Danish, German, and Austrian musicians. This chapter complements previous work into Blake’s influence on popular British and American music undertaken elsewhere (e.g., Blake 2.0, ed. Steve Clark, Tristanne Connolly, and Jason Whittaker). Martin Myrone (chapter 26) examines key exhibitions of Blake in England between 1911 and 2013 and credits these exhibitions for exposing European visitors to Blake’s art. The chapter concludes with a pair of detailed tables that catalogue the Blake exhibitions at the Tate (table 1), and exhibitions in Europe where Blake was represented as a visual artist (table 2). One cannot help but wish that Myrone could have foreseen the impressive 2019– 20 Tate Britain exhibition “William Blake: The Artist” (curated by Myrone and Amy Concannon), the largest Tate exhibition of Blake’s work in over 20 years. Given that the Tate exhibitions preceded many of the other exhibitions throughout Europe (the first twentieth-century public Blake exhibition in the UK was at the Tate in 1913) including those in Hamburg and Frankfurt (the focus of chapter 10), Myrone’s chapter may have worked better coming earlier on in the collection. Many chapters, particularly in the second volume, track not only the best-known authors and artists who helped spread Blake’s influence throughout a particular country, but also account for some surprising resources, including dissertations, theses, and even university courses dedicated to Blake. Each chapter, then, serves as something of a snapshot of Blake reception and scholarship, tracking both major and minor currents to give a more complex texture to this still-unfolding reception history. The Reception of William Blake in Europe is, in short, with its twenty-six dense chapters including timeline and various tables, an impressive and somewhat dizzying accomplishment. For any scholar interested in a comparative approach to Blake or in following in his cosmopolitan footsteps, this is an invaluable collection. It is a welcome addition to Blake scholarship and reception studies more broadly.

中文翻译：

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华兹华斯的乐趣；华兹华斯 1825-1833 年的诗意创新：这些思想的纤维

丹麦、德国和奥地利音乐家。本章补充了先前关于布莱克对其他地方进行的英国和美国流行音乐的影响的工作（例如，布莱克 2.0，史蒂夫·克拉克、特里斯坦·康诺利和杰森·惠特克）。Martin Myrone（第 26 章）考察了 1911 年至 2013 年间布莱克在英国的重要展览，并将这些展览归功于让欧洲游客了解布莱克的艺术。本章以一对详细的表格结束，其中列出了布莱克在泰特美术馆的展览（表 1）以及布莱克作为视觉艺术家在欧洲的展览（表 2）。人们不禁希望 Myrone 能够预见到令人印象深刻的 2019-20 泰特英国展览“威廉·布莱克：艺术家”（由 Myrone 和 Amy Concannon 策展），这是 20 多年来最大的泰特美术馆展览。鉴于泰特展览先于整个欧洲的许多其他展览（英国 20 世纪第一次公开 Blake 展览于 1913 年在泰特举行），包括汉堡和法兰克福的展览（第 10 章的重点），Myrone 的章节可能已经在系列中更早出现效果更好。许多章节，特别是在第二卷中，不仅追踪了帮助布莱克在特定国家传播影响力的最著名作家和艺术家，而且还介绍了一些令人惊讶的资源，包括专为布莱克撰写的论文、论文，甚至大学课程。因此，每一章都是布莱克接待和学术的快照，跟踪主要和次要潮流，为这段仍在展开的接待历史提供更复杂的结构。简而言之，《威廉·布莱克在欧洲的招待会》有包括时间轴和各种表格在内的二十六个密集章节，令人印象深刻，但有些令人眼花缭乱。对于任何对布莱克的比较方法或追随他的国际化脚步感兴趣的学者来说，这是一本无价的收藏。这是对布莱克奖学金和接待研究更广泛的一个受欢迎的补充。