How To Restore A Rosewood Table

William Blake


Gilbert K. WILLIAM BLAKE
CHESTERTON
Translation Victoria León.
Foreword by André Maurois
Editions Silver Spur, Col. universal literature, No. 3, Sevilla, 2007, 1 st ed
Price: 9 €
220 pages

edition extreme care, based on a highly original deck, good translation and a good prologue André Maurois, and numerous illustrations by William Blake that are totally relevant in view of the relationship between images and the poetic vision that Blake set himself on Chesterton. Only occasionally are made of less that would be included color plates and some larger, some poems as "El Tigre" it would have deserved. In any case an issue well beyond the standard normally we are, what we're grateful.

Blake reader can always find something of interest in reading the various writers make him especially in the case of types with a flair for Chesterton. Blake gives his poems a sense density and amazing images and mythology as elaborate as extremely specific and sometimes unfamiliar, the pompous English writer works to elucidate. Chesterton

lights the way from the "engines" of creation, Maurois, and in reading the book emerges as self-GKC draws attention to the affinity "Adam" of both, that somehow reinvent religion from a very personal to arrive at solutions in the context of mainstream Christianity in England (Protestant and Anglican) puts them in a strange middle ground with Catholicism.

Beyond faith and connecting the two authors a peculiar form of relationship with the world around them and they feed intellectually. The Blake is sincere admiration and some poems, such as El Tigre, are considered by Chesterton incontestable achievements. This does not exclude criticism:

"In my opinion, one could see, generally, though with some important exceptions, that every time Blake speaks more of inspiration is when it really is less inspired. That is, less inspired for whatever those spirits that govern good poetry and good thinking. Whatever the spirits that govern the bad poetry and bad thought, he was heavily inspired by them. [...] It is good that great men like Mr . Rossetti and Mr. Swinburne full confidence in the seraph of Blake. Naturally, both can rely on the angels, they do not believe in them. However, I do believe in angels and, incidentally, also the fallen angels. "

As seen his admiration is far from the perspective prerafaelita. Chesterton creates an uneven test progression, which certainly contains many valuable contributions, among others, relating to his time with William Blake, the eighteenth century, usually considered the "age of reason." Connect this with the formal dismantling and reconstruction of religion that causes the emergence of secret societies among which is Masonry. Another finding is the comparison by opposition between the artistic vision of Blake and contemporary impressionism, one seeing the essence of reality and the other the different realities around it to be (see Monet's cathedral series).

This book is the end of the meeting of two very interesting and highly personal poetry, that of William Blake and of Chesterton, a very profitable reading for any reader that illuminates while the transition to contemporary culture.