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foo mind for what it was, and, aiming at most other things in the world than pure beauty, produced it. Now, to the critic this is not more important to remember than it is for him to remember that the result, the end, must be judged, not by the impulse which brought it into being, nor by the purpose which it sought to serve, but by its success or failure in one thing: the creation of beauty. To the artist himself this precise consciousness of what he has done is not always given, any more than a precise consciousness of what he is doing. Only in the greatest do we find vision and the correction of vision equally powerful and equally constant.

To Blake, as to some artists and to most devout people, there was nothing in vision to correct, nothing even to modify. His language in all his letters and in much of his printed work is identical with the language used by the followers of Wesley and Whitefield at the time in which he was writing. In Wesley's journal you will find the same simple and immediate consciousness of the communion of the soul with the world of spiritual reality: not a vague longing, like