><\/p>\n\n\n\n

General Questions<\/strong><\/p>\n\n\n\n

42.  To what extent, if at all, does Blake privilege the Voice of the Devil (or other characters\/statements from the perspective of Hell throughout MHH?<\/em>)  To what extent does the prophetic narrator identify with or ally himself with the Devil?  Give some instances one way or the other.<\/p>\n\n\n\n

43.  Trace the progression of events in MHH.<\/em>  That is, if we read this poem as a narrative in which things happen in some understandable sequence, what kind of story does it tell?  Also, how might the poem fit within the long tradition of English satire?<\/p>\n\n\n\n

44.  How is the marriage of heaven and hell supposed to come to pass?  Does the poem point towards this union, or does it in some sense achieve it?  Explain.  Also, what are the implications of calling the desired result a marriage rather than a fusion or some other such term?<\/p>\n\n\n\n

\u201cThe Argument\u201d<\/strong><\/p>\n\n\n\n

45.  What general expectations does the Argument establish for the rest of MHH?<\/em><\/p>\n\n\n\n

\u201cPlate 3\u201d<\/strong><\/p>\n\n\n\n

46.  What is a \u201ccontrary\u201d?  How do contraries differ from simple opposites?<\/p>\n\n\n\n

47.  Whose perspective do the last four sentences flow from?  Are they to be accepted at face value?<\/p>\n\n\n\n

\u201cThe Voice of the Devil\u201d<\/strong><\/p>\n\n\n\n

48.  Does the Devil satisfactorily correct the Errors he says have been caused by \u201cBibles or sacred codes\u201d?  What, if anything, does he propose to do by way of setting them right?<\/p>\n\n\n\n

\u201cPlate 5\u201d<\/strong><\/p>\n\n\n\n

49.  In what ways has Milton misread the Bible, according to the narrator?<\/p>\n\n\n\n

50.  Why does the narrator nonetheless admire Milton?  What does that admiration have to do with the doctrine of contraries?<\/p>\n\n\n\n

\u201cA Memorable Fancy\u201d and \u201cProverbs of Hell\u201d<\/strong><\/p>\n\n\n\n

51.  Explicate three or more of the Proverbs and, if possible, relate them to one another.  In what way might the proverbs be true, in spite of their apparent contradictoriness?<\/p>\n\n\n\n

52.  In Plate 11 (115), what is Blake\u2019s warning about the poetic device of personification?  I.e. \u201cThe ancient Poets animated all sensible objects with Gods or Geniuses\u2026\u201d<\/p>\n\n\n\n

\u201cA Memorable Fancy\u201d<\/strong><\/p>\n\n\n\n

53.  What does the narrator learn from the Prophets Isaiah and Ezekiel?<\/p>\n\n\n\n

\u201cPlates 14 and 15, A Memorable Fancy\u201d<\/strong><\/p>\n\n\n\n

54.  What constitutes the Apocalypse alluded to in the line \u201cthe world will be consumed in fire at the end of six thousand years\u201d?<\/p>\n\n\n\n

55.  What, if anything, does Blake\u2019s own writing or engraving have to do with the Apocalypse?  (The Norton editors write that the Fancy is an allegory about Blake\u2019s methods as an engraver.  Is it more than that?)<\/p>\n\n\n\n

56.  What are the \u201cProlific\u201d and the \u201cDevouring,\u201d respectively?  What is the relationship between them?<\/p>\n\n\n\n

\u201cA Memorable Fancy\u201d<\/strong><\/p>\n\n\n\n

57.  From what perspective does the Angel admonish the narrator?<\/p>\n\n\n\n

58.  By what means do the Angel and the narrator descend into the abyss or \u201cvoid boundless\u201d?  Provide some description and explanation with regard to the various \u201cplaces\u201d along the way.<\/p>\n\n\n\n

59.  Why should it matter that the Angel is upside down?  I.e. that \u201che was suspended in a fungus which hung with the head downward into the deep\u201d?<\/p>\n\n\n\n

60.  What form does the narrator\u2019s comic vision of the Angel\u2019s eternal lot take?  Why does it take that particular form\u2014that is, why is it appropriate for the Angel based on what we know about that character?<\/p>\n\n\n\n

\u201cOpposition is True Friendship\u201d<\/strong><\/p>\n\n\n\n

61.  What is the narrator\u2019s basic criticism of the Angel\u2019s view and of those who ground their opinions in sacred codes, or institutional religion?  If such codes are wrong, then what is the way to gain true knowledge?<\/p>\n\n\n\n

\u201cA Memorable Fancy\u201d<\/strong><\/p>\n\n\n\n

62.  Why is it significant for MHH<\/em> as a whole that the Angel is converted to the narrator\u2019s and the Devil\u2019s perspective?<\/p>\n\n\n\n

\u201cA Song of Liberty\u201d<\/strong><\/p>\n\n\n\n

63.  Blake apparently added this poem to some copies of MHH.<\/em>  How does it complement MHH?<\/em><\/p>\n\n\n\n

Edition: <\/strong>Abrams, M. H. et al, eds.  The Norton Anthology of English Literature.  <\/em>8th ed.  Vol. D.  New York: Norton, 2006.  ISBN Package 2 (Vols. DEF) 0-393-92834-9.<\/p>\n","protected":false},"excerpt":{"rendered":"

Assigned: Songs of Innocence and of Experience (81-97), The Marriage of Heaven and Hell (110-22). Songs of Innocence Blake Archive Image, Copy A, British Museum, Title Page and Frontispiece Note: The William Blake Archive offers complete copies of Blake\u2019s major works, and is well worth using\u2014below, I have included links to the plates for the […]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_eb_attr":"","footnotes":""},"wf_page_folders":[43],"class_list":["post-473","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/www.ajdrake.com\/academic\/wp-json\/wp\/v2\/pages\/473","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.ajdrake.com\/academic\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.ajdrake.com\/academic\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.ajdrake.com\/academic\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.ajdrake.com\/academic\/wp-json\/wp\/v2\/comments?post=473"}],"version-history":[{"count":2,"href":"https:\/\/www.ajdrake.com\/academic\/wp-json\/wp\/v2\/pages\/473\/revisions"}],"predecessor-version":[{"id":4673,"href":"https:\/\/www.ajdrake.com\/academic\/wp-json\/wp\/v2\/pages\/473\/revisions\/4673"}],"wp:attachment":[{"href":"https:\/\/www.ajdrake.com\/academic\/wp-json\/wp\/v2\/media?parent=473"}],"wp:term":[{"taxonomy":"wf_page_folders","embeddable":true,"href":"https:\/\/www.ajdrake.com\/academic\/wp-json\/wp\/v2\/wf_page_folders?post=473"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}