Again, when in the night time visions appeared to his teeming ever-inventive brain, and he must needs get up and write or draw while the divine "mania" was upon him, then Catherine arose softly and sat beside that wondrous husband in her white nightgown, her whole consciousness hanging upon his least movement or utterance, and her whole being thrilling sympathetically to those invisible presences which moved his spirit. Like Mary, "she kept all these things in her heart and pondered them." Speaking of his wife, one cannot but recall that in Blake's mysterious and unorthodox creed the doctrine of free love was a very favourite one, on which in his poetry he was never tired of insisting. Yet he seems to have desired freedom, only, as Mr. Swinburne finely shows, "for the soul's sake." If love is bound, he argued, what merit is there in faithfulness? Love, to be what love in perfect development should be,--to be what Love in its very essence predicates,--must be free. Such a creed, proclaimed by the lips of the most austere of men in matters sensual, seems to shadow forth one dimly apprehended aspect of a truth, which may be realized perhaps, in a future and more perfect state of society. "In a myrtle shade," and "William Bond," are two among the poems in Blake's MS. book, which have their origin in thoughts about free love. The year after his marriage, 1782-83, Blake had to turn to engraving in real earnest to pay for the necessities of the modest _menage_ in Green Street. We find him engaged mainly in engraving plates after Stothard's refined and graceful designs. In after years, when he was estranged from Stothard, Blake used to say that many of these same designs contained ideas stolen from himself. There can be small doubt that Stothard did owe something to Blake's influence. Fuseli frankly declared that "Blake is damned good to steal from," and accordingly adopted his ideas, and in one instance, at least, a complete design. A kind and appreciative couple, the Rev. Henry and Mrs. Mathew, received Blake in their drawing-room about this time, and gave him an honoured place among their guests. It was they who paid in part for the production of his "Poetical Sketches," and Flaxman, who had always a strong admiration of Blake's poetical genius, helped,--an act of beautiful generosity in a young artist with his own way to make. The "Poetical Sketches" are among the tenderest lyric notes uttered by Blake, and their bird-like spontaneity and lilt recall, says Dante Gabriel Rossetti, "the best period of English song-writing, whose rarest treasures lie scattered among the plays of our Elizabethan dramatists." These wild wood-notes gushing unselfconscious from a heart glad with youth and fair visions are in strange contrast to the artificial, trifling, and unsatisfying poetry of the age. Blake himself writes in the "Poem to the Muses":