Uzbekistan state university of world languages english philology faculty

The novelty of the work lies in the analysis of the original author's mythology of Blake, created by his extraordinary imagination.
The object of research in this paper is the peculiarity of W. Blake's creative work.
The subject of the research is the study of the works "Songs of Innocence", "Songs of Experience", "Prophetic Songs".
The aim of the work is to determine the originality of W. Blake's poetics.
Work objectives:
-To identify the peculiarities of Blake's poetics in early and mature creativity;
-Present the impact of Blake's work on contemporary authors.
-Consider the philosophical and aesthetic basis of Blake's worldview.
CHAPTER I. WILLIAM BLAKE-CREATOR AND PHILOSOPHER
1.1 Blake's creative journey
The work of William Blake (1757-1827) became known in Russia a little more than fifty years ago, during the celebration of the bicentennial of his birth, thanks to the efforts of the remarkable Soviet poet and translator Samuel Marshak. Blake's work in Britain received public recognition only in the twentieth century. However, the real interest in Blake's work and personality began in the twentieth century. In 1966, The Complete Works of William Blake was published. Blake opened up to the world not only as a visionary, as they used to think, but also as an author of witty aphorisms, as an original thinker and critic, far ahead of his age¹.
At the same time, Blake's name was almost unknown to his English contemporaries. A native of London, an engraver by trade, he was not known as an artist either, as his paintings were rarely exhibited and did not sell very well. He published and illustrated his own poetry collections. He was buried at public expense in an unmarked common grave. The artist left in complete obscurity, but after his posthumous "discovery", his fame, as Zverev noted, "rolls in such mighty waves that the bitter, cruel fate that fell to genius seems incomprehensible to posterity."
Finding Blake wasn't easy either. In the seventies of the nineteenth century, British symbolists turned to his work, their admiration made Blake famous as a "precursor of symbolism" and a mystic, and only in the twentieth century they managed to understand him as a great humanist, a philosopher with a complex system of ideas. At the same time, as Zhirmunsky notes, the poet himself considered himself a seer: "Every honest person is a prophet; He says: "If you do this, the result will be this" Note that Russian poets of the early 19th century are also characterized by the awareness of themselves as prophets.
As an engraver, Blake illustrated Virgil and Dante's Divine Comedy, but for denouncing the" classical "portraitists of his time, he was not accepted into the Academy of Fine Arts, and for his intemperate statements and support for the revolutionary pathos of the French Revolution, he was considered socially dangerous, was tried and gained fame if not a madman, then an outcast and eccentric.
Blake himself was certainly a mentally unstable man, and he had visions that he called " visits to Eden."
Even the first of Blake's visions is quite mysterious. "God put his forehead close to one of the windows of their house." Seeing the face of God, Blake, who was only four years old, was startled and let out a high-pitched scream. His parents did not send him to school, and this only contributed to the development of those inclinations that later took the form of his great vocation. It was not only Blake's work that was difficult, but also his character. Communicating with him was far from easy. He was stubborn and quick-tempered and could say anything and anyone in his heart, although he calmed down very quickly. We know his saying: "Those who manage to restrain their emotions, they seem to be not strong enough to be impossible to restrain them." He was categorical in his opinions, and he never hesitated to tell people to their faces what he thought of them. As T. notes: Tyutvinova, and we agree with her assessment, "Blake's extensive erudition can be judged by his writings, especially prose - polemical and philosophical. He was a deep and wise man and at the same time naive and simple-minded, and in general, he got along with a lot of contradictions."
In 1782, Blake married Catherine Voucher. The newlywed couple could neither read nor write, and the husband began to teach the young wife to read and write, and she was such a capable student that after two or three years she was able to completely copy his manuscripts².
A year after Blake's marriage, his first book, Poetic Sketches, was published. His "Poetic Sketches" opened an entire era in English literature, the era of romanticism.
In 1784, after the death of his father, William Blake began teaching engraving to his younger brother Robert, who had an innate artistic talent. In 1787, Robert is diagnosed with tuberculosis, and soon he dies. Blake was devoted to the patient's care, and at the moment of Robert's death, Blake clearly saw his brother's soul rise to the ceiling, "clapping its hands happily", and then melt and disappear. Later, he said that it was during these nightly vigils that he first came up with the idea of a new method of engraving, which he called "illuminated" or "decorative" printing.
Many years later, Blake wrote to one of his friends: "I am sure that our friends and relatives who have passed away are constantly present with us, although we do not always feel it. I would like you to share with me the belief that the death of a person is only a step towards Immortality, and the ruins left by Time are the foundations of the palaces of Eternity."
In 1789, during the creation of "Songs of Innocence", or as they are also called, "Songs of Ignorance", Blake, desperate to find a publisher for his works, calls on the help of his skill as an engraver and resorts to a technique called "illuminated printing": decoration with drawings, the texts of poems were engraved in the usual way, and then manually they were painted.
In 1804, Blake returned to London and, having settled in a house on South Molton Street, began to work on engraving his poems "Jerusalem"and " Milton". These two things were the last works of poetry published by Blake himself. Until the end of his life, he continues to look for buyers for these and other poems of his included in the "Prophetic Books", but there are very few people who want to buy them. However, he never stopped writing³.
Since that time, Blake has been fully illustrating all of his works. In 1822, at the request of Mr. Linnell, Blake created a series of magnificent watercolor illustrations for John Milton's poem "Paradise Lost", taking as a basis, as it happened before, his own visions and insights. Three years later, in 1825, he began work on illustrating Dante's Divine Comedy, again through the medium of his loyal friend John Linnell. The full cycle of illustrations was supposed to be very large, but Blake managed to complete only part of the watercolor sketches and seven engravings. Blake died in 1827.
It is generally accepted that Blake's fate was very difficult, even tragic, but he himself perceived his life completely differently and did not see anything tragic in it. "I am better known for my works in heaven than on earth," he wrote. "My brain and my memory are filled with old books and paintings that I created when I was in Eternity, before I came to Earth in my present, mortal form. My creations at that time were the object of admiration and study of the celestials." Blake was sure that he had lived a happy life.
Of course, he could draw such a conclusion on the basis of the worldview formed under the influence of contemporary philosophers, where the lack of understanding of his works by readers did not prevent him from achieving harmony with the world around him.