that need be said of this singular habit of Blake's has been said with admirable clearness and fairness in the prefatory note to the prose selections in Vol. II. Higher authority than the writer's of that note no man can have or can require. And as Blake's artistic heresies are in fact mere accidents—the illegitimate growth of chance and circumstance—we may be content to leave them wholly to the practical judgment and the wise charity of such artists as are qualified to pass sentence upon the achievements and the shortcomings of this great artist. Their praise can alone be thoroughly worth having; their blame can alone be of any significance: and in no other hands than theirs may we safely leave the memory and the glory of a fellow-labourer so illustrious as Blake.
Other points and shades of character not less singular it is essential here to take notice of. These are not matters of accident, like the errors of opinion or perversities of expression which may distort or disfigure the notes and studies on purely artistic matters; they compose the vital element and working condition of Blake's talent. From the fifth to the tenth letter especially, it becomes evident that the writer was passing through strange struggles of spirit and passionate stages of faith. As early as the fourth letter, dated almost exactly a year later than the first written on his arrival at Felpham, Blake refers in a tone of regret and perplexity to the "abstract folly" which makes him incapable of direct practical work, though not of earnest and continuous labour. This action of the nerves or of the mind he was plainly unable to regulate or modify. It hurries him while yet at work into "lands of abstraction;" he "takes the world with
