IMAGINATION

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."

THEL II

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

THEL I

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.

TO OUR READERS

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

The Grove

"....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.

INNOCENT or EXPERIENCED

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

TWOFOLD

Blake has given us a treasure of insight, experience, and imagery. The cost to him of producing it was enormous. The reward was the satisfaction of using his innate gifts in expressing his imagination. That he produced a body of work that nourishes us two hundred years after his death, expresses the joy and gratitude with which he exercised his gifts. I like to think that in his case, "Eternity is in love with the productions of time." Marriage of Heaven and Hell, Plate 7, (E36)

From George W. Digby, Symbol and Image in William Blake, Page 19:

"He had as it were two eyes, an eye for the verbal image as it is spoken and written, and an eye for the pictorial image. The inner truth that he apprehended was something other than either of these, not confined or explicit in either of them, but something which could be expressed or implied by their means. For truth, reality, is always beyond the formulation of both words and of pictorial images. Sometimes the pictorial symbol parallels or amplifies the written one; sometimes gives the contrasting aspect, or opposite and contrary point of view. But always this double mode of expression is focused on man's subtle and complex nature, his illusions, self-deceptions, conceits, and his contradictory and insatiable desires. This twofold artistic capacity, and his vision of the infinite which the coarseness and opaqueness of human nature unnecessarily obscures, makes the creative work of Blake in art and poetry such an incomparable source of wisdom."

As Blake wrote in The Four Zoas on Page 35 (E324):

"What is the price of Experience do men buy it for a song
Or wisdom for a dance in the street? No it is bought with the price
Of all that a man hath his house his wife his children
Wisdom is sold in the desolate market where none come to buy
And in the witherd field where the farmer plows for bread in vain"

TWOFOLD

Blake has given us a treasure of insight, experience, and imagery. The cost to him of producing it was enormous. The reward was the satisfaction of using his innate gifts in expressing his imagination. That he produced a body of work that nourishes us two hundred years after his death, expresses the joy and gratitude with which he exercised his gifts. I like to think that in his case, "Eternity is in love with the productions of time." Marriage of Heaven and Hell, Plate 7, (E36)

From George W. Digby, Symbol and Image in William Blake, Page 19:

"He had as it were two eyes, an eye for the verbal image as it is spoken and written, and an eye for the pictorial image. The inner truth that he apprehended was something other than either of these, not confined or explicit in either of them, but something which could be expressed or implied by their means. For truth, reality, is always beyond the formulation of both words and of pictorial images. Sometimes the pictorial symbol parallels or amplifies the written one; sometimes gives the contrasting aspect, or opposite and contrary point of view. But always this double mode of expression is focused on man's subtle and complex nature, his illusions, self-deceptions, conceits, and his contradictory and insatiable desires. This twofold artistic capacity, and his vision of the infinite which the coarseness and opaqueness of human nature unnecessarily obscures, makes the creative work of Blake in art and poetry such an incomparable source of wisdom."

As Blake wrote in The Four Zoas on Page 35 (E324):

"What is the price of Experience do men buy it for a song
Or wisdom for a dance in the street? No it is bought with the price
Of all that a man hath his house his wife his children
Wisdom is sold in the desolate market where none come to buy
And in the witherd field where the farmer plows for bread in vain"

BEYOND EXPERIENCE

In later copies of Songs of Innocence and Experience, the last three poems are TO TIRZA, THE SCHOOL BOY, and THE VOICE OF THE ANCIENT BARD. In his The Illuminated Blake, Erdman postulates that, this "arrangement of the concluding plates impl[ies] an apocalyptic metamorphosis at the end of the series of emblems, beyond Innocence and Experience." Erdman suggests "that the Eternal Man 'has risen' out of the realm of' 'Contrary States.'

TO TIRZA picture

TO TIRZA text

So looking at these three poems as a group, we ask why they are chosen to conclude Songs of Innocence and Experience. TO TIRZA represents the realization that mortal life has been a temporary substitute for the real thing in Eternity. The mortal body is to be raised a spiritual body. The picture recalls to my mind both the Good Samaritan and the Raising of Lazarus, two stories of healing and recovery.

SCHOOL BOY text

SCHOOL BOY picture

The School Boy strikes me as autobiographical. Young William was not forced to attend school, and his imagination benefited from the freedom he was allowed. He asks how can the adult have the resources to go beyond innocence and experience if the imagination has not been fed and nourished on the sights and sounds and simple joys of unfettered thought and play. He illustrates this by a delightful group of children playing marbles, stretching, climbing, swinging and reading. This plate was originally in Songs of Innocence; now we see it illustrating the stage beyond Experience where the contraries have been resolved through recognition, love and forgiveness. Blake himself has survived the 'blasts of winter' mentioned in the plate, and made us better for it.

The Ancient Bard completes the series on an ambivalent note. The old man is singing and playing his song, and gathers a new generation about him, but he wears a shackle on his ankle. The faces of the children reveal anxiety as they are invited to the new morn and warned about past mistakes. Only if they can avoid being led by those who are not qualified, can they avoid repeating the cycle of despair which the previous generation followed. Blake's unstated answer to the children is that they should trust their own imaginations to provide them with the thread that connects them to the infinite.

So perhaps as a group the three poems are meant to be an invitation to go beyond Experience into Blake's favorite place, the world of Imagination and Vision.

BARD picture

BARD text

BEYOND EXPERIENCE

In later copies of Songs of Innocence and Experience, the last three poems are TO TIRZA, THE SCHOOL BOY, and THE VOICE OF THE ANCIENT BARD. In his The Illuminated Blake, Erdman postulates that, this "arrangement of the concluding plates impl[ies] an apocalyptic metamorphosis at the end of the series of emblems, beyond Innocence and Experience." Erdman suggests "that the Eternal Man 'has risen' out of the realm of' 'Contrary States.'

TO TIRZA picture

TO TIRZA text

So looking at these three poems as a group, we ask why they are chosen to conclude Songs of Innocence and Experience. TO TIRZA represents the realization that mortal life has been a temporary substitute for the real thing in Eternity. The mortal body is to be raised a spiritual body. The picture recalls to my mind both the Good Samaritan and the Raising of Lazarus, two stories of healing and recovery.

SCHOOL BOY text

SCHOOL BOY picture

The School Boy strikes me as autobiographical. Young William was not forced to attend school, and his imagination benefited from the freedom he was allowed. He asks how can the adult have the resources to go beyond innocence and experience if the imagination has not been fed and nourished on the sights and sounds and simple joys of unfettered thought and play. He illustrates this by a delightful group of children playing marbles, stretching, climbing, swinging and reading. This plate was originally in Songs of Innocence; now we see it illustrating the stage beyond Experience where the contraries have been resolved through recognition, love and forgiveness. Blake himself has survived the 'blasts of winter' mentioned in the plate, and made us better for it.

The Ancient Bard completes the series on an ambivalent note. The old man is singing and playing his song, and gathers a new generation about him, but he wears a shackle on his ankle. The faces of the children reveal anxiety as they are invited to the new morn and warned about past mistakes. Only if they can avoid being led by those who are not qualified, can they avoid repeating the cycle of despair which the previous generation followed. Blake's unstated answer to the children is that they should trust their own imaginations to provide them with the thread that connects them to the infinite.

So perhaps as a group the three poems are meant to be an invitation to go beyond Experience into Blake's favorite place, the world of Imagination and Vision.

BARD picture

BARD text

NATIVITY III

Generation to Blake was a gift from God to prevent the part of eternity that separated from the whole, from falling into nonentity. Each birth is a reenactment of that mercy which gives a new opportunity for a return to the wholeness of eternity.

The entry into the physical world of the immortal spirit, is what the images of nativity attempt to portray. Incorporation of the spiritual in the physical is a movement that sets off a process of evolving awareness of incarnation: the unity of body and spirit.

In Blake's words, the Nativity is concerned with the 'mortal birth.' Blake's primary interest was in the birth to immortality. Blake added TO TIRZAH to Songs of Experience in later copies of songs as his affirmation of the raising of the spiritual body. But just as 'generation is the image of regeneration', birth is the image of rebirth, and the child is the image of the new man.

Here is a passage from Jung in which consciousness itself is the child which is born daily, or moment by moment out of the inner depths.

"Consciousness does not create itself-it wells up from unknown depths. In childhood it awakens gradually, and all through life it wakes each morning out of the depths of sleep from an unconscious condition. It is like a child that is born daily out of the primordial womb of the unconscious. . . . It is not only influenced by the unconscious but continually emerges out of it in the form of numberless spontaneous ideas and sudden flashes of thought." ["The Psychology of Eastern Meditation," CW 11, par. 935.]

The consciousness that Blake tried to convey was that of being a part of the one body; and being open to a direct connection to the world which is unseen but always present: Eternity.

Songs of Innocence and Experience, Song 52 (E30)

TO TIRZAH

"Whate'er is Born of Mortal Birth,
Must be consumed with the Earth
To rise from Generation free;
Then what have I to do with thee?

The Sexes sprung from Shame & Pride
Blow'd in the morn: in evening died
But Mercy changd Death into Sleep;
The Sexes rose to work & weep.

Thou Mother of my Mortal part.
With cruelty didst mould my Heart.
And with false self-decieving tears,
Didst bind my Nostrils Eyes & Ears.

Didst close my Tongue in senseless clay
And me to Mortal Life betray:
The Death of Jesus set me free,
Then what have I to do with thee?"

[text on illustration: It is Raised a Spiritual Body]

Jerusalem, Plate 7 (E149)

"And the Religion of Generation which was meant for the
destruction
Of Jerusalem, become her covering, till the time of the End.
O holy Generation! [Image] of regeneration!
O point of mutual forgiveness between Enemies!
Birthplace of the Lamb of God incomprehensible!"

NATIVITY III

Generation to Blake was a gift from God to prevent the part of eternity that separated from the whole, from falling into nonentity. Each birth is a reenactment of that mercy which gives a new opportunity for a return to the wholeness of eternity.

The entry into the physical world of the immortal spirit, is what the images of nativity attempt to portray. Incorporation of the spiritual in the physical is a movement that sets off a process of evolving awareness of incarnation: the unity of body and spirit.

In Blake's words, the Nativity is concerned with the 'mortal birth.' Blake's primary interest was in the birth to immortality. Blake added TO TIRZAH to Songs of Experience in later copies of songs as his affirmation of the raising of the spiritual body. But just as 'generation is the image of regeneration', birth is the image of rebirth, and the child is the image of the new man.

Here is a passage from Jung in which consciousness itself is the child which is born daily, or moment by moment out of the inner depths.

"Consciousness does not create itself-it wells up from unknown depths. In childhood it awakens gradually, and all through life it wakes each morning out of the depths of sleep from an unconscious condition. It is like a child that is born daily out of the primordial womb of the unconscious. . . . It is not only influenced by the unconscious but continually emerges out of it in the form of numberless spontaneous ideas and sudden flashes of thought." ["The Psychology of Eastern Meditation," CW 11, par. 935.]

The consciousness that Blake tried to convey was that of being a part of the one body; and being open to a direct connection to the world which is unseen but always present: Eternity.

Songs of Innocence and Experience, Song 52 (E30)

TO TIRZAH

"Whate'er is Born of Mortal Birth,
Must be consumed with the Earth
To rise from Generation free;
Then what have I to do with thee?

The Sexes sprung from Shame & Pride
Blow'd in the morn: in evening died
But Mercy changd Death into Sleep;
The Sexes rose to work & weep.

Thou Mother of my Mortal part.
With cruelty didst mould my Heart.
And with false self-decieving tears,
Didst bind my Nostrils Eyes & Ears.

Didst close my Tongue in senseless clay
And me to Mortal Life betray:
The Death of Jesus set me free,
Then what have I to do with thee?"

[text on illustration: It is Raised a Spiritual Body]

Jerusalem, Plate 7 (E149)

"And the Religion of Generation which was meant for the
destruction
Of Jerusalem, become her covering, till the time of the End.
O holy Generation! [Image] of regeneration!
O point of mutual forgiveness between Enemies!
Birthplace of the Lamb of God incomprehensible!"

NATIVITY II

Returning to "The Morning of Christ's Nativity" by John Milton, for which Blake made two sets of five watercolor illustrations, there is a lot more to observe. Blake's pictures like Milton's poetry did not focus only on the supplanting of Apollo and heathen gods. The first and last pictures, like the beginning and ending of Milton's poetry present a more conventional portrait of the birth of the child based on accounts in the Gospels of Luke and Matthew.

Here is Blake's first illustration for On the Morning of Christ's Nativity.

Blake of course, added distinctive features to his illustrations. In her book Blake's Vision of the Poetry of Milton, Bette Charlene Werner, on page 119 and following, points out some things that speak of Blake's own philosophy. Quoting from her book:

> With the angelic figure of Peace and the recumbent form of Nature the artist suggests the union of heaven and earth in the Word made flesh.
> the Huntington version of the design emphasizes the divinity, not only of Christ, but also by implication of man.
> The Child is pictured springing forth in unfettered freedom. The figure suggests at once the "Heav'n-born-childe" of Milton's ode and the preexistent soul whose material birth Blake describes in "Infant Sorrow" (E27, SoE48):
"My mother groand! my father wept.
Into the dangerous world I lept."
The Blessed Infant, ablaze with the radiance of spiritual existence, is the light that puts the inferior flame of the sun to shame.
> According to Blake "everything that lives is holy for the source of life / Descends to be a weeping babe." (E323) That understanding may explain his portrayal of Nature here, not as one whose ugliness requires a covering, but as a figure whose naked beauty is still apparent beneath the translucent covering of snow. The veiled form of Nature in this illustration is, like the Vala of Blake's own mythology, an embodiment of the vale of tears and the veil of materiality.
> Like Milton, Blake sees in the Incarnation not only the humility of Christ, emptying himself of his Godhead, but the glorification of man. He identifies Jesus, the Divine Humanity, with Imagination and insists: "Man is All Imagination God is Man & exists in us & we in him." (E664) This understanding makes the Nativity not only the fulfillment of God's becoming man, but a promise of salvation through the spiritual union of all men in in the One Man who is Jesus, the Savior.

Milton's On the Morning of Christ's Nativity

NATIVITY II

Returning to "The Morning of Christ's Nativity" by John Milton, for which Blake made two sets of five watercolor illustrations, there is a lot more to observe. Blake's pictures like Milton's poetry did not focus only on the supplanting of Apollo and heathen gods. The first and last pictures, like the beginning and ending of Milton's poetry present a more conventional portrait of the birth of the child based on accounts in the Gospels of Luke and Matthew.

Here is Blake's first illustration for On the Morning of Christ's Nativity.

Blake of course, added distinctive features to his illustrations. In her book Blake's Vision of the Poetry of Milton, Bette Charlene Werner, on page 119 and following, points out some things that speak of Blake's own philosophy. Quoting from her book:

> With the angelic figure of Peace and the recumbent form of Nature the artist suggests the union of heaven and earth in the Word made flesh.
> the Huntington version of the design emphasizes the divinity, not only of Christ, but also by implication of man.
> The Child is pictured springing forth in unfettered freedom. The figure suggests at once the "Heav'n-born-childe" of Milton's ode and the preexistent soul whose material birth Blake describes in "Infant Sorrow" (E27, SoE48):
"My mother groand! my father wept.
Into the dangerous world I lept."
The Blessed Infant, ablaze with the radiance of spiritual existence, is the light that puts the inferior flame of the sun to shame.
> According to Blake "everything that lives is holy for the source of life / Descends to be a weeping babe." (E323) That understanding may explain his portrayal of Nature here, not as one whose ugliness requires a covering, but as a figure whose naked beauty is still apparent beneath the translucent covering of snow. The veiled form of Nature in this illustration is, like the Vala of Blake's own mythology, an embodiment of the vale of tears and the veil of materiality.
> Like Milton, Blake sees in the Incarnation not only the humility of Christ, emptying himself of his Godhead, but the glorification of man. He identifies Jesus, the Divine Humanity, with Imagination and insists: "Man is All Imagination God is Man & exists in us & we in him." (E664) This understanding makes the Nativity not only the fulfillment of God's becoming man, but a promise of salvation through the spiritual union of all men in in the One Man who is Jesus, the Savior.

Milton's On the Morning of Christ's Nativity

CONSCIOUSNESS

The body of Blake's work can be thought of as his spiritual autobiography. He is speaking of nothing else than the spiritual path he traveled as he proceeded from Innocence to Experience and back to Innocence (with consciousness.) The poetry is the garment, his spiritual evolution is the body it clothes.

John Middleton Murry, William Blake, Page 378, Note for Page 204 says this:

"... in Night VII [Four Zoas] the change in Blake's attitude is fully conscious to himself: at the same moment he knows what he has been trying to do, and he knows that it has been done. Blake himself was perfectly clear about the process involved. In Milton (p. 19) he makes the distinction between the 'nether regions of the Imagination', where these critical changes come to pass in the unconsciousness, and the pure Imagination, where there is conscious knowledge of the change."

"For man cannot know
What passes in his members till periods of Space & Time
Reveal the secrets of Eternity." Milton, Plate 21, (E114)

Murry is attempting to explain to us what is happening in Blake's psyche as well as what is happening in the poetry that Blake wrote. Murry is following the struggle within Blake that he embodied in Urizen, Luvah, Los and all the others. The writing of the poetry was part and parcel of Blake's coming to terms with his own rational, emotional, and creative selves.

As Blake resolved the internal tensions through exploring their dynamics, Murry saw a resolution first appearing in Blake's unconscious, and then the writing of it in his myth was part of the process of making it conscious. The myth developed as Blake transcended the limitations of his earlier understanding.

Murry states on page 205:
"We must remember that the change has come to pass in Orc, as it has come to pass in Urizen, as yet only in Blake's creative imagination. The poet's work is done, but it remains to be expressed. Urizen and Luvah-Orc, that is to say, are unconscious of the destiny which awaits them."

And might Blake's readers also be unconscious of their destiny when the poet's work is expressed in them.

Embarking on the Journey

CONSCIOUSNESS

The body of Blake's work can be thought of as his spiritual autobiography. He is speaking of nothing else than the spiritual path he traveled as he proceeded from Innocence to Experience and back to Innocence (with consciousness.) The poetry is the garment, his spiritual evolution is the body it clothes.

John Middleton Murry, William Blake, Page 378, Note for Page 204 says this:

"... in Night VII [Four Zoas] the change in Blake's attitude is fully conscious to himself: at the same moment he knows what he has been trying to do, and he knows that it has been done. Blake himself was perfectly clear about the process involved. In Milton (p. 19) he makes the distinction between the 'nether regions of the Imagination', where these critical changes come to pass in the unconsciousness, and the pure Imagination, where there is conscious knowledge of the change."

"For man cannot know
What passes in his members till periods of Space & Time
Reveal the secrets of Eternity." Milton, Plate 21, (E114)

Murry is attempting to explain to us what is happening in Blake's psyche as well as what is happening in the poetry that Blake wrote. Murry is following the struggle within Blake that he embodied in Urizen, Luvah, Los and all the others. The writing of the poetry was part and parcel of Blake's coming to terms with his own rational, emotional, and creative selves.

As Blake resolved the internal tensions through exploring their dynamics, Murry saw a resolution first appearing in Blake's unconscious, and then the writing of it in his myth was part of the process of making it conscious. The myth developed as Blake transcended the limitations of his earlier understanding.

Murry states on page 205:
"We must remember that the change has come to pass in Orc, as it has come to pass in Urizen, as yet only in Blake's creative imagination. The poet's work is done, but it remains to be expressed. Urizen and Luvah-Orc, that is to say, are unconscious of the destiny which awaits them."

And might Blake's readers also be unconscious of their destiny when the poet's work is expressed in them.

Embarking on the Journey

PLATE BY PLATE

Blake's Illuminated Books weren't created like most other books; they were created one plate at a time. Blake himself didn't always bind the plates in the same order and he sometimes added, or deleted plates from particular copies. It was poetry he was writing, and pictures he was engraving. Many plates can 'stand alone' as poetry or as pictures without the rest of the book.

This makes it possible, and perhaps beneficial to study Blake in increments. In a recent post I made, it was the picture that led me to study the context. In times past the words were available, but the pictures were usually inaccessible. The online resources have made possible viewing Blake's work as it was meant to be seen and read. With the plates we have the words and pictures together to complement one another. But don't expect the illumination to illustrate the text in the conventional way. His pictures may add to the text, may refer you to previous text, or lead to subsequent text, or may recall images on other plates and the context of the tale they tell.

Preludium to Book of Urizen

Here is a good example of a stand alone plate, a lovely image and a short poem to introduce the poem and the poet. But the words and visual images aren't meant to give us a static experience. Just as the woman and babe must stay in motion to remain suspended, we are meant to keep moving too. The air-borne babe takes us back to early plates in Songs of Innocence, and Songs of Experience; and will be seen again in plate 20 of The Book of Urizen. Another baby suspended in the air can be found in the Good and Evil Angels. The flames and the words, 'dark visions of torment', warn of what we can expect. We are left with questions, 'Who are the lady and babe?', 'Who are Urizen and the primeval Priest?' The answers will develop over time as Blake unfolds his complex myth of fall and return, disintegration and integration, death and rebirth. But first we can be satisfied with a graceful lady, her soaring child and the prospect of the 'swift winged words' to be dictated.

The irony of the of way Blake presented his material is that each individual piece was a 'minute particular,' complete in itself, but was essential to the organic body of the whole. How like each individual human being as a part of the Body of Christ.

PLATE BY PLATE

Blake's Illuminated Books weren't created like most other books; they were created one plate at a time. Blake himself didn't always bind the plates in the same order and he sometimes added, or deleted plates from particular copies. It was poetry he was writing, and pictures he was engraving. Many plates can 'stand alone' as poetry or as pictures without the rest of the book.

This makes it possible, and perhaps beneficial to study Blake in increments. In a recent post I made, it was the picture that led me to study the context. In times past the words were available, but the pictures were usually inaccessible. The online resources have made possible viewing Blake's work as it was meant to be seen and read. With the plates we have the words and pictures together to complement one another. But don't expect the illumination to illustrate the text in the conventional way. His pictures may add to the text, may refer you to previous text, or lead to subsequent text, or may recall images on other plates and the context of the tale they tell.

Preludium to Book of Urizen

Here is a good example of a stand alone plate, a lovely image and a short poem to introduce the poem and the poet. But the words and visual images aren't meant to give us a static experience. Just as the woman and babe must stay in motion to remain suspended, we are meant to keep moving too. The air-borne babe takes us back to early plates in Songs of Innocence, and Songs of Experience; and will be seen again in plate 20 of The Book of Urizen. Another baby suspended in the air can be found in the Good and Evil Angels. The flames and the words, 'dark visions of torment', warn of what we can expect. We are left with questions, 'Who are the lady and babe?', 'Who are Urizen and the primeval Priest?' The answers will develop over time as Blake unfolds his complex myth of fall and return, disintegration and integration, death and rebirth. But first we can be satisfied with a graceful lady, her soaring child and the prospect of the 'swift winged words' to be dictated.

The irony of the of way Blake presented his material is that each individual piece was a 'minute particular,' complete in itself, but was essential to the organic body of the whole. How like each individual human being as a part of the Body of Christ.

CHIMNEY SWEEPER

SONGS of INNOCENCE 12
THE CHIMNEY SWEEPER

"When my mother died I was very young,
And my father sold me while yet my tongue
Could scarcely cry weep weep weep weep.
So your chimneys I sweep & in soot I sleep,

Theres little Tom Dacre, who cried when his head
That curl'd like a lambs back, was shav'd, so I said.
Hush Tom never mind it, for when your head's bare,
You know that the soot cannot spoil your white hair.

And so be was quiet, & that very night,
As Tom was a sleeping he had such a sight,
That thousands of sweepers Dick, Joe, Ned & Jack
Were all of them lock'd up in coffins of black,

And by came an Angel who had a bright key,
And he open'd the coffins & set them all free.
Then down a green plain leaping laughing they run
And wash in a river and shine in the Sun.

Then naked & white, all their bags left behind,
They rise upon clouds, and sport in the wind.
And the Angel told Tom if he'd be a good boy,
He'd have God for his father & never want joy.

And so Tom awoke and we rose in the dark
And got with our bags & our brushes to work.
Tho' the morning was cold, Tom was happy & warm,
So if all do their duty, they need not fear harm."

Weep, weep, weep doesn't just mean sweep, sweep, sweep it
also means weep, weep, weep!
This introduces a note of sadness, an emotional content to the
poem. The plight of the child and of children like him is brought
to our attention. The child is aware of  his situation and  feels it
deeply. His dream of seeing himself and  his friends being locked
in coffins frightens him as would  the actual experience of
climbing the narrow spaces within chimneys.
The Angel has a 'key' to release him and his friends. From the
experience the children have with the Angel, I suspect Blake was
using the Angel to represent  the religious position taken by the
established church saying: 'forget about your pain', 'be a good
boy', 'God will reward you later.' Could the Angel's key be church
doctrines which soothe the conscience of the believers? That
Tom was 'happy and warm' because of his experience with the
Angel seems false, spoken ironically.
Can children be trapped in many ways - by their poverty, by the
neglect of their families, by the economic structure of  their
society, by living in this mortal flesh, by a church whose doctrines
supported oppression? Yes, in all these ways and many more, of
which Blake was acutely aware and to which he wanted to
sensitize us.

SONGS OF EXPERIENCE, THE CHIMNEY SWEEPER

Blake doesn't set limits on how his poem can be interpreted.
He presents it to us, and we respond according to our
psychological, spiritual, social or political condition. As Damon
(A Blake Dictionary) says, "symbolism is a dream which fails it its
entire meaning is obvious."    

CHIMNEY SWEEPER

SONGS of INNOCENCE 12
THE CHIMNEY SWEEPER

"When my mother died I was very young,
And my father sold me while yet my tongue
Could scarcely cry weep weep weep weep.
So your chimneys I sweep & in soot I sleep,

Theres little Tom Dacre, who cried when his head
That curl'd like a lambs back, was shav'd, so I said.
Hush Tom never mind it, for when your head's bare,
You know that the soot cannot spoil your white hair.

And so be was quiet, & that very night,
As Tom was a sleeping he had such a sight,
That thousands of sweepers Dick, Joe, Ned & Jack
Were all of them lock'd up in coffins of black,

And by came an Angel who had a bright key,
And he open'd the coffins & set them all free.
Then down a green plain leaping laughing they run
And wash in a river and shine in the Sun.

Then naked & white, all their bags left behind,
They rise upon clouds, and sport in the wind.
And the Angel told Tom if he'd be a good boy,
He'd have God for his father & never want joy.

And so Tom awoke and we rose in the dark
And got with our bags & our brushes to work.
Tho' the morning was cold, Tom was happy & warm,
So if all do their duty, they need not fear harm."

Weep, weep, weep doesn't just mean sweep, sweep, sweep it
also means weep, weep, weep!
This introduces a note of sadness, an emotional content to the
poem. The plight of the child and of children like him is brought
to our attention. The child is aware of  his situation and  feels it
deeply. His dream of seeing himself and  his friends being locked
in coffins frightens him as would  the actual experience of
climbing the narrow spaces within chimneys.
The Angel has a 'key' to release him and his friends. From the
experience the children have with the Angel, I suspect Blake was
using the Angel to represent  the religious position taken by the
established church saying: 'forget about your pain', 'be a good
boy', 'God will reward you later.' Could the Angel's key be church
doctrines which soothe the conscience of the believers? That
Tom was 'happy and warm' because of his experience with the
Angel seems false, spoken ironically.
Can children be trapped in many ways - by their poverty, by the
neglect of their families, by the economic structure of  their
society, by living in this mortal flesh, by a church whose doctrines
supported oppression? Yes, in all these ways and many more, of
which Blake was acutely aware and to which he wanted to
sensitize us.

SONGS OF EXPERIENCE, THE CHIMNEY SWEEPER

Blake doesn't set limits on how his poem can be interpreted.
He presents it to us, and we respond according to our
psychological, spiritual, social or political condition. As Damon
(A Blake Dictionary) says, "symbolism is a dream which fails it its
entire meaning is obvious."