Drawing readers into the imaginative world of William Blake, Frye succeeded in making Blake's voice and vision intelligible to the wider public. Distinguished by its range of reference, elegance of expression, comprehensiveness of coverage, coherence of argument, and sympathy to its subject, Fearful Symmetry was immediately recognized as a landmark of Blake criticism. Fifty years later, it is still recognized as having ensured the acceptance of Blake as a canonical poet by permanently dispelling the widespread notion that he was the mad creator of an incomprehensible private symbolism.For this new edition, the text has been revised and corrected in accordance with the principles of the Collected Works of Northrop Frye series. Frye's original annotation has been supplemented with references to currently standard editions of Blake and others, and many new notes have been provided, identifying quotations, allusions, and cultural references. An introduction by Ian Singer provides biographical and critical context for the book, an overview of its contents, and an account of its reception.

    One of the first Melvilleans to advance what has since become known as the "theory of the two Moby-Dicks," Olson argues that there were two versions of Moby-Dick, and that Melville's reading King Lear for the first time in between the first and second versions of the book had a profound impact on his conception of the saga: "the first book did not contain Ahab," writes Olson, and "it may not, except incidentally, have contained Moby-Dick." If literary critics and reviewers at the time responded with varying degrees of skepticism to the "theory of the two Moby-Dicks," it was the experimental style and organization of the book that generated the most controversy.

    Thrale's Marriage to Piozzi - Samuel JohnsonPoems - Samuel JohnsonFrom Mrs. Piozzi's Anecdotes of JohnsonFrom Fanny Burney's Diary

    Nor are we claiming to represent it. Voices from many parts of England - voices of people often very different from ourselves - would justly rebuke our presumption if we did. We know that he was as much theirs as ours: not only, nor even chiefly, because of his range and versatility, great though these were, but because, in every circle that he entered, he gave the whole man. I had almost said that he was at everyone's disposal, but those words would imply a passivity on his part, and all who knew him would find the implication ludicrous. You might as well say that an Atomic breaker on a Cornish beach is 'at the disposal' of all whom it sweeps off their feet. If the authors of this book were to put forward any claim, it would be, and that shyly, that they were for the last few years of his life a fairly permanent nucleus among his LITERARY friends. He read us his manuscripts and we read him ours: we smoked, talked, argued, and drank together (I must confess that with Miss Dorothy Sayers I have seen him drink only tea: but that was neither his fault nor hers)."Of many such talks this collection is not unrepresentative."

    The poetic functioning of figurative language is examined and substantiated by reference to Elizabethan and Jacobean critics. Two great sayings of the day - "poetry as a speaking picture" and "style as a garment" - are defined in order to facilitate the modern approach to this poetic era.