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therefore produced a variety in every line, both of cadences and number of syllables. Every word and every letter is studied and put into its fit place; the terrific numbers are reserved for the terrific parts, the mild and gentle for the mild and gentle parts, and the prosaic for inferior parts; all are necessary to each other.' This desire for variety at the expense of unity is illustrated in one of Blake's marginal notes to Reynolds' Discourses. 'Such harmony of colouring' (as that of Titian in the Bacchus and Ariadne) 'is destructive of Art. One species of equal hue over all is the cursed thing called harmony. It is the smile of a fool.' This is a carrying to its extreme limit of the principle that 'there is no such thing as softness in art, and that everything in art is definite and minute . . . because vision is determinate and perfect'; and that 'colouring does not depend on where the colours are put, but on where the lights and darks are put, and all depends on form or outline, on where that is put.' The whole aim of the Prophetic Books is to arrive at a style as 'determinate and perfect' as vision, unmodified by any of the deceiving beauties