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Rh and places,' he says, 'is invention, both in poetry and painting '), his whole mental attitude was opposed to that of the practisers of magic. We have no record of his ever having evoked a vision, but only of his accepting or enduring visions. Blake was, above all, spontaneous: the practiser of magic is a deliberate craftsman in the art of the soul. I can no more imagine Blake sitting down to juggle with symbols or to gaze into a pool of ink than I can imagine him searching out words that would make the best effects in his lyrics, or fishing for inspiration, pen in hand, in his own ink-pot. A man does not beg at the gate of dreams when he is the master for whose entrance the gate stands open.

Of the definite reality of Blake's visions there can be no question; no question that, as he once wrote, 'nothing can withstand the fury of my course among the stars of God, and in the abysses of the accuser.' But imagination is not one, but manifold; and the metaphor, professing to be no more than metaphor, of the poet, may be vision as essential as the thing actually seen by the visionary. The difference between