#william blake

It is obvious that Blake’s mind - as reflected through his writing - is in a state of turmoil. At times the words are Blake’s own, at other times it appears that the “HAUNTER” creature is speaking through him. At one point Blake believes the monster has broken through the steeple of an abandoned church where it has been hiding in the darkness. This church resides about 2 miles away in the Federal Hill area of Providence, RI. Blake himself had explored this church and through gazing at a dark jewel has made contact with “The HAUNTER”.

In the end the monster that Blake had called by his gaze into the stone/jewel is flying towards Blake’s location to take complete absorption of his body. It is not clear who is communicating as Blake sits in his studio window writing, but it is apparent that one or the other -or both individuals are viewing things in negative. Like a black and white negative print, light is dark and dark is light. It’s apparent that the HAUNTER creature comes from a region of space and time where darkness is like sunshine here in our world.

Below are 2 views of William Blake’s famous painting, THE RED DRAGON AND THE WOMAN CLOTHED IN THE SUN. The original painting was rendered in full color, but I show them in black and white. One of the versions has been altered to appear as a photo negative of the other.

It’s perhaps significant that in Blake’s painting The Red Dragon is flying directly at the viewer. This would be similar to to the view our ill-fated hero Robert Blake would have had of THE HAUNTER as it traversed the night sky towards his position.

Robert Blake - William Blake? Maybe!

I think it’s highly possible that Lovecraft may have seen a copy of Blake’s painting and been inspired by the creature depicted here. I direct the viewer also to consider the lighting bolts rising up behind the Red Dragon in Blake’s painting. Lightning is also a crucial element in Lovecraft’s HAUNTER of the dark story.

“The Soul Exploring the Recesses of the Grave”

Luigi Schiavonetti (1765–1810) after William Blake (1757–1827)

William Blake (1757–1827), “At the chapel-door stand sentry…”

from ‘The Poems of Thomas Gray’

watercolour with pen & ink & graphite on wove paper, 1797–98

i told my wrath, my wrath did end.

i was angry with my foe:

i told it not, my wrath did grow.

and i watered it in fears,

night and morning with my tears;

and i sunned it with smiles,

and with soft deceitful wiles.

and it grew both day and night,

till it bore an apple bright;

and my foe beheld it shine,

and he knew that it was mine,

and into my garden stole

when the night had veiled the pole:

in the morning glad i see

my foe outstretched beneath the tree.