This blog leans heavily on hyperlinks. Use your mouse to click on any hyperlink, and it will take you to the subject of the link.
Click with this right button of your mouse, and you may bringup the subject in another tag or window, which allows you toreturn quickly to what you were reading at first.
The sidebar contains a lot of links:
1. With the Archive section you may reach any post to this blog. Click on a month, and it shows all the posts for that month.
2. The labels give you a view of all the posts with that subject.
3. Contributors will give you a view of the profile of the oneyou link on.
4. Links to Online Blake give you access to many Blake websites including his complete works.
Monday, September 15, 2008
Tuesday, February 12, 2008
Blake's Vision of God
Of all the Christian spiritual leaders of the past
200 years this British poet would be placed near
the top by any enlightened Christian. God
was the primary theme and motif of his poetry, his
pictures, and his life. His poetry and pictures
contained his revelations of the reality of life,
ultimate reality, which we call God.
At three he ran screaming to his mother after the
sight of a grim punishing God in his window. A few
years later a similar vision embraced a roomful of
angels. Brought up in a Swedenburg and/or
Moravian climate he escaped the common
fallacies that go by the name of Christian
orthodoxy. But the first half of his life he
occupied wrestling with the Old Testament God.
With The Marriage of Heaven and Hell
he inverted the conventional values of good,
obedient, unimaginative church goers (more likely
to idolize and follow their minister than their God).
Blake called them angels, and called those who
ask questions, who think independently, who
experiment, devils.
With Songs of Innocence and Experience he
portrayed first the childlike, who have not met a
judging God, and second those who have tasted that fateful experience.
In his prophetic books Blake exhaustively pictured
the judging God, the Rulemaker and Enforcer
worshipped today by 'fundamentalist'
Christians and Muslims.
Through the years Blake gradually got free from
the baleful influence of a God of Control, used
ainly by the most powerful to control the rest
of us. He came to refer to him as Old Nobodaddy.
In the fullness of time Blake met the God introduced
to us by Jesus: the Loving Heavenly Father. The
gospel was a matter of forgiveness. Most of us have
to forgive (our) God, forgive our parents, our
spouses, most of all ourselves. Blake's First Vision of Light is the moment when he came into that glad awareness. Afterward the old negative ideas of Diety faded away to be replaced by the New Creation characterized by the Gifts of the Spirit.
Image from Songs of Innocence: Jesus and children in LITTLE BLACK BOY. Click on image for enlargement.
200 years this British poet would be placed near
the top by any enlightened Christian. God
was the primary theme and motif of his poetry, his
pictures, and his life. His poetry and pictures
contained his revelations of the reality of life,
ultimate reality, which we call God.
At three he ran screaming to his mother after the
sight of a grim punishing God in his window. A few
years later a similar vision embraced a roomful of
angels. Brought up in a Swedenburg and/or
Moravian climate he escaped the common
fallacies that go by the name of Christian
orthodoxy. But the first half of his life he
occupied wrestling with the Old Testament God.
With The Marriage of Heaven and Hell
he inverted the conventional values of good,
obedient, unimaginative church goers (more likely
to idolize and follow their minister than their God).
Blake called them angels, and called those who
ask questions, who think independently, who
experiment, devils.
With Songs of Innocence and Experience he
portrayed first the childlike, who have not met a
judging God, and second those who have tasted that fateful experience.
In his prophetic books Blake exhaustively pictured
the judging God, the Rulemaker and Enforcer
worshipped today by 'fundamentalist'
Christians and Muslims.
Through the years Blake gradually got free from
the baleful influence of a God of Control, used
ainly by the most powerful to control the rest
of us. He came to refer to him as Old Nobodaddy.
In the fullness of time Blake met the God introduced
to us by Jesus: the Loving Heavenly Father. The
gospel was a matter of forgiveness. Most of us have
to forgive (our) God, forgive our parents, our
spouses, most of all ourselves. Blake's First Vision of Light is the moment when he came into that glad awareness. Afterward the old negative ideas of Diety faded away to be replaced by the New Creation characterized by the Gifts of the Spirit.
Image from Songs of Innocence: Jesus and children in LITTLE BLACK BOY. Click on image for enlargement.
Blake's Vision of God
Of all the Christian spiritual leaders of the past
200 years this British poet would be placed near
the top by any enlightened Christian. God
was the primary theme and motif of his poetry, his
pictures, and his life. His poetry and pictures
contained his revelations of the reality of life,
ultimate reality, which we call God.
At three he ran screaming to his mother after the
sight of a grim punishing God in his window. A few
years later a similar vision embraced a roomful of
angels. Brought up in a Swedenburg and/or
Moravian climate he escaped the common
fallacies that go by the name of Christian
orthodoxy. But the first half of his life he
occupied wrestling with the Old Testament God.
With The Marriage of Heaven and Hell
he inverted the conventional values of good,
obedient, unimaginative church goers (more likely
to idolize and follow their minister than their God).
Blake called them angels, and called those who
ask questions, who think independently, who
experiment, devils.
With Songs of Innocence and Experience he
portrayed first the childlike, who have not met a
judging God, and second those who have tasted that fateful experience.
In his prophetic books Blake exhaustively pictured
the judging God, the Rulemaker and Enforcer
worshipped today by 'fundamentalist'
Christians and Muslims.
Through the years Blake gradually got free from
the baleful influence of a God of Control, used
ainly by the most powerful to control the rest
of us. He came to refer to him as Old Nobodaddy.
In the fullness of time Blake met the God introduced
to us by Jesus: the Loving Heavenly Father. The
gospel was a matter of forgiveness. Most of us have
to forgive (our) God, forgive our parents, our
spouses, most of all ourselves. Blake's First Vision of Light is the moment when he came into that glad awareness. Afterward the old negative ideas of Diety faded away to be replaced by the New Creation characterized by the Gifts of the Spirit.
Image from Songs of Innocence: Jesus and children in LITTLE BLACK BOY. Click on image for enlargement.
200 years this British poet would be placed near
the top by any enlightened Christian. God
was the primary theme and motif of his poetry, his
pictures, and his life. His poetry and pictures
contained his revelations of the reality of life,
ultimate reality, which we call God.
At three he ran screaming to his mother after the
sight of a grim punishing God in his window. A few
years later a similar vision embraced a roomful of
angels. Brought up in a Swedenburg and/or
Moravian climate he escaped the common
fallacies that go by the name of Christian
orthodoxy. But the first half of his life he
occupied wrestling with the Old Testament God.
With The Marriage of Heaven and Hell
he inverted the conventional values of good,
obedient, unimaginative church goers (more likely
to idolize and follow their minister than their God).
Blake called them angels, and called those who
ask questions, who think independently, who
experiment, devils.
With Songs of Innocence and Experience he
portrayed first the childlike, who have not met a
judging God, and second those who have tasted that fateful experience.
In his prophetic books Blake exhaustively pictured
the judging God, the Rulemaker and Enforcer
worshipped today by 'fundamentalist'
Christians and Muslims.
Through the years Blake gradually got free from
the baleful influence of a God of Control, used
ainly by the most powerful to control the rest
of us. He came to refer to him as Old Nobodaddy.
In the fullness of time Blake met the God introduced
to us by Jesus: the Loving Heavenly Father. The
gospel was a matter of forgiveness. Most of us have
to forgive (our) God, forgive our parents, our
spouses, most of all ourselves. Blake's First Vision of Light is the moment when he came into that glad awareness. Afterward the old negative ideas of Diety faded away to be replaced by the New Creation characterized by the Gifts of the Spirit.
Image from Songs of Innocence: Jesus and children in LITTLE BLACK BOY. Click on image for enlargement.
Saturday, January 26, 2008
psytheomyth
.
Genesis: Adam, Eve and Satan
Psychology, Theology, Mythology: in the last analysis the three things all merge together into one, especially in Blake. Every verse tells something about the human mind, and about God, all wrapped together in the language of poetry and myth. For an example look at an analysis of Genesis 3.
Genesis: Adam, Eve and Satan
Psychology, Theology, Mythology: in the last analysis the three things all merge together into one, especially in Blake. Every verse tells something about the human mind, and about God, all wrapped together in the language of poetry and myth. For an example look at an analysis of Genesis 3.
psytheomyth
.
Genesis: Adam, Eve and Satan
Psychology, Theology, Mythology: in the last analysis the three things all merge together into one, especially in Blake. Every verse tells something about the human mind, and about God, all wrapped together in the language of poetry and myth. For an example look at an analysis of Genesis 3.
Genesis: Adam, Eve and Satan
Psychology, Theology, Mythology: in the last analysis the three things all merge together into one, especially in Blake. Every verse tells something about the human mind, and about God, all wrapped together in the language of poetry and myth. For an example look at an analysis of Genesis 3.
Monday, January 14, 2008
Perennial Reader
Everyone knows that William Blake was a great reader. What isn't generally known; what is in fact a great mystery is where he got the books or where he did the reading. I haven't succeeded in finding any information about that (tell me if there is any).
Blake went to school for part of one day; that's all the formal education he seems to have acquired. Of course he had some journeyman training. However he appeared to be the most learned person of his generation, which makes him what we call an autodidact -- self-educated.
Very likely his learning began with the Bible; that's demonstrated by the use he made of the Bible in his creative work. He had a thorough acquaintance with the Bible, but he never confined himself to a literal understanding; he didn't see it as history -- no, as poetry. The primary difference is that poetry is susceptible to various meanings, depending on the perception of the reader. Likewise the meaning of any element of the Bible is various, depending on the perception of the reader.
Among the Books of the Bible that he favored he named Ezra and Isaiah; but in MHH he mentioned Ezekiel; he had a conversation with Ezekiel (plate 13). Some of his works demonstrated a considerable acquaintance with Revelation, in the same way that John had shown an extensive acquaintance with The Old Testament.
In a Letter to Flaxman Blake wrote:
"Now my lot in the Heavens is this; Milton
lovd me in childhood & shewd me his face, Ezra
came with Isaiah the Prophet, but Shakespeare in
riper years gave me his hand; Paracelsus & Behmen
appeard to me."
If you're serious about William Blake here's your reading list:
Jacob Boehme: Aside from the Bible nothing meant more to Blake than William Law's translation of this German mystic (some would say Gnostic). The more of Boehme you read, the more Blake you will see and understand. (the English called him Behmen.)
John Milton: Blake identified strongly with Milton -- and had some marked differences with him. Paradise Lost had a great influence on him. In Plate 6 of MHH he said that Milton "was a true Poet and of the Devils party without knowing it". In Vision, writing The Book of Milton he found it necessary to call Milton back from Heaven to correct his spiritual mistakes (much like God sent his Son to save the world).
Swedenborg: Blake's parents had been attracted to this Swedish philosopher and mystic. He and his wife likely attended the Swedenborg Church in London. But he soon saw the man's deficiencies -- and lampooned him in some early works. He undoubtedly learned something from Swedenborg and lamented about him in Milton, "O Swedenborg! strongest of men, the Samson shorn by the Churches! "
Shakespeare is given by Blake as one of his significant literary relationships. I haven't found that in reading Blake. David Whitmarsh apparently has a lot of say on that score.
Paracelsus (1493-1541): To learn how this man affected Blake you might best consult Milton Percival's Circle of Destiny (probably the best introduction to Blake). He has a chapter on Alchemical Symbolism, and reading this will help you understand how and why the furnaces come up so often in the major prophecies.
Although Thomas Taylor was one year younger than Blake, his translations of Plato and the Neo-Platonists led our poet's interests emphatically in that direction. Thereafter the Greek and Roman myths loomed large in Blake's poetry and pictures.
Homer was a major source for Blake's works. Although he expressed some contempt for Homer, he drew heavily on Homer's stories, using Ovid more often than Homer himself. To get some understanding of how Blake used Homer take a look at my file on myths. The Sea of Time and Space is directly about the Odyssey, a pictorial description in fact (of course it's about a lot of other things as well).
Hermes Trismegistus was a special interest of Blake's as well as a dozen similar arcane and esoteric works too numerous to discuss in this post. But perhaps there will be more to come.
Blake went to school for part of one day; that's all the formal education he seems to have acquired. Of course he had some journeyman training. However he appeared to be the most learned person of his generation, which makes him what we call an autodidact -- self-educated.
Very likely his learning began with the Bible; that's demonstrated by the use he made of the Bible in his creative work. He had a thorough acquaintance with the Bible, but he never confined himself to a literal understanding; he didn't see it as history -- no, as poetry. The primary difference is that poetry is susceptible to various meanings, depending on the perception of the reader. Likewise the meaning of any element of the Bible is various, depending on the perception of the reader.
Among the Books of the Bible that he favored he named Ezra and Isaiah; but in MHH he mentioned Ezekiel; he had a conversation with Ezekiel (plate 13). Some of his works demonstrated a considerable acquaintance with Revelation, in the same way that John had shown an extensive acquaintance with The Old Testament.
In a Letter to Flaxman Blake wrote:
"Now my lot in the Heavens is this; Milton
lovd me in childhood & shewd me his face, Ezra
came with Isaiah the Prophet, but Shakespeare in
riper years gave me his hand; Paracelsus & Behmen
appeard to me."
If you're serious about William Blake here's your reading list:
Jacob Boehme: Aside from the Bible nothing meant more to Blake than William Law's translation of this German mystic (some would say Gnostic). The more of Boehme you read, the more Blake you will see and understand. (the English called him Behmen.)
John Milton: Blake identified strongly with Milton -- and had some marked differences with him. Paradise Lost had a great influence on him. In Plate 6 of MHH he said that Milton "was a true Poet and of the Devils party without knowing it". In Vision, writing The Book of Milton he found it necessary to call Milton back from Heaven to correct his spiritual mistakes (much like God sent his Son to save the world).
Swedenborg: Blake's parents had been attracted to this Swedish philosopher and mystic. He and his wife likely attended the Swedenborg Church in London. But he soon saw the man's deficiencies -- and lampooned him in some early works. He undoubtedly learned something from Swedenborg and lamented about him in Milton, "O Swedenborg! strongest of men, the Samson shorn by the Churches! "
Shakespeare is given by Blake as one of his significant literary relationships. I haven't found that in reading Blake. David Whitmarsh apparently has a lot of say on that score.
Paracelsus (1493-1541): To learn how this man affected Blake you might best consult Milton Percival's Circle of Destiny (probably the best introduction to Blake). He has a chapter on Alchemical Symbolism, and reading this will help you understand how and why the furnaces come up so often in the major prophecies.
Although Thomas Taylor was one year younger than Blake, his translations of Plato and the Neo-Platonists led our poet's interests emphatically in that direction. Thereafter the Greek and Roman myths loomed large in Blake's poetry and pictures.
Homer was a major source for Blake's works. Although he expressed some contempt for Homer, he drew heavily on Homer's stories, using Ovid more often than Homer himself. To get some understanding of how Blake used Homer take a look at my file on myths. The Sea of Time and Space is directly about the Odyssey, a pictorial description in fact (of course it's about a lot of other things as well).
Hermes Trismegistus was a special interest of Blake's as well as a dozen similar arcane and esoteric works too numerous to discuss in this post. But perhaps there will be more to come.
Tuesday, January 1, 2008
Resources
The links provide the best Blake online:
1. The Primer together with Ram Horn'd with Gold is Larry Clayton's online book with a comprehensive description of Blake's work especially emphasizing his spiritual dimension.
2. Contents gives access to most of Blake's works in poetry and prose.
3. The Concordance shows the location(s) of any word you offer it.
4. The Blake Archive allows you to read the text and view the pictures of all of his illuminated works.
1. The Primer together with Ram Horn'd with Gold is Larry Clayton's online book with a comprehensive description of Blake's work especially emphasizing his spiritual dimension.
2. Contents gives access to most of Blake's works in poetry and prose.
3. The Concordance shows the location(s) of any word you offer it.
4. The Blake Archive allows you to read the text and view the pictures of all of his illuminated works.
Resources
The links provide the best Blake online:
1. The Primer together with Ram Horn'd with Gold is Larry Clayton's online book with a comprehensive description of Blake's work especially emphasizing his spiritual dimension.
2. Contents gives access to most of Blake's works in poetry and prose.
3. The Concordance shows the location(s) of any word you offer it.
4. The Blake Archive allows you to read the text and view the pictures of all of his illuminated works.
1. The Primer together with Ram Horn'd with Gold is Larry Clayton's online book with a comprehensive description of Blake's work especially emphasizing his spiritual dimension.
2. Contents gives access to most of Blake's works in poetry and prose.
3. The Concordance shows the location(s) of any word you offer it.
4. The Blake Archive allows you to read the text and view the pictures of all of his illuminated works.
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