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in his designs to render the outlines of vision literally, without translation into the forms of human sight. He invents names harsh as triangles, Enitharmon, Theotormon, Rintrah, for spiritual states and essences, and he employs them as Wagner employed his leading motives, as a kind of shorthand for the memory. His meaning is no longer apparent in the ordinary meaning of the words he uses; we have to read him with a key, and the key is not always in our hands; he forgets that he is talking to men on the earth in some language which he has learnt in heavenly places. He sees symbol within symbol, and as he tries to make one clear to us, he does but translate it into another, perhaps no easier, or more confusing. And it must be remembered, when even interpreters like Mr. Ellis and Mr. Yeats falter, and confess 'There is apparently some confusion among the symbols,' that after all we have only a portion of Blake's later work, and that probably a far larger portion was destroyed when the Peckham 'angel,' Mr. Tatham (copartner in foolish wickedness with Warburton's cook), sat down to burn the books which he did