Christian Blake

Blake's Urizen

2011-02-04T08:34:00.000-08:00

Yes, he had one-- the Urizen within; we all have one: the thinking component of our psyche. We can only begin to understand Blake when we realize that his IQ had to be frightening. You and I might have a sudden thought; Blake had an Explosion-- of Urizen or Luvah, either one and sometimes all together. The average person wants nothing to do with such an individual (that means of course that if you read this, you are Not average.

Blake's mind was infinitely expansible-- and contractable, as in Plate 55 of Jerusalem (E205):
"Let the Human Organs be kept in their perfect Integrity
At will Contracting into Worms, or Expanding into Gods
.........
"Such are these Ulro Visions, for tho we sit down within
The plowed furrow, listning to the weeping clods till we
Contract or Expand Space at will: or if we raise ourselves
Upon the chariots of the morning. Contracting or Expanding Time!
Every one knows, we are One Family! One Man blessed for ever"

(But the Heavenly Visions know nothing of time or space; those are artifacts of the World.)

"Damn braces Bless relaxes." (MHH plate 9; Erdman 37)
In MHH Blake's Energy and Creativity ran away with him; he despised restraints: turn out all the stops; put the volume pedal on the floor. MHH is shocking in the Nth degree, frightening! All his life his problem was self-control (the last of the Gifts of the Spirit). He had no desire for Self-control.

Lucky for Blake he had a wife, a good and faithful wife: indulgent, but she had a limit. (If Nietzsche and Van Gogh had achieved a successful marriage, they might have flamed out so early.

So as we see Blake had a Urizen within. Urizen believed in Control; he gave the Law, and Blake fought him. He also had a Luvah within. Blake fought the first battle with the struggle between Urizen and Luvah; it was a power struggle between the two inner 'gods', and eventually they made a deal: Urizen, the Light Bearer, gave the Sun to Luvah (Luvah took over the South, while Urizen moved to the North (For a while Blake seemed free from the Law and gave himself up to Feeling).

"When man lives by Urizen's 'beast-formed science' he is in nonexistence. The change from nonexistence to existence - the change from Satan to Christ" (Percival page 231))

It was a fragile arrangement; Luvah, like Icarus, got too close to the Sun and crashed. Meanwhile Urizen continued his (false) Creation. He went from bad to worse. In his rocky creation he look ahead; Futurity terrified him, took all his ego and left him a quivering failure. Los came in and subdued him (which seems to represent Blake's Imagination getting the best of his fears).

Once Los had won the battle he found his hatred of Urizen melting away; he found he loved him; he rehabilitated him, so that Urizen was now able to recognize and accept a New Lord.

In Jerusalem 98 Blake told of the final reconciliation of Urizen, Luvah, Urthona, and Tharmas. It is the Apocalypse, the End of Eternal Death leading to Eternal Life, when we graduate from Mortal Life, all is United into the One Man (as in John 17:21).

Job Picture 2

2010-06-08T22:38:00.001-07:00

This one resembles Picture 1 in its lower part, but now the well behaved children also have books or scrolls, obviously growing up to be Establishment types.

At the top the Establishment God has the BOOK that we're to go by; go by the book, and only good things will happen.
"God is in his Heaven, and all's right with the world." (Browning).

But between the righteous God and the righteous Job and family something strange is happening: look at that strange figure below God, arms and legs spread widely (in violent motion); he's enveloped in fire.

"Hast thou considered my servant Job" inscribed above the picture: the words of God. The picture concerns a conversation God had with Satan (on the left hand of God?) about Job. Back in MHH days the devil wasn't so bad (Blake said Milton "was of the devil's party without knowing it" (MHH plate six). for Blake at that time, in contrast to the passive, Elected, Satan represented the satisfaction of Desire; he represented Revolution: anathema for the Established, longed for by the poor and needy.

Some people's identity rests on the opinion of others; without reflection, they're called outer directed. But the ability to reflect on yourself is required in order to become an individual, and through the 'dark night of the soul' Job will come to see the whole bit, not just the persona or ego, but the shadow (Jung's terms).

The O.T. God was certainly not altogether good; according to Job's code when you behave all is well; when you misbehave there's hell to pay.

Through-out the Illustrations Job's (and our) Innocence are sacrificed by Experience, which is obligatory if you are to grow beyond Goody Two Shoes.

So the Devil is commissioned to test us; after he tested Job, he tested Jesus (in the wilderness), and he tests us. Job met the test; Jesus did, and became our Savior; we may and become sons of God. That's Job's message for us today.

Job: Picture 1

2010-06-08T01:51:00.000-07:00

To get an expanded version click on the picture, and then raise font size with the Ctrl +.

To return to the post move back with left arrow.

Picture 1 seems right out of the Bible: we see Job with his family (all musicians) gathered around while he and his wife read from the good book and he prays to them. In the top left the sun sets over the cathedral, a symbol of organized religion (of organzied society, government, commerce, and the whole bit). The sun is not to rise again until the end of this dark night.

Such was Job: "blameless and upright; he feared God and shunned evil."

Click on the picture, and then enlarge your font, and you can read the legend(s), of which there are many:

Above the picture you may find the beginning of the Lord's Prayer suggesting an "innocent trusting attitude toward God", an innocence about to be sacrificed.

Beneath the picture proper you may imagine an altar with four animals (perhaps an ox, two lambs, and a ram), where Job offered the sacrifice for possible sins of his children. (This O.T. idea has a parallel in the gospels, where God sacrificed his Son for our sins.)

Edinger p. 17: "Inscribed on the altar are the words, The Letter Killeth. The Spirit giveth Life, indicating that it is the word and Job's reliance on it which are to be sacrificed."

As a fairly young man Blake wrote The Four Zoas, a voluminous work in Nine Nights. Now at 65 he illustrated the Book of Job with a one composite Night. Both works tell the same story.

The text from Job 1:

" In the land of Uz there lived a man whose name was Job. This man was blameless and upright; he feared God and shunned evil. ² He had seven sons and three daughters, ³ and he owned seven thousand sheep, three thousand camels, five ¹ hundred yoke of oxen and five hundred donkeys, and had a large number of servants. He was the greatest man among all the people of the East."

⁴ His sons used to take turns holding feasts in their homes, and they would invite their three sisters to eat and drink with them. ⁵ When a period of feasting had run its course, Job would send and have them purified. Early in the morning he would sacrifice a burnt offering for each of them, thinking, "Perhaps my children have sinned and cursed God in their hearts." This was Job's regular custom."

Blake's worm

2010-03-12T08:16:00.001-08:00

Blake used the worm as a minor but important symbol in his poetry; you may find 87 occurrences of the word in his Complete Works. He used it to express many different, contrasting or even opposite things. Let's begin with Thel:

Thel, Plate 3, (E 5)
" ...Every thing that lives

Lives not alone nor for itself. Fear not, and I will call

The weak worm from its lowly bed, and thou shalt hear its voice,

Come forth, worm of the silent valley, to thy pensive queen."

The helpless worm arose, and sat upon the Lily's leaf,

And the bright Cloud sail'd on, to find his partner in the vale.

Then Thel astonish'd view'd the Worm upon its dewy bed.

"Art thou a Worm? Image of weakness, art thou but a Worm?

I see thee like an infant wrapped in the Lily's leaf

Ah! weep not, little voice, thou canst not speak, but thou canst weep.

Is this a Worm? I see thee lay helpless and naked, weeping,

And none to answer, none to cherish thee with mother's smiles."

The Clod of Clay heard the Worm's voice and rais'd her pitying head:

She bow'd over the weeping infant, and her life exhal'd

In milky fondness: then on Thel she fix'd her humble eyes.

'O beauty of the vales of Har! we live not for ourselves.' "

Blake has been telling us something about ourselves, our psyche, our community, nation, world.

Another important facet of Blake's worm occurs in the Gates of Paradise: (E 269)

"15. The Door of Death I open found, And the Worm weaving in the ground:
16. Thou'rt my Mother, from the womb; Wife, Sister, Daughter, to the tomb;

Among other ideas this evokes something Jesus said about his mother at Matthew 12:46-50:⁴⁶While he yet talked to the people, behold, his mother and his brethren stood without, desiring to speak with him.⁴⁷Then one said unto him, Behold, thy mother and thy brethren stand without, desiring to speak with thee.
⁴⁸But he answered and said unto him that told him, Who is my mother? and who are my brethren?
⁴⁹And he stretched forth his hand toward his disciples, and said, Behold my mother and my brethren!
⁵⁰For whosoever shall do the will of my Father which is in heaven, the same is my brother, and sister, and mother.

But here we find worm used in a virtually opposite sense,.
Look at Jerusalem Plate 29, (Erdman 175) where the Spectre of Albion pronounces this:

"I am your Rational Power O Albion & that Human Form
You call Divine, is but a Worm seventy inches long
That creeps forth in a night & is dried in the morning sun"

What does the big worm suggest? a purely conventional life, with no imagination or creativity, a kind of man in whom Los and Luvah are simply absent. A man ruled body and soul by the Selfhood.

In Genesis we read that God created Man in his own image, and also that he formed man out of the dust. And following Digby we have two kinds of men: the one represented by Glad Day and the one represented by the worm of 70 inches. But God includes 'Men' and 'worms' as part of the 'whole Creation' that will be redeemed.

FOURFOLD CHART

2010-03-11T11:31:00.001-08:00

Blake had a fourfold vision but the system of fourfold was not exclusive to Blake. Have a look at this chart and see how well Blake's system holds up when comparing it to Greek Mythology and modern Psychology.

Greek Mythology ...Jung............. Blake

Hesperus/Hestia = sensation . = Tharmas/Enion

Apollo/Artemis.... = reason...... = Urizen/Ahania

Ares/Aphrodite... = feeling....... = Luvah/Vala

Hermes/Athena.. = imagination,= Los/Enithrarmon,
...............................intuition......... Urthona

Blake..................... Activity...... Psychology... Psyche

Tharmas/Enion.. = Shepherd . = id............ = unconscious

Urizen/Ahania ... = Plowman... = superego = subconscious

Luvah/Vala .........= Weaver..... = ego..........= conscious

Los/Enithrarmon, = Blacksmith = self...........= collective
Urthona........................................................... unconscious

Level............ Element.. Vision

Ulro........... = Water.. = Single

Generation = Air....... = Twofold

Beulah....... = Fire..... = Threefold

Eden.......... = Earth... = Fourfold

As you can see from the quotations in the previous post about fourfold, Blake has also given each Zoa a sense, a metal, a direction and much more. By using this symbolic language Blake brings forth a rich and diverse pattern of associations which speak to the conscious, subconscious and unconscious levels of our minds.

If you don't think these associations are a good fit, come up with your own system.

Water, Earth, Air, and Fire are shown on pages 4 through 8 of this pdf file of Gates of Paradise.

The Clod of Clay

2010-03-10T01:39:00.001-08:00

Blake's myth posits our pre-existence, like Thel in the pastoral Vale of Har; we all choose material, temporal life. That's why we're here-- for a time! Eventually we will return--whether we will or not.

But like Thel the choice was ours; we chose life; she declined.

Why do those in the 'above' choose mortal life? Who can say? Some do; some don't.

Thel explored the option. She found the end of mortal life fearsome. With a screech she forsook the world and presumably returned to Har.

--------------------------------------
For Blake everything is a man: rocks, clouds, all creatures, the whole Creation"
"Cities are Men....and Rivers & Mountains are also Men; everything is Human, mighty! sublime!" (Jerusalem, Plate 34 [38]; line 46ff; Erdman 180) Also lilies, clouds, worms, a Clod of Clay.

In Thel we meet the Lilly, the Cloud, the Worm, the Clod of Clay. The last one had this to say:

"...on Thel she fix'd her humble eyes;
'O beauty of the vales of Har, we live not for ourselves.
Thou seest me the meanest thing, and so I am indeed:
My bosom of itself is cold, and of itself is dark,
But he that loves the lowly pours his oil upon my head,
And kisses me, and binds his nuptial bands around my breast,
And says: "Thou mother of my children, I have loved thee,
And I have given thee a crown that none can take away."
But how this is, sweet maid, I know not, and I cannot know;
I ponder, and I cannot ponder, yet I live and love.' (Erdman 6)

Such a beautiful passage! the 'Clod of Clay' is the mother of God's children, 'he that loves the lowly'. God promises to redeem the entire Creation. ("the whole Creation groans in travail ......waiting for the Redemption" (Romans 22).
------------------------------------
"Cities are Men, fathers of multitudes, and Rivers & Mount[a]ins Are also Men; every thing is Human, mighty! sublime! (J34.47f; Erdman 180)

And from Milton, Plate 22, 24 line 17ff; (Erdman 117):

"Six Thousand Years Are finishd. I return! both Time & Space obey my will. I in Six Thousand Years walk up and down: for not one Moment Of Time is lost, nor one Event of Space unpermanent. But all remain: every fabric of Six Thousand Years Remains permanent: tho' on the Earth where Satan Fell, and was cut off all things vanish & are seen no more They vanish not from me & mine, we guard them first & last. The generations of men run on in the tide of Time But leave their destind lineaments permanent for ever & ever."

You could construct an elaborate and beautiful cosmology out of that idea:

Jerusalem Plate 99.1; (Erdman 258):

"All Human Forms identified even Tree Metal Earth & Stone. all
Human Forms identified, living going forth & returning wearied
Into the Planetary lives of Years Months Days & Hours reposing And then Awaking into his Bosom in the Life of Immortality."

When we've completely annihilated our Selfhood, our journey is complete:
"When once I did descry the immortal man who cannot die Through evening shades I haste away to close the labors of my day." Gates of Paradise, (E 269)

FOURFOLD VISION

2010-03-09T04:02:00.001-08:00

The way I remember Larry first developing an interest in studying Blake was from a book we borrowed from the Arlington County Public Library. He had been studying Jung and this book on symbols mentioned that Jung's four functions corresponded to Blake's Four Zoas. With his attention directed to Blake, Larry seemed to 'fall in love'. Although at times he has pursued other interests, studying Blake has since been one of the constants in his life.

The book he originally read, I believe to be George Wingfield Digby's, Symbol and Image in William Blake. On page 26-27 Digby writes: "The 'Four Mighty Ones in every Man' (a phrase taken from 'The Four Zoas'), correspond with the four psychological functions as studied in analytical psychology. The correspondence is as follows. Water represents the body, that is the function of Sensation, Blake's 'Tharmas'; Earth stands for the Intuitive function, Blake's 'Los'; Air for the Thinking function, 'Urizen'; Fire for the feeling function, 'Luvah'. These four functions, or principles, or 'Living Creatures', are called by Blake the 'Four Zoas'. Their rivalries, combats, deprivations, and distress constitute a large part of Blake's myths as they unfold in the prophetic books, especially in 'The Four Zoas'. Blake throughout is intent on describing, by means of symbols and images, psychological states and conflicts, and their solution. The understanding of the Four Elements in this symbolic, psychological way is not peculiar to Blake but has a long tradition behind it, both in Western and Eastern thought."

Here is a passage from Jerusalem which presents some of the symbols Blake associated with his Four Zoas.

Jerusalem, Plate 97, (E 256)
"So spake the Vision of Albion & in him so spake in my hearing
The Universal Father. Then Albion stretchd his hand into
Infinitude.
And took his Bow. Fourfold the Vision for bright beaming Urizen
Layd his hand on the South & took a breathing Bow of carved Gold

Luvah his hand stretch'd to the East & bore a Silver Bow bright shining

Tharmas Westward a Bow of Brass pure flaming richly wrought

Urthona Northward in thick storms a Bow of Iron terrible thundering."

On Plate 92 of Jerusalem we find Jerusalem awakening in human form, surrounded by four sleeping heads: the Four Zoas, almost ready for their resurrection to properly functioning parts of the giant Albion.

And from Milton, Plate 1, (E 95):

"Bring me my Bow of burning gold:
Bring me my Arrows of desire:
Bring me my Spear: O clouds unfold!
Bring me my Chariot of fire!"

In a later post I'll chart some the correspondences of Blake's Fourfold Vision and characters in Greek mythology, and correspondences of other aspects of modern psychological categories.

Other posts on fourfold in Blake include these: Fourfold.

Blake's Moment of Grace

2010-03-08T10:04:00.001-08:00

(This subject was also dealt with in Blake's Life.
The mind form'd manacles that he dealt with in various ways suggest that (in his own mind at least) he was largely free of them.)

With the Gnostics Blake believed that the Creator was an inferior (false) God; he had messed up the world pretty good. (You could find many people nowadays who might agree with that idea.):

Vision of The Last Judgment, E565):
"Thinking as I do that the Creator of this World is a very
Cruel Being & being a Worshipper of Christ I cannot help saying the Son O how unlike the Father
First God Almighty comes with a Thump on the Head
Then Jesus Christ comes with a balm to heal it."

Blake put these words in the mouth of Urizen:
"I am God from Eternity to Eternity"

(FZ1-12.23; E307)

( This is a fundamental archetype of Mankind, at least for Blake's culture and for ours.)

A mind form'd manacle indeed, but the one he struggled with for a long time was what he called the main chance. By that I think he meant the need for recognition of his gifts accompanied by an adequate income:
" I myself remember when I thought my pursuits of Art a kind of Criminal Dissipation & neglect of the main chance which I hid my face for not being able to abandon as a Passion which is forbidden by Law & Religion"

He rocked along for twenty years writing jewels and painting masterpieces--both of them rather uniformly ignored by the public; also by other poets and painters.

In 1800 an affluent poet named Hayley offered a house near the sea for Blake and his wife, a real beneficence! He hoped to make a successful artist of Blake painting miniatures; he discouraged Blake's poetry. Blake had already suffered similar attitudes from many, but none had been more beneficent.

We might consider this Blake's last temptation, and he passed it. Note in this letter to Hayley:
"Suddenly, on the day after visiting the Truchsessian Gallery of pictures, I was again enlightened with the light I enjoyed in my youth, and which has for exactly twenty years been closed from me as by a door and by window-shutters.."

The letter reveals that Blake had "annihilated the Selfhood" to the point where he could forgive Hayley for his insensitive insistence that Blake follow his (inferior!!) artistic direction. For Blake it led to the moment of grace, where, his negativities overcome, he could simply appreciate Hayley's hospitality.

Henceforth the 'inferior God' no longer had terrors for Blake; he was too filled with the new God he had found: Jesus, the Forgiveness. He changed from the stern prophet to the happy bearer of good news; he became the ram horn'd with gold.

REVELATIONS

2010-03-07T03:31:00.001-08:00

In the last 20 years of his life, after the completion of Jerusalem, Blake became more of a painter than a poet. He attempted to initiate a project which would have placed murals and tempers in public places and private homes. When this was unsuccessful he turned to creating illustrations for the literature he loved, Milton's Paradise Lost and Paradise Regained, Shakespeare, Dante, Chaucer, Bunyan and the Bible. Blake began "to illustrate other poets' visions so the their readers may more easily understand their archetypal significance." (Fearful Symmetry, by Northrup Frey, Page 415)

This illustration for the Book of Revelation is an example of attention he paid to the text he was illustrating and the freedom he used to clarify the significance by his imaginative presentation.

Revelation or the apocalypse was of particular interest to Blake. The Orc cycle or the Circle of Destiny would end when the new age of the spirit begins. The imagery of the Book of Revelation is frightening and hopeful as would be expected when a new age is being born.

Near the climax of Jerusalem we find these words which relate to the image and words from Revelation:
Jerusalem, Plate 98, (E 257)

"And every Man stood Fourfold, each Four Faces had. One
to the  West
One toward the East One to the South One to the North.
the Horses  Fourfold
And the dim Chaos brightend beneath, above, around! Eyed
as the  Peacock
According to the Human Nerves of Sensation, the Four
Rivers of the Water of Life"

This watercolor represents the vision in the fifth and sixth chapters of the Book of Revelation. Two of the horses of the apocalypse and their riders are represented. Above is the Lamb opening the scroll. The threat of death and destruction is represented in the dark lower half of the picture with Death Riding on a Pale Horse. The hope and promise of the new Jerusalem appears in the Lamb of God surrounded by the light of the sun and the feathers of protection.

Blake's image captures the contrast between the threat and the promise.

Book of Revelations
5:10 They sang a new song and these are the words they sang, "You are worthy to take the scroll, and to open its seals; for you were slain, and have redeemed us to God by your blood out of every tribe and tongue and people and nation, and have made us kings and priests to our God; and we shall reign on the earth."
...
6:1 - Then I watched while the Lamb broke one of the seven seals, and I heard one of the four living creatures say in a voice of thunder, "Come out!"
6:2 - I looked, and before my eyes was a white horse. Its rider carried a bow, and he was given a crown. He rode out conquering and bent on conquest.
6:3 - Then, when the Lamb broke the second seal, I heard the second living creature, cry, "Come out!"
6:4 - And another horse came forth, red in colour. Its rider was given power to deprive the earth of peace, so that men should kill each other. A huge sword was put into his hand.
6:5a - When the Lamb broke the third seal, I heard the third living creature say, "Come out!"
6:5b-6 - I looked again and there before my eyes was a black horse. Its rider had a pair of scales in his hand, and I heard a voice which seemed to come from the four living creatures, saying, "A quart of wheat for a shilling, and three quarts of barley for a shilling - but no tampering with the oil or the wine!"
6:7 - Then, when he broke the fourth seal I heard the voice of the fourth living creature cry, "Come out!"
6:8 - Again I looked, and there appeared a horse sickly green in colour. The name of its rider was death, and the grave followed close behind him. A quarter of the earth was put into their power, to kill with the sword, by famine, by violence, and through the wild beasts of the earth.

Blake's Life

2010-03-06T07:40:00.001-08:00

This is the big one! Like most people Blake's life had two halves:
In the first half Blake loved to hate; his hatreds were multiple:

He hated legalisms of every sort:
"When Satan first the black bow bent
And the Moral Law from the Gospel rent
He forg'd the Law into a Sword
And spilled the blood of mercys Lord"
Jerusalem Plate 22, lines 82-5)

He hated Religion (by which he meant false Religion!); he saw hypocrisy in every facet of Religion:
"Let the Priests of the Raven of dawn, no longer in deadly black, with hoarse note curse the sons of joy. Nor his accepted brethren whom, tyrant, he calls free; lay the bound or build the roof. Nor pale religious letchery call that virginity, that wishes but acts not! For every thing that lives is Holy"
(MHH, Plate 27, lines 10-21, Erdman 45)

He hated War with 104 occurrences of the word:

PLATE 25 [27] of Milton (E12)1:

"The Awakener is come. outstretchd over Europe!
the Vision of God is fulfilled
The Ancient Man upon the Rock of Albion Awakes,
He listens to the sounds of War astonishd & ashamed;
He sees his Children mock at Faith and deny Providence"

(E130)
"These are the Gods of the Kingdoms of the Earth: in contrarious
And cruel opposition: Element against Element, opposed in War Not Mental, as the Wars of Eternity, but a Corporeal Strife."

In contrast to the corporeal war of this vale of tears Blake sees the Eternals engaging in War and Hunting, mental, not corporeal.

War and Religion are closely associated in Blake's mind (and in mine!):
(E150)
Cambel & Gwendolen wove webs of war & of
Religion, to involve all Albions sons,
and Jerusalem plate 52 (To the Deists) E200:
"the Religion of Jesus, Forgiveness of Sin, can
never be the cause of a War nor of a single
Martyrdom. Those who Martyr others or who cause War are
Deists, but never can be Forgivers of Sin.
The Glory of Christianity is, To Conquer by
Forgiveness. All the Destruction therefore,
in Christian Europe has arisen from Deism,
which is Natural Religion."

He hated exploitation and oppression of the poor. Study London

He hated materialism:

Vision of the Last Judgment (Erdman 564)

"I assert for My self that I do
not behold the Outward Creation & that to me it
is hindrance & not Action it is as the Dirt
upon my feet No part of Me."

All of Blake's hatreds he lumped together and referred to as the female will, female love and sometimes (unfortunately) just love:

My Shadow (Erdman 476)

"Till I turn from Female Love
And root up the Infernal Grove tI shall never worthy be
To Step into Eternity.........Let us agree to give up Love
And root up the infernal grove Then shall we return & see
The worlds of happy Eternity"

But then came the Moment of Grace, and the second half of life began. At that point forgiveness took the place of hatred:

Annotations to Watson (Erdman 619):
"The Gospel is Forgiveness of Sins & has No Moral Precepts
these belong to Plato & Seneca & Nero"

Blake was talking to God when he said this:

And throughout all Eternity
I forgive you, you forgive me.
As our dear Redeemer said:
This the Wine, and this the Bread.

Brothers, let us drink the wine and eat the bread.

GNOSIS II

2010-03-05T03:55:00.001-08:00

In William Blake's Recreation of Gnostic Myth: Resolving the Apparent Incongruities, Sorensen devotes a chapter to gnostic redemption - fitting Blake's spiritual biography in the pattern of Redemption as a gnostic process which involves 'letting go of worldly conceit' and 'the exalting reunion with the divine.'

Quotes from Sorensen:

"There is little doubt that Blake had intuited as early as 1788 the essential nature of gnostic redemption, in which mankind, through gnosis becomes one with God. There Is No Natural Religion [b] declares," He who sees the Infinite in all things sees God....Therefore God becomes as we are, that we may become as he is."...Blake for many years diligently searched outside himself for this revelation. His wide, if eclectic, reading, his attraction to Swedenborg's works, and his hopes for political revolution all point toward the hope of pure revelation even in the chaos of a fallen material world. Blake's disappointment with the systems of the world around him is abundantly clear in the 1790's, but he never stopped hoping for some solution.

"Blake's letter of 23 October 1804 to William Haley specifies exactly what had troubled Blake and what caused Blake's own gnostic 'redemption.' There are two important aspects to this redemption; first, Blake lets go of his former enmity with Haley, under whose patronage Blake had felt so oppressed toward the end of his stay at Felpham. Blake expresses 'pleasure' and 'longing' in the letter to associate with Haley, who was not even remotely on the same spiritual plane as Blake (which fact caused enmity in the first instance). This self-annihilation on Blake's part constitutes the gnostic's final 'letting go' of worldly conceit.

"The second part of the redemption is the exalting reunification with the divine. After visiting an art gallery, Blake becomes 'enlightened', and he refers to the experience as his 'restoration to the light of Art'.

Blake's experience is reported in this Letter To William Hayley, 23 October 1804, (E 756):
..."Suddenly, on the day after visiting the Truchsessian Gallery of pictures, I was again enlightened with the light I enjoyed in my youth, and which has for exactly twenty years been closed from me as by a door and by window-shutters. Consequently I can, with confidence, promise you ocular demonstration of my altered state on the plates I am now engraving after Romney, whose spiritual aid has not a little conduced to my restoration to the light of Art. O the distress I have undergone, and my poor wife with me. Incessantly labouring and incessantly spoiling what I had done well. Every one of my friends was astonished at my faults, and could not assign a reason; they knew my industry and abstinence from every pleasure for the sake of study, and yet--and yet--and yet there wanted the proofs of industry in my works. I thank God with entire confidence that it shall be so no longer--he is become my servant who domineered over me, he is even as a brother who was my enemy. Dear Sir, excuse my enthusiasm or rather madness, for I am really drunk with intellectual vision whenever I take a pencil or graver into my hand, even as I used to be in my youth, and as I have not been for twenty dark, but very profitable years. I thank God that I courageously pursued my course through darkness."

Returning to Sorenson:
"This instance of highly personalized , individual revelation is a hallmark of Christian gnosticism, in which each gnostic adept must personally encounter divine vision; the contemplation or rational study of canonized scripture and submission to ecclesiastical authority are insufficient, according to gnostic scribes, to reveal the true divine cosmology.
...
"This assurance, that poetic genius indeed creates reality, and that gnosis is the recognition of a reality more real than material existence, came to Blake full by 1804, and he could confidently reveal in his poetry and later in his painting the gnostic redemption of mankind, knowing that his word as poet was the harbinger of that redemption. The artist's poetic works and paintings became his spiritual offspring, and Blake (a man) became a member of the divine family, even as his earliest tractates declared."

The book attempts to open one's eyes to the many ways in which Blake exhibits gnostic thought forms in his life and work. It is a short book in scholarly form. It is an individual way of studying Blake, just as the the methods used by Frey, Erdman, Raine, Damon and each author are their individual ways. Although Sorensen has taken an unusual approach for scholarship by not looking for direct influence but for synchronistic, acausal congruence, it is the type of thinking Blake himself did.

An Angel Striding among the Stars

Blake's Patriotism

2010-03-03T23:14:00.001-08:00

That word means different things to different people. For some it means affirmation for every aspect of the tribe or nation and derogation to every aspect of other tribes or nations. We are the greatest in every respect, and all foreigners are inferior. Above all we can never trust a (treacherous) foreigner.

Blake's patriotism is of a different sort. He loved his country and wanted and hoped for the best for his country, and deplored the worst of it-- like the slave trade, the imperial wars, the fantastic wealth and abject poverty which fed off one another, the 'mind-forg'd manacles'.

He loved America; it represented in his mind the freedom for which he longed for his country. He's said to have been present at the Newgate riots in which "many were avowedly pro-American independence".

Those of the Establishment would no doubt have considered this the opposite of patriotism; for some of us not so .

The French Revolution came along in the nineties, and Blake wore a red cap; but when the guillotine became part of it, Blake took off his red cap. In the thirties political revolution no longer had a positive value for Blake.

"But vain the Sword & vain the Bow
They never can work Wars overthrow
The Hermits Prayer & the Widows tear
Alone can free the World from fear
For a Tear is an Intellectual Thing
And a Sigh is the Sword of an Angel King
And the bitter groan of the Martyrs woe
Is an Arrow from the Almighties Bow
The hand of Vengeance found the Bed
To which the Purple Tyrant fled
The iron hand crushd the Tyrants head
And became a Tyrant in his stead"
(From The Grey Monk)

GNOSIS

2010-03-03T10:59:00.001-08:00

For centuries the Gnostic movement of the early Christian era was primarily known by critical statements written by those who were trying to eradicate it. In the twentieth century the reappearance of a group of Gnostic writings, which came to be known as theNag Hammadi documents, have allowed us to learn directly what gnostics wrote and practiced.

Peter Sorensen has written a book entitled William Blake's Recreation of Gnostic Myth: Resolving the Apparent Incongruities, in which he "compare[s] Blake's work directly with the Nag Hammadi codices, discovered long after Blake's death." He believes that the new insights on Gnosticism, developed from the Nag Hammadi material can reveal insights into the patterns of gnostic thought in Blake's work.

Sorensen states: "I wish, then to use the Nag Hammadi codices as a touchstone to test the extent and specific features of Blake' gnosticism. Although I will mention again sources from Blake's own time that might have influenced him, I wish to insist that Blake was a gnostic, rather than merely a student of gnosticism." (Page 14)

In The Gnostic Gospels, Elaine Pagels says of the gnostics: "These Christians are now called gnostics, from the Greek word gnosis, usually translated as "knowledge". For those who claim to know nothing about ultimate reality are called agnostic (literally, "not knowing"), the person who claims to know such things is called gnostic ("knowing")...As the gnostics use the term, we could translate it as "insight," for gnosis involves an intuitive process of knowing oneself. And to know oneself, they claimed, is to know human nature and human destiny...Yet to know oneself, at the deepest level, is simultaneously to know God; this is the secret of gnosis."

The gnostic literature which would have been available for Blake to study would have been limited. Sorensen proposes that Blake would have found " 'confirmation' of his gnostic vision in the works [he has] cited, rather than to say that a genuinely gnostic vision can grow out of secondary reading alone."

I think Sorensen is projecting the idea that Blake's circumstances as well as his visions may have disposed him to think like the early Christian era gnostics. The sociological factors present for Blake which he may have shared with the gnostics would have included intellectual isolation, anxiety about possible persecution, and observing destructive conditions in his society. Psychologically, archetypes which structure thought universally and can be recognized by whoever is tuned to their presence, can link Blake with the gnostics. Additionally we can conjecture that Blake and the early gnostics with their inward looking mindsets, and focus on cosmological issues may have processed some of their insights using the same images.

As an example of the parallels which Sorensen sees between the gnostic myth and Blake's myth are Sophia and Vala, two females trapped in materiality. The difficulty both have in extracting themselves from materiality is represented in this passage from:
Four Zoas, Page 126 (E 395)

"Come forth O Vala from the grass & from the silent Dew
Rise from the dews of death for the Eternal Man is Risen

She rises among flowers & looks toward the Eastern clearness
She walks yea runs her feet are wingd on the tops of the bending grass
Her garments rejoice in the vocal wind & her hair glistens with dew
She answerd thus Whose voice is this in the voice of the nourishing air
In the spirit of the morning awaking the Soul from its grassy bed

Where dost thou dwell for it is thee I seek & but for thee
I must have slept Eternally nor have felt the dew of thy morning
Look how the opening dawn advances with vocal harmony
Look how the beams foreshew the rising of some glorious power
The sun is thine he goeth forth in his majestic brightness
O thou creating voice that callest & who shall answer thee

Where dost thou flee O fair one where dost thou seek thy happy place

To yonder brightness there I haste for sure I came from thence
Or I must have slept eternally nor have felt the dew of morning

Eternally thou must have slept nor have felt the morning dew
But for yon nourishing sun tis that by which thou art arisen
The birds adore the sun the beasts rise up & play in his beams
And every flower & every leaf rejoices in his light
Then O thou fair one sit thee down for thou art as the grass
Thou risest in the dew of morning & at night art folded up

Alas am I but as a flower then will I sit me down
Then will I weep then Ill complain & sigh for immortality
And chide my maker thee O Sun that raisedst me to fall

So saying she sat down & wept beneath the apple trees"

Sorensen concludes, "the awakening here is to knowledge"; but the transition is difficult.

Caught in Materiality , Jerusalem Plate 57

Blake's Patriotism

2010-03-03T08:48:00.000-08:00

That word means different things to different people. For some it means affirmation for every aspect of the tribe or nation and derogation to every aspect of other tribes or nations. We are the greatest in every respect, and all foreigners are inferior. Above all we can never trust a (treacherous) foreigner.

Blake's patriotism is of a different sort. He loved his country and wanted and hoped for the best for his country, and deplored the worst of it-- like the slave trade, the imperial wars, the fantastic wealth and abject poverty which fed off one another, the 'mind-forg'd manacles'.

He loved America; it represented in his mind the freedom which he longed for for his country. He's said to have been present at the Newgate riots in which "many were avowedly pro-American independence".

Those of the Establishment would no doubt have considered this the opposite of patriotism; for some of us not so .

The French Revolution came along in the nineties, and Blake wore a red cap; but when the guillotine became part of it, Blake took off his red cap. In the thirties political revolution no longer had a positive value for Blake.

"But vain the Sword & vain the Bow
They never can work Wars overthrow
The Hermits Prayer & the Widows tear
Alone can free the World from fear
For a Tear is an Intellectual Thing
And a Sigh is the Sword of an Angel King
And the bitter groan of the Martyrs woe
Is an Arrow from the Almighties Bow
The hand of Vengeance found the Bed
To which the Purple Tyrant fled
The iron hand crushd the Tyrants head
And became a Tyrant in his stead"
(From The Grey Monk)

Blake's God

2010-03-02T10:35:00.000-08:00

In early years Blake was exposed to Swedenborg and to the Moravians.

In The Marriage of Heaven and Hell he gave a definitive opinion of the presence of churches (on Plate 11):

The ancient Poets animated all sensible objects with Gods or Geniuses, calling them by the names and adorning them with the properties of woods, rivers, mountains, lakes, cities, nations, and whatever their enlarged & numerous senses could percieve.
And particularly they studied the genius of each city & country, placing it under its mental deity.
Till a system was formed, which some took advantage of & enslav'd the vulgar by attempting to realize or abstract the mental deities from their objects; thus began Priesthood.

Choosing forms of worship from poetic tales.
And a length they pronounc'd that the Gods had order'd such things.
Thus men forgot that All deities reside in the human breast.

Re that system he had this to say:

" I must Create a System, or be enslav'd by another Mans
(Jerusalem 10.20; Erdman 153)

Many people think that Blake was an atheist. Not so! He was a God-intoxicated man. Frye called him a Bible soaked Protestant. Blake cared enough about God to spend his life thinking about God and Man.

The Bible myth has God creating Man; Following Gnosticism Blake had Something less than God as the Creator. The Divine Man lived in Eternity and sometimes lapsed into Materiality. He rested in Beulah and fell from there into Ulro-- dividing into the Four Zoas.

Blake's God

2010-03-02T05:25:00.001-08:00

Choosing forms of worship from poetic tales.
And a length they pronounc'd that the Gods had order'd such things.
Thus men forgot that All deities reside in the human breast.

Re that system he had this to say:

" I must Create a System, or be enslav'd by another Mans
(Jerusalem 10.20; Erdman 153)

GOUGED

2010-03-01T11:19:00.001-08:00

I haven't found any definitive information on what caused Blake such anguish that he gouged out the words of love and friendship, and the Greek quotation from Matthew 28 on the engraved copper Plate 3 of Jerusalem. Although it is obvious when looking at the plate that lines have been aggressively removed, there isn't much mention of it. Erdman reconstructed the lines and the are included in The Complete Poetry and Prose of William Blake edited by David V. Erdman. Deletions are seen below in italics.

Jerusalem, Plate 3, (E 145)
"SHEEP....................................................... GOATS

To the Public
After my three years slumber on the banks of the Ocean, I
again display my Giant forms to the Public: My former Giants &
Fairies having reciev'd the highest reward possible: the
[love] and [friendship] of those with whom to
be connected, is to be [blessed]: I cannot doubt that
this more consolidated & extended Work, will be as kindly
recieved
The Enthusiasm of the following Poem, the Author hopes
[no Reader will think presumptuousness or arroganc[e] when he
is reminded that the Ancients acknowledge their love to their
Deities, to the full as Enthusiastically as I have who
Acknowledge mine for my Saviour and Lord, for they were wholly
absorb'd in their Gods.] I also hope the Reader will
be with me, wholly One in Jesus our Lord, who is the God [of
Fire] and Lord [of Love] to whom the Ancients
look'd and saw his day afar off, with trembling & amazement.
The Spirit of Jesus is continual forgiveness of Sin: he who
waits to be righteous before he enters into the Saviours kingdom,
the Divine Body; will never enter there. I am perhaps the most
sinful of men! I pretend not to holiness! yet I pretend to love,
to see, to converse with daily, as man with man, & the more to
have an interest in the Friend of Sinners. Therefore
[Dear] Reader, [forgive] what you do not
approve, & [love] me for this energetic exertion of my
talent.

Reader! [lover] of books! [lover] of
heaven,
And of that God from whom [all books are given,]
Who in mysterious Sinais awful cave
To Man the wond'rous art of writing gave,
Again he speaks in thunder and in fire!
Thunder of Thought, & flames of fierce desire:
Even from the depths of Hell his voice I hear,
Within the unfathomd caverns of my Ear.
Therefore I print; nor vain my types shall be:
Heaven, Earth & Hell, henceforth shall live in harmony

Of the Measure, in which
the following Poem is written

We who dwell on Earth can do nothing of ourselves, every
thing is conducted by Spirits, no less than Digestion or Sleep."
[to Note the last words of Jesus, E*do*O*n *mo*i
p*a*s*a *e*zo*u*s*i*a *e*n o*u*r*a*n*o k*a*i *e*p*i *g*e*s]
[(Matthew 28.18, the first words of Jesus' final address to his disciples: "All power is given unto me in heaven and in earth").]

The missing lines came to my attention when I came across this article about the anguish artists experience in conjunction with producing their work and the reception of it. It is a powerful statement from the heart.

Jerusalem Blake
.

TIME / ETERNITY

2010-03-01T07:26:00.001-08:00

Larry recently posted a blog concerning the Created Good and the Creative Event. This is a follow-up on the concept of the Created Good presented in Weiman's book.

Quotes from The Source of Human Good, By Henry Nelson Wieman:

"The mere passing through the mind of innumerable meanings is not the creative event. These newly communicated meanings must be integrated with meanings previously acquired or natively developed if the creative event is to occur. This integrating is largely subconscious, unplanned and uncontrolled by the individual, save only as he may provide conditions favorable to its occurrence." Page 59

"The creative event is one that brings forth in the human mind, in society and history, and in the appreciable world a new structure of interrelatedness, whereby events are discriminated and related in a manner not before possible. It is a structure whereby some events derive from other events, through meaningful connection with them, an abundance of quality that events could not have had without this new creation." Page 65

Milton, Plate 28 [30], (E 125)
"But others of the Sons of Los build Moments & Minutes & Hours
And Days & Months & Years & Ages & Periods; wondrous buildings
And every Moment has a Couch of gold for soft repose,
(A Moment equals a pulsation of the artery) ,
And between every two Moments stands a Daughter of Beulah
To feed the Sleepers on their Couches with maternal care.
And every Minute has an azure Tent with silken Veils.
And every Hour has a bright golden Gate carved with skill.
And every Day & Night, has Walls of brass & Gates of adamant,
Shining like precious stones & ornamented with appropriate signs:
And every Month, a silver paved Terrace builded high:
And every Year, invulnerable Barriers with high Towers.
And every Age is Moated deep with Bridges of silver & gold.
And every Seven Ages is Incircled with a Flaming Fire.
Now Seven Ages is amounting to Two Hundred Years
Each has its Guard. each Moment Minute Hour Day Month & Year.
All are the work of Fairy hands of the Four Elements
The Guard are Angels of Providence on duty evermore
Every Time less than a pulsation of the artery
Is equal in its period & value to Six Thousand Years.
PLATE 29 [31]
For in this Period the Poets Work is Done: and all the Great
Events of Time start forth & are concievd in such a Period
Within a Moment: a Pulsation of the Artery."

This is the creative event, Eternity exploding into time's framework.

James Rieger in Sublime Allegory, Page 272, in trying to explain Los' work, has this to say:
"Narrative time is a mere device in Milton and Jerusalem, a sequential representation of two eternal moments that by definition lack extension. Nevertheless, Frye correctly regards one as Resurrection and the other as the Last Judgment, corresponding to the first and second coming of Jesus. Each is its own split-second but one follows the other."

Not the created good but the creative event! Recurring whenever Eternity breaks into time!

BLAKE & TRADITION

2010-02-28T03:34:00.001-08:00

This video of Kathleen Raine, a renowned Blake scholar, talking about Blake can be viewed on youtube. Seen in the video along with Raine is the actor who played Blake in the production about Thomas Paine and William Blake. The actor is Mark Rylance who is known for being the Artistic Director of the Globe Theater.

Video - 'God is the Imagination'

Seeing Kathleen reminds me of how Larry first discovered Kathleen Raine's Blake and Tradition when he was in the sitting room of the National Gallery in Washington DC waiting for me to finish looking at pictures. The Melons were instrumental in envisioning and financing the museum and also sponsored the publication of Raine's book. So that may explain why the book was available there. After that we would sometimes go to the National Gallery just so Larry could read the book, since our local Arlington library didn't have a copy. One cold and rainy Saturday morning we went to the museum but were disappointed - the sitting room was overflowing with anti-war protesters who were looking for a warm spot to dry their clothes and feed their babies. A friend who had a friend who had borrowing privileges at the Library of Congress, borrowed the book for us so that Larry could get a longer look at it.

Read Kathleen Raine's book online.

Of this Title Page of Jerusalem, Raine says: "The soul is depicted under the classical emblem of Psyche, the butterfly. The natural universe of sun, moon, and stars is represented as 'dust on the Fly's wing' of the soul, with whose life they live. The figure at the top of the plate is, following another traditional emblem, bee-winged."

IMAGINATION

2010-02-26T18:55:00.001-08:00

Songs of Innocence and Experience, Nurse's Song (E 15)

"When the voices of children are heard on the green
And laughing is heard on the hill,
My heart is at rest within my breast
And every thing else is still

Then come home my children, the sun is gone down
And the dews of night arise
Come come leave off play, and let us away
Till the morning appears in the skies

No no let us play, for it is yet day
And we cannot go to sleep
Besides in the sky, the little birds fly
And the hills are all coverd with sheep

Well well go & play till the light fades away
And then go home to bed
The little ones leaped & shouted & laugh'd
And all the hills ecchoed"

Here is a simple poem about playing children. But there is more than that. It is about the life of the imagination which to Blake is not a state but existence itself. We get a clue in the first verse: 'My heart is at rest within my breast, And every thing else is still.' This is the moment Blake speaks about in Milton:

PLATE 29 [31] (E 127)
For in this Period the Poets Work is Done: and all the Great
Events of Time start forth & are concievd in such a Period
Within a Moment: a Pulsation of the Artery.

Blake calls the Human Imagination the 'Divine Vision & Fruition In which Man liveth eternally.'

Imagination in children needs to recognized and cultivated, allowed expression in play and dreaming and creating. But the imagination is not outgrown. We shouldn't put our imaginations to sleep when we put away childish things. The world may try to take away our playfulness and creativity but we don't have to let it.

Romans12:2
"Don't let the world around you squeeze you into its own mould, but let God re-mould your minds from within, so that you may prove in practice that the plan of God for you is good, meets all his demands and moves towards the goal of true maturity."

Jerusalem, Plate 77 (E 231)

"I know of no other
Christianity and of no other Gospel than the liberty both of body
& mind to exercise the Divine Arts of Imagination.
Imagination the real & eternal World of which this Vegetable
Universe is but a faint shadow & in which we shall live in our
Eternal or Imaginative Bodies, when these Vegetable Mortal Bodies
are no more."

RECREATED

2010-02-26T06:02:00.001-08:00

Blake's Sublime Allegory continues to be a fertile source for gaining understanding of Blake message. This is from the chapter, Blake's Radical Comedy, by W.J.T. Mitchell, page 305.

"The second thing we ought to notice is that the courage required for self-annihilation is not in itself sufficient to redeem either the self or the world. Milton's act would remain within the fruitless cycle of creation and destruction which continues to trap the male imagination, even after his descent, if it were not for Ololon's response, her renewal to life to balance his descent to death. Ololon's final transformation into an ark and a dove, the bearer and messenger of life amidst the annihilating flood, occurs when she casts off her false femininity. Her seeking out Milton reverses the traditional passive role of the virtuous heroine in epic and romance, but she does not escape this role by becoming a female warrior, a woman in the armor of a man. "A Female hidden in a Male, Religion hidden in War" (40:20). On the contrary, she sees that the stereotypes ruling the behavior of both sexes are the basis for the vicious cycle which entraps the best efforts of Milton and the sons of Los, and that these roles must be annihilated and recreated as human relationships before the cycle can be broken and transformed into the fruitful, liberating dialectic of contraries."

In this short passage and the pages surrounding it, we get help in understanding many of Blake's concepts.

1)First that annihilation is not the total solution for redemption. Annihilation is the 'bottom', the point where regeneration can begin in the individual and society.

2)The relationship of the male and female, the active and the receptive, are necessary ingredients in breaking the cyclical pattern called the Orc cycle (construction and destruction repeating itself.)

3)The female's role is not adopting the male's attitude of making the opposite sex into a 'commodity', but relinquishing the female attitude of jealousy of the males role as initiator.

4)The contribution of the female is to be the carrier of life and hope through which male and female can regenerate a relationship based on Human (unified), attitudes rather than Sexual (divided), attitudes.

5)Contraries are redeemed when the Negative of seeing them as being opposed to one another rather complementing one another, is annihilated.

Milton, Plate 35 [39], (E 135)
"O how the Starry Eight rejoic'd to see Ololon descended!
And now that a wide road was open to Eternity,"

Plate 40 [46] (E 142)
"But turning toward Ololon in terrible majesty Milton
Replied. Obey thou the Words of the Inspired Man
All that can be annihilated must be annihilated

That the Children of Jerusalem may be saved from slavery
There is a Negation, & there is a Contrary
The Negation must be destroyd to redeem the Contraries
The Negation is the Spectre; the Reasoning Power in Man
This is a false Body: an Incrustation over my Immortal
Spirit; a Selfhood, which must be put off & annihilated alway
To cleanse the Face of my Spirit by Self-examination.

PLATE 41 [48]
To bathe in the Waters of Life; to wash off the Not Human
I come in Self-annihilation & the grandeur of Inspiration
To cast off Rational Demonstration by Faith in the Saviour
To cast off the rotten rags of Memory by Inspiration
To cast off Bacon, Locke & Newton from Albions covering
To take off his filthy garments, & clothe him with Imagination
To cast aside from Poetry, all that is not Inspiration
Then trembled the Virgin Ololon & replyd in clouds of despair

Is this our Femin[in]e Portion the Six-fold Miltonic Female
Terribly this Portion trembles before thee O awful Man
Altho' our Human Power can sustain the severe contentions
Of Friendship, our Sexual cannot: but flies into the Ulro.
Hence arose all our terrors in Eternity! & now remembrance
Returns upon us! are we Contraries O Milton, Thou & I
O Immortal! how were we led to War the Wars of Death
Is this the Void Outside of Existence, which if enterd into

PLATE 42 [49]
Becomes a Womb? & is this the Death Couch of Albion
Thou goest to Eternal Death & all must go with thee

So saying, the Virgin divided Six-fold & with a shriek
Dolorous that ran thro all Creation a Double Six-fold Wonder!
Away from Ololon she divided & fled into the depths
Of Miltons Shadow as a Dove upon the stormy Sea.

Then as a Moony Ark Ololon descended to Felphams Vale
In clouds of blood, in streams of gore, with dreadful thunderings
Into the Fires of Intellect that rejoic'd in Felphams Vale
Around the Starry Eight: with one accord the Starry Eight became
One Man Jesus the Saviour. wonderful! round his limbs
The Clouds of Ololon folded as a Garment dipped in blood
Written within & without in woven letters: & the Writing
Is the Divine Revelation in the Litteral expression:
A Garment of War, I heard it namd the Woof of Six Thousand Years"

Jesus the Savior

THEL II

2010-02-25T09:20:00.001-08:00

Blake's pictures in The Book of Thel supplement the ideas he presents in the text. In this copy of the Book of Thel from the Library of Congress, Rare Books Collection, we can read the text and view the pictures together as they were meant to be understood.

Book of Thel

First you may notice that although Blake talks of clouds, lilies, worms and clods he pictures human beings. This reinforces the idea that he is not talking about nature in general or specific parts of it, but about humans and aspects of the psyche. So the answers given by the lily and her associates are our answers, the way we explain the puzzling inconsistencies of our experience to ourselves. We may open or close ourselves to Blake's reasonings, or we may try them on for size before searching elsewhere.

On the title page we notice that Thel, the shepherdess is the observer not the participant. The sexual imagery which many people notice in Thel is apparent in the male and female soaring images on this page. Erdman (The Illuminated Blake) says 'these lovers are the human form of the Dew and the Cloud'. The flowers on this page are not the lilies of the poetry but the pasqueflower 'said to require the wind to open the petals' for fertilization.

The images surrounding the word Thel at the top of the page 3 bring to mind the four Zoas although the characters remain to be fully developed as Blake continues to write. You may recognize the soaring lady with the flying infant from the Preludium to the First Book of Urizen - it is not Urizen but a tie to his book. The man in the sky reaching for the eagle is a reminder of Los who like the eagle can represent imagination. To the right carrying shield and flaming sword is the Zoa of emotions, Luvah, who for the first time is mentioned in this poem. Reclining on the seedpod of grain is a figure in a position reminiscent of the 'renovated man' who appears above the man entering death's door in the engraving for Blair's The Grave. The picture for The Grave and the appearance of Tharmas as man's body will be later inventions but the fourfold split is already present.

Plate 4 shows Thel looking very much like the Lilly with whom she converses. Plate 5 is all text. On Plate 6 which concerns the worm, we see an image of an infant on the ground and the matron clod soaring in the air as she discusses with Thel how 'we live not for ourselves.' Thel demonstrates her astonishment. In plate 7 Thel, the observer as usual, watches the mother and child, clod and worm, as they play together. Children happily ride the serpent as the poem ends with
plate 8.

If this poem is seen to address the issues which specifically face women, those of being expected to be gentle and receptive rather than assertive and active, we may contrast it to the poem "how sweet I roamed". The latter poem represents the adolescent beginning to be aware of opportunities and abilities and facing society's limitations on the expanding possibilities. In the poem Thel, the young woman seems to be offered limited possibilities to begin with: humility and service, basking in another's attention, not reasoning, and living for others instead of for herself. This may be what Thel rejects: accepting a subservient role in a household or in a society that undervalues women. Was Blake commenting on the role of women as well as the human condition of being born into the material world?

The poem does not specifically mention the world of Generation, but the images present Generation as the world to which Thel is invited. The rejection of the feminine role or the fear of sexuality may be impediments to Thel's accepting the opportunity to enter the material world. Read the words, read the pictures, read in the context of Blake's work, read according to your own light.

Thel I

The Spectre

2010-02-24T04:41:00.001-08:00

In the cold early pre-dawn, sitting beside the fire, full of joy at all life's goodness I wished that I could "annihilate my Selfhood"; then came this Vision straight from Our Heavenly Father:

Like all Blake's metaphors the Spectre has many names:

THE SELFHOOD: you'll find the word 3 times in Milton, Plate 14/15 , but the best statement is at:
Jerusalem, Plate 5
"Trembling I sit day and night, my friends are astonish'd at me. Yet they forgive my wanderings, I rest not from my great task! To open the Eternal Worlds, to open the immortal Eyes Of Man inwards into the Worlds of Thought: into Eternity Ever expanding in the Bosom of God, the Human Imagination, O

Saviour pour upon me thy Spirit of meekness &love:
Annihilate the Selfhood in me, be thou all
my life!"

THE SERPENT: In this picture we see the serpent as the tempter, wrapped around the 'human' form; he might be called Lucifer.

SATAN pervades Blake's works where it occurs 250 times. Here are a few:

In MHH Plate 5 we have the ironic viewpoint of a young Blake. Thereafter his use of Satan varies remarkably through the rest of Blake's works.

The Four Zoas [Nt 4], 56. 19-22 Erdman 338:
"And first he found the Limit of Opacity & namd it Satan
In Albions bosom for in every human bosom these limits stand
And next he found the Limit of Contraction & namd it Adam
While yet those beings were not born nor knew of good or Evil"

We can only puzzle about this one (for a post in the future).

FZ8-113[1st].1-3; E376:
" We behold with wonder Enitharmons Looms & Los's Forges
And the Spindles of Tirzah & Rahab and the Mills of Satan & Beelzeboul
In Golgonooza Los's anvils stand & his Furnaces rage"

We're in Ulro here, and Los's creative work is competing with the nihilistic "Mills of Satan & Beelzeboul" in his (our) attempt to bring about "God's kingdom on Earth" (But it won't happen!)

FZ8-107[115].22-27; E380:
" And this is the manner in which Satan became the Tempter
There is a State namd Satan learn distinct to know O Rahab
The Difference between States & Individuals of those States
The State namd Satan never can be redeemd in all Eternity
But when Luvah in Orc became a Serpent he des[c]ended into
That State calld Satan"

And you will find many other rich indications of the meanings of Satan for Blake.

THE COVERING CHERUB: Plate 37/41:
"The Virgin answerd. Knowest thou of Milton who descended
Driven from Eternity; him I seek! terrified at my Act
In Great Eternity which thou knowest! I come him to seek
So Ololon utterd in words distinct the anxious thought
Mild was the voice, but more distinct than any earthly
That Miltons Shadow heard & condensing all his Fibres
Into a strength impregnable of majesty & beauty infinite
I saw he was the Covering Cherub & within him Satan
And Raha[b]"

There are many others:

THE MATERIALIST:
All Satan has to do is to keep our minds fixed on materiality and off of anything else.

What it boils down to is that all of these things are in you and in me, and in our community, in our world as well.

on Erdman's Plate 41 of Jerusalem:

"Every man is in his Spectre's power
Until the arrival of that hour
When his Humanity awake
And cast his Spectre into the Lake."
(The mirror image of this appears in the picture.)

THEL I

2010-02-23T03:49:00.001-08:00

Songs of Innocence and Experience, Song 9, (E 9)

Little Black Boy
"And we are put on earth a little space,
That we may learn to bear the beams of love,"

Title page Book of Thel
Book of Thel

In Thel we have the story of a young woman uncertain about her future, considering several possibilities and retreating to the safety of the status quo. Thel is not in this world nor in the Eternal world. She resides in a potential state, incomplete, embryonic - the seed of possibility.

She consults with the lily, the cloud, the clod and the worm seeking to learn their roles in existence. Each feels fulfilled in a limited but purposeful role. Thel has already awoken to herself as a transient illusory entity so the answers of the others are not hers. Thel passes through the northern gate and observes the generated world. Seeing her open grave she questions the conditions which define mortal life and withdraws in horror. She refuses to enter the world of Generation.

A persistent theme in Blake's poetry is that the path to Eternity goes through materiality and mortality. As stated in Little Black Boy, we must 'learn to bear the beams of love.' Thel's refusal was to that option.

We who have been born into materiality are asked to perform tasks also. Just as Thel goes through experiences which lead to her opportunity to make a choice of going on or going back, so are we offered options. Progress for us is to move in the direction of Eternity, disregarding materiality. Turning back is always Death; Life is moving on. The Eternal, Spiritual world looks like Death to those who have not developed the ability to perceive the infinite. Thel's crisis of seeing a threatening world and refusing to enter is metaphoric of our fearing to turn loose of our investment in the physical world for the promise of Eternity.

Near the end of The Four Zoas, Blake returns to the worm, flowers, clay, the veil and seed and weaves them together to generate the 'New born Man'.

You may read this Passage from The Four Zoas in our post the Web of Life.

Three Classes of Men II

2010-02-21T23:10:00.001-08:00

From Milton, Plate 25, (E 121):
"The Elect is one Class: You Shall bind them separate: they cannot Believe in Eternal Life Except by Miracle & a New Birth. The other two Classes;
The Reprobate who never cease to Believe, and the Redeemed, Who live in doubts & fears, perpetually tormented by the Elect".

Blake in his characteristic way, uses familiar words in unfamiliar ways. He takes three words from religion: Elect, Redeemed and Reprobate, and redefines them to make us reconsider how God relates to man and how man's psyche functions.

The Elect whom we think of as the chosen who have won God's approval become those who
"cannot Believe in Eternal Life
Except by Miracle & a New Birth".

The Reprobate whom we think of as failures and outcasts become those "who never cease to Believe."

The Redeemed whom we think of as knowing that they have been forgiven for their sins become those "Who live in doubts & fears perpetually tormented by the Elect."

From Ellie:
"When I try to connect the Three Classes of Men with aspects of the psyche, this is what I see.

The Elect wants to preserve the status quo. The Elect can be equated with the Ego which has charge of the personality, negotiating among the Id, the Superego and the reality principle. The Ego is the boss and decides how to express the personality. (The self-appointed Top Dog.)

The Reprobate are the outsiders, the aspects of the personality which are unrecognized or unacceptable. The Reprobate is parallel to the Shadow in Jung which contains whatever the Ego has rejected and denies expression to. The Shadow contains undiscovered but valuable material.

The expanding or awakening consciousness which is the true human, sometimes referred to as the Identity by Blake, or the Self by Jung, is the Redeemed. The Self connects the Ego, the Shadow and the collective unconscious. The Identity connects Albion, the wholeness of the individual, with Eternal wholeness. The process of developing the Self or the Identity is a long struggle of gradually bringing to light hidden material and realigning internal and external relationships.

The psychological approach to studying Blake asks us to look within for congruence between Blake's ideas and the dynamics of our psyches. Blake's myths and images can reveal to us aspects of ourselves; our self-understanding can enrich our reading of Blake."
-----------------------------------------------------
From Larry:
Here's the earlier post:
In MHH we met two classes: angels and devils.
Blake ironically names free spirits as devils and
good dutifull church goers (and other
establishment types) as angels.

Los and his 'emanation', Enitharmon "bore an enormous race" (not only mankind, but every other created thing as well). But in particular Enitharmon's progeny consists of three classes:

From Milton Plate 7 :
The first the Elect from the foundation of the World, symbolized here by Satan.
The second, the Redeem'd, symbolized by Palamabron.
The third, The Reprobate, symbolized by Rintrah.

The Bard's Song begins Blake's description of how
these three classes of men relate.

To Rintrah (the just man) was assigned the plow.

To Palamabron, a kind and gentle boy (not a strong
minded one), was assigned the harrow.

Satan (Selfhood) was assigned to the mills.

Rintrah and Palamabron are contraries; Satan is a
negation.

In the Bard's Song those were the three
assignments of Enitharmon's three sons.

A post could be written about the plow (See Damon
329); the plow of Rintrah might be the heated
words of the prophet that denounces and breaks up
the corrupt establishment. (It might be several
other things as well.)

The harrow follows the plow; for Blake it was a
metaphor for redemptive poetry.

The Mill symbolizes Reason-- conservative, reducing the creative to the commonplace. But it may have been born in Blake's mind from the insidious mills brought about by the Industrial Revolution which impoverished so many people.

Los of course was the father of these three boys,
a farmer-- the World being his field. He had
expressly forbidden Satan from using the harrow.
But Satan wheedled his amicable brother,
Palamabron into letting him use the harrow.

This led to disaster (the kind of disaster we have
all lived under most of our lives).

A simpler (and probably better) explanation of the Bard's Song can be found at The Farrm at Felpham, but you may have to join the Yahoo William Blake group to gain access to it.

All this was part of the tale told by the Bard at
an Eternal gathering. The Bard's Song induced
Milton to forsake heaven and return to the Earth
to correct the errors of his mortal life. Milton's
adventures in the World with Los and Blake is the
subject of Blake's Milton.

There is much more to the Bard's Song, but this
will give you a beginning. Learn the Bard's Song,
and you will find it much easier to enjoy Milton,
the first of Blake's two major works.

EQUALITY

2010-02-21T04:09:00.001-08:00

'voices of children are heard on the green'

I was struck by the following lines in Jerusalem because they reminded me of words I was familiar with in another context.

Jerusalem, Plate 55, (E 204)
"To be their inferiors or superiors we equally abhor;
Superior, none we know: inferior none: all equal share
Divine Benevolence & joy, for the Eternal Man
Walketh among us, calling us his Brothers & his Friends:"

To Quakers, those who belong (a loosely used term not signifying official membership) to the Religious Society of Friends, this has a familiar ring. One of our Testimonies is to Equality. Those of any age, sex, station, race, position, wealth, background, ability or disability: all are recognized as equally valuable to God and equally capable of manifesting His Spirit and responding to the His touch. We aim not to consider anyone superior or inferior, but all equal.

In the passage quoted Blake is speaking of the Eternals. But what he describes is the reality which Blake wants us all to experience - to 'equal share in that Divine Benevolence & joy', to know the 'Eternal Man who walks among us, calling us his Brothers & Friends.'

Quaker Equality Testimony on Page 2

Blake's Bible Interpretation

2010-02-19T23:25:00.001-08:00

Recently I've been studying Revelations with two different groups. Chapter Five came up, with the introduction of the lamb; I focused on a short phrase from verse 8: a golden bowl:

"And when he had taken it, the four living creatures and the twenty-four elders fell down before the Lamb. Each one had a harp and they were holding golden bowls full of incense, which are the prayers of the saints."

Something clicked: what did Blake do with the golden bowl? In the beginning of Thel we read:

Does the Eagle know what is in the pit?
Or wilt thou go ask the Mole:
Can Wisdom be put in a silver rod?
Or Love in a golden bowl?

Pictures from Thel

Early in Thel we're introduced to the Lilly, in fact the Lilly of the Valley, a name for Christ; the Bible also uses the lamb for that purpose, in Rev 5 in fact. So Blake took the lamb and the golden bowl from Rev 5, and used it to set the stage for Thel, one of his earliest lessons for us from the Bible. (Actually "golden bowl" also appears in 1 Chronicles 28:17 and Ecclesiastes 12:6)

Move now down to Blake's first vision of light, and note the identity that God (Christ) gave to him:

Thou ram horn'd with gold. You might say we're still in Rev 5.

(For more on this go here.)

BLAKE & PAINE

2010-02-19T05:01:00.001-08:00

If a picture is worth a thousand words, how many words is an animated picture worth? Available on youTube is a video from a play by Jack Shepherd called In Lambeth. The play shows an encounter between William Blake and Thomas Paine two revolutionaries through writing. The encounter was reported in an early biography of Blake although it has been fictionalized in the video. Perhaps watching the portrayal will expand your understanding of Blake as a human being.

Video of Blake and Paine (The are 5 segments to this video)

Among the things I noticed about the portrayal of Blake was the rapid movement of his psychic state during the span of the action. He went from what seemed like ordinary social consciousness, to an accelerated state, to his visionary experience, to anxiety resulting from the visionary experience, to a rational discussion of politics and potential solutions to philosophical and social problems, and through other states as well. He went from introversion, to extroversion; from rational to emotional; from self centeredness to other centeredness. I think this rapid movement of states derived from what the author of the play had surmised about his personality from the style of his writing. The hyperactivity in his behavior and the constant movement in the poetry reflect a mind that didn't stay still. I like the way author and actor presented a personality for Blake that is consistent with how he wrote.

There was an interesting contrast between Blake and Paine in personality and philosophy. Blake the younger, more emotional and animated was more conservative in his attitude toward starting revolution. Paine was steady and rational but willing to set off the spark without knowing what outcome might ensue. The line about each rarely having someone with whom to talk about the things that interested him, spoke volumes. A big difference between the two men was that Paine spoke to ears which were ready to hear his message, and Blake's message is still waiting for receptive ears.

'to clothe him with Imagination'

The video may have gotten more viewership if the the first part of the play had been included. The first scene is said to have been of Bill and Kate naked in the branches of a tree, reminiscent of figures in in the illuminations and of the occasion when they were said to have been surprised in their garden 'playing Adam and Eve'.

LOSS of LIBERTY

2010-02-17T05:24:00.001-08:00

This is one of the Blake's early poems. It was published in the conventional way in 1783 through the the patronage of a friend. As it turned out Poetical Sketches was Blake's only printed volume, all others he engraved himself.

Poetical Sketches (E 411) SONG

"How sweet I roam'd from field to field,
And tasted all the summer's pride,
'Till I the prince of love beheld,
Who in the sunny beams did glide!

He shew'd me lilies for my hair,
And blushing roses for my brow;
He led me through his gardens far,
Where all his golden pleasures grow,

With sweet May dews my wings were wet,
And Phoebus fir'd my vocal rage;
He caught me in his silken net,
And shut me in his golden cage.

He loves to sit and hear me sing,
Then, laughing, sports and plays with me;
Then stretches out my golden wing,
And mocks my loss of liberty."

This poem is said to have been written before Blake was 14 years old. So it may be seen as a coming-of-age poem. It contains metaphors Blake will depend on throughout his career: 'prince of love', 'lilies,' 'roses,' 'brow,' 'gardens,' 'golden,' 'fire,' 'net,' 'wing' and 'liberty.' Some see the poem as referring to the restricting nature of sexual entanglements. It can be seen also as describing the experience of a young person being on the cusp between childhood and adolescence.

Even for as precocious a child as Blake, there would be a transition point where the boy recognizes his own abilities and possibilities. He realizes that he can be (and will be) more that he was (or could be) as a child. He begins to see more and experience more. His emotional nature is aroused and his voice is unleashed.

But a dilemma arises. There are forces that restrict the full expression of his gifts. He feels he is being limited and restrained. What expression is allowed to him, may be a source of amusement to those who are unable to appreciate his unconventional abilities. The liberty which the young person thought he had found is soon circumscribed in the same old ways or in new ways entirely.

Often in his writing Blake returns to this topic of the youthful impetus for freedom, self-expression and change being met with the forces of tribalism, conservatism and the mores of convention. You may have noticed that we have touched on it in several other posts. But if you follow the thread of this youthful, energetic character as it is developed, and evolves throughout Blake's work, I think you will find his name is Los.

Youthful Impetus for Freedom

If you click on the label Future age, you will find other posts where Blake treats the way things have been, and the way things may be.

Blake's Death

2010-02-16T06:45:00.002-08:00

Entering the Door of Death (Frontspiece of Jerusalem)

The word die is carefully avoided by most of us; when a loved one dies, we say he/she passed away.

The question is-- what dies? The Roman Empire died; the British Empire died? But those were not people per se; they were states, conglomerates of materiality.

So death is relative-- from what to what? Ellie asked a workmate if he considered himself a body or a spirit; "a body", he said; "a spirit", she said.

So what dies? A body or a spirit or both? (In mortal life our bodies are said to actually die (cell by cell) and be renewed every 7 years.)

So at the end of mortal life what dies? the body of course, the garment that we acquired when we descended into the Sea of Time and Space and the 'daughters of Enitharmon' began to cut and splice it.

When Odysseus (or Luvah) threw the garment back to the sea goddess, he was on his way back to Eternity, where we all go sooner or later.
---------------------------------------------------
In the French Quarter in N.O. a black friend told me about her dead son; he had had an incurable and painful disease; he came to her and asked her permission to die, which she of course granted.

In one of Charles Williams' delightful metaphysical thrillers two characters are especially memorable: a saintly lady fully in tune with the life of the Spirit, and a man who generations before had been hanged; his spirit still hanged around that locale, which happened to be outside her window. She met him there and gave him permission to depart in peace.

In the series called William Blake Meets Thomas Paine we witness a conversation that Bill Blake had with his brother, Robert (long deceased), and we're led to believe that this was commonplace in Blake's life.

"But when once I did descry

The Immortal Man that cannot die,
Thro' evening shades I haste away
To close the labours of my day."
(From Gates of Paradise)

"Every Death is an improvement in the State of the Departed." (Letter 74 - to Linnell; Erdman 774)

By Death Eternal Blake implied descent into mortal life.
By Life Eternal he meant return to our Eternal Origin.

But what have you and I learned here in our mortal life?
(One Post can do no more than introduce this subject; it has other major ramifications.)

Blake's Death

2010-02-16T06:45:00.000-08:00

But what have you and I learned here in our mortal life?
(One Post can do no more than introduce this subject; it has other major ramifications.)

How did he get that way?

2010-02-14T11:13:00.001-08:00

FIRST of all he came into the world with a tremendous endowment; some people are simply born with unusual gifts.

SECOND Leaving school on the first day his mind was never subjected to the indoctrination most of us got from our teachers. "The primary object of primary education is to socialize the pupil to the conventions of the culture we belong to." That never happened to Blake. Instead he ....

THIRD read! and read! and read! He read the things that had fallen out of the national consciousness-- dominated by an extremely materialistic culture: the Bible, Behmen (Boehme) and hundreds of others, each in his own way representing the Perennial Philosophy. And he saw the Great Painters, not those favored by the Establishment.

FOURTH The population didn't read anything beyond the fourth grade level. When Paine asked Blake if people read him, he replied, "before the people can read it, they have to be able to read" (very much like today!). So there was a chasm between his mind and theirs (and ours).

The aforementioned video shows Tom Paine represented as the soul of rationality and Bill Blake the feeling, and above all the imagination.

So Blake's relationships were with God: Meister Eckhart, Mohammed, Isaiah, Ezekiel, Boehme, Jesus, other men who had had similar visions. He honored God with the "severe contentions of friendship & the burning fire of thought." (Jerusalem 91:17; E251)

His faith came up the hard way: Molech, Elohim, Nobodaddy, Urizen, and finally the Dear Saviour. How many of us good people can say we came to our faith like that?

Thank God we have the benefit of Blake's experience.

TO OUR READERS

2010-02-13T09:21:00.001-08:00

An anonymous reader has asked that we provide more information in our posts. So I will try to explain what we are attempting to do in our Blake blog.

First we want to focus our attention and on William Blake and his writing.

We are not experts but students of Blake. We follow our own interests. We are interested in sharing what we have learned of Blake and would would like to tailor our posts to the interests of the reader. We hope readers will let us know what interests them about Blake.

There have been posts which attempt to introduce the reader to studying Blake especially using the resources on the internet. The links to the text of Blake's poetry and prose, and to his graphic works are provided. A link to Larry's online book which includes a primer is also a useful tool. (These files can be electronically searched for specific topics.) Within the posts we often provide links to external files which expand the study to wider sources.

None of Blake's work is simple to understand. Beginners can start with Songs of Innocence and Experience. Marriage of Heaven and Hell grabs the attention of many with its irony. The major prophecies can be approached a little at a time rather than entire. If you are visually oriented, the visual images can be used as an avenue to draw you into reading the poetry.

Blake's body of work is large and complex. On our blog we have not attempted a systematic study. We are giving clues to solving the mystery. Analysts of Blake's work often tell us that Blake expected the reader to go beyond what was stated in the text, to perceive the underlying meaning. We hope our readers will sift through the blog posts looking for cracks or doors or highways through which they may enter Blake's mind and heart and imagination.

Reading Blake may expand your mind, nourish your spirit, or enrich your imagination; don't expect it to put money in your pocket, expand your social circle or impress your professors.

Here are some earlier posts which may help the neophyte.

Bible
Perception
Vision
Emphasis
Help
Fourfold
Idealism
Reader
Plates
4Z's
_________________
I can't end without a quote from Blake and a picture.

Jerusalem, Plate 60, (E 209)

"within the Furnaces the Divine Vision appeard

On Albions hills: often walking from the Furnaces in clouds
And flames among the Druid Temples & the Starry Wheels
Gatherd Jerusalems Children in his arms & bore them like
A Shepherd in the night of Albion which overspread all the Earth

I gave thee liberty and life O lovely Jerusalem
And thou hast bound me down upon the Stems of Vegetation

Liberty or Stems of Vegetation

Blake and the Bible

2010-02-13T08:53:00.000-08:00

(Look also at Blake's Bible.)

If you think the Bible is inerrant, and that every word has one and only one meaning, then you don't need to read this any further.

Blake had an unparalleled freedom with the Bible. Northrup Frye referred to him as a Bible soaked protestant. He was Bible soaked, but the meanings he found in most of the Bible were distinctive and often unique: "Both read the Bible day and night,But thou read’st black where I read white."

Blake's 'white' reading will excite you and/or repel you. Or perhaps you will add your Blake to the canon; that happens.

1. The idea of Nobodaddy implies an explicit and emphatic rejection of the "sub-Christian" elements of the O.T.

Blake spent half his life figuring out who/what Christ was, after which he measured the quality and value of everything in the Bible in accordance with Christ's identity.

He rejected the thump on the head for the "healing balm".

2. He put the same value on his own visions (and vision) as he did the Bible. In visions he conversed with Isaiah and Ezekiel (see the second Memorable Fancy). My wife's favorite Blake quoted Ezekiel's conversation with Blake thusly: when Blake asked him why he behaved so erratically re living in his underwear and spending 3 months on his left side, etc., Ezekiel responded "'the desire of raising other men into a perception of the infinite". That has in fact became our calling in life.

To use slightly more orthodox terminology we could say the desire to get people thinking about Heaven (in it's larger meaning). That's a good subject for another post.

When our youngest was married (an outdoor Catholic marriage, I had a chance to read some scripture. I finished with the quotation from "Saint William Blake":
"Throughout Eternity I forgive you, you forgive me;
as the dear Redeemer said, this the wine and this the bread."

Blake was very free with his use of the Bible, as I, too strive to be, God willing.

There's much further information on this subject at Chapter Six of my Blake website.

Blake & Revelation I

2010-02-12T12:23:00.002-08:00

David Bindman in William Blake: His Art and
Times:

"Uninitiated Christians mistakenly worship
the creator, as if he were God; they
believed in Christ as the one who would
save them from sin, and who they believed
had risen bodily from the dead: they
accepted him by faith, but without
understanding the mystery of his nature”
or their own. But those who had gone on to
receive the gnosis had come to recognize
Christ as the one sent from the Father,
whose coming reveled to them that their
own nature was identical with his and
with God's . . . Those who lacked
spiritual inspiration envied those who
spoke out in public at the worship service
and who spoke in prophecy, taught, and
healed others.

William Blake, noting such different
portraits of Jesus in the New Testament,
sided with the one the Gnostics preferred
against "the vision of Christ that all men
see":

The vision of Christ that thou dost see is
my visions deepest enemy...  Thine is the
friend of all Mankind, mine speak in
parables to the blind:
Thine loves the same world that mine
hates, thy Heavens doors are my Hell gates
. . .  Both read the Bible day and night
but thou read'st black where I read white
. . .
Seeing this False Christ, in fury and
passion, I made my Voice heard all over
the Nation. . . .

The apocalyptic and revolutionary nature
of Blake's beliefs, as he well knew,
rendered normal publication of his
Prophetic works virtually impossible, for
their denunciation of the social order was
unlikely to be encouraged by its
beneficiaries and upholders . . .

I rest not from my great task!  To open
the Eternal Worlds, to open the Immortal
Eyes of Man inwards into the Worlds of
Thought, into Eternity
Ever expanding in the Bosom of God, the
Human Imagination.

 The real question here is what did Blake think of Christ.

Creative Event / Created Good

2010-02-12T06:32:00.002-08:00

This is from a post in Reflections of a Happy Old Man

Monday, June 12, 2006

"He who binds to himself a joy
Doth the winged life destroy
But he who kisses the joy as it flies
Lives in Eternity's sun rise."
(Blake, Erdman 470)

Only the creative event is to be worshiped.

The Bible is the created good.
All tribes are created good.
Religious organizations are created good.
Theologies, ideologies are created good.

These things are all manmade artifacts.

What is to be worshipped?

The Creative Event!!

Not the Bible: George Fox: "we have heard what Jesus and the Apostles say, but what doth thou say?"

Not a tribe: Joseph Campbell: their chief attribute is the limit of positive affect to members and of negative affect to non-members.

Not a religious organization: Gandhi: "if I ever found a truly Christian church, I'd join it."

So what should you worship: "the Vision of God that thou dost see...." (from Everlasting Gospel, Erdman 524)

Creative Event / Created Good

2010-02-12T06:32:00.000-08:00

This is from a post in Reflections of a Happy Old Man

Monday, June 12, 2006

3 CLASSES of MEN

2010-02-11T19:59:00.002-08:00

Milton, Plate 25, (E 121)

"The Elect is one Class: You
Shall bind them separate: they cannot Believe in Eternal Life
Except by Miracle & a New Birth. The other two Classes;
The Reprobate who never cease to Believe, and the Redeemed,
Who live in doubts & fears, perpetually tormented by the Elect".

Blake in his characteristic way, uses familiar words in unfamiliar ways. He take three words from religion: Elect, Redeemed and Reprobate, and redefines them to make us reconsider how God relates to man and how man's psyche functions.

The Elect whom we think of as the chosen who have won God's approval become those who
"cannot Believe in Eternal Life
Except by Miracle & a New Birth".

The Reprobate whom we think of as failures and outcasts become those "who never cease to Believe."

The Redeemed whom we think of as knowing that they have been forgiven for their sins become those "Who live in doubts & fears perpetually tormented by the Elect."

When I try to connect the Three Classes of Men with aspects of the psyche, this is what I see.

The Elect wants to preserve the status quo. The Elect can be equated with the Ego which has charge of the personality, negotiating among the Id, the Superego and the reality principle. The Ego is the boss and decides how to express the personality. (The self-appointed Top Dog.)

The Reprobate are the outsiders, the aspects of the personality which are unrecognized or unacceptable. The Reprobate is parallel to the Shadow in Jung which contains whatever the Ego has rejected and denies expression to. The Shadow contains undiscovered but valuable material.

The expanding or awakening consciousness which is the true human, sometimes referred to as the Identity by Blake, or the Self by Jung, is the Redeemed. The Self connects the Ego, the Shadow and the collective unconscious. The Identity connects Albion, the wholeness of the individual, with Eternal wholeness. The process of developing the Self or the Identity is a long struggle of gradually bringing to light hidden material and realigning internal and external relationships.

The psychological approach to studying Blake asks us to look within for congruence between Blake's ideas and the dynamics of our psyches. Blake's myths and images can reveal to us aspects of ourselves; our self-understanding can enrich our reading of Blake.

Ego, Self, or Shadow?

There is more about the Three Classes of Men on another blog post.

SEEING ONESELF

2010-02-10T04:02:00.002-08:00

Vision of Eliphaz

In his novel Till We Have Faces, his work which C.S.Lewis was most pleased with, he treated two Blakean themes: forgiveness, and the contrast of intellectual and emotional religion.

Prominent in the development of the story is the injury caused through blindness, selfishness and fearfulness. Projection of individual weakness onto others further complicated the interpersonal relationships. Only by becoming aware of the falsity of the way she saw herself and the world, and the harm she had done to others was Orual able to open herself to a healing encounter with the numinous. Forgiveness came to her as a byproduct of being reconciled to the emotional, experiential aspects of relating to God. Seeing herself through the eyes of others and through the eyes of her maker, she was able to accept herself in spite of her inadequacies. She was made whole within herself, and one with the wholeness.

We can find the same steps in reconciliation presented in Blake's writing.

Awakening to awareness of our errors:

Jerusalem, Plate 42, (E 188)
Thus Albion sat, studious of others in his pale disease:
Brooding on evil: but when Los opend the Furnaces before him:
He saw that the accursed things were his own affections,
And his own beloveds: then he turn'd sick! his soul died within
him
Also Los sick & terrified beheld the Furnaces of Death
And must have died, but the Divine Saviour descended
Among the infant loves & affections, and the Divine Vision wept
Like evening dew on every herb upon the breathing ground

Taking responsibility for our failures:

Milton, Plate 14, (E107)
O when Lord Jesus wilt thou come?
Tarry no longer; for my soul lies at the gates of death.
I will arise and look forth for the morning of the grave.
I will go down to the sepulcher to see if morning breaks!
I will go down to self annihilation and eternal death,
Lest the Last Judgment come & find me unannihilate
And I be siez'd & giv'n into the hands of my own Selfhood

Being forgiven:

Jerualem, Plate 34, (E 178)
but mild the Saviour follow'd him,
Displaying the Eternal Vision! the Divine Similitude!
In loves and tears of brothers, sisters, sons, fathers, and
friends
Which if Man ceases to behold, he ceases to exist:

Jerusalem, Plate 3, (E 144)
The Spirit of Jesus is continual forgiveness of Sin: he who
waits to be righteous before he enters into the Saviours kingdom,
the Divine Body; will never enter there. I am perhaps the most
sinful of men! I pretend not to holiness! yet I pretend to love,
to see, to converse with daily, as man with man, & the more to
have an interest in the Friend of Sinners.

Reconciliation:

Milton, Plate 32, (E 131)
Thus they converse with the Dead watching round the Couch of Death.
For God himself enters Death's Door always with those that enter
And lays down in the Grave with them, in Visions of Eternity
Till they awake & see Jesus & the Linen Clothes lying
That the Females had Woven for them, & the Gates of their Fathers House

Milton, Plate 39, (E139)
Then Albion rose up in the Night of Beulah on his Couch
Of dread repose seen by the visionary eye; his face is toward
The east, toward Jerusalems Gates: groaning he sat above
His rocks.

Jerusalem, Plate 33, (E180)
we behold as one,
As One Man all the Universal Family; and that One Man
We call Jesus the Christ: and he in us, and we in him,
Live in perfect harmony in Eden the land of life,
Giving, recieving, and forgiving each others trespasses.
He is the Good shepherd, he is the Lord and master:
He is the Shepherd of Albion, he is all in all,

Blake's Ladder

2010-02-09T05:48:00.002-08:00

Blake had many such, but we'll concentrate on one that's already had a good bit of coverage:

"Look again at the end of a famous letter (23)to Butts in 1802:

"Now I a fourfold vision see
And a fourfold vision is given to me
Tis fourfold in my supreme delight
And three fold in soft Beulahs night
And twofold Always. May God us keep
From Single vision & Newtons sleep"

What can we make of the last line? Blake mentioned Newton 91 times in his Complete Works; Newton was his exemplar for purely materialistic sight, and with Bacon and Locke the Unholy Trinity of materialistic culture. Like the logical positivists if it can't be weighed or measured, it's meaningless. Things like love, hate, inspiration have no meaning.

Blake thus called single vision 'Newton's sleep'. Not scientists but people with the least imagination, the flimsiest intellect are the ones gifted with single vision. They live in Blake's Ulro.

So what's twofold vision:
"Blake explains twofold vision very nicely in the poem. Open your heart to nature, let plants and animals speak to you, let trifles fill you with smiles and tears, respond to the world in its minute particulars, the cosmos in a grain of sand, etc." (from this).

"...three fold in soft Beulahs night"? Here's a description of Beulah; perhaps you've already read it. We have the Beulah of Pilrims Progress.

The original Beulah of course came from Isaiah 62:4.

Finally we have Fourfold. (Theodore Roszak began this essay ascribing his own poem to Blake, but no matter).

Blake's Ladder

2010-02-09T05:48:00.000-08:00

WEB OF LIFE

2010-02-08T05:38:00.002-08:00

http://upload.wikimedia.org/wikipedia/commons/6/62/Blake_The_Clod.jpg

The field of Ecology which developed in the twentieth century, has a friend in William Blake of the nineteenth century. Both look at the world as a whole - one organic body with interconnections, and inter-dependences. Patterns are embodied in structures which are fluid and multi-dimensional.

The Web of Life: A New Scientific Understanding of Living Systems, Fritjoe Carpa, Page 295

"According to the Santiago theory, we bring forth the self just as we bring forth objects. Our self or ego, does not have any independent existence. This then is the crux of the human condition. We are autonomous individuals, shaped by our own history of structural changes. We are self-aware, aware of our individual identity - and yet when we look for an independent self within our world of experience we cannot find any such entity."Autopoiesis , or 'self-making,' is a network pattern in which the function of each component is to participate in the production or transformation of other components in the network. In this way the network is continually makes itself. It is produced by its components and in turn produces those components."

Jerusalem, Plate 99, (E 257)
"All Human Forms identified even Tree Metal Earth & Stone. all
Human Forms identified, living going forth & returning wearied
Into the Planetary lives of Years Months Days & Hours reposing
And then Awaking into his Bosom in the Life of Immortality.
And I heard the Name of their Emanations they are named Jerusalem

The End of The Song
of Jerusalem"
______________
Four Zoas, Page 133 (E 400)

"And One of the Eternals spoke All was silent at the feast

Man is a Worm wearied with joy he seeks the caves of sleep
Among the Flowers of Beulah in his Selfish cold repose
Forsaking Brotherhood & Universal love in selfish clay
Folding the pure wings of his mind seeking the places dark
Abstracted from the roots of Science then inclosd around
In walls of Gold we cast him like a Seed into the Earth
Till times & spaces have passd over him duly every morn
We visit him covering with a Veil the immortal seed
With windows from the inclement sky we cover him & with walls
And hearths protect the Selfish terror till divided all
In families we see our shadows born. & thence we know
That Man subsists by Brotherhood & Universal Love
We fall on one anothers necks more closely we embrace
| Ephesians iii c 10 v |

Not for ourselves but for the Eternal family we live
Man liveth not by Self alone but in his brothers face
Each shall behold the Eternal Father & love & joy abound

So spoke the Eternal at the Feast they embracd the New born Man
Calling him Brother image of the Eternal Father. they sat down
At the immortal tables sounding loud their instruments of joy
Calling the Morning into Beulah the Eternal Man rejoicd"

Blake's Bible

2010-02-07T06:00:00.002-08:00

Northrup Frye referred to Blake as a Bible soaked Protestant. He was certainly that-- and much more. He read the Bible like no other scholar I've come across. He read it very freely.

In his last years Frye published two large volumes with subtitles: The Bible and Literature. He had started out as a young minister, but made the fatal mistake of studying Blake, after which he became a literary critic-- a real change for the better IMO.

Working on his thesis (called Fearful Symmetry) he had discovered that Blake read the Bible very freely; so he became, yes a Bible soaked Protestant but not (NO, NO!) a bibliolater. He read it more freely than any conforming establishmentarian would dare to do.

In his visions he talked to Isaiah and Ezekiel. Re the cherub God put before the Gate of Eden with a flaming sword Blake had this to say:

"For the cherub with his flaming sword is hereby commanded to leave his guard at the tree of life, and when he does, the whole creation will be consumed, and appear infinite. and holy where as it now appears finite and corrupt. This will come to pass by an improvement of sensual enjoyment." (MHH, Plate 14)

Just poetry! you might say. Yes, but a fountain of life to non-authoritarians, free spirits who don't feel bound by the inerrancy-of-the-bible crowd. Blake sought Meaning in the Bible, not Law. Bible students divide along that line between free spirits and authoritarian types. Blake belonged to the first category, and so do I, and (hopefully) so do you. Let me know.

Blake's Bible

2010-02-07T06:00:00.000-08:00

VENGEANCE

2010-02-06T06:38:00.001-08:00

Jesus taught forgiveness not vengeance. Blake rejected the God of vengeance of the Old Testament for the God of forgiveness of the New Testament.

Matthew 5:43-45 - "You have heard that it used to be said, 'You shall love your neighbour', and 'hate your enemy', but I tell you, Love your enemies, and pray for those who persecute you, so that you may be sons of your Heavenly Father. For he makes the sun rise upon evil men as well as good, and he sends his rain upon honest and dishonest men alike."

Matthew 7:1-5
Judge not, that ye be not judged.
For with what judgment ye judge, ye shall be judged: and with what measure ye mete, it shall be measured unto you.
And why beholdest thou the mote that is in thy brother's eye, but considerest not the beam that is in thine own eye?
Or how wilt thou say to thy brother, Let me cast out the mote out of thine eye; and lo, the beam is in thine own eye?
Thou hypocrite, cast out first the beam out of thine own eye; and then shalt thou see clearly to cast out the mote out of thy brother's eye.

In Jerusalem, Blake explains his attitude toward taking retribution for offense. He realizes that executing vengeful punishment does greater harm to the person who has been offended than it does to the offender. Doing harm - hindering your brother - does harm within yourself and hinders your spiritual development. The person who harms others, harms himself. Forgiving your brother opens your heart to receiving God's love and mending divisions in the unity of the whole body.

Jerusalem, Plate 25, (E 169)
"But Vengeance is the destroyer of Grace & Repentance in the bosom
Of the Injurer: in which the Divine Lamb is cruelly slain:
Descend O Lamb of God & take away the imputation of Sin
By the Creation of States & the deliverance of Individuals
Evermore Amen"

Jerusalem, Plate 47, (E 193)
"What shall I [Los] do! what could I do, if I could find these Criminals
I could not dare to take vengeance; for all things are so constructed
And builded by the Divine hand, that the sinner shall always escape,
And he who takes vengeance alone is the criminal of Providence;
If I should dare to lay my finger on a grain of sand
In way of vengeance; I punish the already punishd: O whom
Should I pity if I pity not the sinner who is gone astray!
O Albion, if thou takest vengeance; if thou revengest thy wrongs
Thou art for ever lost! What can I do to hinder the Sons
Of Albion from taking vengeance? or how shall I them perswade.
PLATE 48
These were his [Albion's] last words, and the merciful Saviour in his arms
Reciev'd him, in the arms of tender mercy and repos'd
The pale limbs of his Eternal Individuality
Upon the Rock of Ages."

Vala, Hyle, and Skofield

Blake created an image on Plate 51, which illustrates the harm which comes to the individual when he does harm to others. The three in the illustration are Vala, Hyle and Skofield; three whom Blake might consider his worst enemies. Vala is materiality, fallen Nature, the obscuring and distorting principle which hides Eternity and restrictes his imagination. Pictured as dark and frozen she bears no resemblance to the rich and glorious unfallen Nature. Hyle is Blake's representation of Hayley who wanted to prevent Blake from following his Imagination in exercising his artistic and poetic talents; pretending to be a friend he wanted to direct Blake's work to popular media. Hyle is pictured as if he were enclosed in a cube, his 'doors of perception' to this world as well as the other, are closed and locked. Skofield who brought Blake to law by false accusation, is pictured in the chains with which he hoped to manacle Blake. He is burning with the fire of wrath rather then sitting in darkness as is Vala.

But I think Blake presented these three, not as the vengeful but as 'the sinners' who 'always escape' although they have 'gone astray.'

Blake's Church

2010-02-05T11:20:00.002-08:00

Blake was born and reared in a Dissenting world; his family was at one time associated with the Swedenborg's New Church and with the Moravians. Both of these groups had grown beyond the usual religious sexual prohibitions, and his early positive attitude toward sexual practices reflects that.

Blake was what the French referred to as anti-clerical. He knew too well the enormous religious corruption and depravity that characterized the Established Church for 1800 years,

"The Church Universal was the only Church that he recognized; its congregation was the Brotherhood of Man.....All other Churches Blake rejected with the Dissenter's loathing..." (Damon Page 82).

His primary doctrines were the forgiveness of sins and the annihilation of the Selfhood. He rarely spoke of sin; he considered people's deficiencies as errors rather than evil. As stated in an earlier post, hindering another was the primary 'sin' he recognized: "Murder is Hindering Another; Theft is Hindering another; Backbiting, Undermining, Circumventing, and whatever is Negative is Vice" (Erdman 601)

Blake spoke of the 27 churches-- a religious history of the Judeo-Christian world:
"Satan and Adam are States Created into Twenty-seven Churches"
(Milton plate 32/35; Erdman 132)

"And these the names of the Twenty-seven Heavens & their Churches
Adam, Seth, Enos, Cainan, Mahalaleel, Jared, Enoch,Methuselah, Lamech: these are Giants mighty Hermaphroditic
Noah, Shem, Arphaxad, Cainan the second, Salah, Heber,
Peleg, Reu, Serug, Nahor, Terah, these are the Female-Males
A Male within a Female hid as in an Ark & Curtains,
Abraham, Moses, Solomon, Paul, Constantine, Charlemaine
Luther, these seven are the Male-Females, the Dragon Forms
Religion hid in War, a Dragon red & hidden Harlot"

With these images he was describing the 'dominant voice'
in each of the 27 periods of history that he had devised.
Think about what Blake meant with the last seven of the 'Churches';
or ask me.

LOST TRAVELLER

2010-02-04T09:15:00.002-08:00

Blake's first level of vision, single vision, is fairly easily transcended. We learn to see beyond the level of material into the level of thought, ideas, reason. And this becomes our mindset, we develop rules, structures and a point of view - an engineer thinks like an engineer and a lawyer thinks like a lawyer. Blake isn't satisfied to let us stay there; he sees it as a prison as much as single vision was. So of each level of vision. In the Epilogue to Gates of Paradise Blake is trying to force us to another level of thought altogether:

"To The Accuser Who is
The God of This World

Truly My Satan thou art but a Dunce
And dost not know the Garment from the Man
Every Harlot was a Virgin once
Nor canst thou ever change Kate into Nan

Tho thou art Worshipd by the Names Divine
Of Jesus & Jehovah thou art still
The Son of Morn in weary Nights decline
The lost Travellers Dream under the Hill"

He addresses this to 'the accuser' who is in charge of seeing that the law is obeyed; who ferrets out the lawbreakers and begins the process of meting out punishment. The world has made this accuser its God. But this accuser can't even be trusted to distinguish between the underlying humanity and the facade which he presents. He is not aware of the Identity of man which is Eternal and moves through the states without losing his essential nature. The accuser doesn't know that he hasn't the power to touch that which is real or Eternal within man.

Although the accuser takes on the Divine names he is without the substance. His time of strength and power is closing, the unreal illusion which he has sustained in his wanderings will be buried.

Whatever image he has created is only an image, a new image must arise and replace it.

From: Rare Books, Library of Congress, http://lcweb2.loc.gov/cgi-bin/ampage

Erdman in the Illuminated Blake says: "A sleeping traveller, naked, his hand on his staff though a spider has spun his web on the top, lies under a hill beyond which dawn is breaking on all sides. The deity which has resided in his sleeping breast, a black nightmare vision of Satan pretending to power over sun, moon, stars, must vanish like a raven of dawn since shown up as a mere Dunce - yet a Lucifer (feckless but better than no dreams at all) for temporarily lost travellers."

Using some of the same images, these verses in Isaiah resemble Blake's verses quoted above, and the Satan Blake described in other passages. The fall and death of the King of Babylon parallels the fall and death of Satan who has lost his place in the bosom of the Lost Traveler.

Isaiah 14:11-19
3 On the day the LORD gives you relief from suffering and turmoil and cruel bondage, 4 you will take up this taunt against the king of Babylon: How the oppressor has come to an end! How his fury has ended!

11 All your pomp has been brought down to the grave, along with the noise of your harps; maggots are spread out beneath you and worms cover you. 12 How you have fallen from heaven, O morning star, son of the dawn! You have been cast down to the earth, you who once laid low the nations! 13 You said in your heart, "I will ascend to heaven; I will raise my throne above the stars of God; I will sit enthroned on the mount of assembly, on the utmost heights of the sacred mountain. 14 I will ascend above the tops of the clouds; I will make myself like the Most High." 15 But you are brought down to the grave, to the depths of the pit. 16 Those who see you stare at you, they ponder your fate: "Is this the man who shook the earth and made kingdoms tremble, 17 the man who made the world a desert, who overthrew its cities and would not let his captives go home?" 18 All the kings of the nations lie in state, each in his own tomb. 19 But you are cast out of your tomb like a rejected branch; you are covered with the slain, with those pierced by the sword, those who descend to the stones of the pit. Like a corpse trampled underfoot,

Previous post on Gates of Paradise

The Grove

2010-02-03T04:02:00.001-08:00

"....And we are put on earth a little space,
That we may learn to bear the beams of love
And these black bodies and this sunburnt face
Is but a cloud, and like a shady grove.
For when our souls have learn'd the heat to bear,
The cloud will vanish, we shall hear His voice,
Saying, 'Come out from the grove, my love and care
And round my golden tent like lambs rejoice...',"
(Little Black Boy)

"Planting these Oaken Groves: Erecting these Dragon Temples" (Erdman 170)
"Patriarchal Pillars & Oak Groves) over the whole Earth..." (Erdman 171)
"If we are wrathful Albion will destroy Jerusalem with rooty Groves
If we are merciful, ourselves must suffer destruction on his Oaks:
Why should we enter into our Spectres. to behold our own corruptions
O God of Albion descend! deliver Jerusalem from the Oaken Groves!"
(Erdman 184: Jerusalem Plate 38/43 lines 9-12)

"And build this Babylon & sacrifice in secret Groves" (Jerusalem, 60.23; E210)

"For a Spectre has no Emanation but what he imbibes from decieving
A Victim! Then he becomes her Priest & she his Tabernacle.
And his Oak Grove. till the Victim rend the woven Veil."
( Jerusalem, 65.60-62; E217) (See also Matthew 27:51)

"Till I turn from Female love
And root up the Infernal Grove,
I shall never worthy be
To step into Eternity.

Let us agree to give up love,
And root up the Infernal Grove;
Then shall we return and see
The worlds of happy Eternity. (My Spectre)

In his Complete Works Blake used the word 'grove' (or groveling) 26 times; you might wonder how Blake related the two words or about their etiology.

Notice that the 'love' in the last verse is the 'female love' of the earlier one. This 'love' in Blake's poetry is nothing like godly love; in fact it's just the opposite; it's love of fallen materiality- love of things, like Money, or Golf, or Whiskey, or your Stomach; see (See Philippians 3:19)

So what did Blake mean with his groves. Damon said it's a "symbol of error"; I say it's a symbol of the 'fallen material world' where the Druid Priests built their Temples and Altars.

Blake used thousands of words to describe his primary myth: Creation, Fall, Redemption, Return, and many many pictures to portray it, and many, many capsules of two lines that state it. He wanted us to get it.

BLAKE DESIGNS

2010-02-02T13:38:00.002-08:00

MALEVOLENCE

Letter
To The Revd Dr Trusler

Hercules Build* Lambeth Aug* 16. 1799
Revd Sir
...
I attempted every morning for a fortnight together to follow
your Dictate. but when I found my attempts were in vain. resolvd
to shew an independence which I know will please an Author better
than slavishly following the track of another however admirable
that track may be At any rate my Excuse must be: I could not do
otherwise, it was out of my power!
I know I begged of you to give me your Ideas & promised to
build on them here I counted without my host   I now find my
mistake
The Design I have Sent.  Is
A Father taking leave of his Wife & Child.  Is watchd by Two
Fiends incarnate. with intention that when his back is turned
they will murder the mother & her infant--If this is not
Malevolence with a vengeance I have never seen it on Earth. & if
you approve of this I have no doubt of giving you Benevolence
with Equal Vigor. as also Pride & Humility. but cannot previ-
ously describe in words what I mean to Design for fear I should
Evaporate [some of m] the Spirit of my Invention.  But I
hope that none of my Designs will be destitute of Infinite
Particulars which will present themselves to the Contemplator.
And tho I call them Mine   I know that they are not Mine being of
the same opinion with Milton when he says That the Muse visits
his Slumbers & awakes & governs his Song when Morn purples The
East. & being also in the predicament of that prophet who says  I
cannot go beyond the command of the Lord to speak good or bad
...
Your very humble servt
WILLm BLAKE

Blake's System

2010-02-01T07:09:00.002-08:00

"Man was made for Joy and Woe"
A fair number of people will tell you that 'they belong to a religion of one' or that 'they have their own religion' or that 'they don't go to church, but they pray'.

According to Blake these people walk on the right track; that's certainly what he did: "I must create a system or be enslaved by another man's."

You and I have the same choice: to live by "another man's" values or to see things for ourselves (Blake called these choices 'single vision' or 'double vision.)

Satan (the Selfhood or tyrannical Society) constantly works to fit us for the 'mind forg'd manacles': School exists primarily to 'socialize' a child (to conform to the ways 'Society' has chosen for us). Most of us obey, but a fair number of kids don't buy Society's program; Blake fortunately escaped that bane.

Blake considered the greatest sin to be 'hindering another' (Erdman 601). His primary aim was to "raise men to a perception of the Infinite" (MHH plate 13).

The system Blake created bears a close resemblance to the Perennial Philosophy; when he had completed it, Jesus, the Imagination (or Jesus the Forgiveness) was Central.

Blake's System

2010-02-01T07:09:00.000-08:00

MILTON'S TASK

2010-01-31T04:22:00.002-08:00

In The Illuminated Blake, Erdman goes through the illuminated works of William Blake plate by plate describing what he sees. This is not a commentary on the text, but on the images. But the text illuminates the pictures, just as the pictures illuminate the text.

Let's have a look at Milton, Plate 19, (E 110). Click on image and page down for enlarged view.

Without Erdman's explanation this image at the bottom of the page would be difficult to understand. Says Erdman, "Los shoots his limbs forth 'like the roots of trees' - and we see that he is almost headless...Urizen, nothing but head, peers from the ground and beholds 'the immortal Man'...Milton's task is to annihilate their separation...Looking at Plate 18 we can see that Milton is replacing Urizen's head."

Erdman considers this to be a representation of events in the poem, but also commentary on the politics of England. Milton was a supporter of the Civil War of 1649 which separated England's 'head and body'; "But the naked Milton now confronts the problem of making whole what is already asunder, of resurrecting the Spiritual Body."

So this is another expression of the old task of reconciling the division between Los and Urizen, imagination and reason, spirit and body, as well as the republicans and the monarchists.

Read more about it in Chapter 24 of Erdman's Prophet Against Empire including, "The moral is that Satan must be forgiven or vengeful slaughter will never end."

Religion and War

2010-01-30T05:26:00.002-08:00

No commited Christian ever had a more antagonistic relationship to the church than William Blake. This, probably more than anything else, has prevented wider recognition of his spiritual genius. Like Paul he became an apostle to the gentiles and suffered the attacks of the orthodox. In his non-allegiance to the organized church Blake is in good company: Milton, Emerson, Whitman, Lincoln, and Gandhi all refused the church for essentially the same reasons--it never was what it purported to be.

Has there ever been a British (or American) war that the Religious Establishment hasn't approved and supported? The Bloody Sword subsumed the Prince of Peace. Nothing in Blake's world led to greater concern than this unpleasant reality.

The original Covering Cherub was the Prince of Tyre, a tyrannizer over the sacred soil of God's Chosen People. Ezekiel had something to say about that (I wonder if WB consulted with him on that point).

Milton, plate 37:
"...Abraham, Moses, Solomon, Paul, Constantine, Charlemaine, Luther, these seven are the Male-Females, the Dragon Forms Religion hid in War, a Dragon red & hidden Harlot. All these are seen in Miltons Shadow who is the Covering Cherub.."

And again: Jerusalem, plate 89:
"...Thus was the Covering Cherub reveald majestic image of Selfhood, Body put off, the Antichrist accursed Coverd with precious stones, a Human Dragon terrible And bright, stretchd over Europe & Asia gorgeous.In three nights he devourd the rejected corse Hidden within the Covering Cherub as in a Tabernacle Of threefold workmanship in allegoric delusion & woe .........A Double Female now appeard within the Tabernacle, Religion hid in War, a Dragon red & hidden Harlot Each within other, but without a Warlike Mighty-one Of dreadful power, sitting upon Horeb pondering dire And mighty preparations mustering multitudes innumerable of warlike sons..."

Well it looks like the Mighty-one of dreadful power sitting on Horeb seems to have instituted State Religion.

Religion and War

2010-01-30T05:26:00.000-08:00

PERILOUS PATH

2010-01-29T10:40:00.002-08:00

June Singer, in her book Seeing Through the Visible World, explores Blake's 'perilous path' in conjunction with Jung's individuation (although she doesn't doesn't mention that term). She associates the dangers of exploring deeper levels of consciousness with encountering the lonely and uncertain struggles of the 'just man'. The reversals of definitions and values which occur as we explore the hidden aspects of the psyche are reflected by the 'just man's' journey on the perilous path.

MHH, Plate 2, (E 33)

She further uses plate 17 of MHH to illuminate the threats in the"struggles between the side of ego-consciousness and the lesser known shadow side, or in the conflict between inner opposites of the masculine and the feminine, or in the battle between oneself and the tribal gods with their repeated demands for fealty, devotion, and sacrifice."

Marriage of Heaven and Hell, Plate 17, (E 40)
"An Angel came to me and said. O pitiable foolish young man! O horrible! O dreadful state! consider the hot burning dungeon thou art preparing for thyself to all eternity, to which thou art going in such career.
I said. perhaps you will be willing to shew me my eternal lot & we will contemplate together upon it and see whether your lot or mine is most desirable
So he took me thro' a stable & thro' a church & down into the church vault at the end of which was a mill: thro' the mill we went, and came to a cave. down the winding cavern we groped our tedious way till a void boundless as a nether sky appeard beneath us & we held by the roots of trees and hung over this immensity; but I said, if you please we will commit ourselves to this void and see whether providence is here also, if you will not I will? but he answerd. do not presume O young-man but as we here remain behold thy lot which will soon appear when the darkness passes away
So I remaind with him sitting in the twisted root of an oak. he was suspended in a fungus which hung with the head downward into the deep:"

Blake gives an apt warning of the difficulty and danger of undertaking the alteration of the psyche which is initiated by choosing to explore the invisible world.

Which will we choose: the 'perilous path' or the 'paths of ease.'

In the Illuminated Blake, Erdman uses these words to describe this image; "A living form from the abyss".

GOLGONOOZA

2010-01-28T08:39:00.002-08:00

This account of the building of Golgonooza demonstrates the nature of its structure. Here Golgonooza is described as the elements of the life lived according to the Eternal principles of brotherhood and integrity.

Those who build their lives as expressions of the 13th Chapter of First Corinthians are the 'golden builders'; they are 'becoming a building' - carefully built just as Blake's illuminated poetry was produced with 'well wrought blandishments' and 'well contrived words.' The structure of Golgonooza is the principles and attitudes through which we build our character, the furnishings are the way we behave to one another: 'curtains woven tears and sighs, woven into lovely forms.' The outcome is the 'joy' of losing the 'self'' by knowing the love in which we abide, and which abides in us.

Jerusalem, Plate 12, (E 154)
"What are those golden builders doing?...

Becoming a building of pity and compassion? Lo!
The stones are pity, and the bricks, well wrought affections:
Enameld with love & kindness, & the tiles engraven gold
Labour of merciful hands: the beams & rafters are forgiveness:
The mortar & cement of the work, tears of honesty: the nails,
And the screws & iron braces, are well wrought blandishments,
And well contrived words, firm fixing, never forgotten,
Always comforting the remembrance: the floors, humility,
The cielings, devotion: the hearths, thanksgiving:
Prepare the furniture O Lambeth in thy pitying looms!
The curtains, woven tears & sighs, wrought into lovely forms
For comfort. there the secret furniture of Jerusalems chamber
Is wrought: Lambeth! the Bride the Lambs Wife loveth thee:
Thou art one with her & knowest not of self in thy supreme joy.
Go on, builders in hope: tho Jerusalem wanders far away,
Without the gate of Los: among the dark Satanic wheels."

'For they labor for life & love'

Left the Paths of Ease

2010-01-27T07:37:00.002-08:00

You'll find this as a link at the end of the last post. The following re the meek man... is taken from an April 11, 2009 post to the Yahoo Group WmBlake:

Marriage of Heaven and Hell, Plate 2, (E 32)

Blake writes in a language that few people today know, so maybe we need an interpreter. I happen to be reading The Unholy Bible, by June Singer. It's largely an (Jungian) interpretation of MHH. Here are some of her interpretations:

"Rintrah is the personification of rage against the status quo" (and an apt description of the young Blake). Revolution was in the air, and Blake writes about a change (very timely!). The meek man is Joe Six Pack; he hasn't learned to read; his social, political, moral consciousness is minimal, and his exploitation by the 'villain' (let's say bankers) has driven Joe out into the wilderness, but "he's sick and tired, and he's not gonna take it any more." Times will be hard for everybody now.

The meek man and the villain: man is not one, but two. He's "Adam and the serpent, Jacob and Esau, outraged honesty and sneaking hypocrisy".

Speaking of Revolution: France was being bathed in blood, and America had already thrown off the sneaking villain.

So much for the political dimension (Erdman's Blake Prophet Against Empire has more). Psychologically the meek man is the good unconscious church goer; the villain is the Voltarian priest (the first priest was the first villain who met the first fool.) The meek man must some day wake up and gain a critical dimension.

Well I've just scratched the surface. This is poetry; poetry is
never (or at least rarely) about the literal; it's about the
intellectual, the spiritual. The Bible is poetry: beginning to end; not about material events; about spiritual events; events in your consciousness. Blake taught me how to read the Bible. One of his greatest gifts to me.

What does Blake (or the Bible) mean? That depends on you- and me.

Justin said: Justin has left a new comment on your post "Left the Paths of Ease":

This is a strange pronouncement: "poetry is
never (or at least rarely) about the literal; it's about the
intellectual, the spiritual." It's even stranger if you replace poetry with the more general literature: "Literature is never about the literal." But I think it's true somehow. Poetry is the contortion of the literal into the spiritual.

YOUR SYSTEM

2010-01-26T17:01:00.002-08:00

Blake absorbed ideas from everywhere, but he didn't accept them uncritically. He was a synthesizer. He wanted to figure out things for himself. He didn't mind sharing his insights with others, but he didn't expect others to accept them without thinking about them.
He would expect the same of us - that we 'hunt' for ideas, that we evaluate and sift through them, that we form our ideas into a valid system of thought, and that we share them with others.

A Descriptive Catalog, Page 44, (E 544)
"Tell me the Acts, O historian, and leave me to reason upon them as I please; away with your reasoning and your rubbish. All that is not action is not [P 45] worth reading. Tell me the What; I do not want you to tell me the Why, and the How; I can find that out myself, as well as you can, and I will not be fooled by you into opinions, that you please to impose, to disbelieve what you think improbable or impossible. His opinions, who does not see spiritual agency, is not worth any man's reading; he who rejects a fact because it is improbable, must reject all History and retain doubts only."

"left the path of ease"

IDENTITY IN BLAKE

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The term Identity is not used frequently in Blake. It seems to have been introduced to describe the Eternal nature of man, as the Selfhood is used to represent Man's fallen nature.

Vision of the Last Judgment, Page 80, (E556)

"These States Exist now Man Passes on but States remain for Ever he passes thro them like a traveller who may as well suppose that the places he has passed thro exist no more as a Man may suppose that the States he has passd thro exist no more Every Thing is Eternal In Eternity one Thing never Changes into another Thing Each Identity is Eternal"
_________
Vision of the Last Judgment, Page 79, (E 556)

"A Man can never become Ass nor Horse some are born with shapes of Men who may be both but Eternal Identity is one thing & Corporeal Vegetation is another thing"
_________
Vision of the Last Judgment, Page 93, (E 565)

"Forgiveness of Sin is only at the Judgment Seat of Jesus the Saviour where the Accuser is cast out. not because he Sins but because he torments the Just & makes them do what he condemns as Sin & what he knows is opposite to their own Identity
It is not because Angels are Holier than Men or Devils that makes them Angels but because they do not Expect Holiness from one another but from God only"

John Middleton Murry, in his book William Blake on Page 32, clarifies the distinctions between Selfhood and Identity:
"To make it clearer we will employ two distinct words: the Self to denote the conscious and superficial self which is manifested as Will or deliberate Mind; and the
Identity (which comes from Blake's later language) to denote the unconscious, instinctive, positive self which is hindered or restrained by the Self...The Identity is, in one sense, passive: it is an instrument rather than an agent, a vehicle rather than an initiator, obedient rather than sovereign. But this passivity is a passivity only in respect to the conscious and willed activity of the Self. The identity is passive towards influences felt to come from greater depths than the Self: towards those influences it is obedient; but in obeying those influences it is active indeed.
"It is the thwarting of this active Identity which Blake considers indisputably evil, and the only evil. It is obedience to and expression of, this active Identity which he considers indisputably good, and the only good. Conversely, by allowing the Self to triumph in themselves, they are moved to thwart Identity and so to create Selfhood in others. Self breed Self, Evil begats Evil. Such is the genesis and operation of the Moral Law, in Blake's belief...The Moral Law as external ordinance is merely Selfhood objectified; as internal restraint it is a disguise for the Selfhood of the individual.
..If the Identities of all men could be released, Evil would disappear; not merely because all Evil proceeds from the Negation of Identity by the Self, but also because it is inconceivable that one Identity should thwart another. The very idea of restraining is impossible to an Identity."

The idea of the Identity is expressed by Paul in First Corinthians when he speaks of the time to come (or in Eternity) when we shall "see reality whole and face to face."

Corinthians I, 13:12
"At present we are men looking at puzzling reflections in a mirror. The time will come when we shall see reality whole and face to face! At present all I know is a little fraction of the truth, but the time will come when I shall know it as fully as God now knows me!"

C.S. Lewis writes of the same condition of Identity in his novel Till We Have Faces, A Myth Retold. In the final scene the heroine who has seen herself as she is, says to the Lord: "You yourself are the answer. Before your face questions die away. What other answer would suffice?" When she had a face - Identity of her own - she can look into the Lord's face without questioning.

"And by his health, sickness, / Is driven away, / From our immortal day.

BLAKES'S HERO

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"...myth is the secret opening through which the inexhaustible energies of the cosmos pour into human cultural manifestations." Joseph Campbell

It is interesting to observe the parallels visible between the mythological tradition and Blake's created myth. Here we have Joseph Campbell showing how the same concepts of fall and return which we encounter in Blake's poetry pervade the hero story.

From Joseph Campbell's, The Hero with a Thousand Faces, Page 259:

"'For,' as Jesus states it, 'behold, the Kingdom of God is within you.' Indeed, the lapse of superconsciousness into the state of unconsciousness is precisely the meaning of the Biblical image of the Fall. The constriction of consciousness, to which we owe the fact that we see not the source of the universal power but only the phenomenal forms reflected from that power, turns superconsciousness into unconsciousness and, at the same time creates the world. Redemption consists in the return to superconsciousness and therewith the dissolution of the world. This is the great image and theme of the cosmogonic cycle, the mythical image of the world's coming into manifestation and subsequent return into the nonmanifest condition. Equally, the birth, life, and death of the individual may be regarded as a descent into unconsciousness and return. The hero is the one who, while still alive, knows and represents the claim of the superconsciouness which throughout creation is more or less unconscious. The adventure of the hero represents the moment in his life when he achieved illumination - the nuclear moment when, while still alive, he found and opened the road to the light beyond the dark walls of our living death."...
"In any case, they are telling metaphors of the destiny of man, man's hope, man's faith, and man's dark mystery."

These are the processes of the human mind or of life as we experience it: analysis and synthesis (Chemistry), differentiation and integration (Mathematics), destruction and construction (Architecture), death and birth (Biology).

As Blake describes the breaking apart and bringing together and we join in the experience, hopefully we can focus as much on the synthesis as on the analysis.

Here Blake portrays Los as the Hero:
Jerusalem, Plate 38, (E 184)

"Then Los grew furious raging: Why stand we here trembling around
Calling on God for help; and not ourselves in whom God dwells
Stretching a hand to save the falling Man: are we not Four
Beholding Albion upon the Precipice ready to fall into Non-Entity:
Seeing these Heavens & Hells conglobing in the Void."

Albion Rose - Blakes's inscription: 'Albion rose from where he labourd at the Mill with Slaves / Giving himself for the Nations he danc'd the dance of Eternal Death'.

The Last Judgment

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It's a scary thing in the eyes of Conventional Religion. Not so for Blake; for him it's Good News.

It's about Sin and Righteousness for them-- Good and Evil; (look at Matthew 25). Not so for Blake; there's no such thing. For him it's about Truth and Error. He acknowledged that good and evil exist; but it doesn't apply to people; you and I can be in a state of Satan, but that will never be a permanent state. ("Good and Evil are Qualities in Every Man"; Erdman 563)

For C.R. the Last Judgment is about the final end of the world. Not so for Blake! For him it's a personal thing that happens often in your life, and it's one-sided. Blake IMO was Universalist rather than narrowly Christian. Look at this verse from the Divine Image:

"And all must love the human form,
In heathen, Turk, or Jew.
Where Mercy, Love, and Pity dwell,
There God is dwelling too."

".......................What are all the Gifts of the
Spirit but Mental Gifts whenever any Individual Rejects Error &
Embraces Truth a Last Judgment passes upon that Individual"
(from Notes on Vision of the Last Judgment, Erdman 562)

You and I and Blake may very well pray for the Last Judgment.

The Last Judgment

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BLAKE & ECOLOGY

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The principles of ecology which are most meaningful to me concern the awareness of everything being a part of one system with each part contributing to the functioning of the whole. Equally important is the idea of succession by which the conditions for new developments are always being created, often at the expense of the existence of current entities.

These two principles are apparent to me in the writings of William Blake. He looks at realities as two-fold, three-fold or four-fold, but always as parts of the whole. Albion is the whole of Humanity; Eternity is the wholeness unlimited by time and space; the body of his work reveals the wholeness of his mythopaeic system. He demonstrates the interconnectedness of the portions of the whole by showing how activities in one sphere have consequences in all others. The concepts of forgiveness, recognizing error, cyclical processes, responding to catastrophic events, creating conditions for new processes to become apparent, brotherhood: are all manifestations of an interconnected system.

The apocalyptic thrust of Blake's work speaks to the ecological principal of succession. Blake's state of generation is for the purpose not of sustaining itself but providing the condition in which the Savior may appear. Eternity is to be the final status as well as the initial, but it will be the Eternity of Experience not of Innocence, arrived at only through creation, fall, regeneration and apocalypse .

Milton, Plate 6, (E 100)
"But now the Starry Heavens are fled from the mighty limbs
of Albion

Loud sounds the Hammer of Los, loud turn the Wheels of Enitharmon
Her Looms vibrate with soft affections, weaving the Web of Life
Out from the ashes of the Dead; Los lifts his iron Ladles
With molten ore: he heaves the iron cliffs in his rattling chains
From Hyde Park to the Alms-houses of Mile-end & old Bow
Here the Three Classes of Mortal Men take their fixd destinations
And hence they overspread the Nations of the whole Earth & hence
The Web of Life is woven: & the tender sinews of life created
And the Three Classes of Men regulated by Los's hammer."

Jerusalem, Plate 54
____________________________________________

7 PERSPECTIVES

2010-01-21T15:52:00.002-08:00

The seven writers who have been of the most help to me in attempting to understand Blake's poetry and thought have dramatically different perspectives on discerning the meaning in Blake's work.

Northrup Frey, Fearful Symmetry: A Study of William Blake - reveals the symbolic language of Blake within a literary context.

David V. Erdman, Blake: Prophet against Empire - explores historical and political significance of Blake's writing.

Milton O. Percival, William Blake's Circle of Destiny - relates Blake's myth to esoteric symbols, including those in the Bible, Alchemy, and Astrology.

George Wingfield Digby, William Blake: Symbol and Image - sheds light on psychological implications and symbolic meanings through commentary on The Gates of Paradise and the Arlington Tempera.

John Middleton Murry, William Blake - expounds the teachings of Blake and includes the influence of Blake's personal experience on his work.

S. Foster Damon, A Blake Dictionary: The Ideas and Symbols of William Blake - provides information on the major ideas in Blake's writing with references to locations of passages where they occur.

Kathleen Raine, Blake and Tradition - shows classical and literary sources and influences for Blake's ideas and images by placing him within traditional metaphysics.

It is because Blake thought and wrote over as broad a field of intellectual knowledge as was possible in London in the late 18th and early 19th centuries, that scholars have been able to study his work from so many points of view. These authors have immersed themselves in the whole body of Blake's work and found themselves able to focus on specific areas where their interest and expertise could shed light onto what Blake communicated. There are more books to be written, perhaps you will write one.

You are invited to read Larry Clayton's unpublished book, Ram Horn'd with Gold, focusing on Blake's spiritual development.

Writing Books

GARMENTS

2010-01-20T15:35:00.001-08:00

A way of looking at images in Blake in regard to being clothed
or unclothed is demonstrated by these three images.

In the first is Milton fresh from his sojourn in Eternity,
prepared to undertake the mission that Blake has assigned
him. His lack of clothing is symbolic of his being outside of
the world of materiality which he will soon rejoin.

Milton

Second we look at the image of Los, which is from the
beginning of Jerusalem as our first image is from the
beginning of Milton. Erdman points out that the
positioning of the bodies of these two represents a
mirror image. Unlike Milton, Los is clothed. This is the
reversal of what we would expect if we were thinking
naturally, since Milton is a human and Los is an
Eternal. But the character Los, in the poem
Jerusalem, is playing the opposite role to that
played by Milton. He is leaving the material world to
enter the stage where the Eternal drama will unfold.

Los

Our third image is of Urizen, clothed in a robe which
seems to grow from his body as he is entering the dark
world of his own creation. In other words he doesn't
just wear the garment, he is the garment.

Urizen

From this I understand that the degree of clothing can
be used to hide or reveal the character's spiritual
activity or condition.

AMERICA

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Erdman wrote a book explicating the political and historical implications of Blake's poetry. This post relates to his insights on Blake's poem America which Blake published in 1793.

Blake: Prophet Against Empire, David V. Erdman, Page 24,25 . Erdman writes:

"It is important to recognize this passage (America, plate 6 [8]) as Blake's poetic paraphrase of the Declaration of Independence because he frequently alludes to by repeating one or two of its central images,...The page is illuminated with a picture of a naked (resurrected) man sitting on the grave of his dead past and gazing confidently into the heavens."

America a Prophecy, Plate 6 [8], (E 53)
02 The morning comes, the night decays, the watchmen leave
03 their stations;
04 The grave is burst, the spices shed, the linen wrapped up;
05 The bones of death, the cov'ring clay, the sinews shrunk & dry'd.
06 Reviving shake. inspiring move, breathing! awakening!
07 Spring like redeemed captives when their bonds & bars are burst;
08 Let the slave grinding at the mill, run out into the field;
09 Let him look up into the heavens & laugh in the bright air;
10 Let the inchained soul shut up in darkness and in sighing,
11 Whose face has never seen a smile in thirty weary years;
12 Rise and look out, his chains are loose, his dungeon doors are open.
13 And let his wife and children return from the opressors scourge;
14 They look behind at every step & believe it is a dream.
15 Singing. The Sun has left his blackness, & has found a fresher morning
16 And the fair Moon rejoices in the clear & cloudless night;
17 For Empire is no more, and now the Lion & Wolf shall cease.

Quoting Erdman: "That document holds that all men are endowed with 'certain inalienable rights,' including:

life - "The morning comes...The grave is burst"
liberty - "Let the slave grinding at the mill, run out into the field"; "Let the inchained soul...look out"; "let his wife and children return from the opressors scourge."
and the pursuit of happiness - "Let him look up into the heavens & laugh...Whose face has never seen a smile in thirty weary years", the reunited family "look behind at every step & believe it is a dream. Singing. The Sun has left his blackness, & has found a fresher morning."
...it is their right, it is their duty, to throw off such a government...having in direct object the establishment of a absolute Tyranny - "For Empire is no more, and now the Lion & Wolf shall cease."

Blake's interest in the American Revolution centered around the establishment of liberty and justice. But he also saw revolution as a sign of the coming apocalypse. America is strewn with images suggesting that the new nation is a sign of a new beginning in world history where the Eternal breaks into the affairs of men.

I found this passage in Joseph Campbell's The Inner Reaches of Outer Space. In describing Great Seal of the United States, he shows the birth of America as symbolizing the kind of transformation Blake anticipated. Campbell, like Blake, is able to present the images embedded in experience.

Joseph Campbell, The Inner Reaches of Outer Space, Page 126:

Figure 16. Reverse, Great Seal of the United States.

"The present pyramid is not, however, of that first creation, but of a second, a 'new order of the world' (novus ordo seclorum), represented here as constituted of exactly 13 courses allegorical of our 13 original states. And whereas behind the new pyramid there is only a desert to be seen, before and around it are the sprouting signs of a new and fresh beginning, dated 1776: 1+7+7+6=21. Mankind, that is to say, has herewith come of age and taken to itself responsibility and authority for the shaping of human lives according to Reason.

"Moreover, between the dated course at the pyramid's base, which tells of an occurrence in Time, and the Eye at the top, which is of Eternity, there are 12 courses, this being the number of the belt of the zodiac as defining the limits of the physical world. The number 13, accordingly, which is that dated course at the base, represents a creative transcendence of the boundary: not death, as appears in the popular superstition of 13 at table, but an achieved life beyond death, as signified in the model of the table of the Last Supper, where the 12 Apostles were of the number of the signs of the belt of the zodiac by which the physical world is bounded, whereas the incarnate God who was about to die, though indeed among them in the field of Time, was of Eternity, beyond the pale of death. Thus the number 13 of our 13 originating states is here interpreted and celebrated as the sign of a resurrection of life out of death, fresh leaves from a desert, a wholesome gift of of the light of Reason as an awakener to maturity of the mind in its social conscience."

The Selfhood

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Be ye therefore perfect. (Matthew 5:48)
In the Preface to The Great Divorce C. S. Lewis wrote:
"if we accept Heaven we shall not be able to retain even the smallest and most intimate souvenirs of Hell." We may have to give up our right hand or our right eye.

Egocentricity, Self-centeredness, Narcissism, Selfishness, contempt for the 'neighbor', etc. etc! These are some of the attributes that Blake grouped together into the image of "The Selfhood". Blake saw these and other similar traits within himself; he saw them in others, and he saw them in the world.

For twenty years he fought injustice, greed, chicanery, deceit, exploitation; in all those things he was very much of a negative thinker. But at some point he turned: he was forgiven; he turned positive although he understood all too well that he, we, the world must annihilate the Selfhood in order to reach Eternity.

Blake also used the term 'Spectre'; it too was to be annihilated.
In the poem, Milton, we hear from the mouth of 'Milton' speaking to his Spectre:
"Such are the .......Laws of Eternity, that each shall mutually
Annihilate himself for others' good, as I for thee. . . .

In Self annihilation all that is not of God alone,
To put off Self and all I have, ever & ever . . ." (Milton plate 39; Erdman 139)

And "The Negation is the Spectre, the Reasoning Power in Man:
This is a false Body, an Incrustation over my Immortal
Spirit, a Selfhood which must be put off & annihilated alway. " (Milton 40; Erdman 142)

The Selfhood

2010-01-17T11:18:00.000-08:00

ALBION'S ANGUISH

2010-01-17T05:15:00.002-08:00

This post follows the thread in these three posts related to Plate 62 of Jerusalem:

LAMB OF GOD
ALBION & LOS
SEVEN EYES OF GOD

Perhaps Plate 62 of Jerusalem is an attempted summation of Blake's myth up to that point. Putting all of the Old Testament and New Testament allusions in the text, as well as connecting the picture to text on a plate that falls much earlier in the story, points toward an amalgamation of various threads.

IMAGE: Jerusalem, Plate 62, Albion and Los

In the Illumination on Plate 62, we have an example of how Blake presents the explicit and implicit simultaneously. The explicit is invariably the lessor of his communications. Although the seven spots direct us to the Eyes of God, there is a suggestion of twelve spots. The implied twelve suggests the Zodiac and other instances of twelve entities for which we may seek associations.

The picture itself goes beyond the stated imagery of the text on either Plate 62 or Plate 33. In the introduction to William Blake's Circle of Destiny, Percival presents the overall theme of his book: that when the long cycle comes to an end, it renews (repeats) itself if error is not cast off, or it reaches the Last Judgment which ends all temporal things. Percival sees Blake presenting the whole of the cycle: from the undifferentiated status of Eternity to the Apocalypse where time ends - in all its aspects of politics, science, history, sociology, psychology and religion.

Through the images incorporated in this picture of Albion, Blake may be suggesting a turning point in cosmic events. The ouroboros (seen as a snake around Albion's head), as a representation of cyclical experience reminds us that Albion may break the cycle or repeat it. The peacock feathers surrounding the head remind us that this is a point of transition. The Eyes of God tell us that Albion is under the protection of the Eternals though he has not returned from the world of time. The twelve eyes point to the Zodiac, another image of cyclical movement. (Percival is able to correlate the stages traversed in Blake's myth with passage through the signs of the Zodiac in Chapter VIII of his book.)

Using alchemical symbolism, Percival makes this observation, "The feminine mercury passes from black to white through an intermediate stage in which all the colors assert themselves. The symbol of this stage is the peacock's tail. The appearance of this symbol is a good omen; it means that the fire is doing its work, that death is awakening into life, or, as Paracelsus puts it alchemically, "it showeth the workings of the philosopher's mercury on the vulgar mercury."
Milton O. Percival, William Blake's Circle of Destiny, Page 206.

Just as Blake wanted us to think of the events of the Old and New Testaments as we read the words of the text, in the illumination he is calling to our minds the seven days of creation, the twelve tribes of Israel, and whatever associations with the numbers seven and twelve which we may have from our reading of history, literature and numerology. The feet, cold to the point of blue death, are surrounded by the fires of destruction and redemption. And what about how Albion grasps the stone tenaciously? The face of fear, anguish and confusion suggests an agonizing decision making process like that undergone by Jesus in the Garden.

Blake bombards us with images, as he makes us ask the question, "Which direction will Albion choose?"

Thanks to Jim and Mark for ideas included in this post.

Some Significant Symbols

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Much of this is taken from Digby's 'Symbol and Image in William Blake':

ALBION (Glad Day) was Blake's name for Everyman, Adam Kadman, Cosmic Man, the Eternal Great Humanity Divine (See Milton, plates 2 and 30) or in Quakereze 'that of God in Everyone'. Albion asleep is an apt commentary on Blake's age-- and ours.

"Every human life is part of Albion and can realize more or less the Cosmic Man's total nature... Albion suffers and triumphs in each individual, as is described in ...Jerusalem
..The Dance of Eternal Death" Digby p.12.

ETERNAL DEATH: Blake used this phrase 78 times; it's mortal life;I translate it to 'this vale of tears', the Sea of Time and Space from which we may emerge at the end; "whenever any Individual Rejects Error & Embraces Truth a Last Judgment passes upon that Individual.." [[A Vision of the Last Judgment] PAGE 85] (Erdman 562)

From Milton: In Heaven, having heard the Bard's Song,
"Milton said, I go to Eternal Death! The Nations still
Follow after the detestable Gods of Priam; in pomp
Of warlike selfhood, contradicting and blaspheming.
When will the Resurrection come; to deliver the sleeping body.."

JERUSALEM: This image cannot be defined; we can only begin a journey of 1000 miles. The Concordance has 288 occurences and Damon has 7 pages trying to describe it. Blake used it as the title for his largest poem; 'Jerusalem' the (smaller) poem, appears in the Preface to Milton (and in many hymnbooks): "till we have built Jerusalem in Englands green and pleasant land."

Jerusalem is the bride of Christ (the conventional church considers itself to be the bride of Christ, but to Blake the bride of Christ was the human race). Jerusalem was Albion's wife-- until he went to sleep; at that point he turned to Vala.

VALA is fallen Jerusalem. A picture is worth a thousand words, and the relationship betwem Vala and Jerusalem can be best understood in this plate (click on the pic for an enlargement). Jerusalem stands out in light with (supposedly) her three daughter, while Vala, in a dark vale, attempts to entice Jerusalem into her darkness. The two battle through The Four Zoas and Jerusalem (the large poem). In your life you can see the 'good girl' and 'bad girl' fighting for supremacy. A woman may become a thief, and/or she may give birth to a spiritual genius. Such is life.

Blake did not believe in 'good and bad'; he believed in Truth and Error. At the Last Judgment Error is burned up and we live (eternally) in Truth.

GOD & MAN

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Nothing interested Blake more than the relationship of man and God. One way he saw his purpose in life was to 'open the minds of men to a perception of the Infinite'. Because he knew that religion was supposed to serve that purpose for man, he was appalled by false religions which separated God from man, and man from man.

False religions he recognized as taking many forms. Here are some:

Creating individual requirements and forcing them on others;

Milton, Plate 11 (E103)
Where Satan making to himself Laws from his own identity.
Compell'd others to serve him in moral gratitude & submission
Being call'd God: setting himself above all that is called God.

Naming behaviors sin and devising punishments;

Milton, Plate 9 (E102)
He created Seven deadly Sins drawing out his infernal scroll,
Of Moral laws and cruel punishments upon the clouds of Jehovah
To pervert the Divine voice in its entrance to the earth
With thunder of war & trumpets sound, with armies of disease
Punisbments & deaths musterd & number'd; Saying I am God alone
There is no other! let all obey my principles of moral individuality

Using religion to confine perception to that of the senses;

Song of Los, Plate 4, (E 68)
Thus the terrible race of Los & Enitharmon gave
Laws & Religions to the sons of Har binding them more
And more to Earth: closing and restraining:
Till a Philosophy of Five Senses was complete
Urizen wept & gave it into the hands of Newton & Locke

Assuming the role of intermediary between God and man through secrecy;

Urizen, Plate 2, (E 70)
Of the primeval Priests assum'd power,
When Eternals spurn'd back his religion;
And gave him a place in the north,
Obscure, shadowy, void, solitary.

Creating terror, despair and cruelty through self-righteousness;

Milton, Plate 22, (E 116)
Miltons Religion is the cause: there is no end to destruction!
Seeing the Churches at their Period in terror & despair:
...
Asserting the Self-righteousness against the Universal Saviour,
Mocking the Confessors & Martyrs, claiming Self-righteousness;
With cruel Virtue: making War upon the Lambs Redeemed;
To perpetuate War & Glory. to perpetuate the Laws of Sin:

Forbidding the joys that flow from following God;

Jerusalem, Plate 9, (E 151)
Every Emanative joy forbidden as a Crime:
And the Emanations buried alive in the earth with pomp of religion:
Inspiration deny'd; Genius forbidden by laws of punishment:
I saw terrified;

Creating a mask that obscures the true relationship of man and God;

Jerusalem, Plate 38, (E 184)
A pretence of Art, to destroy Art: a pretence of Liberty
To destroy Liberty. a pretence of Religion to destroy Religion

Allowing consciousness of of sin to obscure consciousness of the spirit;

Jerusalem, Plate 41, (E 188)
Alas!--The time will come, when a mans worst enemies
Shall be those of his own house and family: in a Religion
Of Generation, to destroy by Sin and Atonement, happy Jerusalem,
The Bride and Wife of the Lamb. O God thou art Not an Avenger!

Worshiping satan instead of God;

Jerusalem, Plate 52, (E 200)
Will any one say: Where are those who worship Satan under the
Name of God! Where are they? Listen! Every Religion that Preaches
Vengeance for Sins the Religion of the Enemy & Avenger; and not
the Forgiver of Sin, and their God is Satan, Named by the Divine
Name Your Religion O Deists: Deism, is the Worship of the God
of this World by the means of what you call Natural Religion and
Natural Philosophy, and of Natural Morality or
Self-Righteousness, the Selfish Virtues of the Natural Heart.
This was the Religion of the Pharisees who murderd Jesus. Deism
is the same & ends in the same.

Imposing chastity which divides man from woman;

Jerusalem, Plate 69, (E 222)
A Religion of Chastity, forming a Commerce to sell Loves
With Moral Law, an Equal Balance, not going down with decision
Therefore the Male severe & cruel filld with stern Revenge:
Mutual Hate returns & mutual Deceit & mutual Fear.

Bringing hate and destruction under the guise of religion;

Jerusalem, Plate 77, (E 231)
I stood among my valleys of the south
And saw a flame of fire, even as a Wheel
Of fire surrounding all the heavens: it went
From west to cast against the current of
Creation and devourd all things in its loud
Fury & thundering course round heaven & earth
...
And I asked a Watcher & a Holy-One
Its Name? he answerd. It is the Wheel of Religion

God Answers Job out of the Whirlwind _____________________________________________
Making a concise statement about the nature of true religion, Carl Jung has this to say:

"The religious attitude is quite different from faith associated
with a specific creed. The latter, as a codified and
dogmatized form of an original religious experience, simply
gives expression to a particular collective belief. True religion
involves a subjective relationship to certain metaphysical,
extramundane factors."
Carl Jung, The Undiscovered Self, Complete Works,
Vol. 10, par. 507

Perennial Reader

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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.

INNOCENT or EXPERIENCED

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Blake won't let us make the straight line associations which would divide Innocence and Experience unequivocally. The three women named Mary in the gospels can help with sorting out the threads.

The mother Mary is the virgin, yet she is the mother of Jesus' material side. The list of the maternal line includes some disreputable women of the OT. Blake's class of redeemed, may include his mother since she bore the suffering and rejection on her worldly side without losing sight of the spiritual.

Mary Magdalen with the reputation of a 'sinner', seems to have had greater awareness of Jesus' spiritual nature than did his mother. Blake often uses the term 'experience' to mean participation in the condition of contrariness - divided or conflicted. If Magdalen is both the woman taken in adultery, and the first to see the risen Christ; she represents one who has passed through 'experience' and reached unity - Eternity. ( "But I thy Magdalen behold thy Spiritual Risen Body." )

The third Mary, the sister of Lazarus may be closer to a state of 'innocence.' She, as Jesus says, has 'chosen the better part.' Her sister Martha represents the material side. Mary learns from Jesus; she weeps with Jesus. She is patient, loving, undemanding. Unblemished by sin or doubt she is like a child. She is more 'innocent' than Magdalen, since she is not known to have passed through 'experience' as Magdalen did.

Jerusalem, Plate 61, (E 211)
" Should I
Marry a Harlot & an Adulteress? Mary answerd, Art thou more pure
Than thy Maker who forgiveth Sins & calls again Her that is Lost
Tho She hates. he calls her again in love."

Everlasting Gospel, Pages 48-52, (E 520)

Was Jesus Chaste or did he
Give any Lessons of Chastity
The morning blushd fiery red
Mary was found in Adulterous bed
Earth groand beneath & Heaven above
Trembled at discovery of Love
Jesus was sitting in Moses Chair
They brought the trembling Woman There
Moses commands she be stoned to Death
What was the sound of Jesus breath
He laid his hand on Moses Law
The Ancient Heavens in Silent Awe
Writ with Curses from Pole to Pole
All away began to roll
The Earth trembling & Naked lay
In secret bed of Mortal Clay
On Sinai felt the hand Divine
Putting back the bloody shrine
And she heard the breath of God
As she heard by Edens flood
Good & Evil are no more
Sinais trumpets cease to roar
Cease finger of God to Write
The Heavens are not clean in thy Sight
Thou art Good & thou Alone
Nor may the sinner cast one stone
To be Good only is to be
A Devil or else a Pharisee
Thou Angel of the Presence Divine
That didst create this Body of Mine
Wherefore has[t] thou writ these Laws
And Created Hells dark jaws
My Presence I will take from thee
A Cold Leper thou shalt be
Tho thou wast so pure & bright
That Heaven was Impure in thy Sight
Tho thy Oath turnd Heaven Pale
Tho thy Covenant built Hells Jail
Tho thou didst all to Chaos roll
With the Serpent for its soul
Still the breath Divine does move
And the breath Divine is Love
Mary Fear Not Let me see
The Seven Devils that torment thee
Hide not from my Sight thy Sin
That forgiveness thou maist win
Has no Man Condemned thee
No Man Lord! then what is he
Who shall Accuse thee.

Three Maries at the Sepulcher

LAST VINTAGE

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Egg Shaped World of Los

Blake managed to remain upbeat in his expectation for the outcome of the grand experiment which we know as life and intelligence. We too, with consciousness and vision, may become aware of the possibility of Eternity becoming manifest in all creation. Milton Percival ( William Blake's Circle of Destiny, Page 248.) outlines Blake's struggle in delineating and living the faith he had in God's wisdom and mercy. Percival's words:

"It is none too certain, however, that the world will take the path of deliverance. An outward and feminine religion of Mystery challenges the masculine gospel of Christ. But when Mystery is at last stripped of its trappings, and the grinning skeleton of Deism stands revealed, it is time for the Last Judgment. With Deism the wheel of Natural Religion, which began its circuit centuries ago, has swung full circle, and must now submit to Christ or swing round once again. Which will it do? Will the world today, having come to the edge of the abyss over the path of mutual fear, renounce that policy and enter into the ways of peace? Are we purged and pure - true gold - or must we be cast, as dross, once more into the furnaces of affliction? The question haunted Blake, as it haunted Shelly. The prophet in him, especially around the year 1790, filled him with hope of the great renunciation. The Spectre in him pointed out the power of error to renew itself. Where Babylon ends Babylon might begin again. Generation might not be swallowed up in regeneration. This fear is never absent from Los's mind or Blake's. Los's Herculean efforts are necessary, that the "wheel of religion" may disappear in the current of creation." He dare not relinquish his activities, lest the creation itself (the egg-shaped world of Los, and Blake's symbol for what had already been accomplished in a regenerative way) be destroyed. But, though Blake's fear was great, his will to believe was greater. He persuaded himself that man would take the path of Job taken in the Illustrations. He would cast his pride and selfhood (which betrayed him into the cruelty of Natural Religion) into the lake of fire, and be transformed into the likeness of Christ."

Milton, Plate 24 , (E 118)

"But Los dispersd the clouds even as the strong winds of Jehovah,

And Los thus spoke. O noble Sons, be patient yet a little
I have embracd the falling Death, he is become One with me
O Sons we live not by wrath. by mercy alone we live!
I recollect an old Prophecy in Eden recorded in gold; and oft
Sung to the harp: That Milton of the land of Albion.
Should up ascend forward from Felphams Vale & break the Chain
Of jealousy from all its roots; be patient therefore O my Sons
These lovely Females form sweet night and silence and secret
Obscurities to bide from Satans Watch-Fiends. Human loves
And graces; lest they write them in their Books, & in the Scroll
Of mortal life, to condemn the accused: who at Satans Bar
Tremble in Spectrous Bodies continually day and night
While on the Earth they live in sorrowful Vegetations
O when shall we tread our Wine-presses in heaven; and Reap
Our wheat with shoutings of joy, and leave the Earth in peace
Remember how Calvin and Luther in fury premature
Sow'd War and stern division between Papists & Protestants
Let it not be so now! O go not forth in Martyrdoms & Wars
We were plac'd here by the Universal Brotherhood & Mercy
With powers fitted to circumscribe this dark Satanic death
And that the Seven Eyes of God may have space for Redemption.
But how this is as yet we know not, and we cannot know;
Till Albion is arisen; then patient wait a little while,
Six Thousand years are passd away the end approaches fast;
This mighty one is come from Eden, he is of the Elect,
Who died from Earth & he is returnd before the Judgment.
This thing Was never known that one of the holy dead should willing return
Then patient wait a little while till the Last Vintage is over:"

Angel of Revelation

Percival obviously shared Blake's fears and his faith, as well as his strenuous effort on the part of regeneration.

Blake a Gnostic?

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Blake was not a Gnostic! But he freely used gnostic ideas
like he freely used biblical ideas, platonic and neo-platonic
ideas and many other ideologies. Here's an extract from a
google book (click on the image to blow it up):

But there is certainly a relationship. Blake's myth involved
four levels: Eternity, Beulah, Ulro, generation/regeneration.

"In the Gnostic view, Hylics, also called Somatics (from Gk το σώμα, soma the body or of the body), were the lowest order of the three types of human. The other two were the Psychics and the Pneumatics (from Gk το πνεύμα, spirit, breath). So humanity comprised matter-bound beings, matter-dwelling spirits and the matter-free or immaterial, souls." in the Free Dictionary.

"When the Morning Stars Sang Together" Illustrations to the Book of Job (Butts Set) Click on picture for details.

The somatic (or hylic) level corresponds roughly to Paul's
appellation or his 'slackers': "their god is their stomach"
(Philippians 3:19). For Blake they dwell in Ulro.

The psychic dwell in matter, but that's not the only thing on their
minds. For Blake they are the created, the redeemed, those
struggling for a spiritual dimension under the care of Los.
They may eventually rise to Beulah.

The Pneumatic is matter free. We're told that in the gospel of
Judas Jesus was pneumatic and his disciples were somatic.
Jesus, the Universal Man, came down from Eternity for our
sakes. Blake calls his universal man Albion. He came down to
Beulah, passed through the two lower types, and finally at the
end of Jerusalem became synonymous with Jesus.

Blake perceived that as the eventual fate of all of us.

So did Blake get his levels of humanity from this gnostic
system? Who can tell? He may have developed his system
from any number of sources. He was a voracious reader. A
good way to learn about Blake's sources is by reading the
Perennial Philosphy, which contains thousands of sources of
divine meaning throughout Western civilization.

Before the Fall

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What was Blake saying with this Picture?

It's about the world, and about everyone:

The biblical source is obvious (Genesis 3), the Garden scene:
Adam and Eve and the snake! Just before the fatal meal that
made us all mortal. But who's the 3rd figure above our
ancestors with the snake all coiled around him? Well Genesis
3 mentions a third figure called "cherubim and a flaming
sword flashing back and forth to guard the way to the tree of
life."

Now look at Blake's myth:
The third figure has a thousand faces: serpent, Satan, Covering Cherub...Urizen! above all the Spectre, the Selfhood!

Blake, the world, you and I are three: masculine, feminine,
and spectrous.

Man and woman work together amicably-- with love;
the spectre, (Satan, Lucifer, Urizen, the Covering Cherub!)
is jealous; his thoughts are evil.

The Fall of Man began Blake's myth, and he wrote many ends (the Bible does as well). One of Blake's earliest and most dramatic ones come in Plate 14 of MHH:

"The ancient tradition that the world will be consumed in fire at the end of six thousand years is true, as I have heard from Hell.

For the cherub with his flaming sword is hereby commanded to leave his guard at tree of life, and when he does, the whole creation will be consumed, and appear infinite, and holy whereas it now appears finite & corrupt."

Once again the poem, My Spectre Round me Night and Day tells the whole story in microcosm.

7 EYES OF GOD

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Seven Eyes of God from Illustration of the Book of Job
click on picture for enlargement; the date indicates that this is one of Blake's last works.

When Divine Spirits fall into the world of mortality, they are not left unprotected. The Eternals elected seven of their own to guide and protect them until the day of their return. These seven are the Seven Eyes of God. Blake sees them as forming structures which allow the Soul to exist in the conditions and stage of development in which the Soul finds itself. Each of the Seven eyes is associated with a historic period of religious development. So they may be seen as the evolution of Spiritual consciousness in the collective society. Thus Blake calls the seven by names of characters prominent in Biblical accounts:
Lucifer, Molech, Elohim, Shaddai, Pahad, Jehovah, Jesus.

Like the world of Generation, they are created as mercies that man may not fall into the abyss of non-existence. They are not perfect solutions to the condition of man. Percival identifies the chief characteristic of each stage. Lucifer is pride, Molech is impatience, Elohim is vengeance, Shaddai is anger, Pachad is fear, Jehovah is mystery, and Jesus is deliverance. 'The Seven are one within the other'. (Four Zoas, Page 21)

The psychic stages through which man passes, frequently follow the same path that is represented by the progression through the Seven Eyes. Blake's Illustrations of the Book of Job presents the development of Job's relationship to God as progressing through the Seven Eyes and returning. During the process Job's psyche is altered as well as is his perception of God.

Here are the six passages in which Blake mentions the Eyes of God:
1) Four Zoas, Page 21, (E 312)
"So spoke the Messengers of Beulah. Silently removing
The Family Divine drew up the Universal tent
Above High Snowdon & closd the Messengers in clouds around
Till the time of the End. Then they Elected Seven. called the
SevenEyes of God & the Seven lamps of the Almighty
The Seven are one within the other the Seventh is named Jesus"
2) Milton, Plate 23, (E 118)
"We were plac'd here by the Universal Brotherhood & Mercy
With powers fitted to circumscribe this dark Satanic death
And that the Seven Eyes of God may have space for Redemption.
But how this is as yet we know not"
3) Milton, PLATE 24 [26] (E 118)
"& the Seven Eyes of God continually
Guard round them, but I the Fourth Zoa am also set
The Watchman of Eternity, the Three are not! & I am preserved
Still my four mighty ones are left to me in Golgonooza
Still Rintrah fierce, and Palamabron mild & piteous
Theotormon filld with care, Bromion loving Science"
4) Milton, Plate 29, (E 127)
"But Enitharmon and her Daughters take the pleasant charge.
To give them to their lovely heavens till the Great Judgment Day
Such is their lovely charge. But Rahab & Tirzah pervert
Their mild influences, therefore the Seven Eyes of God walk round
The Three Heavens of Ulro, where Tirzah & her Sisters
Weave the black Woof of Death upon Entuthon Benython"
5) Milton, Plate 35, (E 135)
"But the Larks Nest is at the Gate of Los, at the eastern
Gate of wide Golgonooza & the Lark is Los's Messenger
PLATE 36 [40]
When on the highest lift of his light pinions he arrives
At that bright Gate, another Lark meets him & back to back
They touch their pinions tip tip: and each descend
To their respective Earths & there all night consult with Angels
Of Providence & with the Eyes of God all night in slumbers
Inspired: & at the dawn of day send out another Lark
Into another Heaven to carry news upon his wings
Thus are the Messengers dispatchd till they reach the Earth again"
6) Jerusalem Plate 55, (E 203)
"The Stars in their courses fought. the Sun! Moon! Heaven! Earth.
Contending for Albion & for Jerusalem his Emanation
And for Shiloh, the Emanation of France & for lovely Vala.
Then far the greatest number were about to make a Separation
And they Elected Seven, calld the Seven Eyes of God;
Lucifer, Molech, Elohim, Shaddai, Pahad, Jehovah, Jesus.
They namd the Eighth. he came not, he hid in Albions Forests"

Bacon, Newton, and Locke

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"I consider them [Bacon, Newton, and Locke] as the three greatest men that have ever lived, without any exception.." (from the pen of Thomas Jefferson in a letter in 1789.

You can see what Blake thought of Bacon by reading his annotations to one of Bacon's books (Erdman pp 620-32). Here's are two examples:

"7. Bacon a Liar

AnnBacon62; E624

8. Bacon has no notion of any thing but Mammon

AnnBacon69; E625"

Re Newton look at the end of a famous letter (23) to Butts in 1802:

"Now I a fourfold vision see
And a fourfold vision is given to me
Tis fourfold in my supreme delight
And three fold in soft Beulahs night
And twofold Always.  May God us keep
From Single vision & Newtons sleep" (Erdman 722)

 Re Locke: the tabula raza was particularly offense to Blake
who thought intelligence and imagination were inherent in us
all.

 In Milton plate 41 Blake dispatches all three with this:
"To cleanse the Face of my Spirit by Self-examination.
To bathe in the Waters of Life; to wash off the Not Human
I come in Self-annihilation & the grandeur of Inspiration
To cast off Rational Demonstration by Faith in the Saviour
To cast off the rotten rags of Memory by Inspiration
To cast off Bacon, Locke & Newton from Albions covering
To take off his filthy garments, & clothe him with
Imagination" (Erdman 142)

Blake felt that these three men (Blake's 'unholy trinity')
had led England into a thoroughly materialistic,
spirit-denying culture dominated by greed.  What he said
about them was largely true although they had a positive
dimension as well. Blake acknowledged the positive dimension

in plate 98 near the end of Jerusalem:

"The Druid Spectre was Annihilate loud thundring rejoicing
terrific vanishing
Fourfold Annihilation & at the clangor of the Arrows of
Intellect
The innumerable Chariots of the Almighty appeard in Heaven
And Bacon & Newton & Locke, & Milton & Shakspear &
Chaucer"(Erdman 257)

Although he had excoriated them systematically throughout
his works, he realized that they were not negatives, but
contraries.  The essential polarity of the mind means that
the opposites are also true.

Blake's God

2010-01-07T08:33:00.001-08:00

Here we go again:
We start of course with the four year old who ran screaming to his mother after seeing an angry God in the window. This certainly suggests exposure to one of the angry preachers who (then and now) project their own misery onto the God they describe for their parishioners. It set for Blake the mode for 25 years of defiance for a God so destructive to the human psyche. Christians through the ages have repressed the anger they feel toward such a God. But Blake did not repress! He let it all out.

By the age of 33 in MHH he had learned to express complete skepticism re the God and the Church that directed the religious life of the multitude. In particular he saw it as a conspiracy of rogues (look again at Plate 11).

Now look again at Milton, plate 37:
"The Monstrous Churches of Beulah, the Gods of Ulro
Twelve monstrous dishumanizd terrors Synagogues of Satan.
A Double Twelve & Thrice Nine: such their divisions:"

Here Blake named twelve (prechristian) "Gods, the Twelve Spectre Sons of the Druid Albion " and twenty-seven "Heavens & their Churches" in three groups: the antediluvian ones, the Judaic ones, and the supposed Christian ones. So he's talking about fallen religion, where many of us attend every Sunday (that would be the church of Luther).

The religious denomination that goes by the name of 'Witnesses' would take great issue with the description that Blake made of Jehovah:

Jehovah was Urizen, even Satan, the Angel of the Divine Presence, the Gnostic demiurge who made a hash of his Creation. So much for that God. He was called everything but 'Loving'.

Blake mentioned Jehovah 64 times; here is a fairly representative
one from his notes on The Last Judgment:

" The Aged Figure with Wings having a writing tablet & taking
account of the numbers who arise is That Angel of the Divine
Presence mentiond in Exodus XIVc 19v & in other Places
this Angelis frequently calld by the Name of Jehovah Elohim The I am of the Oaks of Albion"

Jehovah was too often identified with condemnation:

In the Epilogue to Gates of Paradise we read:
" To The Accuser Who is The God of This World
Truly My Satan thou art but a Dunce
And dost not know the Garment from the Man
Every Harlot was a Virgin once
Nor canst thou ever change Kate into Nan
Tho thou art Worshipd by the Names Divine
Of Jesus & Jehovah thou art still
The Son of Morn in weary Nights decline
The lost Travellers Dream under the Hill"

The most derogatory figure Blake used for authorities
such as King George or Jehovah is in Nobodaddy, a term
used again in an indelicate doggerel on Erdman 499.

Blake accurately portrayed the leading spirit of the Old Testament in the above discussion.

We come now to the gospel. Blake considered Jesus the only God. In his mind Jesus was largely about forgiveness; many examples of Blake's forgiveness (the forgiveness Jesus taught can be found throughout his poetry.) The most succinct one has
appeared in these posts before: the little unnamed poem going by the name of My Spectre; here's the end of it:

"And Throughout all Eternity I forgive you; you forgive me.
As the dear Redeemer said, this the Wine and this the Bread."

If you want more on Blake and God, look at the
Spiritual Autobiography, Chapter Five.

COUCH OF DEATH

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At a critical moment in Blake's myth, he represents one of the low points in the condition of Albion, the Universal Man. Although this picture is labeled "Christ in the Sepulcher", the angels duplicate those described at the beginning of Night VIII of the Four Zoas. The appearance of the Lamb of God signals the impending resolution of Albion's plight.

Guarded by Angels

Four Zoas, Night VIII, Page 99 (E 370)
"The Fallen Man stretchd like a Corse upon the oozy Rock
Washd with the tides Pale overgrown with weeds
Two winged immortal shapes one standing at his feet
Toward the East one standing at his head toward the west
Their wings joind in the Zenith over head
Such is a Vision of All Beulah hovring over the Sleeper

The limit of Contraction now was fixd & Man began
To wake upon the Couch of Death he sneezed seven times
A tear of blood dropped from either eye again he reposd
In the saviours arms, in the arms of tender mercy & loving
kindness

Then Los said I behold the Divine Vision thro the broken Gates
Of thy poor broken heart astonishd melted into Compassion & Love
And Enitharmon said I see the Lamb of God upon Mount Zion
Wondring with love & Awe they felt the divine hand upon them"

Although Blake never completed and illuminated the Four Zoas, the image of Albion in the arms of Jesus appears on Plate 33 of Jerusalem, along with a description of Los attempting to turn Albion in the right direction.

Albion in the Arms of Jesus

ALBION & LOS

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FOLLOWUP TO 'LAMB OF GOD'
Since it is hard to correlate the text of Plate 62 of Jerusalem with the picture, we can look elsewhere for text that matches the image. We find it on Plates 33 and 34.

IMAGE: Jerusalem, Plate 62, Albion and Los

TEXT: Jerusalem, PLATE 33 [37] (E 179):

"And One stood forth from the Divine Family &, said

I feel my Spectre rising upon me! Albion! arouze thyself!
Why dost thou thunder with frozen Spectrous wrath against us?
The Spectre is, in Giant Man; insane, and most deform'd.
Thou wilt certainly provoke my Spectre against thine in fury!
He has a Sepulcher hewn out of a Rock ready for thee:
And a Death of Eight thousand years forg'd by thyself, upon
The point of his Spear! if thou persistest to forbid with Laws
Our Emanations, and to attack our secret supreme delights

So Los spoke: But when he saw blue death in Albions feet,
Again he join'd the Divine Body, following merciful;
While Albion fled more indignant! revengeful covering

PLATE 34 [38]
"His face and bosom with petrific hardness, and his hands
And feet, lest any should enter his bosom & embrace
His hidden heart; his Emanation wept & trembled within him:
Uttering not his jealousy, but hiding it as with
Iron and steel, dark and opake, with clouds & tempests brooding:
His strong limbs shudderd upon his mountains high and dark.

Turning from Universal Love petrific as he went,
His cold against the warmth of Eden rag'd with loud
Thunders of deadly war (the fever of the human soul)
Fires and clouds of rolling smoke! but mild the Saviour follow'd
him,
Displaying the Eternal Vision! the Divine Similitude!
In loves and tears of brothers, sisters, sons, fathers, and
friends
Which if Man ceases to behold, he ceases to exist:"

So we see Albion hard and cold and crazed, (with his blue feet), but under the protection of the seven eyes of God which surround his head in the picture. Los, as a tiny figure between the gigantic feet, is the One who stood forth to warn Albion of his fate.

Albion has mounted his defenses, but he is not abandoned by the Savior who follows him. This is the link forward to Plate 62 with the promise of the Lamb of God to be with us always.

I believe that Blake would be pleased that his readers are persistent enough to ferret out the more obscure references and hidden connections. Those who like to work puzzles or solve mysteries should find Blake fascinating.

LAMB OF GOD

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Frequently Blake used a shorthand to present his ideas. He quoted words or phrases from his sources to evoke larger bodies of ideas without stating them explicitly.

On Plate 62 of Jerusalem he points our attention to various Biblical passages to expand the context of the statements he is making about Jesus and about his own developing myth. To facilitate a more complete understanding of part of Plate 62, here are some Biblical passages which incorporated phrases from Blake's poem.

John 20:11-12 - But Mary [Maglalen] stood just outside the tomb, and she was crying. And as she cried, she looked into the tomb and saw two angels in white who sat, one at the head and the other at the foot of the place where the body of Jesus had lain.
20:13 - The angels spoke to her, "Why are you crying?" they asked. "Because they have taken away my Lord, and I don't know where they have put him!" she said.
20:14 - Then she turned and noticed Jesus standing there, without realising that it was Jesus.
20:15 - "Why are you crying?" said Jesus to her. "Who are you looking for?" She, supposing that he was the gardener, said, "Oh, sir, if you have carried him away, please tell me where you have put him and I will take him away."
20:16 - Jesus said to her, "Mary!" At this she turned right round and said to him, in Hebrew, "Master!"

Mark 1:2 - just as the prophet Isaiah had written: "Look, I am sending my messenger ahead of you, and he will prepare your way.

Numbers 10:12 - and the sons of Israel set out on their journeys from the wilderness of Sinai. Then the cloud settled down in the wilderness of Paran.

Nehemiah 9:19 - You, in Your great compassion, Did not forsake them in the wilderness; The pillar of cloud did not leave them by day, To guide them on their way, Nor the pillar of fire by night, to light for them the way in which they were to go

Exodus 17:5-6 - The Lord answered Moses, “Walk on ahead of the people. Take with you some of the elders of Israel and take in your hand the staff with which you struck the Nile, and go. I will stand there before you by the rock at Horeb. Strike the rock, and water will come out of it for the people to drink.” So Moses did this in the sight of the elders of Israel.

Exodus 16:4 Then the LORD said to Moses, "Behold, I will rain bread from heaven for you; and the people shall go out and gather a day's portion every day, that I may test them, whether or not they will walk in My instruction.

John 11:24 - "I  know," said Martha, "that he [her brother Lazarus]
will rise again in the resurrection at the last day."

John 11:25-26 - "I myself am the resurrection and the life," Jesus
told her. "The man who believes in me will live even though he
dies, and anyone who is alive and believes in me will never die
at all. Can you believe that?"

John 14:28 - You have heard me say, 'I am going away and I am
coming back to you. ' If you really loved me, you would be glad
because I am going to my Father, for my Father is greater than I.
And I have told you of it now, before it happens, so that when
it does happen, your faith in me will not be shaken.

Revelation 14:20 - And the wine press was trodden outside the city, and blood came out from the wine press, up to the horses' bridles, for a distance of two hundred miles.

This may seem like a lot of Biblical references for one short passage but with some effort you can find even more.

PLATE 62

Jerusalem speaking:
"These are the Daughters of Vala, Mother of the Body of death
But I thy Magdalen behold thy Spiritual Risen Body
Shall Albion arise? I know he shall arise at the Last Day!
I know that in my flesh I shall see God: but Emanations
Are weak. they know not whence they are, nor whither tend.

Jesus replied. I am the Resurrection & the Life.
I Die & pass the limits of possibility, as it appears
To individual perception. Luvah must be Created
And Vala; for I cannot leave them in the gnawing Grave.
But will prepare a way for my banished-ones to return
Come now with me into the villages. walk thro all the cities.
Tho thou art taken to prison & judgment, starved in the streets
I will command the cloud to give thee food & the hard rock
To flow with milk & wine, tho thou seest me not a season
Even a long season & a hard journey & a howling wilderness!
Tho Valas cloud hide thee & Luvahs fires follow thee!
Only believe & trust in me, Lo. I am always with thee!

So spoke the Lamb of God while Luvahs Cloud reddening above
Burst forth in streams of blood upon the heavens & dark night
Involvd Jerusalem. & the Wheels of Albions Sons turnd hoarse
Over the Mountains & the fires blaz'd on Druid Altars
And the Sun set in Tyburns Brook where Victims howl & cry.

But Los beheld the Divine Vision among the flames of the Furnaces
Therefore he lived & breathed in hope."

Jerusalem, Plate 62

As you may gather after viewing the plate, Blake is attempting to convey much more in this Plate than has been suggested in this post.

LAST YEARS

2010-01-02T10:29:00.002-08:00

Third Temptation of Christ

In addition to editing the Complete Poetry and Prose of William Blake, and producing The Illuminated Blake: William Blake's Complete Illuminated Works with a Plate by Plate Commentary, David V. Erdman, wrote Blake: Prophet Against Empire. On page 494 of this volume we read:
"Pleasant labors occupied Blake's final years - the printing and illumination of Jerusalem in two or three black and white copies and as many more colored ones; the recollection of the rural delights of Felpham in a series of woodcuts for a Virgilian Eclogue; the organization of the Book of Job into an emblematic epic; the illustration of Paradise Lost and of the Divine Comedy - though Blake found in Dante vanity and hate - and of Genesis and the apocalyptic Book of Enoch, not finished at his death. During his last two years Blake had the pleasure of a worshipful following among the younger painters Palmer, Calvert, Richmond, Walter, and Finch. These disciples took Blake into the countryside and learned from him to see through the eye, to see the pastures and cottages of Sussex and Kent as corners of Paradise."

Here in Jerusalem, Blake is using the images of his world to open our eyes to Eternal truth.

Jerusalem (E 170) PLATE 26:
"SUCH VISIONS HAVE APPEARD TO ME
AS I MY ORDERD RACE HAVE RUN
JERUSALEM IS NAMED LIBERTY
AMONG THE SONS OF ALBION"

PLATE 27,"To the Jews....
The fields from Islington to Marybone,
To Primrose Hill and Saint Johns Wood:
Were builded over with pillars of gold,
And there Jerusalems pillars stood.

Her Little-ones ran on the fields
The Lamb of God among them seen
And fair Jerusalem his Bride:
Among the little meadows green.

Pancrass & Kentish-town repose
Among her golden pillars high:
Among her golden arches which
Shine upon the starry sky.

The Jews-harp-house & the Green Man;
The Ponds where Boys to bathe delight:
The fields of Cows by Willans farm:
Shine in Jerusalems pleasant sight.

She walks upon our meadows green:
The Lamb of God walks by her side:
And every English Child is seen,
Children of Jesus & his Bride,...

The Divine Vision still was seen
Still was the Human Form, Divine
Weeping in weak & mortal clay
O Jesus still the Form was thine.

And thine the Human Face & thine
The Human Hands & Feet & Breath
Entering thro' the Gates of Birth
And passing thro' the Gates of Death

And O thou Lamb of God, whom I
Slew in my dark self-righteous pride:
Art thou return'd to Albions Land!
And is Jerusalem thy Bride?

Come to my arms & never more
Depart; but dwell for ever here:
Create my Spirit to thy Love:
Subdue my Spectre to thy Fear,

Spectre of Albion! warlike Fiend!
In clouds of blood & ruin roll'd:
I here reclaim thee as my own
My Selfhood! Satan! armd in gold...

A mans worst enemies are those
Of his own house & family;
And he who makes his law a curse,
By his own law shall surely die.

In my Exchanges every Land
Shall walk, & mine in every Land,
Mutual shall build Jerusalem:
Both heart in heart & hand in hand.

Blake's Bible

2010-01-01T04:18:00.002-08:00

You might say that how you read the Bible is a key to
how you understand Blake. Blake honored the Bible, but
he considered bibliolatry to be anathema:

A young theologian asked his O.T. professor if he
believed God told the Israelites to exterminate
the Canaanites; "yes" was the reply, "because they
were totally depraved" (Ah!, the babies, too?)

Blake read it differently. Quoting Fearful
Symmetry, p. 109: "Jehovah often urges a ferocious
cruelty extremely repugnant to the civilized mind.
If one gives up the attempt to extract a unified
moral code out of the Bible, this becomes a
profoundly true vision of a false god..."

Plate 11 of The Marriage of Heaven and Hell:
" The ancient Poets animated all sensible objects with Gods or Geniuses calling them by the names and adorning them with the properties of woods, rivers, mountains, lakes, cities, nations, and whatever their enlarged & numerous senses could percieve. And particularly they studied the genius of each city &country. placing it under its mental deity. Till a system was formed, which some took advantage of & enslav'd the vulgar by attempting to realize or abstract the mental deities from their objects: thus began Priesthood. Choosing forms of worship from poetic tales. And at length they pronounced that the Gods had orderd such things. Thus men forgot that All deities reside in the human breast."

And "Everything possible to be believ'd is an image of truth"
(MHH: Proverbs of Hell).

The Bible of course is about God; it portrays a
great many visions of God: those of primitive
savages and those of wise men like Abraham,
Moses, and Isaiah. They are the "Ancient Poets"
of MHH.

Until Jesus! he came into the picture when Blake
got to the N.T. Although Blake may not have
focused on it, the vision of the Loving Heavenly
Father should be more acceptable to the "civilized
mind."

Blake of course memorialized the moments when
Jesus "came into the picture"; look again at the
First Vision of God. There are many others.

For years Blake attempted to explicate what Jesus
meant to him. For years he worked on The Everlasting
Gospel. But as we all know Jesus cannot be explicated;
for me and perhaps for Blake that of God in everyone
was about as close as you can get.

Blake's poetic gift was at the service of his Art and
his Religion (both very changeable throughout his
lifetime).

"Prayer is the Study of Art praise is the Practise of Art
Fasting &c. all relate to Art
The outward Ceremony is Antichrist
Without Unceasing Practise nothing can be done
Practise is Art If you leave off you are Lost
A Poet a Painter a Musician an Architect:
the Man Or Woman who is not one of these is not a Christian"
(The Lacoon; Erdman 274)

Blake's Bible

2010-01-01T04:18:00.000-08:00