id	author	title	date	pages	extension	mime	words	sentence	flesch	summary	cache	txt
blake-119	Mertz, J. B.	William Blake, The Marriage of Heaven and Hell, ed. Michael Phillips	2013		.htm	application/xhtml+xml	1961	62	49	Readers familiar with the controversy concerning Blake’s printing methods (for instance, whether he printed his plates using one or two pulls), which occupied many pages of this journal in 2002,See Robert N. Essick and Joseph Viscomi, “An Inquiry into William Blake’s Method of Color Printing,” Blake 35.3 (winter 2001-02): 74-103; Michael Phillips, “Color-Printing Songs of Experience and Blake’s Method of Registration: A Correction,” Blake 36.2 (fall 2002): 44-45; Martin Butlin, “‘Is This a Private War or Can Anyone Join In?’: A Plea for a Broader Look at Blake’s Color-Printing Techniques,” Blake 36.2 (fall 2002): 45-49; Essick and Viscomi, “Blake’s Method of Color Printing: Some Responses and Further Observations,” Blake 36.2 (fall 2002): 49-64; Butlin, “William Blake, S. W. Hayter and Color Printing,” Blake (2002) Phillips devotes considerable space in his introduction to developing the argument that The Marriage “made its first public appearance in 1793 rather than 1790” (42).For arguments in favor of 1790 as the year of completion, see Joseph Viscomi, Blake and the Idea of the Book (Princeton: Princeton University Press, 1993) 233-34 and 237; Viscomi, “The Evolution of The Marriage of Heaven and Hell,” Huntington Library Quarterly 58 (1997): 284-85; Viscomi, “The Lessons of Swedenborg; or, The Origin of William Blake’s The Marriage of Heaven and Hell,” Lessons of Romanticism: A Critical Companion, ed.	cache/blake-119.htm	txt/blake-119.txt