Yellow Nineties 2.0 The Savoy, Volume 3 (July 1896) <title n="SAVOYV3icon6_blake_angry_edited-180x***"/> <editor>Lorraine Janzen Kooistra</editor> </titleStmt> <editionStmt> <p> <date>2019</date> </p> </editionStmt> <publicationStmt> <idno>SAVOYV3_icon6</idno> <publisher>Yellow Nineties 2.0</publisher> <pubPlace>Ryerson University</pubPlace> <address> <addrLine>English Department</addrLine> <addrLine>350 Victoria Street,</addrLine> <addrLine>Toronto ON,</addrLine> <addrLine>M5B 2K3</addrLine> <addrLine>Canada</addrLine> </address> <availability> <p>Usable according to the Creative Commons License <ref target="http://creativecommons.org/licenses/by-nc-sa/3.0/">Attribution Non-commercial Share-alike</ref>.</p> </availability> </publicationStmt> <sourceDesc> <biblStruct> <monogr> <editor> </editor> <author>William Blake</author> <title>V3 Angry Spirits Fighting in the Waters of the Styx Leonard Smithers London W July 1896 Blake, William. "Angry Spirits Fighting in the Water of the Styx." The Savoy, vol. 3, July 1896, p. 51. The Savoy Digital Edition, edited by Lorraine Janzen Kooistra 2018-2019. Yellow Nineties 2.0, General Editor Lorraine Janzen Kooistra, Ryerson University Centre for Digital Humanities, 2019, https://1890s.ca/savoyv3_blake_angry/

Our editorial method is informed by social-text editing principles. By “text” we mean verbal and visual printed material, including non-referential physical elements such as bindings, page layouts, and ornaments. We view any text as the outcome of collaborative processes that have specific manifestations at precise historical moments. The Yellow Nineties Online publishes facsimile editions of a select collection of fin-de- siècle aesthetic periodicals, together with paratexts of production and reception such as cover designs, advertising materials, and reviews. This historical material is enhanced by two kinds of peer-reviewed scholarly commentary: biographies of the periodicals’ contributors and associates; and critical introductions to each title and volume by experts in the field. All scholarly material on the site is vetted by the editor(s) and peer- reviewed by them and/or an international board of advisors. The site as a whole is peer- reviewed by NINES (Networked Infrastructure for Nineteenth-Century Electronic Scholarship). Contributors to the site retain personal copyright in their material. The site is licensed with a Creative Commons Attribution-NonCommercial-ShareAlike 3.0 license. Both primary and secondary materials, including all visual images, are marked up in TEI- (Textual-Encoding Initiative) compliant XML (Extensible Markup Language). To ensure maximum flexibility for users, magazines are available on the site as virtual objects (facsimiles) in FlipBook form; in HTML for online reading; in PDF for downloading and collecting; and in XML for those who wish to review and/or adapt our tag sets. In order to make ornamental devices, such as initial letters, head- and tail- pieces, searchable, we have developed a Database of Ornament in OMEKA, and linked it to the relevant pages of each magazine edition. As a dynamic structure, a scholarly website is always in process; Phase One of The Yellow Nineties Online (2010-2015) is completed and Phase Two (2016-2021) is underway.

 1896 English English literature -- 19th century -- Periodicals Great Britain -- Periodicals Visual Art Possible Genres (multiple): "Fiction," "Nonfiction," "Poetry," "Paratext" (TOC, prospecti, advertisements, frontmatter, titlepage), "Review" (older reviews), "Criticism" (including critical introductions), "Visual Art" (images, bio images), Historiography (bios),"Bibliography" (intros, crit, bios, anything with a bibliography attached), "Drama," "Ephemera," "Translation," "Religion," "Travel Writing," "Music, Other,") Still Image Possible Types (singular): "Periodical" (texts/most stuff), "Interactive Resource" (current writing, biographies, not old reviews), "Still Image" (images, visual art), "Physical Object" (posters, prospecti) Book History Art History Possible Disciplines (multiple): "Book History (include for all periodical items)," "Literature," "Art History (use for art, also use for reviews)," "History (don't use in a general sense)," "Theatre Studies," "Musicology," "Philosophy," "Anthropology," "Science"
V3 Angry Spirits Fighting in the Waters of the Styx SAVOYV3_icon6 SAVOYV3_icon6 The Savoy William Blake July 1896 London 17.5 x 12.5 cm illustration watercolour drawing outdoors sea ocean water sky floating figures lying figures "HELL Canto 7" V3 Angry Spirits Fighting in the Waters of the Styx This half-tone reproduction of a water-colour drawing by William Blake for Dante’s Inferno is in portrait orientation. The image shows six figures in a line in the top two-thirds of the picture plane and three figures lying on their backs below in the bottom third. The three figures at the bottom are lying very close together, with their knees bent and the backs of their heads facing the viewer. The figure on the left has their left arm bent up with their hand resting above their head. The face is not visible, with only hair showing at the top of the head. The central figure is lying with their arms covered underneath the bodies of the two figures on either side. They have a head scarf wrapping tightly around the sides of their face. The figure’s eyes are closed. The figure on the right is a man with his head twisted far to the right and his bearded face visible by the viewer. The man’s eyes are closed. His left arm is wrapped across his body, with his hand tucked into his armpit. He has long hair that flows in waves around his head. The series of six figures at the top of the composition are floating above the three figures on the bottom. The six floating figures are a mirror image of each other in poses, with each figure’s outer arm raised up with a clenched fist. The figure on the far left is a man who has his body facing the left side , but his upper body twisted to face to the right. He has bare feet and bare legs that are translucent, giving way to the background coming through. He has his right arm raised in a fist, and his left arm is reaching across his body. He has a long wavy beard and long hair on his head. Slightly to his right and backgrounded is the second figure. This figure is limitedly visible, showing only a raised right fist and a face with a crease between the eyebrows, and a mouth opened in an “O” shape. To the right of this figure and slightly backgrounded is the third figure. This figure has the right fist raised as well, and only the face visible. This figure is visible only in profile. The figure has large lips that are extended far out from the face. The figure also has a long and protruding nose. To the right of this figure, and equally backgrounded, is a figure also visible only in profile, but turned to face to the left and staring directly at the opposition. This figure has the left fist raised and clenched. The figure has downturned lips and a crease between the eyebrows. To the right and slightly foregrounded is another figure with the left fist raised. This figure has a wavy beard and matching hair, both long. The figure has slightly downturned lips and large pupils. The figure is looking off into the distant left of the page, with a crease between the eyebrows. To the right and foregrounded is the sixth figure. This figure has his whole body visible. The figure has his left fist raised and his legs are sticking out towards the centre of the composition. He has a long wavy beard and hair, which covers up his whole upper body. He has wide eyes and raised eyebrows. His mouth is in an “O” shape. In the background of all of the figures on the page is a series of horizontal wavy lines, in wave-like shapes in the bottom half. In the upper half the lines become less wavy and look like air waves in the sky. Between the lines is dark shading until the top fifth of the page where the background becomes much lighter. In the bottom right corner there is the text: “HELL Canto 7”.