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
Showing posts with label Jung. Show all posts
Showing posts with label Jung. Show all posts
Friday, January 15, 2010
Tuesday, December 15, 2009
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!"
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!"
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!"
Sunday, December 6, 2009
JUNG & IMAGES
In spite of the difficulty of some of Blake's poetry, he was not trying to hide from us the truth that had been revealed to him, but to make it known. Like us, Blake lived in the world of generation, with all its distractions, distortions, oppressions and disappointments. But the Eternal world of the Imagination he knew to be the real world. He wanted us to know as he knew, that the real world in which nothing is worthless or can be lost, was open for us to enter. He felt with all his being that if each individual could know that Eternal Reality, it would assist in renewing the earthly world we inhabit. Not that we could create a better world, but we may create the conditions for God's transforming power to be manifest.
"For Jung, the purpose of psychoanalysis is, as Blake says, 'Conversing with Eternal Realities as they Exist in the Human Imagination' (1810, p. 613) - or, in Jungian terminology, dialoguing with archetypal realities that exist in fantasy. According to Jung, the images in a dream - or in active imagination - are exactly what they seem to be or seem to mean. He proposes a precision theory of the imagination. 'Precision means whatever is actually presented,' Hillman says. 'Simply: the actual qualities of the image' (1977, p. 69). The unconscious, Jung argues, is incredibly precise in the selection of qualitatively apt images to epitomize psychical reality. It is difficult to interpret psychical reality not because some censor distorts, or encrypts, reality in a code that we then have to decipher, but simply because the unconscious, like some poet, communicates in images with which we are only more or less familiar. We do not have to translate these images; we have to define them. We have to explicate all that a specific image implies. The imagination is, in this sense, what the philosopher of science Michael Polanyi (1966) (who also befriended me in Texas and later in England) calls a 'tacit dimension,' or what the physicist David Bohm (1981) calls an 'implicate order.' Jungian analysis employs a phenomenological (or 'essentialist') method. It inquires into the essential being or meaning of images, the fundamental phenomena of psychical reality. From a Jungian perspective, the unconscious does not so much conceal as it reveals. What an image is or means is not hidden from us, as if there were some deceptive intent; it is simply unknown to us, because we have not mastered the poetic, or imagistic, language that the unconscious employs."
Engaging in Activities of the Imagination
Vision of the Last Judgment, Page 90, (E562)The following passage is from an article by Michael Vannoy Adams which is the first chapter in Joseph Reppen (ed.), Why I Became a Psychotherapist (Northvale, NJ, and London: Jason Aronson, 1998), pp. 1-14.
"Here they are no longer talking of what is Good &
Evil or of what is Right or Wrong & puzzling themselves in Satans
[Maze] Labyrinth But are Conversing with Eternal
Realities as they Exist in the Human Imagination We are in a
World of Generation & death & this world we must cast off if we
would be Painters [P 91] Such as Rafa[e]l Mich Angelo & the
Ancient Sculptors. if we do not cast off this world we shall be
only Venetian Painters who will be cast off & Lost from Art"
"For Jung, the purpose of psychoanalysis is, as Blake says, 'Conversing with Eternal Realities as they Exist in the Human Imagination' (1810, p. 613) - or, in Jungian terminology, dialoguing with archetypal realities that exist in fantasy. According to Jung, the images in a dream - or in active imagination - are exactly what they seem to be or seem to mean. He proposes a precision theory of the imagination. 'Precision means whatever is actually presented,' Hillman says. 'Simply: the actual qualities of the image' (1977, p. 69). The unconscious, Jung argues, is incredibly precise in the selection of qualitatively apt images to epitomize psychical reality. It is difficult to interpret psychical reality not because some censor distorts, or encrypts, reality in a code that we then have to decipher, but simply because the unconscious, like some poet, communicates in images with which we are only more or less familiar. We do not have to translate these images; we have to define them. We have to explicate all that a specific image implies. The imagination is, in this sense, what the philosopher of science Michael Polanyi (1966) (who also befriended me in Texas and later in England) calls a 'tacit dimension,' or what the physicist David Bohm (1981) calls an 'implicate order.' Jungian analysis employs a phenomenological (or 'essentialist') method. It inquires into the essential being or meaning of images, the fundamental phenomena of psychical reality. From a Jungian perspective, the unconscious does not so much conceal as it reveals. What an image is or means is not hidden from us, as if there were some deceptive intent; it is simply unknown to us, because we have not mastered the poetic, or imagistic, language that the unconscious employs."
Engaging in Activities of the Imagination
JUNG & IMAGES
In spite of the difficulty of some of Blake's poetry, he was not trying hide from us the truth that had been revealed to him, but to make it known. Like us, Blake lived in the world of generation, with all its distractions, distortions, oppressions and disappointments. But the Eternal world of the Imagination he knew to be the real world. He wanted us to know as he knew, that the real world in which nothing is worthless or can be lost, was open for us to enter. He felt with all his being that if each individual could know that Eternal Reality, it would assist in renewing the earthly world we inhabit. Not that we could create a better world, but we may create the conditions for God's transforming power to be manifest.
"For Jung, the purpose of psychoanalysis is, as Blake says, 'Conversing with Eternal Realities as they Exist in the Human Imagination' (1810, p. 613) - or, in Jungian terminology, dialoguing with archetypal realities that exist in fantasy. According to Jung, the images in a dream - or in active imagination - are exactly what they seem to be or seem to mean. He proposes a precision theory of the imagination. 'Precision means whatever is actually presented,' Hillman says. 'Simply: the actual qualities of the image' (1977, p. 69). The unconscious, Jung argues, is incredibly precise in the selection of qualitatively apt images to epitomize psychical reality. It is difficult to interpret psychical reality not because some censor distorts, or encrypts, reality in a code that we then have to decipher, but simply because the unconscious, like some poet, communicates in images with which we are only more or less familiar. We do not have to translate these images; we have to define them. We have to explicate all that a specific image implies. The imagination is, in this sense, what the philosopher of science Michael Polanyi (1966) (who also befriended me in Texas and later in England) calls a 'tacit dimension,' or what the physicist David Bohm (1981) calls an 'implicate order.' Jungian analysis employs a phenomenological (or 'essentialist') method. It inquires into the essential being or meaning of images, the fundamental phenomena of psychical reality. From a Jungian perspective, the unconscious does not so much conceal as it reveals. What an image is or means is not hidden from us, as if there were some deceptive intent; it is simply unknown to us, because we have not mastered the poetic, or imagistic, language that the unconscious employs."
Engaging in Activities of the Imagination
Vision of the Last Judgment, Page 90, (E562)The following passage is from an article by Michael Vannoy Adams which is the first chapter in Joseph Reppen (ed.), Why I Became a Psychotherapist (Northvale, NJ, and London: Jason Aronson, 1998), pp. 1-14.
"Here they are no longer talking of what is Good &
Evil or of what is Right or Wrong & puzzling themselves in Satans
[Maze] Labyrinth But are Conversing with Eternal
Realities as they Exist in the Human Imagination We are in a
World of Generation & death & this world we must cast off if we
would be Painters [P 91] Such as Rafa[e]l Mich Angelo & the
Ancient Sculptors. if we do not cast off this world we shall be
only Venetian Painters who will be cast off & Lost from Art"
"For Jung, the purpose of psychoanalysis is, as Blake says, 'Conversing with Eternal Realities as they Exist in the Human Imagination' (1810, p. 613) - or, in Jungian terminology, dialoguing with archetypal realities that exist in fantasy. According to Jung, the images in a dream - or in active imagination - are exactly what they seem to be or seem to mean. He proposes a precision theory of the imagination. 'Precision means whatever is actually presented,' Hillman says. 'Simply: the actual qualities of the image' (1977, p. 69). The unconscious, Jung argues, is incredibly precise in the selection of qualitatively apt images to epitomize psychical reality. It is difficult to interpret psychical reality not because some censor distorts, or encrypts, reality in a code that we then have to decipher, but simply because the unconscious, like some poet, communicates in images with which we are only more or less familiar. We do not have to translate these images; we have to define them. We have to explicate all that a specific image implies. The imagination is, in this sense, what the philosopher of science Michael Polanyi (1966) (who also befriended me in Texas and later in England) calls a 'tacit dimension,' or what the physicist David Bohm (1981) calls an 'implicate order.' Jungian analysis employs a phenomenological (or 'essentialist') method. It inquires into the essential being or meaning of images, the fundamental phenomena of psychical reality. From a Jungian perspective, the unconscious does not so much conceal as it reveals. What an image is or means is not hidden from us, as if there were some deceptive intent; it is simply unknown to us, because we have not mastered the poetic, or imagistic, language that the unconscious employs."
Engaging in Activities of the Imagination
Saturday, December 5, 2009
Father and Son
"In the beginning was the Word, and the Word was
with God, and the Word was God" (John 1:1).
God was the Father. Christ was the Son.
The relationship between God, the Father, and Christ, the Son was central to Blake's theology (and mine).
This was the first pair, father and son. Every man since 'the beginning' has also been part of a pair.
Read Jerusalem plate 42 again; here Albion is the father, Los is the son. What's happening?
Blake celebrates the usual conflict between father and son-- like a 20th century father and a 21st century son, like the sixties flower boys and their fathers, like America and King George in 1776, and on and on we could go adding types of this archetypal relationship.
My Son, My Son!
The Generation Gap is always with us; Blake used it here to humanize God, much as C.G.Jung was to do with Answer to Job. They also help us (poor suffering sinners) to rise above the conventional image of God imprinted upon the public by our so called religious leaders.
Before the end of Jerusalem Albion and Los had achieved an amiable (loving?) relationship, as most of us rebels do with our fathers when we mature (fortunate if they are still alive).
with God, and the Word was God" (John 1:1).
God was the Father. Christ was the Son.
The relationship between God, the Father, and Christ, the Son was central to Blake's theology (and mine).
This was the first pair, father and son. Every man since 'the beginning' has also been part of a pair.
Read Jerusalem plate 42 again; here Albion is the father, Los is the son. What's happening?
Blake celebrates the usual conflict between father and son-- like a 20th century father and a 21st century son, like the sixties flower boys and their fathers, like America and King George in 1776, and on and on we could go adding types of this archetypal relationship.
My Son, My Son!
The Generation Gap is always with us; Blake used it here to humanize God, much as C.G.Jung was to do with Answer to Job. They also help us (poor suffering sinners) to rise above the conventional image of God imprinted upon the public by our so called religious leaders.
Before the end of Jerusalem Albion and Los had achieved an amiable (loving?) relationship, as most of us rebels do with our fathers when we mature (fortunate if they are still alive).
Father and Son
"In the beginning was the Word, and the Word was
with God, and the Word was God" (John 1:1).
God was the Father. Christ was the Son.
The relationship between God, the Father, and Christ, the Son was central to Blake's theology (and mine).
This was the first pair, father and son. Every man since 'the beginning' has also been part of a pair.
Read Jerusalem plate 42 again; here Albion is the father, Los is the son. What's happening?
Blake celebrates the usual conflict between father and son-- like a 20th century father and a 21st century son, like the sixties flower boys and their fathers, like America and King George in 1776, and on and on we could go adding types of this archetypal relationship.
My Son, My Son!
The Generation Gap is always with us; Blake used it here to humanize God, much as C.G.Jung was to do with Answer to Job. They also help us (poor suffering sinners) to rise above the conventional image of God imprinted upon the public by our so called religious leaders.
Before the end of Jerusalem Albion and Los had achieved an amiable (loving?) relationship, as most of us rebels do with our fathers when we mature (fortunate if they are still alive).
with God, and the Word was God" (John 1:1).
God was the Father. Christ was the Son.
The relationship between God, the Father, and Christ, the Son was central to Blake's theology (and mine).
This was the first pair, father and son. Every man since 'the beginning' has also been part of a pair.
Read Jerusalem plate 42 again; here Albion is the father, Los is the son. What's happening?
Blake celebrates the usual conflict between father and son-- like a 20th century father and a 21st century son, like the sixties flower boys and their fathers, like America and King George in 1776, and on and on we could go adding types of this archetypal relationship.
My Son, My Son!
The Generation Gap is always with us; Blake used it here to humanize God, much as C.G.Jung was to do with Answer to Job. They also help us (poor suffering sinners) to rise above the conventional image of God imprinted upon the public by our so called religious leaders.
Before the end of Jerusalem Albion and Los had achieved an amiable (loving?) relationship, as most of us rebels do with our fathers when we mature (fortunate if they are still alive).
Tuesday, November 24, 2009
BLAKE, JUNG & ART
The self-image of Blake was that of an artist, his life was organized around creating art. But he came to see art as more than the objects created by the artist.
In her web page article, On William Blake, Psychologist Fleur Nelson writes:
"In The Spirit in Man, Art, and Literature (1966), Jung describes the creative process as the unconscious activation of an archetypal image and the shaping of this image into a new symbol. He believed that these enacted new symbols have the potential to increase individual and collective consciousness and transform society by integrating them into the language of the current society."
Quoting Carl Jung she says:
"Art is a kind of innate drive that seizes a human being and makes him its instrument. The artist is not a person endowed with free will who seeks his own ends, but one who allows art to realize its purposes through him. As a human being he may have moods and a will and personal aims, but as an artist he is “man” in a higher sense – he is “collective man,” a vehicle and molder of the unconscious psychic life of mankind
(par. 157, p. 101)."
In John Middleton Murry's book William Blake, on page 198-199, we read:
" Art, for Blake, is the Imaginative Life in its totality, nothing less." and,
"Art , in fact, is a new order of life: the order of life which (Blake believed) Jesus meant by Eternal Life. It is to live in accord with the Divine Vision, as a member of the One Man, through continual Self- annihilation... When every activity of life attains to the condition of the pure and selfless artistic activity, then we are totally regenerated, true members of the Eternal body of Man which is the Imagination." [and Christ]
"Vala produced the Bodies, Jerusalem gave the Souls"
William Blake writes in LAOCOON (E273):
" The whole Business of Man is the Arts & things Common
Christianity is Art & not Money.
Jesus and his Apostles & Disciples were all Artists."
In her web page article, On William Blake, Psychologist Fleur Nelson writes:
"In The Spirit in Man, Art, and Literature (1966), Jung describes the creative process as the unconscious activation of an archetypal image and the shaping of this image into a new symbol. He believed that these enacted new symbols have the potential to increase individual and collective consciousness and transform society by integrating them into the language of the current society."
Quoting Carl Jung she says:
"Art is a kind of innate drive that seizes a human being and makes him its instrument. The artist is not a person endowed with free will who seeks his own ends, but one who allows art to realize its purposes through him. As a human being he may have moods and a will and personal aims, but as an artist he is “man” in a higher sense – he is “collective man,” a vehicle and molder of the unconscious psychic life of mankind
(par. 157, p. 101)."
In John Middleton Murry's book William Blake, on page 198-199, we read:
" Art, for Blake, is the Imaginative Life in its totality, nothing less." and,
"Art , in fact, is a new order of life: the order of life which (Blake believed) Jesus meant by Eternal Life. It is to live in accord with the Divine Vision, as a member of the One Man, through continual Self- annihilation... When every activity of life attains to the condition of the pure and selfless artistic activity, then we are totally regenerated, true members of the Eternal body of Man which is the Imagination." [and Christ]
"Vala produced the Bodies, Jerusalem gave the Souls"
William Blake writes in LAOCOON (E273):
" The whole Business of Man is the Arts & things Common
Christianity is Art & not Money.
Jesus and his Apostles & Disciples were all Artists."
BLAKE, JUNG & ART
The self-image of Blake was that of an artist, his life was organized around creating art. But he came to see art as more than the objects created by the artist.
In her web page article, On William Blake, Psychologist Fleur Nelson writes:
"In The Spirit in Man, Art, and Literature (1966), Jung describes the creative process as the unconscious activation of an archetypal image and the shaping of this image into a new symbol. He believed that these enacted new symbols have the potential to increase individual and collective consciousness and transform society by integrating them into the language of the current society."
Quoting Carl Jung she says:
"Art is a kind of innate drive that seizes a human being and makes him its instrument. The artist is not a person endowed with free will who seeks his own ends, but one who allows art to realize its purposes through him. As a human being he may have moods and a will and personal aims, but as an artist he is “man” in a higher sense – he is “collective man,” a vehicle and molder of the unconscious psychic life of mankind
(par. 157, p. 101)."
In John Middleton Murry's book William Blake, on page 198-199, we read:
" Art, for Blake, is the Imaginative Life in its totality, nothing less." and,
"Art , in fact, is a new order of life: the order of life which (Blake believed) Jesus meant by Eternal Life. It is to live in accord with the Divine Vision, as a member of the One Man, through continual Self- annihilation... When every activity of life attains to the condition of the pure and selfless artistic activity, then we are totally regenerated, true members of the Eternal body of Man which is the Imagination." [and Christ]
"Vala produced the Bodies, Jerusalem gave the Souls"
William Blake writes in LAOCOON (E273):
" The whole Business of Man is the Arts & things Common
Christianity is Art & not Money.
Jesus and his Apostles & Disciples were all Artists."
In her web page article, On William Blake, Psychologist Fleur Nelson writes:
"In The Spirit in Man, Art, and Literature (1966), Jung describes the creative process as the unconscious activation of an archetypal image and the shaping of this image into a new symbol. He believed that these enacted new symbols have the potential to increase individual and collective consciousness and transform society by integrating them into the language of the current society."
Quoting Carl Jung she says:
"Art is a kind of innate drive that seizes a human being and makes him its instrument. The artist is not a person endowed with free will who seeks his own ends, but one who allows art to realize its purposes through him. As a human being he may have moods and a will and personal aims, but as an artist he is “man” in a higher sense – he is “collective man,” a vehicle and molder of the unconscious psychic life of mankind
(par. 157, p. 101)."
In John Middleton Murry's book William Blake, on page 198-199, we read:
" Art, for Blake, is the Imaginative Life in its totality, nothing less." and,
"Art , in fact, is a new order of life: the order of life which (Blake believed) Jesus meant by Eternal Life. It is to live in accord with the Divine Vision, as a member of the One Man, through continual Self- annihilation... When every activity of life attains to the condition of the pure and selfless artistic activity, then we are totally regenerated, true members of the Eternal body of Man which is the Imagination." [and Christ]
"Vala produced the Bodies, Jerusalem gave the Souls"
William Blake writes in LAOCOON (E273):
" The whole Business of Man is the Arts & things Common
Christianity is Art & not Money.
Jesus and his Apostles & Disciples were all Artists."
Saturday, November 7, 2009
Vala
Although we hear of the birth of these characters,
some from others, they are actually manifestations
of the four functions (later celebrated by Carl Jung).
Blake called The Four Zoas Vala in the beginning.
The emanation of Luvah, she has a checkered
career. In Eternity she is Jerusalem; fallen she became
Vala, somewhat comparable to Eve in the garden. She
carries all creation, all love, but in Ulro love is
totally bad (not so in regeneration and in Eternity).
Vala was the contrary (opposite) of Jerusalem (the
bride of Christ). She represents all the negativity of
the feminine character. She also goes by the names of
Rahab and Tirzah.
"Among the Flowers of Beulah walkd the Eternal Man & Saw
Vala the lilly of the desart. Melting in high noon
Upon her bosom in sweet bliss he fainted. Wonder siezd
All heaven, they saw him dark. They built a golden wall
Round Beulah. There he reveld in delight among the Flowers.
Vala was pregnant & brought forth Urizen, Prince of Light,
First born of Generation. Then behold: a wonder to the Eyes
Of the now fallen Man a double form Vala appeard. A Male
And female; shuddring pale the Fallen Man recoild
From the Enormity & calld them Luvah & Vala. Turning down
The vales to find his way back into Heaven, but found none
For his frail eyes were faded & his ears heavy & dull."
(Four Zoas 7a:83:8-18; [E358])
So we can see that in Blake's myth Vala occupied the
same symbolic role that Eve did in the Garden.
some from others, they are actually manifestations
of the four functions (later celebrated by Carl Jung).
Blake called The Four Zoas Vala in the beginning.
The emanation of Luvah, she has a checkered
career. In Eternity she is Jerusalem; fallen she became
Vala, somewhat comparable to Eve in the garden. She
carries all creation, all love, but in Ulro love is
totally bad (not so in regeneration and in Eternity).
Vala was the contrary (opposite) of Jerusalem (the
bride of Christ). She represents all the negativity of
the feminine character. She also goes by the names of
Rahab and Tirzah.
"Among the Flowers of Beulah walkd the Eternal Man & Saw
Vala the lilly of the desart. Melting in high noon
Upon her bosom in sweet bliss he fainted. Wonder siezd
All heaven, they saw him dark. They built a golden wall
Round Beulah. There he reveld in delight among the Flowers.
Vala was pregnant & brought forth Urizen, Prince of Light,
First born of Generation. Then behold: a wonder to the Eyes
Of the now fallen Man a double form Vala appeard. A Male
And female; shuddring pale the Fallen Man recoild
From the Enormity & calld them Luvah & Vala. Turning down
The vales to find his way back into Heaven, but found none
For his frail eyes were faded & his ears heavy & dull."
(Four Zoas 7a:83:8-18; [E358])
So we can see that in Blake's myth Vala occupied the
same symbolic role that Eve did in the Garden.
Vala
Although we hear of the birth of these characters,
some from others, they are actually manifestations
of the four functions (later celebrated by Carl Jung).
Blake called The Four Zoas Vala in the beginning.
The emanation of Luvah, she has a checkered
career. In Eternity she is Jerusalem; fallen she became
Vala, somewhat comparable to Eve in the garden. She
carries all creation, all love, but in Ulro love is
totally bad (not so in regeneration and in Eternity).
Vala was the contrary (opposite) of Jerusalem (the
bride of Christ). She represents all the negativity of
the feminine character. She also goes by the names of
Rahab and Tirzah.
"Among the Flowers of Beulah walkd the Eternal Man & Saw
Vala the lilly of the desart. Melting in high noon
Upon her bosom in sweet bliss he fainted. Wonder siezd
All heaven, they saw him dark. They built a golden wall
Round Beulah. There he reveld in delight among the Flowers.
Vala was pregnant & brought forth Urizen, Prince of Light,
First born of Generation. Then behold: a wonder to the Eyes
Of the now fallen Man a double form Vala appeard. A Male
And female; shuddring pale the Fallen Man recoild
From the Enormity & calld them Luvah & Vala. Turning down
The vales to find his way back into Heaven, but found none
For his frail eyes were faded & his ears heavy & dull."
(Four Zoas 7a:83:8-18; [E358])
So we can see that in Blake's myth Vala occupied the
same symbolic role that Eve did in the Garden.
some from others, they are actually manifestations
of the four functions (later celebrated by Carl Jung).
Blake called The Four Zoas Vala in the beginning.
The emanation of Luvah, she has a checkered
career. In Eternity she is Jerusalem; fallen she became
Vala, somewhat comparable to Eve in the garden. She
carries all creation, all love, but in Ulro love is
totally bad (not so in regeneration and in Eternity).
Vala was the contrary (opposite) of Jerusalem (the
bride of Christ). She represents all the negativity of
the feminine character. She also goes by the names of
Rahab and Tirzah.
"Among the Flowers of Beulah walkd the Eternal Man & Saw
Vala the lilly of the desart. Melting in high noon
Upon her bosom in sweet bliss he fainted. Wonder siezd
All heaven, they saw him dark. They built a golden wall
Round Beulah. There he reveld in delight among the Flowers.
Vala was pregnant & brought forth Urizen, Prince of Light,
First born of Generation. Then behold: a wonder to the Eyes
Of the now fallen Man a double form Vala appeard. A Male
And female; shuddring pale the Fallen Man recoild
From the Enormity & calld them Luvah & Vala. Turning down
The vales to find his way back into Heaven, but found none
For his frail eyes were faded & his ears heavy & dull."
(Four Zoas 7a:83:8-18; [E358])
So we can see that in Blake's myth Vala occupied the
same symbolic role that Eve did in the Garden.
Thursday, November 5, 2009
PUTTING OFF ERROR
In reading Blake we may be reminded of the popular phrase 'deja vu, all over again.' Blake is trying to involve us in a process of relinquishing errors, of being melted down and remolded by Los into forms which can live the Imaginative life. Blake recognizes that becoming the selves we are meant to be, is not a one or two step process but involves multi-steps. The process he describes involves putting off errors by allowing them to take form and be recognized as error. When the error is shown to be unproductive, to be a determent to living as we want to live, we are better able to deal with it. We find that some errors repeatedly return, requiring us to expose them to the light more than once. In Blake's myth, Los is patient, casting forms into the furnace through 'six thousand years,' so that the the material can be hammered into the Human or Divine shape.
Los at His Furnace
In Vision of the Last Judgment (E562), Blake states:
"To the extent that the persona is founded upon processes of denial it must eventually be shed/shattered in order to make way for any real growth in the personality. This is as true of the collective persona of national identity as it is of the individual self image. If the persona is to realise its potential to be that through which one's more authentic nature sounds (persona = to sound through), it must be grounded in an embrace and dialogue with the shadow as inner other."
Link to Ravenswood
Los at His Furnace
In Vision of the Last Judgment (E562), Blake states:
"All Life consists of these Two Throwing off Error <& Knaves
from our company> continually
& recieving Truth Continually. he who is out of the Church &
opposes it is
no less an Agent of Religion than he who is in it. to be an Error
& to be Cast out is a part of Gods Design No man can Embrace
True Art till he has Explord & Cast out False Art or he will be
himself Cast out by those
who have Already Embraced True Art Thus My Picture is a
History of Art & Science [& its] Which is Humanity itself. 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"
Here is a quote from a Jungian psychologist, Rodney Ravenswood, which reflects Blakean themes of undergoing the changes necessary for transformation."To the extent that the persona is founded upon processes of denial it must eventually be shed/shattered in order to make way for any real growth in the personality. This is as true of the collective persona of national identity as it is of the individual self image. If the persona is to realise its potential to be that through which one's more authentic nature sounds (persona = to sound through), it must be grounded in an embrace and dialogue with the shadow as inner other."
Link to Ravenswood
PUTTING OFF ERROR
In reading Blake we may be reminded of the popular phrase 'deja vu, all over again.' Blake is trying to involve us in a process of relinquishing errors, of being melted down and remolded by Los into forms which can live the Imaginative life. Blake recognizes that becoming the selves we are meant to be, is not a one or two step process but involves multi-steps. The process he describes involves putting off errors by allowing them to take form and be recognized as error. When the error is shown to be unproductive, to be a determent to living as we want to live, we are better able to deal with it. We find that some errors repeatedly return, requiring us to expose them to the light more than once. In Blake's myth, Los is patient, casting forms into the furnace through 'six thousand years,' so that the the material can be hammered into the Human or Divine shape.
Los at His Furnace
In Vision of the Last Judgment (E562), Blake states:
"To the extent that the persona is founded upon processes of denial it must eventually be shed/shattered in order to make way for any real growth in the personality. This is as true of the collective persona of national identity as it is of the individual self image. If the persona is to realise its potential to be that through which one's more authentic nature sounds (persona = to sound through), it must be grounded in an embrace and dialogue with the shadow as inner other."
Link to Ravenswood
Los at His Furnace
In Vision of the Last Judgment (E562), Blake states:
"All Life consists of these Two Throwing off Error <& Knaves from our company> continually
& recieving Truth Continually. he who is out of the Church &
opposes it is
no less an Agent of Religion than he who is in it. to be an Error
& to be Cast out is a part of Gods Design No man can Embrace
True Art till he has Explord & Cast out False Art or he will be
himself Cast out by those
who have Already Embraced True Art Thus My Picture is a
History of Art & Science [& its] Which is Humanity itself. 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"
Here is a quote from a Jungian psychologist, Rodney Ravenswood, which reflects Blakean themes of undergoing the changes necessary for transformation."To the extent that the persona is founded upon processes of denial it must eventually be shed/shattered in order to make way for any real growth in the personality. This is as true of the collective persona of national identity as it is of the individual self image. If the persona is to realise its potential to be that through which one's more authentic nature sounds (persona = to sound through), it must be grounded in an embrace and dialogue with the shadow as inner other."
Link to Ravenswood
Friday, October 23, 2009
BLAKE & PAUL
Returning to an important concept in Blake, that of Fourfold Vision, I find a familiar passage from Paul can be seen as recognizing Fourfold Vision. In a letter to Thomas Butts, Blake says:
"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" To Butts, 22 Nov 1802
Illustration for Milton's Paradise Lost
Now looking at I Corinthians 13 we read:
9
"For we know in part, and we prophesy in part.
10
But when that which is perfect is come, then that which is in
part shall be done away.
11
When I was a child, I spake as a child, I understood as a child,
I thought as a child: but when I became a man, I put away
childish things.
12
For now we see through a glass, darkly; but then face to face:
now I know in part; but then shall I know even as also I am
known."
The 'child' can represent single vision, Newton's sleep or sensation. Seeing 'through a glass darkly,' as a limited form of vision can be twofold vision: 'Always' (or ordinary), using only the intellect. The term 'face to face' suggests relationship or threefold vision referred to as 'in soft Beulah's night,' where emotion of feeling is introduced as an additional factor. Fourfold vision is 'knowing as we are known,' Blake's supreme delight, which Blake called Imagination and Jung called Intuition.
In A Blake Dictionary Damon explains on page 436 that, "Single vision is not properly "vision" at all: it is seeing with the physical eye only the facts before it. It 'it leads you to Believe a Lie / When you see with, not thro' the Eye'" (Everlasting Gospel, E 520)
"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" To Butts, 22 Nov 1802
Illustration for Milton's Paradise Lost
Now looking at I Corinthians 13 we read:
9
"For we know in part, and we prophesy in part.
10
But when that which is perfect is come, then that which is in
part shall be done away.
11
When I was a child, I spake as a child, I understood as a child,
I thought as a child: but when I became a man, I put away
childish things.
12
For now we see through a glass, darkly; but then face to face:
now I know in part; but then shall I know even as also I am
known."
The 'child' can represent single vision, Newton's sleep or sensation. Seeing 'through a glass darkly,' as a limited form of vision can be twofold vision: 'Always' (or ordinary), using only the intellect. The term 'face to face' suggests relationship or threefold vision referred to as 'in soft Beulah's night,' where emotion of feeling is introduced as an additional factor. Fourfold vision is 'knowing as we are known,' Blake's supreme delight, which Blake called Imagination and Jung called Intuition.
In A Blake Dictionary Damon explains on page 436 that, "Single vision is not properly "vision" at all: it is seeing with the physical eye only the facts before it. It 'it leads you to Believe a Lie / When you see with, not thro' the Eye'" (Everlasting Gospel, E 520)
BLAKE & PAUL
Returning to an important concept in Blake, that of Fourfold Vision, I find a familiar passage from Paul can be seen as recognizing Fourfold Vision. In a letter to Thomas Butts, Blake says:
"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" To Butts, 22 Nov 1802
Illustration for Milton's Paradise Lost
Now looking at I Corinthians 13 we read:
9
"For we know in part, and we prophesy in part.
10
But when that which is perfect is come, then that which is in
part shall be done away.
11
When I was a child, I spake as a child, I understood as a child,
I thought as a child: but when I became a man, I put away
childish things.
12
For now we see through a glass, darkly; but then face to face:
now I know in part; but then shall I know even as also I am
known."
The 'child' can represent single vision, Newton's sleep or sensation. Seeing 'through a glass darkly,' as a limited form of vision can be twofold vision: 'Always' (or ordinary), using only the intellect. The term 'face to face' suggests relationship or threefold vision referred to as 'in soft Beulah's night,' where emotion of feeling is introduced as an additional factor. Fourfold vision is 'knowing as we are known,' Blake's supreme delight, which Blake called Imagination and Jung called Intuition.
In A Blake Dictionary Damon explains on page 436 that, "Single vision is not properly "vision" at all: it is seeing with the physical eye only the facts before it. It 'it leads you to Believe a Lie / When you see with, not thro' the Eye'" (Everlasting Gospel, E 520)
"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" To Butts, 22 Nov 1802
Illustration for Milton's Paradise Lost
Now looking at I Corinthians 13 we read:
9
"For we know in part, and we prophesy in part.
10
But when that which is perfect is come, then that which is in
part shall be done away.
11
When I was a child, I spake as a child, I understood as a child,
I thought as a child: but when I became a man, I put away
childish things.
12
For now we see through a glass, darkly; but then face to face:
now I know in part; but then shall I know even as also I am
known."
The 'child' can represent single vision, Newton's sleep or sensation. Seeing 'through a glass darkly,' as a limited form of vision can be twofold vision: 'Always' (or ordinary), using only the intellect. The term 'face to face' suggests relationship or threefold vision referred to as 'in soft Beulah's night,' where emotion of feeling is introduced as an additional factor. Fourfold vision is 'knowing as we are known,' Blake's supreme delight, which Blake called Imagination and Jung called Intuition.
In A Blake Dictionary Damon explains on page 436 that, "Single vision is not properly "vision" at all: it is seeing with the physical eye only the facts before it. It 'it leads you to Believe a Lie / When you see with, not thro' the Eye'" (Everlasting Gospel, E 520)
Tuesday, October 20, 2009
ANIMA & EMANATION
Blake’s women - Enitharman, Enion, Ahania, Vala, and Jerusalem are each associated with a male - Los, Tharmas, Urizen, Luvah, and Albion as an Emanation. In Eternity the Emanations do not have a separate existence. As the fall occurs they acquire outer forms, independent wills and the desire to dominate. Daman says they ”fight regeneration (which seems to them like annihilation).”
Marriage of Heaven and Hell, Title page (How many paired figures do you see? and Why is she suspended above the abyss?)
In Jungian psychology there is an aspect of the unconscious which is called the Anima. In the process of individuation, the Anima which has been projected on the people to whom one is related (mother, sister, wife, boss) is explored and assimilated through bringing unconscious material to light. Since the unconscious inner Anima determines relationships to outer persons by projecting the inner content onto real people, outer relationships are repaired by withdrawing projections (removing the Anima’s will or ability to dominate.)
Carl Jung states:
“The projection-forming factor is the anima. Wherever she appears in dreams, phantasies or visions, she appears personified, thereby demonstrating that basically she possesses all the outstanding characteristics of a female person. She is not an invention of the conscious, but a spontaneous production of the unconscious; neither is she a substitute figure for the mother. On the contrary, there is every likelihood that those numinous attributes which make the Mother imago so dangerously powerful derive from the collective archetype, the anima, which is incarnated anew in every male child." (Spring, 1950, p. 5)
Quoted in an article By Paul Watsky
As Blake dealt with unconscious factors in the psyche as characters in his mythic constructions, he explored the relationships and the dynamics of achieving mental wholeness which he associated with Albion and his Emanation Jerusalem. In describing the conclusion of Jerusalem Damon says, “Albion awakes and rises; Jesus appears; and Albion sacrifices himself;...Then Eternity is re-established, and all becomes one in the Divine Vision.” (A Blake Dictionary, page 213)
The following interchange between Enitharmon and Los (Jerusalem, Plate 92) expresses Enitharmon’s fear that she will be replaced by another female if she accepts annihilation but Los reveals that there will be no division into sexes in Eternity.
“My Looms will be no more & I annihilate vanish for ever
Then thou wilt Create another Female according to thy Will.
Los answerd swift as the shuttle of gold. Sexes must vanish & cease
To be, when Albion arises from his dread repose O lovely Enitharmon:”
But as Los states, it is not that the Emanations are lost in Eternity, but that the division into ‘sexes‘ will be no more. The multiple facets of the psyche will be acknowledged, balanced, and restored to their proper roles as they are integrated into a unified functioning whole.
In Blake as in Jung, masculine and feminine aspects of the personality contribute to the complete individual. The Anima in Jung and the Emanations in Blake can be the root of harmful behaviors; but when properly recognized and attended to, they fulfill vital roles in the human psyche.
Marriage of Heaven and Hell, Title page (How many paired figures do you see? and Why is she suspended above the abyss?)
In Jungian psychology there is an aspect of the unconscious which is called the Anima. In the process of individuation, the Anima which has been projected on the people to whom one is related (mother, sister, wife, boss) is explored and assimilated through bringing unconscious material to light. Since the unconscious inner Anima determines relationships to outer persons by projecting the inner content onto real people, outer relationships are repaired by withdrawing projections (removing the Anima’s will or ability to dominate.)
Carl Jung states:
“The projection-forming factor is the anima. Wherever she appears in dreams, phantasies or visions, she appears personified, thereby demonstrating that basically she possesses all the outstanding characteristics of a female person. She is not an invention of the conscious, but a spontaneous production of the unconscious; neither is she a substitute figure for the mother. On the contrary, there is every likelihood that those numinous attributes which make the Mother imago so dangerously powerful derive from the collective archetype, the anima, which is incarnated anew in every male child." (Spring, 1950, p. 5)
Quoted in an article By Paul Watsky
As Blake dealt with unconscious factors in the psyche as characters in his mythic constructions, he explored the relationships and the dynamics of achieving mental wholeness which he associated with Albion and his Emanation Jerusalem. In describing the conclusion of Jerusalem Damon says, “Albion awakes and rises; Jesus appears; and Albion sacrifices himself;...Then Eternity is re-established, and all becomes one in the Divine Vision.” (A Blake Dictionary, page 213)
The following interchange between Enitharmon and Los (Jerusalem, Plate 92) expresses Enitharmon’s fear that she will be replaced by another female if she accepts annihilation but Los reveals that there will be no division into sexes in Eternity.
“My Looms will be no more & I annihilate vanish for ever
Then thou wilt Create another Female according to thy Will.
Los answerd swift as the shuttle of gold. Sexes must vanish & cease
To be, when Albion arises from his dread repose O lovely Enitharmon:”
But as Los states, it is not that the Emanations are lost in Eternity, but that the division into ‘sexes‘ will be no more. The multiple facets of the psyche will be acknowledged, balanced, and restored to their proper roles as they are integrated into a unified functioning whole.
In Blake as in Jung, masculine and feminine aspects of the personality contribute to the complete individual. The Anima in Jung and the Emanations in Blake can be the root of harmful behaviors; but when properly recognized and attended to, they fulfill vital roles in the human psyche.
ANIMA & EMANATION
Blake’s women - Enitharman, Enion, Ahania, Vala, and Jerusalem are each associated with a male - Los, Tharmas, Urizen, Luvah, and Albion as an Emanation. In Eternity the Emanations do not have a separate existence. As the fall occurs they acquire outer forms, independent wills and the desire to dominate. Daman says they ”fight regeneration (which seems to them like annihilation).”
Marriage of Heaven and Hell, Title page (How many paired figures do you see? and Why is she suspended above the abyss?)
In Jungian psychology there is an aspect of the unconscious which is called the Anima. In the process of individuation, the Anima which has been projected on the people to whom one is related (mother, sister, wife, boss) is explored and assimilated through bringing unconscious material to light. Since the unconscious inner Anima determines relationships to outer persons by projecting the inner content onto real people, outer relationships are repaired by withdrawing projections (removing the Anima’s will or ability to dominate.)
Carl Jung states:
“The projection-forming factor is the anima. Wherever she appears in dreams, phantasies or visions, she appears personified, thereby demonstrating that basically she possesses all the outstanding characteristics of a female person. She is not an invention of the conscious, but a spontaneous production of the unconscious; neither is she a substitute figure for the mother. On the contrary, there is every likelihood that those numinous attributes which make the Mother imago so dangerously powerful derive from the collective archetype, the anima, which is incarnated anew in every male child." (Spring, 1950, p. 5)
Quoted in an article By Paul Watsky
As Blake dealt with unconscious factors in the psyche as characters in his mythic constructions, he explored the relationships and the dynamics of achieving mental wholeness which he associated with Albion and his Emanation Jerusalem. In describing the conclusion of Jerusalem Damon says, “Albion awakes and rises; Jesus appears; and Albion sacrifices himself;...Then Eternity is re-established, and all becomes one in the Divine Vision.” (A Blake Dictionary, page 213)
The following interchange between Enitharmon and Los (Jerusalem, Plate 92) expresses Enitharmon’s fear that she will be replaced by another female if she accepts annihilation but Los reveals that there will be no division into sexes in Eternity.
“My Looms will be no more & I annihilate vanish for ever
Then thou wilt Create another Female according to thy Will.
Los answerd swift as the shuttle of gold. Sexes must vanish & cease
To be, when Albion arises from his dread repose O lovely Enitharmon:”
But as Los states, it is not that the Emanations are lost in Eternity, but that the division into ‘sexes‘ will be no more. The multiple facets of the psyche will be acknowledged, balanced, and restored to their proper roles as they are integrated into a unified functioning whole.
In Blake as in Jung, masculine and feminine aspects of the personality contribute to the complete individual. The Anima in Jung and the Emanations in Blake can be the root of harmful behaviors; but when properly recognized and attended to, they fulfill vital roles in the human psyche.
Marriage of Heaven and Hell, Title page (How many paired figures do you see? and Why is she suspended above the abyss?)
In Jungian psychology there is an aspect of the unconscious which is called the Anima. In the process of individuation, the Anima which has been projected on the people to whom one is related (mother, sister, wife, boss) is explored and assimilated through bringing unconscious material to light. Since the unconscious inner Anima determines relationships to outer persons by projecting the inner content onto real people, outer relationships are repaired by withdrawing projections (removing the Anima’s will or ability to dominate.)
Carl Jung states:
“The projection-forming factor is the anima. Wherever she appears in dreams, phantasies or visions, she appears personified, thereby demonstrating that basically she possesses all the outstanding characteristics of a female person. She is not an invention of the conscious, but a spontaneous production of the unconscious; neither is she a substitute figure for the mother. On the contrary, there is every likelihood that those numinous attributes which make the Mother imago so dangerously powerful derive from the collective archetype, the anima, which is incarnated anew in every male child." (Spring, 1950, p. 5)
Quoted in an article By Paul Watsky
As Blake dealt with unconscious factors in the psyche as characters in his mythic constructions, he explored the relationships and the dynamics of achieving mental wholeness which he associated with Albion and his Emanation Jerusalem. In describing the conclusion of Jerusalem Damon says, “Albion awakes and rises; Jesus appears; and Albion sacrifices himself;...Then Eternity is re-established, and all becomes one in the Divine Vision.” (A Blake Dictionary, page 213)
The following interchange between Enitharmon and Los (Jerusalem, Plate 92) expresses Enitharmon’s fear that she will be replaced by another female if she accepts annihilation but Los reveals that there will be no division into sexes in Eternity.
“My Looms will be no more & I annihilate vanish for ever
Then thou wilt Create another Female according to thy Will.
Los answerd swift as the shuttle of gold. Sexes must vanish & cease
To be, when Albion arises from his dread repose O lovely Enitharmon:”
But as Los states, it is not that the Emanations are lost in Eternity, but that the division into ‘sexes‘ will be no more. The multiple facets of the psyche will be acknowledged, balanced, and restored to their proper roles as they are integrated into a unified functioning whole.
In Blake as in Jung, masculine and feminine aspects of the personality contribute to the complete individual. The Anima in Jung and the Emanations in Blake can be the root of harmful behaviors; but when properly recognized and attended to, they fulfill vital roles in the human psyche.
Sunday, October 18, 2009
SPIRITUAL CAUSE
Synchronicity is a term Carl Jung coined to describe events which seemed to be connected in an acausal manner. That three men from different backgrounds in whom I'm particularly interested, found their final resting place together impresses me as synchronistic. Buried close to the same location in London are George Fox, who died in 1690; John Wesley, who died in 1791; and William Blake who died in 1827. George Fox and William Blake are buried in the Bunhill Fields Burying Ground and John Wesley is buried just across the street behind his home.
Fox's Grave
Wesley's Grave
Blake's Grave
Although these three men shared a passion for being in touch in a direct way with God, they were not associated in life. Blake expressed admiration for Wesley's witness to "Faith in God the dear Saviour who took on the likeness of men" (in Milton , Plate 22). They all 'dissented' from orthodox religious practice in distinctive ways. George Fox urged the practice of silent worship, John Wesley preached a religion of transforming experience, and William Blake used poetry and visual images to develop the Imagination and awaken the Universal Man. Their efforts to spread their own understanding of the best methods of cultivating a relationship with God, occupied the full effort of each. It seems particularly appropriate to me that one might visit the graves of all three within a few minutes and meditate on their similarities and differences.
William Blake expressed an idea close to the concept of synchronicity in these words from Milton, Plate 26:
"And every Natural Effect has a Spiritual Cause, and Not
A Natural: for a Natural Cause only seems, it is Delusion"
There is a Spiritual Cause for Fox, Wesley and Blake resting together.
Fox's Grave
Wesley's Grave
Blake's Grave
Although these three men shared a passion for being in touch in a direct way with God, they were not associated in life. Blake expressed admiration for Wesley's witness to "Faith in God the dear Saviour who took on the likeness of men" (in Milton , Plate 22). They all 'dissented' from orthodox religious practice in distinctive ways. George Fox urged the practice of silent worship, John Wesley preached a religion of transforming experience, and William Blake used poetry and visual images to develop the Imagination and awaken the Universal Man. Their efforts to spread their own understanding of the best methods of cultivating a relationship with God, occupied the full effort of each. It seems particularly appropriate to me that one might visit the graves of all three within a few minutes and meditate on their similarities and differences.
William Blake expressed an idea close to the concept of synchronicity in these words from Milton, Plate 26:
"And every Natural Effect has a Spiritual Cause, and Not
A Natural: for a Natural Cause only seems, it is Delusion"
There is a Spiritual Cause for Fox, Wesley and Blake resting together.
SPIRITUAL CAUSE
Synchronicity is a term Carl Jung coined to describe events which seemed to be connected in an acausal manner. That three men from different backgrounds in whom I'm particularly interested, found their final resting place together impresses me as synchronistic. Buried close to the same location in London are George Fox, who died in 1690; John Wesley, who died in 1791; and William Blake who died in 1827. George Fox and William Blake are buried in the Bunhill Fields Burying Ground and John Wesley is buried just across the street behind his home.
Fox's Grave
Wesley's Grave
Blake's Grave
Although these three men shared a passion for being in touch in a direct way with God, they were not associated in life. Blake expressed admiration for Wesley's witness to "Faith in God the dear Saviour who took on the likeness of men" (in Milton , Plate 22). They all 'dissented' from orthodox religious practice in distinctive ways. George Fox urged the practice of silent worship, John Wesley preached a religion of transforming experience, and William Blake used poetry and visual images to develop the Imagination and awaken the Universal Man. Their efforts to spread their own understanding of the best methods of cultivating a relationship with God, occupied the full effort of each. It seems particularly appropriate to me that one might visit the graves of all three within a few minutes and meditate on their similarities and differences.
William Blake expressed an idea close to the concept of synchronicity in these words from Milton, Plate 26:
"And every Natural Effect has a Spiritual Cause, and Not
A Natural: for a Natural Cause only seems, it is Delusion"
There is a Spiritual Cause for Fox, Wesley and Blake resting together.
Fox's Grave
Wesley's Grave
Blake's Grave
Although these three men shared a passion for being in touch in a direct way with God, they were not associated in life. Blake expressed admiration for Wesley's witness to "Faith in God the dear Saviour who took on the likeness of men" (in Milton , Plate 22). They all 'dissented' from orthodox religious practice in distinctive ways. George Fox urged the practice of silent worship, John Wesley preached a religion of transforming experience, and William Blake used poetry and visual images to develop the Imagination and awaken the Universal Man. Their efforts to spread their own understanding of the best methods of cultivating a relationship with God, occupied the full effort of each. It seems particularly appropriate to me that one might visit the graves of all three within a few minutes and meditate on their similarities and differences.
William Blake expressed an idea close to the concept of synchronicity in these words from Milton, Plate 26:
"And every Natural Effect has a Spiritual Cause, and Not
A Natural: for a Natural Cause only seems, it is Delusion"
There is a Spiritual Cause for Fox, Wesley and Blake resting together.
Saturday, October 17, 2009
HONORING GIFTS
Each one speaks according to the gifts he has received. The knowledge of this insight and of its corollary - that we recognize and respect the gifts of others as well as our own gifts - overcomes barriers among us. Here are four statement about the innate gifts from four sources. Out of their own unique gifts, each of these men express congruent ideas from varied perspectives. Let's listen to June Singer speaking of Carl Jung, and to statements from William Blake, George Fox, and Paul the Apostle.
Dr. Singer: from an Interview in 1998 - Complete Interview
"Jung’s great contribution to psychotherapy was his affirmation of the genius (daemon, guiding spirit) in every individual. He had the greatest respect for the individual, a trust in the authenticity of each person’s inner self-knowledge. Consequently he did not often assert his own views as an analyst, but rather worked to evoke the analysand’s own unconscious material and allow it to speak for itself. Trust in the unconscious, not a blind trust but the way you trust any teacher–you must find out for yourself what the wise person can teach you."
William Blake, Jerusalem, Plate 91
"Go, tell them that the Worship of God, is honouring his gifts
In other men: & loving the greatest men best, each according
To his Genius: which is the Holy Ghost in Man; there is no other
God, than that God who is the intellectual fountain of Humanity;
He who envies or calumniates: which is murder & cruelty,
Murders the Holy-one: Go tell them this & overthrow their cup,
Their bread, their altar-table, their incense & their oath:
Their marriage & their baptism, their burial & consecration:
I have tried to make friends by corporeal gifts but have only
Made enemies: I never made friends but by spiritual gifts;
By severe contentions of friendship & the burning fire of thought.
He who would see the Divinity must see him in his Children
One first, in friendship & love; then a Divine Family, & in the midst
Jesus will appear; so he who wishes to see a Vision; a perfect Whole
Must see it in its Minute Particulars;"
George Fox, Journal
"...So, Friends, come into that which is over all the spirits of the world, fathoms all the spirits of the world, and stands in the patience; with that, ye may see where others stand, and reach that which is of God in every one. Here is no strife, no contention, out of transgression; for he that goeth into strife, and into contention, is [away] from the pure spirit...."
Paul, Letter to the Ephesians
4:11-13 - "His 'gifts to men' were varied. Some he made his messengers, some prophets, some preachers of the Gospel; to some he gave the power to guide and teach his people. His gifts were made that Christians might be properly equipped for their service, that the whole body might be built up until the time comes when, in the unity of the common faith and common knowledge of the Son of God, we arrive at real maturity - that measure of development which is meant by the "fullness of Christ".
4:14-16 - We are not meant to remain as children at the mercy of every chance wind of teaching and the jockeying of men who are expert in the craft presentation of lies. But we are meant to hold firmly to the truth in love, and to grow up in every way into Christ, the head. For it is from the head that the whole body, as a harmonious structure knit together by the joints with which it is provided, grows by the proper functioning of individual parts to its full maturity in love."
The Baptism of Christ
.
Dr. Singer: from an Interview in 1998 - Complete Interview
"Jung’s great contribution to psychotherapy was his affirmation of the genius (daemon, guiding spirit) in every individual. He had the greatest respect for the individual, a trust in the authenticity of each person’s inner self-knowledge. Consequently he did not often assert his own views as an analyst, but rather worked to evoke the analysand’s own unconscious material and allow it to speak for itself. Trust in the unconscious, not a blind trust but the way you trust any teacher–you must find out for yourself what the wise person can teach you."
William Blake, Jerusalem, Plate 91
"Go, tell them that the Worship of God, is honouring his gifts
In other men: & loving the greatest men best, each according
To his Genius: which is the Holy Ghost in Man; there is no other
God, than that God who is the intellectual fountain of Humanity;
He who envies or calumniates: which is murder & cruelty,
Murders the Holy-one: Go tell them this & overthrow their cup,
Their bread, their altar-table, their incense & their oath:
Their marriage & their baptism, their burial & consecration:
I have tried to make friends by corporeal gifts but have only
Made enemies: I never made friends but by spiritual gifts;
By severe contentions of friendship & the burning fire of thought.
He who would see the Divinity must see him in his Children
One first, in friendship & love; then a Divine Family, & in the midst
Jesus will appear; so he who wishes to see a Vision; a perfect Whole
Must see it in its Minute Particulars;"
George Fox, Journal
"...So, Friends, come into that which is over all the spirits of the world, fathoms all the spirits of the world, and stands in the patience; with that, ye may see where others stand, and reach that which is of God in every one. Here is no strife, no contention, out of transgression; for he that goeth into strife, and into contention, is [away] from the pure spirit...."
Paul, Letter to the Ephesians
4:11-13 - "His 'gifts to men' were varied. Some he made his messengers, some prophets, some preachers of the Gospel; to some he gave the power to guide and teach his people. His gifts were made that Christians might be properly equipped for their service, that the whole body might be built up until the time comes when, in the unity of the common faith and common knowledge of the Son of God, we arrive at real maturity - that measure of development which is meant by the "fullness of Christ".
4:14-16 - We are not meant to remain as children at the mercy of every chance wind of teaching and the jockeying of men who are expert in the craft presentation of lies. But we are meant to hold firmly to the truth in love, and to grow up in every way into Christ, the head. For it is from the head that the whole body, as a harmonious structure knit together by the joints with which it is provided, grows by the proper functioning of individual parts to its full maturity in love."
The Baptism of Christ
.
Subscribe to:
Posts (Atom)