Is there a connection? I’m not sure, but a former reader of Marcia Pointon’s Milton and English Art (Manchester, Manchester University Press, 1970) evidently thought so. The band did have an album called ‘Heaven and Hell’ (also the name of a group comprising some members of Black Sabbath active between 2006 and 2010) which could be a reference to The Marriage of Heaven and Hell (please comment if you know), but the precise connection (if any) to the watercolour The Judgement of Adam and Eve alongside which the reader has left their mark is lost on me. Suggestions welcome!
Currently on my shelf of library books is Leopold Damrosch, Jr.’s Symbol and Truth in Blake’s Myth (Princeton: Princeton University Press, 1981). There’s not much by way of annotations in this copy, but I was interested by two traces of bygone library borrowing practices.
Hidden between pages 280 and 281 (left there for the next reader to find) was a torn piece of paper, presumably used as a bookmark. Nothing unusual in that of course, but it was the dated text reading “SELF RENEWALS” that signals that this particular insertion pre-dates online renewals.
Flipping back to the front fly-leaf, I was also struck by the borrowing slip – the last date is 2005. It is conceivable that this is actually the last time the book was taken out, but I have no way of knowing. Nowadays books are rarely stamped when they leave the library because nearly everything goes through self-issue machines (thus the new barcode stuck over an old one here), so the borrowing history of a book is no longer recorded in the book itself and remains the preserve of the librarians. This particular book has also lost the physical traces of some of its earlier borrowing history – evident from the sections of “Cancelled” stamps which tell of a former borrowing slip. Those stamped dates are one kind of marks in library books I do miss.
I came across the latest additions to my archive of library book annotations a couple of weeks ago in V. Tinkler-Villani’s, Visions of Dante in English Poetry: translations of the Commedia from Jonathan Richardson to William Blake (Amsterdam: Rodopi, 1989).
Among various scribblings, two jumped out at me. The first is actually potentially helpful to other readers of the book, informing where a source a mentioned can be accessed:
The other, in a different hand, is frankly lazy – marking the conclusion of the book as a handy quotation to conclude the reader in question’s own essay:
Stanley Eugene Fish, Surprised by Sin: the Reader in Paradise Lost (London: Macmillan; New York: St. Martin’s Press, 1967)
University of Manchester Main Library (in the wrong place, among the Blake books, in High Demand)
Not marginalia as such but another kind of intervention:
I understand the purpose of pasting library labels into books, but it’s not very helpful when a label covers some of the bibliographic information, and more’s the pity in this case when it is disrupting a nice piece of typesetting.
Jacomina Korteling, Mysticism in Blake and Wordsworth (Amsterdam: H. J. Paris, 1928). University of Manchester Library.
I’m no paleographer, but it looks like more than one reader has been frustrated with this book over the years.
Titlepage. David V. Erdman, William Blake: Prophet Against Empire (Princeton, NJ: Princeton University Press, 1954). University of Manchester Library.
This is a landmark study but someone evidently thinks Erdman chose the wrong title.
Endpaper. David Bindman, William Blake: His Art and Times (London: Thames and Hudson, 1982). Manchester Metropolitan University Library.
MMU is home to the Manchester School of Art, thus, I suppose, the more creative than average intervention to this book. Is it a Tyger?