Nicholas Halmi

The landmark book that situates Blake’s poetry within the intellectual movements of his day and unlocks his symbolism for modern readersSince it was first published, Northrop Frye’s Fearful Symmetry has established itself as the defining commentary on the poetic vision of William Blake. Frye gives a complete solution to the riddles of Blake’s longer poems—the so-called “Prophecies”—and demonstrates how Blake’s works form a coherent mythical pattern that broadens our conception of literature. He explains how Blake arrived at a theory of knowledge that was also, for him, a theory of religion, life, and art, and how this rigorously defined system of ideas found expression in the complicated but consistent symbolism of his poetry. With an incisive foreword by scholar and literary critic Nicholas Halmi, this Princeton Classics edition shows how Blake reflects the literary and the intellectual atmosphere of his time while holding renewed meaning for us today.

Despite its widely acknowledged importance in and beyond the thought of the Romantic period, the distinctive concept of the symbol articulated by such writers as Goethe and F. W. J. Schelling in Germany and S. T. Coleridge in England has defied adequate historical explanation. In contrast to previous scholarship, Nicholas Halmi's study provides such an explanation by relating the content of Romantic symbolist theory - often criticized as irrationalist - to the cultural needs of its time. Because its genealogical method eschews a single disciplinary perspective, this study is able to examine the Romantic concept of the symbol in a broader intellectual context than previous scholarship, a context ranging chronologically from classical antiquity to the present and encompassing literary criticism and theory, aesthetics, semiotics, theology, metaphysics, natural philosophy, astronomy, poetry, and the origins of landscape painting. The concept is thus revealed to be a specifically modern response to modern discontents, neither reverting to pre-modern modes of thought nor secularizing Christian theology, but countering Enlightenment dualisms with means bequeathed by the Enlightenment itself. This book seeks, in short, to do for the Romantic symbol what Percy Bysshe Shelley called on poets to do for the world: to lift from it its veil of familiarity.