self than anywhere else in his work. From these central poems we can distinguish the complete type of Blake as a poet.
Blake is the only poet who sees all temporal things under the form of eternity. To him reality is merely a symbol, and he catches at its terms, hastily and faultily, as he catches at the lines of the drawing-master, to represent, as in a faint image, the clear and shining outlines of what he sees with the imagination; through the eye, not with it, as he says. Where other poets use reality as a spring-board into space, he uses it as a foothold on his return from flight. Even Wordsworth seemed to him a kind of atheist, who mistook the changing signs of 'vegetable nature' for the unchanging realities of the imagination. 'Natural objects,' he wrote in a copy of Wordsworth, 'always did and now do weaken, deaden, and obliterate imagination in me. Wordsworth must know that what he writes valuable is not to be found in nature.' And so his poetry is the most abstract of all poetry, although in a sense the most concrete. It is everywhere an affirmation, the register of vision; never observation.
