Clipped

It's doubtful that Blake had much experience as a father, but he had serious misgivings about "the Heavenly Father:

See the picture.

Aged Ignorance! what might that be:

Jehovah, who came with a thump on the head!

Father, who whips (stunts) the growing sprout, for
whatever reason, basically for not obeying a convention,

School! which systematically molds (or tries to mold) the pupil into obedience.

Blake (so far as we know) was never a biological father; perhaps he understood that no (or at least few) adequately raise a son without (at least some) clipping.

The clipped son becomes a father; he may swear he'll
never do to his sons what his father did to him; but he
does.

And so it goes: inadequate fathers, inadequate schools, inadequate conventions, inadequate lives for the multitude--raised without creativity.

The dutiful multitude are the Redeemed; the rulers:
schoolmasters, judges, senators, are the Elect. A few
who escaped the clipping (or at least were clipped less) may hear the call to prophesy. They are the Reprobate:

From Milton: plate 7:
"The Elect from before the foundation of the World:
The second, The Redeem'd. The Third. The Reprobate & Form'd
To destruction from the mothers womb: follow with me my plow.
Of the first class was Satan: with incomparable mildness;
His primitive tyrannical attempts on Los: with most endearing love
He soft intreated Los to give to him......"

Aged Ignorance is really a very searching critique of society. We all could do better. Urizen was terrified of futurity. Thank God for the Saviour who brought to us forgiveness.

Read again the Intro to the chapter in Jerusalem To the Christians: Plate 77 (E231)

"We are told to abstain from fleshly desires that we may lose no
time from the Work of the Lord.  Every moment lost, is a moment
that cannot be redeemed every pleasure that intermingles with
the duty of our station is a folly unredeemable & is planted
like the seed of a wild flower among our wheat. All the
tortures of repentance. are tortures of self-reproach on account
of our leaving the Divine Harvest to the Enemy, the struggles of
intanglement with incoherent roots.  I know of no other
Christianity and of no other Gospel than the liberty both of
body & mind to exercise the Divine Arts of Imagination.
Imagination the real & eternal World of which this Vegetable
Universe is but a faint shadow & in which we shall live in our
Eternal or Imaginative Bodies, when these Vegetable Mortal
Bodies are no more."

Clipped

It's doubtful that Blake had much experience as a father, but he had serious misgivings about "the Heavenly Father:

See the picture.

Aged Ignorance! what might that be:

Jehovah, who came with a thump on the head!

Father, who whips (stunts) the growing sprout, for
whatever reason, basically for not obeying a convention,

School! which systematically molds (or tries to mold) the pupil into obedience.

Blake (so far as we know) was never a biological father; perhaps he understood that no (or at least few) adequately raise a son without (at least some) clipping.

The clipped son becomes a father; he may swear he'll
never do to his sons what his father did to him; but he
does.

And so it goes: inadequate fathers, inadequate schools, inadequate conventions, inadequate lives for the multitude--raised without creativity.

The dutiful multitude are the Redeemed; the rulers:
schoolmasters, judges, senators, are the Elect. A few
who escaped the clipping (or at least were clipped less) may hear the call to prophesy. They are the Reprobate:

From Milton: plate 7:
"The Elect from before the foundation of the World:
The second, The Redeem'd. The Third. The Reprobate & Form'd
To destruction from the mothers womb: follow with me my plow.
Of the first class was Satan: with incomparable mildness;
His primitive tyrannical attempts on Los: with most endearing love
He soft intreated Los to give to him......"

Aged Ignorance is really a very searching critique of society. We all could do better. Urizen was terrified of futurity. Thank God for the Saviour who brought to us forgiveness.

Read again the Intro to the chapter in Jerusalem To the Christians: Plate 77 (E231)

"We are told to abstain from fleshly desires that we may lose no
time from the Work of the Lord.  Every moment lost, is a moment
that cannot be redeemed every pleasure that intermingles with
the duty of our station is a folly unredeemable & is planted
like the seed of a wild flower among our wheat. All the
tortures of repentance. are tortures of self-reproach on account
of our leaving the Divine Harvest to the Enemy, the struggles of
intanglement with incoherent roots.  I know of no other
Christianity and of no other Gospel than the liberty both of
body & mind to exercise the Divine Arts of Imagination.
Imagination the real & eternal World of which this Vegetable
Universe is but a faint shadow & in which we shall live in our
Eternal or Imaginative Bodies, when these Vegetable Mortal
Bodies are no more."

William Blake and his Reader

Inspired primarily by Blake's Sublime Allegory (Roger
Easson, p. 313) :

In 1800, when he was 33, Blake went to Felpham (on the
sea) under the sponsorship of a wealthy man who pretended
an interest in his welfare (Blake was well nigh starving
about that time).

In his Preface to Jerusalem he spoke of returning from the
sea. He was disillusioned because he had hoped for a
spiritual friend, but found a corporeal one.

"Corporeal Friends are Spiritual Enemies" (in Milton,
4.26; E98 and again in Jerusalem, 44.10; E193)

Blake was disillusioned with the public; they had failed
to show him any interest or respect.

Easson tells us that in Jerusalem the disillusioned poet
attempted to promote a dialogue with his readers (that's
us). With a typical prophetic attitude he expected a
response-- . Prophets don't say things to please their
listeners but to arouse them, provoke them, above all
awaken them. Like Ezekiel Blake had "the desire of
raising other men to a perception of the Infinite"
(MHH13; Erdman 39).

In Jerusalem Blake is deliberately illusive (every Plate
might be thought of as a detective story or a crossword
puzzle). He means us to read it-- and consider! Like his
Vision of Christ in The Everlasting Gospel "he spoke in
parables to the blind".

Blake had been well received by a (very!) few from whom
their "love and friendship" was the highest reward. In
the preface he asks for our love and friendship; it can
only be reached through "the severe contentions of [true!]
friendship."

Blake took the freedom to contend with us, and whether or
to what degree we can respond creatively depends upon us.

Has anyone ever fully understood Blake? Ah! that's the
challenge.

William Blake and his Reader

Inspired primarily by Blake's Sublime Allegory (Roger
Easson, p. 313) :

In 1800, when he was 33, Blake went to Felpham (on the
sea) under the sponsorship of a wealthy man who pretended
an interest in his welfare (Blake was well nigh starving
about that time).

In his Preface to Jerusalem he spoke of returning from the
sea. He was disillusioned because he had hoped for a
spiritual friend, but found a corporeal one.

"Corporeal Friends are Spiritual Enemies" (in Milton,
4.26; E98 and again in Jerusalem, 44.10; E193)

Blake was disillusioned with the public; they had failed
to show him any interest or respect.

Easson tells us that in Jerusalem the disillusioned poet
attempted to promote a dialogue with his readers (that's
us). With a typical prophetic attitude he expected a
response-- . Prophets don't say things to please their
listeners but to arouse them, provoke them, above all
awaken them. Like Ezekiel Blake had "the desire of
raising other men to a perception of the Infinite"
(MHH13; Erdman 39).

In Jerusalem Blake is deliberately illusive (every Plate
might be thought of as a detective story or a crossword
puzzle). He means us to read it-- and consider! Like his
Vision of Christ in The Everlasting Gospel "he spoke in
parables to the blind".

Blake had been well received by a (very!) few from whom
their "love and friendship" was the highest reward. In
the preface he asks for our love and friendship; it can
only be reached through "the severe contentions of [true!]
friendship."

Blake took the freedom to contend with us, and whether or
to what degree we can respond creatively depends upon us.

Has anyone ever fully understood Blake? Ah! that's the
challenge.

LOS AND ORC

Northrop Frey wrote on page 251 of FEARFUL SYMMETRY:
"The rising Orc has been visualized as killing a dragon and as pushing a rock from his tomb, but neither if these images is really exact. When a new life is born, a new form emerges from unorganized matter, and the "victory" of the rising Orc is the only kind of victory that is possible: the conquest of the creator over his material, the reduction of a monster to a shape. We must now superimpose another pattern on this one. Just as Satan or the monster of death is overcome by Orc, so Orc himself is a monster of natural life (hence his association with the serpent) who must be in turn be overcome, or shaped into a form, by someone else. And as Orc shapes life out of death, so this someone shapes the conscious vision out of life which is the imagination proper, the character or identity, and so constructs a Being from the Becoming. Orc brings life into time; the shaper brings life in time into eternity, and as Orc is the driving power of Generation, so his shaper is the power of Regeneration. This shaper is the driving force of all of Blake's later poems, Los the blacksmith, the divine artificer, the spiritual form of time, the Holy Spirit which spoke by the prophets."

Los at the forge with Enitharmon and Orc

MILTON Plate 24 reads:
"Los is by mortals nam'd Time. Enitharmon is nam'd Space
But they depict him bald and aged who is in eternal youth
All powerful and his locks flourish like the brows of morning
He is the Spirit of Prophecy, the ever apparent Elias.
Time is the mercy of Eternity; without Times swiftness
Which is the swiftest of all things: all were eternal torment:
All the Gods of the Kingdoms of Earth labour in Los's Halls.
Every one is a fallen Son of the Spirit of Prophecy
He is the Fourth Zoa, that stood arou[n]d the Throne Divine."

Frey continues:
"Orc, the amorphous cub whom Los has to lick into shape, is Los' first-born son, as Los is the Holy Spirit or incubating power from whom all life proceeds. And as no life reaches eternity without first going through the physical world, the young Orc is bound by Los to the latter."

So through the fall, Los and Orc each become the prisoner of the other that the work of regeneration may ultimately be accomplished.

LOS AND ORC

Northrop Frey wrote on page 251 of FEARFUL SYMMETRY:
"The rising Orc has been visualized as killing a dragon and as pushing a rock from his tomb, but neither if these images is really exact. When a new life is born, a new form emerges from unorganized matter, and the "victory" of the rising Orc is the only kind of victory that is possible: the conquest of the creator over his material, the reduction of a monster to a shape. We must now superimpose another pattern on this one. Just as Satan or the monster of death is overcome by Orc, so Orc himself is a monster of natural life (hence his association with the serpent) who must be in turn be overcome, or shaped into a form, by someone else. And as Orc shapes life out of death, so this someone shapes the conscious vision out of life which is the imagination proper, the character or identity, and so constructs a Being from the Becoming. Orc brings life into time; the shaper brings life in time into eternity, and as Orc is the driving power of Generation, so his shaper is the power of Regeneration. This shaper is the driving force of all of Blake's later poems, Los the blacksmith, the divine artificer, the spiritual form of time, the Holy Spirit which spoke by the prophets."

Los at the forge with Enitharmon and Orc

MILTON Plate 24 reads:
"Los is by mortals nam'd Time. Enitharmon is nam'd Space
But they depict him bald and aged who is in eternal youth
All powerful and his locks flourish like the brows of morning
He is the Spirit of Prophecy, the ever apparent Elias.
Time is the mercy of Eternity; without Times swiftness
Which is the swiftest of all things: all were eternal torment:
All the Gods of the Kingdoms of Earth labour in Los's Halls.
Every one is a fallen Son of the Spirit of Prophecy
He is the Fourth Zoa, that stood arou[n]d the Throne Divine."

Frey continues:
"Orc, the amorphous cub whom Los has to lick into shape, is Los' first-born son, as Los is the Holy Spirit or incubating power from whom all life proceeds. And as no life reaches eternity without first going through the physical world, the young Orc is bound by Los to the latter."

So through the fall, Los and Orc each become the prisoner of the other that the work of regeneration may ultimately be accomplished.

LOS: POET & PROPHET

Los is the hero of Blake's myth as developed in the prophetic books. Among his many names are Eternal Poet and Eternal Prophet. As Blake's alter-ego he was the Creative Imagination, always expanding into new projects and endeavors. As a blacksmith he uses his furnaces to shape humanity through fire and the blows of his hammer. He holds the vision in times of trouble. He takes the materials at hand and puts them to the service of Jerusalem, the image of Divine Inspiration.

In describing this picture Erdman says: "The poet /blacksmith Los, naked with his steel hammer in a firm cushion of cloud, rests "wearied" from his intellectual labors, and regards the completed song/sun with anxious compassion."

SONG OF LOS, Plate 8

Los as Time, together with Enitharmon as Space brings change. He represents evolution, not in the sense of progress but of opportunity. The information, structures, and insights developed by one generation are available for use by succeeding generations to build upon. Urizen sought fixed structure and predictability. Not so Los. Nothing for him would be more deadly than restating repeatedly the same ideas in different words or applying the same rules to every situation.

The huge advances in scientific thought have come not by using a template but by creating new ways of thinking, new avenues of questioning, new fields of research. Psychology itself had a burst of development when scientific techniques were applied to understand the mysteries of human behavior which had baffled the human mind from the time man became self-reflective. We are following Los when we seek new paths and expand the horizons of our pursuits.

As William Blake said in two of his early works:

All Religions Are One
"PRINCIPLE 4.
As none by traveling over known lands can find out
the unknown. So from already acquired knowledge Man could not
acquire more. therefore an universal Poetic Genius exists"

There is No Natural Religion (b)
"I Mans perceptions are not bounded by organs of perception. he
percieves more than sense (tho' ever so acute) can discover.
II Reason or the ratio of all we have already known. is not
the same that it shall be when we know more.
IV The bounded is loathed by its possessor. The same dull round
even of a univer[s]e would soon become a mill with complicated
wheels."

Blake spoke of dark Satanic Mills.

LOS: POET & PROPHET

Los is the hero of Blake's myth as developed in the prophetic books. Among his many names are Eternal Poet and Eternal Prophet. As Blake's alter-ego he was the Creative Imagination, always expanding into new projects and endeavors. As a blacksmith he uses his furnaces to shape humanity through fire and the blows of his hammer. He holds the vision in times of trouble. He takes the materials at hand and puts them to the service of Jerusalem, the image of Divine Inspiration.

In describing this picture Erdman says: "The poet /blacksmith Los, naked with his steel hammer in a firm cushion of cloud, rests "wearied" from his intellectual labors, and regards the completed song/sun with anxious compassion."

SONG OF LOS, Plate 8

Los as Time, together with Enitharmon as Space brings change. He represents evolution, not in the sense of progress but of opportunity. The information, structures, and insights developed by one generation are available for use by succeeding generations to build upon. Urizen sought fixed structure and predictability. Not so Los. Nothing for him would be more deadly than restating repeatedly the same ideas in different words or applying the same rules to every situation.

The huge advances in scientific thought have come not by using a template but by creating new ways of thinking, new avenues of questioning, new fields of research. Psychology itself had a burst of development when scientific techniques were applied to understand the mysteries of human behavior which had baffled the human mind from the time man became self-reflective. We are following Los when we seek new paths and expand the horizons of our pursuits.

As William Blake said in two of his early works:

All Religions Are One
PRINCIPLE 4.
As none by traveling over known lands can find out
the unknown. So from already acquired knowledge Man could not
acquire more. therefore an universal Poetic Genius exists

There is No Natural Religion (b)
I Mans perceptions are not bounded by organs of perception. he
percieves more than sense (tho' ever so acute) can discover.
II Reason or the ratio of all we have already known. is not
the same that it shall be when we know more.
IV The bounded is loathed by its possessor. The same dull round
even of a univer[s]e would soon become a mill with complicated
wheels.

Blake spoke of dark Satanic Mills.

The Book of Brass

As committed a Christian as Blake was, he still receives little or no coinage in conventional religious circles. The reasons are rather obvious: he exploded the pet values and prejudices of the conventional Christian, like the "inerrency" of the Bible, etc. etc.

In MHH Blake promised to write the Book of Hell:
The Book of Urizen shows Urizen (Old Nobodaddy) with the Book of Brass; it doesn't save; it condemns. As Moses (and Blake) said, "would to God that all the Lord's people were prophets", and able to hear God speaking directly in Jesus' tones of love rather than like Urizen heard it.

The Book of Brass

As committed a Christian as Blake was, he still receives little or no coinage in conventional religious circles. The reasons are rather obvious: he exploded the pet values and prejudices of the conventional Christian, like the "inerrency" of the Bible, etc. etc.

In MHH Blake promised to write the Book of Hell:
The Book of Urizen shows Urizen (Old Nobodaddy) with the Book of Brass; it doesn't save; it condemns. As Moses (and Blake) said, "would to God that all the Lord's people were prophets", and able to hear God speaking directly in Jesus' tones of love rather than like Urizen heard it.