It is long since anyone doubted the worth of the Poetical Sketches. The twentieth century wholly endorses the glowing and just criticism that Swinburne wrote fifty years ago. It must have startled the stolid bookish people of the ’sixties to be told that the best of Blake’s Poetical Sketches—To Spring, To Memory, To the Muses, To the Evening Star—were comparable to the world’s best in any age. Swinburne frequently exaggerated in his excitement; but here was no exaggeration, and the poems which were once thought by a partial friend “to merit some respite from oblivion” are now reckoned among the chief pearls of great price in England’s rich treasury of Songs.
There remains little more for the critic to say, but the biographer turns to these Sketches for any intimation of Blake’s spiritual and mental growth.
We must not be misled by the “scent and sound of Elizabethan times” that is upon them. It is of course interesting to the literary mind to discover Ben Jonson in How sweet I roamed, Beaumont and Fletcher in My Silks and fine Array, Webster in the Mad Song, and Shakespeare in King Edward the Third; but these intimations of kinship are only such as are found in original geniuses of the same age. That which gives life and immortality and irresistible sweetness to the songs is Blake’s own child-spirit seeing with wide-eyed simplicity the simple commonplace things of this world that God made, and that are to the pure in heart the immediate revelation of Him. If in fashioning into Song the things that he saw Blake refuses the artifice of his time and catches the scent and sound of a more robust age, yet the prime inspiration was entirely his own; and we can only wonder that such inspiration should have come to him while still a mere boy.
The other pieces in the collection, though of much less importance, have their interest. Fair Elinor with the “silent tower,” the “castle gate,” the “dreary vaults,” and “sickly smells,” like Horace Walpole’s Mysterious Mother and Castle of Otranto, is not of the time but anticipatory of the romantic horrors that Mrs Radcliffe was to make entirely her own. Gwen King of Norway and King Edward the Third are remarkable for their martial language. This was no accident. Blake was a born fighter. The heroic side of War stirred his spirit, even though
“The God of War is drunk with blood;
The Earth doth faint and fail:
The stench of blood makes sick the Heav’ns;
Ghosts glut the throat of Hell!”
His feeling for England recalls old John of Gaunt’s speech:
“Lord Percy cannot mean that we should suffer
This disgrace: if so, we are not sovereigns
Of the sea—our right, that Heaven gave
To England, when at the birth of nature
She was seated in the deep; the Ocean ceas’d
His mighty roar, and fawning play’d around
Her snowy feet, and own’d his awful Queen.”
Grim War is a means to glorious liberty:
“Then let the clarion of War begin;
I’ll fight and weep, ’tis in my country’s cause;
I’ll weep and shout for glorious liberty.
Grim War shall laugh and shout, decked in tears,
And blood shall flow like streams across the meadows,
That murmur down their pebbly channels, and
Spend their sweet lives to do their country service:
Then shall England’s verdure shoot, her fields shall smile,
Her ships shall sing across the foaming sea,
Her mariners shall use the flute and viol,
And rattling guns, and black and dreary war,
Shall be no more.”
Later on the War spirit in him, without diminishing, underwent a change. It is still England’s green and pleasant fields that he loves, and he still longs for glorious liberty. This shall be effected by the building of Jerusalem. But as the root of the evil is in man, the weapons of his warfare become spiritual. Casting aside the rattling guns, he shouts: