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
Showing posts with label Luvah. Show all posts
Showing posts with label Luvah. Show all posts
Thursday, February 25, 2010
Monday, December 28, 2009
LOS, LUVAH & URIZEN
Labor of Los
Quoting from A BLAKE DICTIONARY, S. Foster Damon, Introduction, Page XI:
"Every sect is self-limited, whereas Truth is Universal. Instead of any religion, Blake wanted the truth - the whole truth including all errors, life including death, the soul including the body, the world of mind including the world of matter, the profound discoveries of the mystics reconciled with the scoffing of the skeptics, heaven and hell married and working together, and in the ultimate heart, Man eternally in the arms of God."
The puzzle of the shift in relationship between Luvah and Urizen deserves careful consideration. Neither Urizen nor Luvah had an indisputable claim to the horses of light or the dominant position they represented; that should should have fallen to Urthona whose 'Vehicular Form' is Los. (Percival refers to Urthona as the 'essential' man.)
The struggle among Urizen, Luvah and Los occupies Blake's imagination. The conflict may be interpreted internally. In Blake's myth either reason or emotion is frequently firmly in control of the psyche. The balance between them shifts as they negotiate and seize power. Sometimes reason is recognized as the higher function and emotion is at the service of reason (or visa versa). Disasters ensue as each function tries to eliminate the other. The higher function, inspiration or Los, eventually succeeds in wresting power and reconstructing the psyche.
Often it is easier to observe the operation of the functions externally before we can recognize them internally. Blake's portrayal of the 4Zs may show us aspects of ourselves we do not already recognize. Likewise, we are more likely to identify another person under the domination of one aspect of the psyche (suppressing the expression of the others), before we can see the same thing in ourselves. But to have it brought to our attention either by reading Blake, or by observing associates consistently and unconsciously coming under the dominion of reason or emotion, may encourage us to deal with unconscious forces which are controlling us. (So too, these imbalances are visible in societal behaviors.)
In The Four Zoas, Night Four, Blake portrays a violent confrontation between Urizen and Los. Urizen is subdued but the cost to Los is high. Los has come under the dominion of his lower nature, expressing revenge, wrath and cruelty, and having taken on the characteristics of the entity whom he was trying to eliminate .
FZ4-53.11; (E335)
"The lovely female howld & Urizen beneath deep groand
Deadly between the hammers beating grateful to the Ears
Of Los. absorbd in dire revenge he drank with joy the cries
Of Enitharmon & the groans of Urizen fuel for his wrath
And for his pity secret feeding on thoughts of cruelty
The Spectre wept at his dire labours"
FZ4-53.21; E336
"And thus began the binding of Urizen day & night in fear
Circling round the dark Demon with howlings dismay & sharp
blightings
The Prophet of Eternity beat on his iron links & links of brass
And as he beat round the hurtling Demon. terrified at the Shapes
Enslavd humanity put on he became what he beheld"
Some scholars have suggested that the portrayal of this type of situation in The Four Zoas led to Blake's abandonment of the writing of the book. In Blake's later poetry, the solution to the problems between Los and Urizen comes through recognition of error, forgiveness, anniliation of the Selfhood, and restoration of Brotherhood.
The unity of the psyche - allowing each function to play its ordained role is the goal toward which Blake directed his readers.
LOS, LUVAH & URIZEN
Labor of Los
Quoting from A BLAKE DICTIONARY, S. Foster Damon, Introduction, Page XI:
"Every sect is self-limited, whereas Truth is Universal. Instead of any religion, Blake wanted the truth - the whole truth including all errors, life including death, the soul including the body, the world of mind including the world of matter, the profound discoveries of the mystics reconciled with the scoffing of the skeptics, heaven and hell married and working together, and in the ultimate heart, Man eternally in the arms of God."
The puzzle of the shift in relationship between Luvah and Urizen deserves careful consideration. Neither Urizen nor Luvah had an indisputable claim to the horses of light or the dominant position they represented; that should should have fallen to Urthona whose 'Vehicular Form' is Los. (Percival refers to Urthona as the 'essential' man.)
The struggle among Urizen, Luvah and Los occupies Blake's imagination. The conflict may be interpreted internally. In Blake's myth either reason or emotion is frequently firmly in control of the psyche. The balance between them shifts as they negotiate and seize power. Sometimes reason is recognized as the higher function and emotion is at the service of reason (or visa versa). Disasters ensue as each function tries to eliminate the other. The higher function, inspiration or Los, eventually succeeds in wresting power and reconstructing the psyche.
Often it is easier to observe the operation of the functions externally before we can recognize them internally. Blake's portrayal of the 4Zs may show us aspects of ourselves we do not already recognize. Likewise, we are more likely to identify another person under the domination of one aspect of the psyche (suppressing the expression of the others), before we can see the same thing in ourselves. But to have it brought to our attention either by reading Blake, or by observing associates consistently and unconsciously coming under the dominion of reason or emotion, may encourage us to deal with unconscious forces which are controlling us. (So too, these imbalances are visible in societal behaviors.)
In The Four Zoas, Night Four, Blake portrays a violent confrontation between Urizen and Los. Urizen is subdued but the cost to Los is high. Los has come under the dominion of his lower nature, expressing revenge, wrath and cruelty, and having taken on the characteristics of the entity whom he was trying to eliminate .
FZ4-53.11; (E335)
"The lovely female howld & Urizen beneath deep groand
Deadly between the hammers beating grateful to the Ears
Of Los. absorbd in dire revenge he drank with joy the cries
Of Enitharmon & the groans of Urizen fuel for his wrath
And for his pity secret feeding on thoughts of cruelty
The Spectre wept at his dire labours"
FZ4-53.21; E336
"And thus began the binding of Urizen day & night in fear
Circling round the dark Demon with howlings dismay & sharp
blightings
The Prophet of Eternity beat on his iron links & links of brass
And as he beat round the hurtling Demon. terrified at the Shapes
Enslavd humanity put on he became what he beheld"
Some scholars have suggested that the portrayal of this type of situation in The Four Zoas led to Blake's abandonment of the writing of the book. In Blake's later poetry, the solution to the problems between Los and Urizen comes through recognition of error, forgiveness, anniliation of the Selfhood, and restoration of Brotherhood.
The unity of the psyche - allowing each function to play its ordained role is the goal toward which Blake directed his readers.
Saturday, November 28, 2009
ALBION & LAZARUS
The plight of Albion as he falls from his original unity as an Eternal, is portrayed in Night the First of the Four Zoas.
PAGE 21
"Then those in Great Eternity met in the Council of God
As one Man for contracting their Exalted Senses
- 310 -
They behold Multitude or Expanding they behold as one
As One Man all the Universal family & that one Man
They call Jesus the Christ & they in him & he in them
Live in Perfect harmony in Eden the land of life
Consulting as One Man above the Mountain of Snowdon Sublime
For messengers from Beulah come in tears & darkning clouds
Saying Shiloh is in ruins our brother is sick Albion He
Whom thou lovest is sick he wanders from his house of Eternity
The daughters of Beulah terrified have closd the Gate of the
Tongue
Luvah & Urizen contend in war around the holy tent
So spoke the Ambassadors from Beulah & with solemn mourning
They were introducd to the divine presence & they kneeled down
In Conways Vale thus recounting the Wars of Death Eternal
The Eternal Man wept in the holy tent Our Brother in Eternity
Even Albion whom thou lovest wept in pain his family
Slept round on hills & valleys in the regions of his love
But Urizen awoke & Luvah woke & thus conferrd
Thou Luvah said the Prince of Light behold our sons & daughters
Reposd on beds. let them sleep on."
It is confusing but enlightening that Blake brings to our minds a reference to the death and resurrection of Jesus's friend Lazarus by including familiar words from the story as told in John's Gospel. Lazarus is Jesus's friend whom he loves. Jesus knows his friend is sick but holds back from visiting until Lazarus has been in the grave four days. Jesus weeps over his friend and then brings him back to life.
John, Chapter 11
When Jesus revives Lazarus it is a four stage process: he has the stone removed from the entrance to the grave, he wakes him up, he removes the grave clothes that restrain him, then he calls him forth.
Albion will be brought back from the brink of Eternal Death, but it will be a multi-stage process involving the four Zoas, the Emanations, the Spectres, and ultimately Jesus himself.
In John, the account of the raising of Lazarus is followed immediately by the passage in which the determination is made by the priests and Pharisees that Jesus must be killed.
Blake, through the retelling of the Christian myth using psychological and mythopoeic methods, aims to follow Jesus as described in this verse:
11:4 - When Jesus received the message, he said, "This illness is not meant to end in death; it is going to bring glory to God - for it will show the glory of the Son of God."
PAGE 21
"Then those in Great Eternity met in the Council of God
As one Man for contracting their Exalted Senses
- 310 -
They behold Multitude or Expanding they behold as one
As One Man all the Universal family & that one Man
They call Jesus the Christ & they in him & he in them
Live in Perfect harmony in Eden the land of life
Consulting as One Man above the Mountain of Snowdon Sublime
For messengers from Beulah come in tears & darkning clouds
Saying Shiloh is in ruins our brother is sick Albion He
Whom thou lovest is sick he wanders from his house of Eternity
The daughters of Beulah terrified have closd the Gate of the
Tongue
Luvah & Urizen contend in war around the holy tent
So spoke the Ambassadors from Beulah & with solemn mourning
They were introducd to the divine presence & they kneeled down
In Conways Vale thus recounting the Wars of Death Eternal
The Eternal Man wept in the holy tent Our Brother in Eternity
Even Albion whom thou lovest wept in pain his family
Slept round on hills & valleys in the regions of his love
But Urizen awoke & Luvah woke & thus conferrd
Thou Luvah said the Prince of Light behold our sons & daughters
Reposd on beds. let them sleep on."
It is confusing but enlightening that Blake brings to our minds a reference to the death and resurrection of Jesus's friend Lazarus by including familiar words from the story as told in John's Gospel. Lazarus is Jesus's friend whom he loves. Jesus knows his friend is sick but holds back from visiting until Lazarus has been in the grave four days. Jesus weeps over his friend and then brings him back to life.
John, Chapter 11
When Jesus revives Lazarus it is a four stage process: he has the stone removed from the entrance to the grave, he wakes him up, he removes the grave clothes that restrain him, then he calls him forth.
Albion will be brought back from the brink of Eternal Death, but it will be a multi-stage process involving the four Zoas, the Emanations, the Spectres, and ultimately Jesus himself.
In John, the account of the raising of Lazarus is followed immediately by the passage in which the determination is made by the priests and Pharisees that Jesus must be killed.
Blake, through the retelling of the Christian myth using psychological and mythopoeic methods, aims to follow Jesus as described in this verse:
11:4 - When Jesus received the message, he said, "This illness is not meant to end in death; it is going to bring glory to God - for it will show the glory of the Son of God."
The raising of Lazarus as shown by Blake in three different ways:
Lazarus in No Natural Religion
Lazarus in Tate Gallery
Lazarus in Young's Night Thoughts
ALBION & LAZARUS
The plight of Albion as he falls from his original unity as an Eternal, is portrayed in Night the First of the Four Zoas.
PAGE 21
"Then those in Great Eternity met in the Council of God
As one Man for contracting their Exalted Senses
- 310 -
They behold Multitude or Expanding they behold as one
As One Man all the Universal family & that one Man
They call Jesus the Christ & they in him & he in them
Live in Perfect harmony in Eden the land of life
Consulting as One Man above the Mountain of Snowdon Sublime
For messengers from Beulah come in tears & darkning clouds
Saying Shiloh is in ruins our brother is sick Albion He
Whom thou lovest is sick he wanders from his house of Eternity
The daughters of Beulah terrified have closd the Gate of the
Tongue
Luvah & Urizen contend in war around the holy tent
So spoke the Ambassadors from Beulah & with solemn mourning
They were introducd to the divine presence & they kneeled down
In Conways Vale thus recounting the Wars of Death Eternal
The Eternal Man wept in the holy tent Our Brother in Eternity
Even Albion whom thou lovest wept in pain his family
Slept round on hills & valleys in the regions of his love
But Urizen awoke & Luvah woke & thus conferrd
Thou Luvah said the Prince of Light behold our sons & daughters
Reposd on beds. let them sleep on."
It is confusing but enlightening that Blake brings to our minds a reference to the death and resurrection of Jesus's friend Lazarus by including familiar words from the story as told in John's Gospel. Lazarus is Jesus's friend whom he loves. Jesus knows his friend is sick but holds back from visiting until Lazarus has been in the grave four days. Jesus weeps over his friend and then brings him back to life.
John, Chapter 11
When Jesus revives Lazarus it is a four stage process: he has the stone removed from the entrance to the grave, he wakes him up, he removes the grave clothes that restrain him, then he calls him forth.
Albion will be brought back from the brink of Eternal Death, but it will be a multi-stage process involving the four Zoas, the Emanations, the Spectres, and ultimately Jesus himself.
In John, the account of the raising of Lazarus is followed immediately by the passage in which the determination is made by the priests and Pharisees that Jesus must be killed.
Blake, through the retelling of the Christian myth using psychological and mythopoeic methods, aims to follow Jesus as described in this verse:
11:4 - When Jesus received the message, he said, "This illness is not meant to end in death; it is going to bring glory to God - for it will show the glory of the Son of God."
PAGE 21
"Then those in Great Eternity met in the Council of God
As one Man for contracting their Exalted Senses
- 310 -
They behold Multitude or Expanding they behold as one
As One Man all the Universal family & that one Man
They call Jesus the Christ & they in him & he in them
Live in Perfect harmony in Eden the land of life
Consulting as One Man above the Mountain of Snowdon Sublime
For messengers from Beulah come in tears & darkning clouds
Saying Shiloh is in ruins our brother is sick Albion He
Whom thou lovest is sick he wanders from his house of Eternity
The daughters of Beulah terrified have closd the Gate of the
Tongue
Luvah & Urizen contend in war around the holy tent
So spoke the Ambassadors from Beulah & with solemn mourning
They were introducd to the divine presence & they kneeled down
In Conways Vale thus recounting the Wars of Death Eternal
The Eternal Man wept in the holy tent Our Brother in Eternity
Even Albion whom thou lovest wept in pain his family
Slept round on hills & valleys in the regions of his love
But Urizen awoke & Luvah woke & thus conferrd
Thou Luvah said the Prince of Light behold our sons & daughters
Reposd on beds. let them sleep on."
It is confusing but enlightening that Blake brings to our minds a reference to the death and resurrection of Jesus's friend Lazarus by including familiar words from the story as told in John's Gospel. Lazarus is Jesus's friend whom he loves. Jesus knows his friend is sick but holds back from visiting until Lazarus has been in the grave four days. Jesus weeps over his friend and then brings him back to life.
John, Chapter 11
When Jesus revives Lazarus it is a four stage process: he has the stone removed from the entrance to the grave, he wakes him up, he removes the grave clothes that restrain him, then he calls him forth.
Albion will be brought back from the brink of Eternal Death, but it will be a multi-stage process involving the four Zoas, the Emanations, the Spectres, and ultimately Jesus himself.
In John, the account of the raising of Lazarus is followed immediately by the passage in which the determination is made by the priests and Pharisees that Jesus must be killed.
Blake, through the retelling of the Christian myth using psychological and mythopoeic methods, aims to follow Jesus as described in this verse:
11:4 - When Jesus received the message, he said, "This illness is not meant to end in death; it is going to bring glory to God - for it will show the glory of the Son of God."
The raising of Lazarus as shown by Blake in three different ways:
Lazarus in No Natural Religion
Lazarus in Tate Gallery
Lazarus in Young's Night Thoughts
Tuesday, November 17, 2009
TYGER & THE FALL
Blake's best known short poem is from Songs of Innocence and Experience (E24): The Tyger
"Tyger Tyger, burning bright,
In the forests of the night;
What immortal hand or eye,
Could frame thy fearful symmetry?
In what distant deeps or skies.
Burnt the fire of thine eyes?
On what wings dare he aspire?
What the hand, dare sieze the fire?
And what shoulder, & what art,
Could twist the sinews of thy heart?
And when thy heart began to beat,
What dread hand? & what dread feet?
What the hammer? what the chain,
In what furnace was thy brain?
What the anvil? what dread grasp,
Dare its deadly terrors clasp!
When the stars threw down their spears
And water'd heaven with their tears:
Did he smile his work to see?
Did he who made the Lamb make thee?
Tyger Tyger burning bright,
In the forests of the night:
What immortal hand or eye,
Dare frame thy fearful symmetry?"
A second occurrence of the line from Tyger, ' the stars threw down their spears,' appears in the Four Zoas, Night Five, Plate 64 (E344). Urizen is speaking.
"O Fool could I forget the light that filled my bright spheres
Was a reflection of his face who calld me from the deep
I well remember for I heard the mild & holy voice
Saying O light spring up & shine & I sprang up from the deep
He gave to me a silver scepter & crownd me with a golden crown
& said Go forth & guide my Son who wanders on the ocean
I went not forth. I hid myself in black clouds of my wrath
I calld the stars around my feet in the night of councils dark
The stars threw down their spears & fled naked away
We fell. I siezd thee dark Urthona In my left hand falling
I siezd thee beauteous Luvah"
Judging from the amount of interest there is in Blake's Tyger, it hooks into an archetypal reality which is easily activated. There is much agreement that Tyger is saying something important, but little agreement on what it is saying. Here is another stab.
One mystifying line in the poem, "when the stars threw down their spears," appears also in the Four Zoas at a critical moment when Urizen/Satan refuses obedience to the Almighty. At that point a chain reaction begins - with the stars. So the line in Tyger reminds us of the cataclysmic event when Urizen fell and took with him Urthona and Luvah.
Three Zoas Falling
It is easy for me to see Tyger as autobiographical. The conflict within Blake of his reason and imagination, is expressed in the dynamic battle between Urizen and Los thoughout Blake's myth. The tyger himself can represent the battlefield Blake sees within. Forces of beauty, restraint, explosive activity and expanded consciousness compete for dominance. Blake's struggle is to achieve that balance which will allow his imagination a free reign of expression, without becoming an uncontrolled destructive force.
Look at the words in Tyger that make one think
of Los: fire, hammer, anvil, furnace, chain;
of Urizen: bright, aspire, seize, stars;
of Luvah: heart, began to beat;
of Jesus: tears, smile, work, Lamb.
The multiple parts within the human mind make possible an internal state of competition. But the use of the word 'symmetry' signifies to me the balanced pattern in which Blake saw the Four Zoas as aspects of the psyche. The symmetry becomes fearful when the delicate alignment is disturbed. We have seen how every aspect of the Divine Humanity is affected by any refusal of a Zoa to accept his appointed role. (See blog post Fallen Zoas) All are 'members of one another'. (Paul - Ephesians 4:25)
The Tyger's fascination may come from the unresolved tension which it portrays - a state we each frequently experience.
"Tyger Tyger, burning bright,
In the forests of the night;
What immortal hand or eye,
Could frame thy fearful symmetry?
In what distant deeps or skies.
Burnt the fire of thine eyes?
On what wings dare he aspire?
What the hand, dare sieze the fire?
And what shoulder, & what art,
Could twist the sinews of thy heart?
And when thy heart began to beat,
What dread hand? & what dread feet?
What the hammer? what the chain,
In what furnace was thy brain?
What the anvil? what dread grasp,
Dare its deadly terrors clasp!
When the stars threw down their spears
And water'd heaven with their tears:
Did he smile his work to see?
Did he who made the Lamb make thee?
Tyger Tyger burning bright,
In the forests of the night:
What immortal hand or eye,
Dare frame thy fearful symmetry?"
A second occurrence of the line from Tyger, ' the stars threw down their spears,' appears in the Four Zoas, Night Five, Plate 64 (E344). Urizen is speaking.
"O Fool could I forget the light that filled my bright spheres
Was a reflection of his face who calld me from the deep
I well remember for I heard the mild & holy voice
Saying O light spring up & shine & I sprang up from the deep
He gave to me a silver scepter & crownd me with a golden crown
& said Go forth & guide my Son who wanders on the ocean
I went not forth. I hid myself in black clouds of my wrath
I calld the stars around my feet in the night of councils dark
The stars threw down their spears & fled naked away
We fell. I siezd thee dark Urthona In my left hand falling
I siezd thee beauteous Luvah"
Judging from the amount of interest there is in Blake's Tyger, it hooks into an archetypal reality which is easily activated. There is much agreement that Tyger is saying something important, but little agreement on what it is saying. Here is another stab.
One mystifying line in the poem, "when the stars threw down their spears," appears also in the Four Zoas at a critical moment when Urizen/Satan refuses obedience to the Almighty. At that point a chain reaction begins - with the stars. So the line in Tyger reminds us of the cataclysmic event when Urizen fell and took with him Urthona and Luvah.
Three Zoas Falling
It is easy for me to see Tyger as autobiographical. The conflict within Blake of his reason and imagination, is expressed in the dynamic battle between Urizen and Los thoughout Blake's myth. The tyger himself can represent the battlefield Blake sees within. Forces of beauty, restraint, explosive activity and expanded consciousness compete for dominance. Blake's struggle is to achieve that balance which will allow his imagination a free reign of expression, without becoming an uncontrolled destructive force.
Look at the words in Tyger that make one think
of Los: fire, hammer, anvil, furnace, chain;
of Urizen: bright, aspire, seize, stars;
of Luvah: heart, began to beat;
of Jesus: tears, smile, work, Lamb.
The multiple parts within the human mind make possible an internal state of competition. But the use of the word 'symmetry' signifies to me the balanced pattern in which Blake saw the Four Zoas as aspects of the psyche. The symmetry becomes fearful when the delicate alignment is disturbed. We have seen how every aspect of the Divine Humanity is affected by any refusal of a Zoa to accept his appointed role. (See blog post Fallen Zoas) All are 'members of one another'. (Paul - Ephesians 4:25)
The Tyger's fascination may come from the unresolved tension which it portrays - a state we each frequently experience.
TYGER & THE FALL
Blake's best known short poem is from Songs of Innocence and Experience (E24): The Tyger
"Tyger Tyger, burning bright,
In the forests of the night;
What immortal hand or eye,
Could frame thy fearful symmetry?
In what distant deeps or skies.
Burnt the fire of thine eyes?
On what wings dare he aspire?
What the hand, dare sieze the fire?
And what shoulder, & what art,
Could twist the sinews of thy heart?
And when thy heart began to beat,
What dread hand? & what dread feet?
What the hammer? what the chain,
In what furnace was thy brain?
What the anvil? what dread grasp,
Dare its deadly terrors clasp!
When the stars threw down their spears
And water'd heaven with their tears:
Did he smile his work to see?
Did he who made the Lamb make thee?
Tyger Tyger burning bright,
In the forests of the night:
What immortal hand or eye,
Dare frame thy fearful symmetry?"
A second occurrence of the line from Tyger, ' the stars threw down their spears,' appears in the Four Zoas, Night Five, Plate 64 (E344). Urizen is speaking.
"O Fool could I forget the light that filled my bright spheres
Was a reflection of his face who calld me from the deep
I well remember for I heard the mild & holy voice
Saying O light spring up & shine & I sprang up from the deep
He gave to me a silver scepter & crownd me with a golden crown
& said Go forth & guide my Son who wanders on the ocean
I went not forth. I hid myself in black clouds of my wrath
I calld the stars around my feet in the night of councils dark
The stars threw down their spears & fled naked away
We fell. I siezd thee dark Urthona In my left hand falling
I siezd thee beauteous Luvah"
Judging from the amount of interest there is in Blake's Tyger, it hooks into an archetypal reality which is easily activated. There is much agreement that Tyger is saying something important, but little agreement on what it is saying. Here is another stab.
One mystifying line in the poem, "when the stars threw down their spears," appears also in the Four Zoas at a critical moment when Urizen/Satan refuses obedience to the Almighty. At that point a chain reaction begins - with the stars. So the line in Tyger reminds us of the cataclysmic event when Urizen fell and took with him Urthona and Luvah.
Three Zoas Falling
It is easy for me to see Tyger as autobiographical. The conflict within Blake of his reason and imagination, is expressed in the dynamic battle between Urizen and Los thoughout Blake's myth. The tyger himself can represent the battlefield Blake sees within. Forces of beauty, restraint, explosive activity and expanded consciousness compete for dominance. Blake's struggle is to achieve that balance which will allow his imagination a free reign of expression, without becoming an uncontrolled destructive force.
Look at the words in Tyger that make one think
of Los: fire, hammer, anvil, furnace, chain;
of Urizen: bright, aspire, seize, stars;
of Luvah: heart, began to beat;
of Jesus: tears, smile, work, Lamb.
The multiple parts within the human mind make possible an internal state of competition. But the use of the word 'symmetry' signifies to me the balanced pattern in which Blake saw the Four Zoas as aspects of the psyche. The symmetry becomes fearful when the delicate alignment is disturbed. We have seen how every aspect of the Divine Humanity is affected by any refusal of a Zoa to accept his appointed role. (See blog post Fallen Zoas) All are 'members of one another'. (Paul - Ephesians 4:25)
The Tyger's fascination may come from the unresolved tension which it portrays - a state we each frequently experience.
"Tyger Tyger, burning bright,
In the forests of the night;
What immortal hand or eye,
Could frame thy fearful symmetry?
In what distant deeps or skies.
Burnt the fire of thine eyes?
On what wings dare he aspire?
What the hand, dare sieze the fire?
And what shoulder, & what art,
Could twist the sinews of thy heart?
And when thy heart began to beat,
What dread hand? & what dread feet?
What the hammer? what the chain,
In what furnace was thy brain?
What the anvil? what dread grasp,
Dare its deadly terrors clasp!
When the stars threw down their spears
And water'd heaven with their tears:
Did he smile his work to see?
Did he who made the Lamb make thee?
Tyger Tyger burning bright,
In the forests of the night:
What immortal hand or eye,
Dare frame thy fearful symmetry?"
A second occurrence of the line from Tyger, ' the stars threw down their spears,' appears in the Four Zoas, Night Five, Plate 64 (E344). Urizen is speaking.
"O Fool could I forget the light that filled my bright spheres
Was a reflection of his face who calld me from the deep
I well remember for I heard the mild & holy voice
Saying O light spring up & shine & I sprang up from the deep
He gave to me a silver scepter & crownd me with a golden crown
& said Go forth & guide my Son who wanders on the ocean
I went not forth. I hid myself in black clouds of my wrath
I calld the stars around my feet in the night of councils dark
The stars threw down their spears & fled naked away
We fell. I siezd thee dark Urthona In my left hand falling
I siezd thee beauteous Luvah"
Judging from the amount of interest there is in Blake's Tyger, it hooks into an archetypal reality which is easily activated. There is much agreement that Tyger is saying something important, but little agreement on what it is saying. Here is another stab.
One mystifying line in the poem, "when the stars threw down their spears," appears also in the Four Zoas at a critical moment when Urizen/Satan refuses obedience to the Almighty. At that point a chain reaction begins - with the stars. So the line in Tyger reminds us of the cataclysmic event when Urizen fell and took with him Urthona and Luvah.
Three Zoas Falling
It is easy for me to see Tyger as autobiographical. The conflict within Blake of his reason and imagination, is expressed in the dynamic battle between Urizen and Los thoughout Blake's myth. The tyger himself can represent the battlefield Blake sees within. Forces of beauty, restraint, explosive activity and expanded consciousness compete for dominance. Blake's struggle is to achieve that balance which will allow his imagination a free reign of expression, without becoming an uncontrolled destructive force.
Look at the words in Tyger that make one think
of Los: fire, hammer, anvil, furnace, chain;
of Urizen: bright, aspire, seize, stars;
of Luvah: heart, began to beat;
of Jesus: tears, smile, work, Lamb.
The multiple parts within the human mind make possible an internal state of competition. But the use of the word 'symmetry' signifies to me the balanced pattern in which Blake saw the Four Zoas as aspects of the psyche. The symmetry becomes fearful when the delicate alignment is disturbed. We have seen how every aspect of the Divine Humanity is affected by any refusal of a Zoa to accept his appointed role. (See blog post Fallen Zoas) All are 'members of one another'. (Paul - Ephesians 4:25)
The Tyger's fascination may come from the unresolved tension which it portrays - a state we each frequently experience.
Friday, November 13, 2009
FALLEN ZOAS
Albion in His Fallen State
Before Los initiates the process of restoring Albion to the
Humanity Divine, each of the four Zoas has fallen to the
point that his outlook is totally opposite to his role in eternity.
Jerusalem, Plate 38, (E184)
"They [the Four Zoas] saw their Wheels rising up poisonous against Albion
Urizen, cold & scientific: Luvah, pitying & weeping
Tharmas, indolent & sullen: Urthona, doubting & despairing
Victims to one another & dreadfully plotting against each other
To prevent Albion walking about in the Four Complexions."
Urizen, meant to be the active intellect involving itself in interfacing with information and developing understanding of relationships, has become cold and detached. He has reduced interactions to measurements, and objective descriptions from his frozen mind.
Luvah, meant to be the source of empathy and delight through the expression of emotional attachments, has been reduced to regret and depression. The spontaneous outpouring of approval or disapproval no longer flows from his detached heart.
Tharmas, meant to be energetic and active, involved in giving outer expression to inner dynamics, is passive and lifeless. The energy which should be generated through sensory perception and the impetus to create life is not flowing in his lethargic body.
Urthona, meant to be faith and vision, the connective function which holds together disparate parts, has lost the 'blessed assurance' and fallen into a dark pit of isolation. The connection of the body with the wholeness of purposeful living finds no expression without imagination.
One's greatest gifts can turn into one's worst liabilities if not recognized as gifts and put to work in the service of the giver. The Zoas will recover their gifts as Albion is restored to Eternity through the work of Jesus and Los.
Before Los initiates the process of restoring Albion to the
Humanity Divine, each of the four Zoas has fallen to the
point that his outlook is totally opposite to his role in eternity.
Jerusalem, Plate 38, (E184)
"They [the Four Zoas] saw their Wheels rising up poisonous against Albion
Urizen, cold & scientific: Luvah, pitying & weeping
Tharmas, indolent & sullen: Urthona, doubting & despairing
Victims to one another & dreadfully plotting against each other
To prevent Albion walking about in the Four Complexions."
Urizen, meant to be the active intellect involving itself in interfacing with information and developing understanding of relationships, has become cold and detached. He has reduced interactions to measurements, and objective descriptions from his frozen mind.
Luvah, meant to be the source of empathy and delight through the expression of emotional attachments, has been reduced to regret and depression. The spontaneous outpouring of approval or disapproval no longer flows from his detached heart.
Tharmas, meant to be energetic and active, involved in giving outer expression to inner dynamics, is passive and lifeless. The energy which should be generated through sensory perception and the impetus to create life is not flowing in his lethargic body.
Urthona, meant to be faith and vision, the connective function which holds together disparate parts, has lost the 'blessed assurance' and fallen into a dark pit of isolation. The connection of the body with the wholeness of purposeful living finds no expression without imagination.
One's greatest gifts can turn into one's worst liabilities if not recognized as gifts and put to work in the service of the giver. The Zoas will recover their gifts as Albion is restored to Eternity through the work of Jesus and Los.
FALLEN ZOAS
Albion in His Fallen State
Before Los initiates the process of restoring Albion to the
Humanity Divine, each of the four Zoas has fallen to the
point that his outlook is totally opposite to his role in eternity.
Jerusalem, Plate 38, (E184)
"They [the Four Zoas] saw their Wheels rising up poisonous against Albion
Urizen, cold & scientific: Luvah, pitying & weeping
Tharmas, indolent & sullen: Urthona, doubting & despairing
Victims to one another & dreadfully plotting against each other
To prevent Albion walking about in the Four Complexions."
Urizen, meant to be the active intellect involving itself in interfacing with information and developing understanding of relationships, has become cold and detached. He has reduced interactions to measurements, and objective descriptions from his frozen mind.
Luvah, meant to be the source of empathy and delight through the expression of emotional attachments, has been reduced to regret and depression. The spontaneous outpouring of approval or disapproval no longer flows from his detached heart.
Tharmas, meant to be energetic and active, involved in giving outer expression to inner dynamics, is passive and lifeless. The energy which should be generated through sensory perception and the impetus to create life is not flowing in his lethargic body.
Urthona, meant to be faith and vision, the connective function which holds together disparate parts, has lost the 'blessed assurance' and fallen into a dark pit of isolation. The connection of the body with the wholeness of purposeful living finds no expression without imagination.
One's greatest gifts can turn into one's worst liabilities if not recognized as gifts and put to work in the service of the giver. The Zoas will recover their gifts as Albion is restored to Eternity through the work of Jesus and Los.
Before Los initiates the process of restoring Albion to the
Humanity Divine, each of the four Zoas has fallen to the
point that his outlook is totally opposite to his role in eternity.
Jerusalem, Plate 38, (E184)
"They [the Four Zoas] saw their Wheels rising up poisonous against Albion
Urizen, cold & scientific: Luvah, pitying & weeping
Tharmas, indolent & sullen: Urthona, doubting & despairing
Victims to one another & dreadfully plotting against each other
To prevent Albion walking about in the Four Complexions."
Urizen, meant to be the active intellect involving itself in interfacing with information and developing understanding of relationships, has become cold and detached. He has reduced interactions to measurements, and objective descriptions from his frozen mind.
Luvah, meant to be the source of empathy and delight through the expression of emotional attachments, has been reduced to regret and depression. The spontaneous outpouring of approval or disapproval no longer flows from his detached heart.
Tharmas, meant to be energetic and active, involved in giving outer expression to inner dynamics, is passive and lifeless. The energy which should be generated through sensory perception and the impetus to create life is not flowing in his lethargic body.
Urthona, meant to be faith and vision, the connective function which holds together disparate parts, has lost the 'blessed assurance' and fallen into a dark pit of isolation. The connection of the body with the wholeness of purposeful living finds no expression without imagination.
One's greatest gifts can turn into one's worst liabilities if not recognized as gifts and put to work in the service of the giver. The Zoas will recover their gifts as Albion is restored to Eternity through the work of Jesus and Los.
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.
Tuesday, November 3, 2009
ENITHARMON & LOS
Each of the Four Zoas seems to have constant problems with his Emanation/wife/Anima. Tharmas endlessly follows his wife Enion who has withdrawn from him and continually flees. Urizen expels his wife Ahania because she confronts him with unpleasant truth. Luvah's wife Vala thwarts and obscures all he tries to do. Los the regent for Urthona, has a mixed relationship with Enitharmon, his sister/wife who is the only Emanation to take on mortal, vegetated form (Damon page 124.)
A reason for the Emanations causing trouble for their males may be that they see themselves as having been 'dealt weak hands.' They compensate by attempting to dominate by underhanded techniques, such as jealousy, withholding affection, withdrawing, secrecy, allying with the enemy and other devious methods.
The weakness of the positions of the Emanations results from their being associated with materiality. For Blake spirituality is the ideal state, the goal toward which all activity should lead. Unfortunately the route to the spiritual must go through the material. So the Emanations represent aspects of materiality through which man must pass as he recovers from the fall which divided him and separated him from Eternity. As aspects of a struggle, the Emanations are the means of gaining experience.
Enitharmon and Los
On Plate 85 of Jerusalem, Blake incorporates a picture of Los and Enitharman working together, a pleasant enough scene until we look more closely. Notice the sun, a male symbol, on Enitharmon's side of the picture; the moon a female symbol on Los's side. The two characters look in opposite directions (division), and Enitharmon has her back turned to us (secrecy.) The vines which Enitharmon holds are attached to Los in the area of heart and loins. Los's star is traveling away from him rather than toward him. Their knees are touching so there is still communication. Los, time, and Enitharmon, space, are intended to work together but they are at cross purposes. She wants to extend in space expanding materiality; he to foster spirituality as a function of time or prophecy.
Percival, in Circle of Destiny has this to say about the masculine and feminine relationship: "'Mental things alone are real' - this is the basic Blakean philosophy. Nature must be explained by man, body by soul. Form is the gift of inspiration. Moral good emanates spontaneously from brotherhood. The spiritual life, however you look at it, is rooted firmly in the energetic masculine. The unspiritual life is built upon the passive feminine."
The differences between Los and Enitharmon are overcome. From Percival again: "Deliverance will come only when the feminine emotions forego their separate identity as Good, and become the spontaneous expression of the imaginative mind."
Near the end of the Four Zoas we find Los and Enitharmon, not at odds but together pursuing the work of Eternity, (The Four Zoas, Eighth Night, 114.30, E385):
"And Los & Enitharmon took the Body of the Lamb Down from the Cross & placd it in a Sepulcher which Los had hewn For himself in the Rock of Eternity trembling & in despair Jerusalem wept over the Sepulcher two thousand Years"
A reason for the Emanations causing trouble for their males may be that they see themselves as having been 'dealt weak hands.' They compensate by attempting to dominate by underhanded techniques, such as jealousy, withholding affection, withdrawing, secrecy, allying with the enemy and other devious methods.
The weakness of the positions of the Emanations results from their being associated with materiality. For Blake spirituality is the ideal state, the goal toward which all activity should lead. Unfortunately the route to the spiritual must go through the material. So the Emanations represent aspects of materiality through which man must pass as he recovers from the fall which divided him and separated him from Eternity. As aspects of a struggle, the Emanations are the means of gaining experience.
Enitharmon and Los
On Plate 85 of Jerusalem, Blake incorporates a picture of Los and Enitharman working together, a pleasant enough scene until we look more closely. Notice the sun, a male symbol, on Enitharmon's side of the picture; the moon a female symbol on Los's side. The two characters look in opposite directions (division), and Enitharmon has her back turned to us (secrecy.) The vines which Enitharmon holds are attached to Los in the area of heart and loins. Los's star is traveling away from him rather than toward him. Their knees are touching so there is still communication. Los, time, and Enitharmon, space, are intended to work together but they are at cross purposes. She wants to extend in space expanding materiality; he to foster spirituality as a function of time or prophecy.
Percival, in Circle of Destiny has this to say about the masculine and feminine relationship: "'Mental things alone are real' - this is the basic Blakean philosophy. Nature must be explained by man, body by soul. Form is the gift of inspiration. Moral good emanates spontaneously from brotherhood. The spiritual life, however you look at it, is rooted firmly in the energetic masculine. The unspiritual life is built upon the passive feminine."
The differences between Los and Enitharmon are overcome. From Percival again: "Deliverance will come only when the feminine emotions forego their separate identity as Good, and become the spontaneous expression of the imaginative mind."
Near the end of the Four Zoas we find Los and Enitharmon, not at odds but together pursuing the work of Eternity, (The Four Zoas, Eighth Night, 114.30, E385):
"And Los & Enitharmon took the Body of the Lamb Down from the Cross & placd it in a Sepulcher which Los had hewn For himself in the Rock of Eternity trembling & in despair Jerusalem wept over the Sepulcher two thousand Years"
ENITHARMON & LOS
Each of the Four Zoas seems to have constant problems with his Emanation/wife/Anima. Tharmas endlessly follows his wife Enion who has withdrawn from him and continually flees. Urizen expels his wife Ahania because she confronts him with unpleasant truth. Luvah's wife Vala thwarts and obscures all he tries to do. Los the regent for Urthona, has a mixed relationship with Enitharmon, his sister/wife who is the only Emanation to take on mortal, vegetated form (Damon page 124.)
A reason for the Emanations causing trouble for their males may be that they see themselves as having been 'dealt weak hands.' They compensate by attempting to dominate by underhanded techniques, such as jealousy, withholding affection, withdrawing, secrecy, allying with the enemy and other devious methods.
The weakness of the positions of the Emanations results from their being associated with materiality. For Blake spirituality is the ideal state, the goal toward which all activity should lead. Unfortunately the route to the spiritual must go through the material. So the Emanations represent aspects of materiality through which man must pass as he recovers from the fall which divided him and separated him from Eternity. As aspects of a struggle, the Emanations are the means of gaining experience.
Enitharmon and Los
On Plate 85 of Jerusalem, Blake incorporates a picture of Los and Enitharman working together, a pleasant enough scene until we look more closely. Notice the sun, a male symbol, on Enitharmon's side of the picture; the moon a female symbol on Los's side. The two characters look in opposite directions (division), and Enitharmon has her back turned to us (secrecy.) The vines which Enitharmon holds are attached to Los in the area of heart and loins. Los's star is traveling away from him rather than toward him. Their knees are touching so there is still communication. Los, time, and Enitharmon, space, are intended to work together but they are at cross purposes. She wants to extend in space expanding materiality; he to foster spirituality as a function of time or prophecy.
Percival, in Circle of Destiny has this to say about the masculine and feminine relationship: "'Mental things alone are real' - this is the basic Blakean philosophy. Nature must be explained by man, body by soul. Form is the gift of inspiration. Moral good emanates spontaneously from brotherhood. The spiritual life, however you look at it, is rooted firmly in the energetic masculine. The unspiritual life is built upon the passive feminine."
The differences between Los and Enitharmon are overcome. From Percival again: "Deliverance will come only when the feminine emotions forego their separate identity as Good, and become the spontaneous expression of the imaginative mind."
Near the end of the Four Zoas we find Los and Enitharmon, not at odds but together pursuing the work of Eternity, (The Four Zoas, Eighth Night, 114.30, E385):
"And Los & Enitharmon took the Body of the Lamb Down from the Cross & placd it in a Sepulcher which Los had hewn For himself in the Rock of Eternity trembling & in despair Jerusalem wept over the Sepulcher two thousand Years"
A reason for the Emanations causing trouble for their males may be that they see themselves as having been 'dealt weak hands.' They compensate by attempting to dominate by underhanded techniques, such as jealousy, withholding affection, withdrawing, secrecy, allying with the enemy and other devious methods.
The weakness of the positions of the Emanations results from their being associated with materiality. For Blake spirituality is the ideal state, the goal toward which all activity should lead. Unfortunately the route to the spiritual must go through the material. So the Emanations represent aspects of materiality through which man must pass as he recovers from the fall which divided him and separated him from Eternity. As aspects of a struggle, the Emanations are the means of gaining experience.
Enitharmon and Los
On Plate 85 of Jerusalem, Blake incorporates a picture of Los and Enitharman working together, a pleasant enough scene until we look more closely. Notice the sun, a male symbol, on Enitharmon's side of the picture; the moon a female symbol on Los's side. The two characters look in opposite directions (division), and Enitharmon has her back turned to us (secrecy.) The vines which Enitharmon holds are attached to Los in the area of heart and loins. Los's star is traveling away from him rather than toward him. Their knees are touching so there is still communication. Los, time, and Enitharmon, space, are intended to work together but they are at cross purposes. She wants to extend in space expanding materiality; he to foster spirituality as a function of time or prophecy.
Percival, in Circle of Destiny has this to say about the masculine and feminine relationship: "'Mental things alone are real' - this is the basic Blakean philosophy. Nature must be explained by man, body by soul. Form is the gift of inspiration. Moral good emanates spontaneously from brotherhood. The spiritual life, however you look at it, is rooted firmly in the energetic masculine. The unspiritual life is built upon the passive feminine."
The differences between Los and Enitharmon are overcome. From Percival again: "Deliverance will come only when the feminine emotions forego their separate identity as Good, and become the spontaneous expression of the imaginative mind."
Near the end of the Four Zoas we find Los and Enitharmon, not at odds but together pursuing the work of Eternity, (The Four Zoas, Eighth Night, 114.30, E385):
"And Los & Enitharmon took the Body of the Lamb Down from the Cross & placd it in a Sepulcher which Los had hewn For himself in the Rock of Eternity trembling & in despair Jerusalem wept over the Sepulcher two thousand Years"
Saturday, October 31, 2009
URIZEN REPENTS
Repentance
Four Zoas, Night Nine, PAGE 121 (E391):
"Urizen wept in the dark deep anxious his Scaly form
To reassume the human & he wept in the dark deep
Saying O that I had never drank the wine nor eat the bread
Of dark mortality nor cast my view into futurity nor turnd
My back darkning the present clouding with a cloud
And building arches high & cities turrets & towers & domes
whose smoke destroyd the pleasant gardens & whose running
Kennels
Chokd the bright rivers burdning with my Ships the angry deep
Thro Chaos seeking for delight & in spaces remote
Seeking the Eternal which is always present to the wise
Seeking for pleasure which unsought falls round the infants path
And on the fleeces of mild flocks who neither care nor labour
But I the labourer of ages whose unwearied hands
Are thus deformd with hardness with the sword & with the spear
And with the Chisel & the mallet I whose labours vast
Order the nations separating family by family
Alone enjoy not I alone in misery supreme
Ungratified give all my joy unto this Luvah & Vala
Then Go O dark futurity I will cast thee forth from these
Heavens of my brain nor will I look upon futurity more
I cast futurity away & turn my back upon that void
Which I have made for lo futurity is in this moment
Let Orc consume let Tharmas rage let dark Urthona give
All strength to Los & Enitharmon & let Los self-cursd
Rend down this fabric as a wall ruind & family extinct
Rage Orc Rage Tharmas Urizen no longer curbs your rage"
Urizen resolves to reassume the human form - the spiritual.
He is sorry:
1. He ever experienced physicality,
2. sought to see or control the future which by right belongs to
Urthona,
3. distorted the view of present,
4. created a religion of materiality,
5. made the destructive, oppressive economic system,
6. sought distant satisfactions instead of those at hand,
7. failed to recognize the God Within,
8. neglected simple pleasures,
9. divided one from another,
10. used force to engender conformity.
He recognizes that these failings are internal ('in my brain'). He
sees that 'futurity is in this moment.' He relinquishes claim to any
achievements as my own. He recognize the role of each Zoa.
As a result of his repentance: (E391)
"Into the fires Then glorious bright Exulting in his joy
He sounding rose into the heavens in naked majesty
In radiant Youth."
______________________________________________
URIZEN REPENTS
Repentance
Four Zoas, Night Nine, PAGE 121 (E391):
"Urizen wept in the dark deep anxious his Scaly form
To reassume the human & he wept in the dark deep
Saying O that I had never drank the wine nor eat the bread
Of dark mortality nor cast my view into futurity nor turnd
My back darkning the present clouding with a cloud
And building arches high & cities turrets & towers & domes
whose smoke destroyd the pleasant gardens & whose running
Kennels
Chokd the bright rivers burdning with my Ships the angry deep
Thro Chaos seeking for delight & in spaces remote
Seeking the Eternal which is always present to the wise
Seeking for pleasure which unsought falls round the infants path
And on the fleeces of mild flocks who neither care nor labour
But I the labourer of ages whose unwearied hands
Are thus deformd with hardness with the sword & with the spear
And with the Chisel & the mallet I whose labours vast
Order the nations separating family by family
Alone enjoy not I alone in misery supreme
Ungratified give all my joy unto this Luvah & Vala
Then Go O dark futurity I will cast thee forth from these
Heavens of my brain nor will I look upon futurity more
I cast futurity away & turn my back upon that void
Which I have made for lo futurity is in this moment
Let Orc consume let Tharmas rage let dark Urthona give
All strength to Los & Enitharmon & let Los self-cursd
Rend down this fabric as a wall ruind & family extinct
Rage Orc Rage Tharmas Urizen no longer curbs your rage"
Urizen resolves to reassume the human form - the spiritual.
He is sorry:
1. He ever experienced physicality,
2. sought to see or control the future which by right belongs to
Urthona,
3. distorted the view of present,
4. created a religion of materiality,
5. made the destructive, oppressive economic system,
6. sought distant satisfactions instead of those at hand,
7. failed to recognize the God Within,
8. neglected simple pleasures,
9. divided one from another,
10. used force to engender conformity.
He recognizes that these failings are internal ('in my brain'). He
sees that 'futurity is in this moment.' He relinquishes claim to any
achievements as my own. He recognize the role of each Zoa.
As a result of his repentance: (E391)
"Into the fires Then glorious bright Exulting in his joy
He sounding rose into the heavens in naked majesty
In radiant Youth."
______________________________________________
Friday, October 30, 2009
THARMAS & THE ID
The psychic energy of humans is said to come from the Id, the instinctual first principal which allows the infant to survive. In Freud's system the Superego and Ego are built on that fundamental structure of the psyche. Later developments of the psyche limit the expression of the Id, but it would be disastrous if the Id were completely suppressed for that would leave no energy with which to fuel the operation of other aspects of the psyche.
So it is with Blake's Tharmas. As the body, he is the Zoa who is the source of energy. In MHH 4 Blake says "Energy is the only life, and is from the body."
In the Sixth Night of the Four Zoas, we find Urizen wandering through the unsatisfactory world he has created. Urizen is weakened; Urthona occupies a throne in a world of solid darkness; the east, Luvah's realm, is a void. Tharmas, however is full of energy rolling his billows in ceaseless eddies as he seeks his Emanation Enion. Desiring death Tharmas bargains with Urizen : The Four Zoas, Night Six, 69.10; E346
Tharmas threatens to starve Urizen in this passage: The Four Zoas, Night Six, 69.21; E 346
"Thou shalt pursue me but in vain till starvd upon the void
Thou hangst a dried skin shrunk up weak wailing in the wind
So Tharmas spoke but Urizen replied not."
Urizen makes this threat concerning Tharmas: The Four Zoas, Night Six, 68.22; E345
Blake as the 'vehicular form of Los' very likely tapped into the Id as instinctive energy to fuel his prolific output. His libido enjoyed a satisfying sexual relationship in his marriage to Catherine. The physical nature of his artistic activities involved his body in functioning as it should. The 'Tharmas' in him was not neglected but engaged as an essential partner, ready to provide energy for Blake's pursuits.
Enion, Enitharmon, Los and Tharmas
So it is with Blake's Tharmas. As the body, he is the Zoa who is the source of energy. In MHH 4 Blake says "Energy is the only life, and is from the body."
In the Sixth Night of the Four Zoas, we find Urizen wandering through the unsatisfactory world he has created. Urizen is weakened; Urthona occupies a throne in a world of solid darkness; the east, Luvah's realm, is a void. Tharmas, however is full of energy rolling his billows in ceaseless eddies as he seeks his Emanation Enion. Desiring death Tharmas bargains with Urizen : The Four Zoas, Night Six, 69.10; E346
"That I in vain in various paths have sought but still I live
The Body of Man is given to me I seek in vain to destroy
For still it surges forth in fish & monsters of the deeps
And in these monstrous forms I Live in an Eternal woe
And thou O Urizen art falln never to be deliverd
Withhold thy light from me for ever & I will withhold
From thee thy food so shall we cease to be & all our sorrows
End & the Eternal Man no more renew beneath our power" The function of Urizen is to produce light which he can provide to the other Zoas; it is up to Tharmas to provide the food or energy which the other Zoas are now lacking. Urizen has other ideas, so the bargain is not made nor could it be, because the Eternal Man will be renewed.Tharmas threatens to starve Urizen in this passage: The Four Zoas, Night Six, 69.21; E 346
"Thou shalt pursue me but in vain till starvd upon the void
Thou hangst a dried skin shrunk up weak wailing in the wind
So Tharmas spoke but Urizen replied not."
Urizen makes this threat concerning Tharmas: The Four Zoas, Night Six, 68.22; E345
"I will give Chains of dark ignorance & cords of twisted self
conceit
And whips of stern repentance & food of stubborn obstinacy
That they may curse Tharmas their God & Los his adopted son"So this is an explanation for the energy of Los; the alliance between Tharmas and Los gives Los the tremendous creative energy which he expends producing children, building cities and seeking to provide the conditions which will result in regeneration.Blake as the 'vehicular form of Los' very likely tapped into the Id as instinctive energy to fuel his prolific output. His libido enjoyed a satisfying sexual relationship in his marriage to Catherine. The physical nature of his artistic activities involved his body in functioning as it should. The 'Tharmas' in him was not neglected but engaged as an essential partner, ready to provide energy for Blake's pursuits.
Enion, Enitharmon, Los and Tharmas
THARMAS & THE ID
The psychic energy of humans is said to come from the Id, the instinctual first principal which allows the infant to survive. In Freud's system the Superego and Ego are built on that fundamental structure of the psyche. Later developments of the psyche limit the expression of the Id, but it would be disastrous if the Id were completely suppressed for that would leave no energy with which to fuel the operation of other aspects of the psyche.
So it is with Blake's Tharmas. As the body, he is the Zoa who is the source of energy. In MHH 4 Blake says "Energy is the only life, and is from the body."
In the Sixth Night of the Four Zoas, we find Urizen wandering through the unsatisfactory world he has created. Urizen is weakened; Urthona occupies a throne in a world of solid darkness; the east, Luvah's realm, is a void. Tharmas, however is full of energy rolling his billows in ceaseless eddies as he seeks his Emanation Enion. Desiring death Tharmas bargains with Urizen : The Four Zoas, Night Six, 69.10; E346
Tharmas threatens to starve Urizen in this passage: The Four Zoas, Night Six, 69.21; E346
"Thou shalt pursue me but in vain till starvd upon the void
Thou hangst a dried skin shrunk up weak wailing in the wind
So Tharmas spoke but Urizen replied not."
Urizen makes this threat concerning Tharmas: The Four Zoas, Night Six, 68.22; E345
Blake as the 'vehicular form of Los' very likely tapped into the Id as instinctive energy to fuel his prolific output. His libido enjoyed a satisfying sexual relationship in his marriage to Catherine. The physical nature of his artistic activities involved his body in functioning as it should. The 'Tharmas' in him was not neglected but engaged as an essential partner, ready to provide energy for Blake's pursuits.
Enion, Enitharmon, Los and Tharmas
____________________________________________________________________
So it is with Blake's Tharmas. As the body, he is the Zoa who is the source of energy. In MHH 4 Blake says "Energy is the only life, and is from the body."
In the Sixth Night of the Four Zoas, we find Urizen wandering through the unsatisfactory world he has created. Urizen is weakened; Urthona occupies a throne in a world of solid darkness; the east, Luvah's realm, is a void. Tharmas, however is full of energy rolling his billows in ceaseless eddies as he seeks his Emanation Enion. Desiring death Tharmas bargains with Urizen : The Four Zoas, Night Six, 69.10; E346
"That I in vain in various paths have sought but still I live
The Body of Man is given to me I seek in vain to destroy
For still it surges forth in fish & monsters of the deeps
And in these monstrous forms I Live in an Eternal woe
And thou O Urizen art falln never to be deliverd
Withhold thy light from me for ever & I will withhold
From thee thy food so shall we cease to be & all our sorrows
End & the Eternal Man no more renew beneath our power" The function of Urizen is to produce light which he can provide to the other Zoas; it is up to Tharmas to provide the food or energy which the other Zoas are now lacking. Urizen has other ideas, so the bargain is not made nor could it be, because the Eternal Man will be renewed.Tharmas threatens to starve Urizen in this passage: The Four Zoas, Night Six, 69.21; E346
"Thou shalt pursue me but in vain till starvd upon the void
Thou hangst a dried skin shrunk up weak wailing in the wind
So Tharmas spoke but Urizen replied not."
Urizen makes this threat concerning Tharmas: The Four Zoas, Night Six, 68.22; E345
"I will give
Chains of dark ignorance & cords of twisted self conceit
And whips of stern repentance & food of stubborn obstinacy
That they may curse Tharmas their God & Los his adopted son"So this is an explanation for the energy of Los; the alliance between Tharmas and Los gives Los the tremendous creative energy which he expends producing children, building cities and seeking to provide the conditions which will result in regeneration.Blake as the 'vehicular form of Los' very likely tapped into the Id as instinctive energy to fuel his prolific output. His libido enjoyed a satisfying sexual relationship in his marriage to Catherine. The physical nature of his artistic activities involved his body in functioning as it should. The 'Tharmas' in him was not neglected but engaged as an essential partner, ready to provide energy for Blake's pursuits.
Enion, Enitharmon, Los and Tharmas
____________________________________________________________________
Monday, October 5, 2009
4Z's PICTURED
Click on this link: Image of the Four Zoas
This rare image of the Four Zoas together appears in the First Book of Urizen.
Blake pictures the four Eternals peering down in the unfinished world of Urizen as it divides, falling into the abyss. Most of the copies of this plate display only three of the Zoas. In Blake's characteristic way of allowing imagination to lead him as he creates his images, he has added the fourth Zoa, Tharmas to the other three in this late copy. You can compare six versions of the Book of Urizen, each distinctive, in the Blake Archive. 4Z'S in 6 Copies, Click here
Blake's characters have different appearances as they are represented at different levels of existence in his myth. Here they are represented at the level of the Eternals; although no physical representation at that spiritual level can be anything more than limited and false.
Nevertheless, we see Urizen on the right, looking down at his own fallen nature as it disintegrates in separation. His beard drags in the water of matter which is created as a result of his fall. Why is he old? Because he is conservatism which must always be replaced by the new and fresh.
Beside Urizen is Los, forever young, who joins Urizen in the descent in order to be the agent of the eventual return. Suggested by the fingers of Los touching the liquid below as if paint or ink were dripping from his hand, is an intimation of the role of imagination in the regeneration process
Next to the young Los, is another older gentleman, Luvah, who as the emotions, is a level early in physic development. Luvah becomes intimately involved in the struggle to limit the downward fall of Urizen and reverse the division in Albion. At various points Luvah works with or competes with Urizen or Los, but his service is to Jesus.
The Zoa who is missing in most of the images, Tharmas, is pictured as no more than a boy. The contradiction in the character Tharmas is that he is both the 'Parent Power' and the last to be named. Mary Lynn Johnson describes him as "innocence, instinct, the binding force of the human personality, and the body." (p. 206) Perhaps he is closer to the id than any other of the Zoas, and so closer to the child.
On the engraved plate, words and image work together to involve us in the fall - from the perspective of Eternity.
This rare image of the Four Zoas together appears in the First Book of Urizen.
Blake pictures the four Eternals peering down in the unfinished world of Urizen as it divides, falling into the abyss. Most of the copies of this plate display only three of the Zoas. In Blake's characteristic way of allowing imagination to lead him as he creates his images, he has added the fourth Zoa, Tharmas to the other three in this late copy. You can compare six versions of the Book of Urizen, each distinctive, in the Blake Archive. 4Z'S in 6 Copies, Click here
Blake's characters have different appearances as they are represented at different levels of existence in his myth. Here they are represented at the level of the Eternals; although no physical representation at that spiritual level can be anything more than limited and false.
Nevertheless, we see Urizen on the right, looking down at his own fallen nature as it disintegrates in separation. His beard drags in the water of matter which is created as a result of his fall. Why is he old? Because he is conservatism which must always be replaced by the new and fresh.
Beside Urizen is Los, forever young, who joins Urizen in the descent in order to be the agent of the eventual return. Suggested by the fingers of Los touching the liquid below as if paint or ink were dripping from his hand, is an intimation of the role of imagination in the regeneration process
Next to the young Los, is another older gentleman, Luvah, who as the emotions, is a level early in physic development. Luvah becomes intimately involved in the struggle to limit the downward fall of Urizen and reverse the division in Albion. At various points Luvah works with or competes with Urizen or Los, but his service is to Jesus.
The Zoa who is missing in most of the images, Tharmas, is pictured as no more than a boy. The contradiction in the character Tharmas is that he is both the 'Parent Power' and the last to be named. Mary Lynn Johnson describes him as "innocence, instinct, the binding force of the human personality, and the body." (p. 206) Perhaps he is closer to the id than any other of the Zoas, and so closer to the child.
On the engraved plate, words and image work together to involve us in the fall - from the perspective of Eternity.
PLATE 15 of The Book of Urizen
"Thus the Eternal Prophet was divided
Before the death-image of Urizen
For in changeable clouds and darkness
In a winterly night beneath,
The Abyss of Los stretch'd immense:
And now seen, now obscur'd, to the eyes
Of Eternals, the visions remote
Of the dark seperation appear'd.
As glasses discover Worlds
In the endless Abyss of space,
So the expanding eyes of Immortals
Beheld the dark visions of Los,
And the globe of life blood trembling"
4Z's PICTURED
Click on this link: Image of the Four Zoas
This rare image of the Four Zoas together appears in the First Book of Urizen.
Blake pictures the four Eternals peering down in the unfinished world of Urizen as it divides, falling into the abyss. Most of the copies of this plate display only three of the Zoas. In Blake's characteristic way of allowing imagination to lead him as he creates his images, he has added the fourth Zoa, Tharmas to the other three in this late copy. You can compare six versions of the Book of Urizen, each distinctive, in the Blake Archive. 4Z'S in 6 Copies, Click here
Blake's characters have different appearances as they are represented at different levels of existence in his myth. Here they are represented at the level of the Eternals; although no physical representation at that spiritual level can be anything more than limited and false.
Nevertheless, we see Urizen on the right, looking down at his own fallen nature as it disintegrates in separation. His beard drags in the water of matter which is created as a result of his fall. Why is he old? Because he is conservatism which must always be replaced by the new and fresh.
Beside Urizen is Los, forever young, who joins Urizen in the descent in order to be the agent of the eventual return. Suggested by the fingers of Los touching the liquid below as if paint or ink were dripping from his hand, is an intimation of the role of imagination in the regeneration process
Next to the young Los, is another older gentleman, Luvah, who as the emotions, is a level early in physic development. Luvah becomes intimately involved in the struggle to limit the downward fall of Urizen and reverse the division in Albion. At various points Luvah works with or competes with Urizen or Los, but his service is to Jesus.
The Zoa who is missing in most of the images, Tharmas, is pictured as no more than a boy. The contradiction in the character Tharmas is that he is both the 'Parent Power' and the last to be named. Mary Lynn Johnson describes him as "innocence, instinct, the binding force of the human personality, and the body." (p. 206) Perhaps he is closer to the id than any other of the Zoas, and so closer to the child.
On the engraved plate, words and image work together to involve us in the fall - from the perspective of Eternity.
This rare image of the Four Zoas together appears in the First Book of Urizen.
Blake pictures the four Eternals peering down in the unfinished world of Urizen as it divides, falling into the abyss. Most of the copies of this plate display only three of the Zoas. In Blake's characteristic way of allowing imagination to lead him as he creates his images, he has added the fourth Zoa, Tharmas to the other three in this late copy. You can compare six versions of the Book of Urizen, each distinctive, in the Blake Archive. 4Z'S in 6 Copies, Click here
Blake's characters have different appearances as they are represented at different levels of existence in his myth. Here they are represented at the level of the Eternals; although no physical representation at that spiritual level can be anything more than limited and false.
Nevertheless, we see Urizen on the right, looking down at his own fallen nature as it disintegrates in separation. His beard drags in the water of matter which is created as a result of his fall. Why is he old? Because he is conservatism which must always be replaced by the new and fresh.
Beside Urizen is Los, forever young, who joins Urizen in the descent in order to be the agent of the eventual return. Suggested by the fingers of Los touching the liquid below as if paint or ink were dripping from his hand, is an intimation of the role of imagination in the regeneration process
Next to the young Los, is another older gentleman, Luvah, who as the emotions, is a level early in physic development. Luvah becomes intimately involved in the struggle to limit the downward fall of Urizen and reverse the division in Albion. At various points Luvah works with or competes with Urizen or Los, but his service is to Jesus.
The Zoa who is missing in most of the images, Tharmas, is pictured as no more than a boy. The contradiction in the character Tharmas is that he is both the 'Parent Power' and the last to be named. Mary Lynn Johnson describes him as "innocence, instinct, the binding force of the human personality, and the body." (p. 206) Perhaps he is closer to the id than any other of the Zoas, and so closer to the child.
On the engraved plate, words and image work together to involve us in the fall - from the perspective of Eternity.
PLATE 15 of The Book of Urizen
"Thus the Eternal Prophet was divided
Before the death-image of Urizen
For in changeable clouds and darkness
In a winterly night beneath,
The Abyss of Los stretch'd immense:
And now seen, now obscur'd, to the eyes
Of Eternals, the visions remote
Of the dark seperation appear'd.
As glasses discover Worlds
In the endless Abyss of space,
So the expanding eyes of Immortals
Beheld the dark visions of Los,
And the globe of life blood trembling"
Saturday, October 3, 2009
WHY RAM HORN'D?
.
Perhaps it is inevitable that archetypal images appear in many settings with varied associations. The archetype of the shepherd and the sheep fits that description. In Blake the shepherd recurs as a metaphor for more than one of his characters; for instance, Tharmas is the shepherd, just as Urthona is the blacksmith, Urizen is the plowman and Luvah is the weaver. The ram, and the lion also appear as protectors of the fold the role usually assigned to the shepherd.
In Night Nine of the Four Zoas which is a culmination of the myth of the fall and division of Albion and his redemption and reunification, there is a passage amidst some of his loveliest poetic images, of the ram in that protective role. This passage deals not with Tharmas but with Luvah and his emanation Vala.
Plate 128.25-27
"So spoke the Sinless Soul & laid her head on the downy fleece
Of a curld Ram who stretchd himself in sleep beside his mistress
And soft sleep fell upon her eyelids in the silent noon of day"
For more of the passage in the Four Zoas click below.
4z's Night Nine go to 126.36, page 396
The poetic image of Vala asleep beside the ram recalls a visual image from America, A Prophecy, a scene of great peace and pastoral beauty. This image is ironically in the midst of an account of outbreak of revolution, the activity of Orc who is best known as Los's son.
Click below for links to the picture.
Asleep Beside the Ram
or
try this one.
This brings us to the poem from which Larry named this blog. In a letter to his friend Thomas Butts, Blake enclosed a poem know as 'My First Vision of Light.'
" ...And I heard his voice Mild
Saying This is My Fold
O thou Ram hornd with gold
Who awakest from sleep
On the sides of the Deep
On the Mountains around
The roarings resound
Of the lion & wolf
The loud sea & deep gulf
These are guards of My Fold
O thou Ram hornd with gold"
Here Blake himself becomes the 'Ram hornd with Gold' and identifies his 'fold' and the protective elements around it. It is a transforming experience for him, encouraging him to overcome the temptation to write for a popular audience and henceforth to speak only from the internal, eternal Imagination.
Letter to Thomas Butts
Perhaps it is inevitable that archetypal images appear in many settings with varied associations. The archetype of the shepherd and the sheep fits that description. In Blake the shepherd recurs as a metaphor for more than one of his characters; for instance, Tharmas is the shepherd, just as Urthona is the blacksmith, Urizen is the plowman and Luvah is the weaver. The ram, and the lion also appear as protectors of the fold the role usually assigned to the shepherd.
In Night Nine of the Four Zoas which is a culmination of the myth of the fall and division of Albion and his redemption and reunification, there is a passage amidst some of his loveliest poetic images, of the ram in that protective role. This passage deals not with Tharmas but with Luvah and his emanation Vala.
Plate 128.25-27
"So spoke the Sinless Soul & laid her head on the downy fleece
Of a curld Ram who stretchd himself in sleep beside his mistress
And soft sleep fell upon her eyelids in the silent noon of day"
For more of the passage in the Four Zoas click below.
4z's Night Nine go to 126.36, page 396
The poetic image of Vala asleep beside the ram recalls a visual image from America, A Prophecy, a scene of great peace and pastoral beauty. This image is ironically in the midst of an account of outbreak of revolution, the activity of Orc who is best known as Los's son.
Click below for links to the picture.
Asleep Beside the Ram
or
try this one.
This brings us to the poem from which Larry named this blog. In a letter to his friend Thomas Butts, Blake enclosed a poem know as 'My First Vision of Light.'
" ...And I heard his voice Mild
Saying This is My Fold
O thou Ram hornd with gold
Who awakest from sleep
On the sides of the Deep
On the Mountains around
The roarings resound
Of the lion & wolf
The loud sea & deep gulf
These are guards of My Fold
O thou Ram hornd with gold"
Here Blake himself becomes the 'Ram hornd with Gold' and identifies his 'fold' and the protective elements around it. It is a transforming experience for him, encouraging him to overcome the temptation to write for a popular audience and henceforth to speak only from the internal, eternal Imagination.
Letter to Thomas Butts
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