From Vampire to Apollo: William Blake's Ghosts of the Flea (c. 1819-20)

Varley’s Zodiacal Physiognomy and Blake’s Visionary Heads are the two mainstays of a project which involved séance-like meetings at Varley’s house. While the lights were still on, Varley’s guests would have listened to the stories about the flea. With The Ghost of a Flea in front of them, the recitals of the flea’s pompous speeches, combined with the fact that it was just a ghost who leered after human blood, Varley’s guests may have laughed very heartily, if not in front of him then behind his back. Each evening followed the same protocol. When the lights were off, Varley would call out a name and Blake would look around, suddenly exclaiming ‘There he is!’ and start drawing. The flea is the most striking of the Visionary Heads, though it is not the only head which exists in different versions. If appearance is elemental to any kind of judgement of one human being of another, then Blake deliberately confused Varley. By working up the sketch, he played on Varley’s expectations; he presented him with an extraordinary and very puzzling painting, The Ghost of a Flea. But why, if Blake could have chosen any monster, did he settle on the ghost of a flea

Bestial metamorphoses: Blake’s variations on trans-human change in Dante’s Hell

William Blake’s engagement with Dante Alighieri’s Divine Comedy (1824-7) illuminates the convergence of Classical and Christian iconography at the heart of Blake’s bestiary. Oswald Spengler coined the term ‘pseudomorphosis’ to ‘denote the unwilling conformity of a new and dynamic culture to the forms and formulas of an older culture’. Erwin Panofsky took up the concept to investigate divergences in form and content between text and image in the medieval translation of classical literature and visual culture. Against Spengler’s dramatic take on the fight towards form, and Panofsky’s recuperation of medium divergence in cultural translation, Theodor W. Adorno read pseudomorphosis as a medium’s imitation of another medium, an uncritical ‘stage in the process of convergence’. Drawing on the iconological school’s analysis of the pseudomorphic articulations of cultural transmission, I wish to explore Blake’s monsters as Christian reinventions of classical mythology. Dante’s emblematic bestiary reinvents monsters from classical literature in a series of transgressions of the boundaries of species. This essay will draw on the debated concept of pseudomorphosis to explore the dialectic tension between assimilation, parody, and disintegration of form in Blake’s reinvention of Dante’s visions of hell. Classical sculptures used as prototypes of the human ideal are subjected to a series of demonic inversions. Hybrid forms and transformations culminate in the reversible serpent metamorphoses that express the bestial condition of the thieves in Cantos XXIV and XXV of Inferno. The multiplication of images Blake devotes to this case of transhuman change indicates its key place in the interminglings between man and beast in his approach to the Commedia. This chapter explores Blake’s serpent sequence and the possibilities of metamorphosis as a way of interrogating alternative models of animal human encounter. The frame of punishment suggests that Dante’s bestial metamorphoses represent a series of transgressions of boundaries. However, Blake’s versions bring to light alternative possibilities in the handling of species, showing coexistence or overlaps, intermediate steps in a continuum, fusion through commingling. Metamorphosis itself changes with acts of translation – between languages, genres, and media